THE STRING QUARTET - JOSEF HAYDN

Matthew Taylor will this term be giving the first in a projected series of the history of
the string quartet and his first two lectures are based on quartets of Josef Haydn.
Haydn very deservedly has been merited with the name, Father of the Symphony.
Yet this may not be strictly applicable. There can be no question however that he
would have been entitled to the name, Father of the String Quartet. There were
symphonies before Haydn, although it was he who put the symphony on the map
with 104 of them. There were no string quartets before Haydn. There was chamber
music, frequently with two violins and harpsichord or cello continuo but the string
quartet was devised, almost by accident, developed and sculpted into shape by one
man, Josef Haydn (1732-1809).
It came about round about 1754-57 when Haydn was teaching the children of Baron
Furnberg and was making a career as a freelance musician. Furnberg, a gifted
amateur musician, wanted some music for him and his colleagues to play. The
instrumentation available happened to be two violins, viola and cello. For this
combination Haydn wrote what he called divertimenti and they were an absolute hit.
(Just as well it wasnt piccolo, bassoon, double bass and kettledrum as the string
quartet would have turned out differently). Early versions contained usually five or
more movements including two minuets. Soon it settled into the standard four
movements, two outer ones fast and in between a slow movement and minuet,
following sonata form as in the symphonies which he did not embark upon until the
Esterhazy years.
Haydn kept to this formula in the 83 quartets he was to write afterwards apart from
the Seven Last Words of Jesus Christ Op 51 which was a quartet rendering of an
orchestral version of 1786 and also his last quartet, op 103, during the composition
of which he felt, after managing two movements, too tired to finish and decided there
and then to call it a day. The combination was taken up by Mozart and Beethoven
with the latter, in his last quartets, sometimes adding further movements. The
instrumental combination remained the constant nucleus although there were
additions to the numbers. An extra viola by Mozart gave rise to the string quintet. In
the case of Schubert on the other hand it was an additional cello. Schumann added
a piano to have been attributed with the invention of the piano quintet (actually
Boccherini had done this some fifty years earlier with the fortepiano). The fact
remains that underlying these expansions was the basic string quartet as we still
know it. There was a tendency in the early 19 th century to widen the range of the
combination with the addition of the double bass. We best know it in Schuberts
Trout Quintet but it can be found in some lesser known composers such as
Ferdinand Ries and Louis Spohr. Mendelssohns sextet contains the double bass.
This addition changed the centre of musical gravity to give a deeper sonority.
However, Schumann, and then Brahms following him, stuck to the pure HaydnBeethoven form and it has remained a staple compositional form since.
A word as to the character of the string quartet by one of the audience and not a
musicologist. Ones reception and appreciation are bound to differ from person to

person. Each has his/her own experiences. It is generally accepted that most
people first encounter music through the orchestra and there can be no doubt that
orchestral music has a far greater range of colour and dynamics than the chamber
models. It is not that one is better than the other but that one is quite different to the
other. An orchestra usually has a conductor directing the others and the players
follow him/her and not each other. Quartet players play off each other and one can
visibly see the eye to eye communication and the fleeting smile in an act of joint
communion. They are playing for themselves and not for us. One cant imagine in
an orchestra the cellist on the third desk making eye contact with the second flute
unless he plans on taking her to dinner afterwards and for whatever coda there may
then follow.
In an orchestra some instruments are silent for whole movements or for many bars
and then entering at the composers will to add a touch of colour to heighten the
atmosphere. The triangle player having a little tinkle in the third movement of
Brahms fourth symphony comes to mind. In Sibeliuss Swan of Tuonela the oboist
has one note only, just the one note, which is too high for the solo cor anglais. This is
an example of the best economic use of the orchestral palette. None of this however
could be found in the string quartet. Here there are four players who are soloists and
an ensemble at the same time. Each member is playing for most of the time and
everything which is played has relevance. There is no room for waffling in the string
quartet as there can be in an orchestral work.
On the other hand, a solo recitalist, particularly a pianist, whilst not having recourse
to variety of sound and colour has the floor to him/herself and can indulge in
showing off and showmanship which end with the audience in raptures at such
display. This would be anathema in a string quartet and to its audience.
The sound of the string quartet is both unique and intense. For those coming to the
quartet seeking the same frisson as in the orchestra or the bravura of the soloist
there may well be disappointment. One needs to listen to a quartet from a different
perspective. The difference is like that between watching a great theatrical drama or
otherwise a great soliloquy and, contrasted with either of those, listening to four
people in a debate on the same wavelength.
Most people, except contestants on University Challenge, seem to know something
about Haydn. An accomplished composer with a good sense of humour, father of
the symphony (although most people are only familiar with some of the London
symphonies) who was a bit second fiddle to Mozart and finished up as a forerunner
to Beethoven, like a two litre car follows a one litre. This is a fairly standard take
which gives no credit to the fact that here was the greatest and most revered
composer of his age.
He was born, the son of a wheelwright, at Rohrau bang in the middle of Austria
Hungary and is claimed by both of them. His birthplace was on the Austrian side of
the river. His education was Viennese. His working career was in both as the
Esterhazy family was Hungarian. So what? Although he was hardly a wunderkind
la Mozart his talent was recognized and through recommendation he became a boy
member of the Cathedral choir at Vienna and top soloist. He was eventually dropped
at the age of 14 according to one account for the prank of cutting another choirboys

pigtail but in reality because his voice was breaking. This career might have
continued as there was a proposal afoot to make him a permanent soprano to which
his father objected. I dare say that in retrospect Haydn himself also preferred the
eventual outcome. Certainly the world was left with a better legacy (as was Haydn)
with the output of one of the greatest of composers than in the loss of possibly a
great castrato.
On leaving he lived very rough in Vienna for some twelve years. For those who
perceive Haydn as a musical lackey as opposed to the freelancing of Mozart and
Beethoven it should be known that Haydn was teaching, playing in street bands and
looking for odd commissions. He also took lessons from Nicola Porpora, a crusty old
opera composer, to improve on his technical knowledge of playing and composing.
His compositions for Furnberg led to a recommendation in which he was appointed
kapellmeister to Count Morzin in 1758 and in charge of an orchestra of 12.
At this time Haydn married but wives were not allowed and Haydn had to conceal the
fact, something that probably was a relief to Haydn even if a bone of contention with
Mrs H. There are various references to the marriage being not particularly a happy
one, most significantly in the later accounts of Haydns two London visits, each of
eighteen months in 1791 and 1794 and his lack of enthusiasm at the prospect of his
return. Mrs Haydn is said to have been a shrew and a religious bigot. At the same
time both of them were said to be carrying on their private affairs and doubtless
opportunity presented itself to Haydn in his teaching sessions with young trainee
sopranos. Perhaps posterity has been unkind to Mrs Haydn. She probably saw
irritating aspects of her husband unperceived by others. Who knows what life is like
living with a genial genius!
In 1761 Morzin had to dismiss his orchestra as his profligacy was fast making him
broke. Fortunately Haydn was engaged as a vice Kappelmeister to Gregor Josef
Werner by the even richer Prince Paul Esterhazy at twice his previous salary. In fact
this involved taking over the whole job except for religious music. Records show that
a bit of under the counter money laundering went on to hide the fact that Haydn was
paid more than Werner. Haydn was able to augment the orchestra to 18 having
probably recruited some of players from the Morzin band. In 1762 Prince Paul Anton
died and was succeeded by his brother, Nicholas. His musical requirements were as
mammoth as the Esteharzy schlosses which he expanded as well as building the
Esterhaza palace including its own opera house in the Hungarian plains. In 1766
Werner died and Haydn stepped into his shoes. He was given a three year contract
renewable at will by the prince, an arrangement which continued until the Princes
death in 1790. After that Haydn was still retained and received a pension for life.
His years with the Esterhazys were contented and busy. His duties which he took in
his stride included all matters musical. He attended on the Prince twice a day to
discuss the musical requirements. He was in charge of the purchase of musical
instruments, looked after the library, edited the music of others, took the Sunday
services at the organ, rehearsed the orchestra, became their virtual shop steward in
handling their grievances, took choir practices, gave music lessons, rehearsed
operas both those which he wrote and those of others. In the evening there were
performances of the music including at one time 150 opera performances a year.
And on top of this he composed a bit of music including a weekly baryton trio

especially for the Prince to play, about 70 quartets, numerous sonatas, about 90
symphonies, various concertos and masses. He also found time to carry on an affair
over 12 years with Luigia Polzelli, a rather untalented Italian opera singer, with a
much older asthmatic husband , and who claimed Haydn to be the father of her
second son. Little wonder he would return home to the moans of his unmusical and
querulous wife and lucky for there to be left out a plate of cold wiener schnitzel.
Having summed up nearly thirty years in one paragraph it came to an end with the
death of Prince Nikolaus in 1790 who was succeeded by Prince Anton. He decided
to let Haydn go but surprisingly retained him on full salary for life. In turn, this
opened the way for Haydn to take up offers previously turned down and, like the
Olympics, London, through Johann Peter Salomon, won the bid. 1791 and 1794
were good years for which Haydn produced, inter alia, his twelve London
symphonies, his Opus 64 quartets, and was inspired on hearing the choral tradition
of Handel to write, on returning to take up residence in Vienna, his two great
oratorios, The Creation and The Seasons. Now that, Lord Coe, is what I call some
legacy.
Prince Anton died in 1794 and was succeeded by Prince Nikolaus II. Haydn
remained titular Kapellmeister but the demands upon him were modest, an annual
names day mass for Nicholass wife, Princess Marie Herminegild. There succeeded
until 1802 a series of the most powerful masses that Haydn wrote. These were not
just standard ecclesiastical sacred masses (which they were) but more in the nature
of choral symphonies. He also returned to freelance composition which included his
string quartets, opus 71,through to opus 77. His wife died in 1800 and he became
frail giving up composition in 1802. He lived on till 1809 and died much at the same
time as Beethoven was writing his Emperor piano concerto and to the background of
yet another Napoleonic bombardment of Vienna.
Matthew will deal with the twists and turns of each of the quartets which he will be
illustrating and adding further background to the little I append below.
There is something wonderfully original and improvisatory in all of Haydns music
giving each work a unique freshness. One always finds new ideas appearing,
strange expressions and never the feeling of I have heard this before. His quartets
have a classical form but never is there a feeling that each work has been written to
fit the same template apart perhaps the minuets when they come from the stable of
the hotel owning OReilly, as to which Matthew himself will enlighten your curiosity!!
String Quartet in D, Opus 20 No 4. The opus number 20 might lead you to believe
these are early works but Haydns numberings are confusing. Only quartets appear
to have been accorded opus numbers, presumably by publishers, not by Haydn or
his cataloguer Antony van Hoboken . The symphonies were largely written for
Esterhazy consumption and only have their numbers referred to and then not always
in accurate time order. The Opus 76 quartets were written well after the last of the
104 symphonies and they cannot therefore be 76th in order of output. The opus 20s
are reputed to be the onset of the mature Haydn quartet and were written in 1772,
some ten years after the opus 17s and 12 years after Haydn entered service with
Esterhazy.

Like the majority of Haydns quartets, the opus 20s come as a compilation of 6.
None of the individual quartets has a name but the package is called The Sun, not
to be confused with the Sunrise opus 76 No 6. These are not Haydn bursting into
sunlight but somewhat darker than hitherto. The only reason for the name is that the
front cover of the publication by Ataria of Vienna contained a picture of a sun. This
note does not set out a satnav description but of interest is the minuet, called
Allegretto a Zingarese. Haydn had a penchant for using gypsy music better known in
his gypsy piano trio (no 25).
It is interesting that the best known works are often those given names like
Beethovens Moonlight Sonata. Haydns works contain a number of interesting
appellations like How Do You Do in his Opus 33s. I have accorded Op 20 No 4 my
own name which I hope will cotton on. I call it the Bus Conductor because
following the opening of the scherzoid last movement there is a short staccato
phrase followed by a curious buzzing like a bus conductor pressing the bell and
presumably calling out Hold very tight please. Of course Haydn would not have
known what a bus conductor was and nor perhaps would some younger members of
our audience.
String Quartet in D, No 5 Op 64 (The Lark). The Op 64s were written in 1790 at the
time of the death of Niklaus and dedicated to Johann Tost. He had been leader of
the second violins in the Esterhazy Orchestra. Haydn had written his Op 54s for him
as well and therefore must have had some admiration for his playing. Tost had been
previously dismissed but had got his job back. Haydns contract made him the
exclusive property of Esterhazy and he could not write for others but his works did
get out and reached Paris and London. Tost himself appears to have been
something of a wide boy who was active in pirating Haydns works and selling those
of others, Michael Haydn for instance, as those of the more celebrated older brother.
Whether Tost was to be the sole recipient or not Haydn was not averse to promising
his exclusive products to more than one outlet at a time and he brought three of the
Op 64s to London as well. This one owes its name to the obvious singing violin tune
at the beginning, more melodious (but less ornithological) than the ascending lark of
Vaughan Williams. The advance on the Op 20s is remarkable for the variety of
ideas these quartets contain. Mendelssohn would surely have heard the last
movement which is a forerunner of the fluttery light scherzi for which he became
renowned..
String Quartets Opus 76, No 2 in D minor (Fifths) and No 3 in C (The Emperor)
This set of six quartets were written nearly ten years on at the time Haydn was
established in Vienna and writing The Creation. The fifths owes its name to the
descending intervals of the opening violin theme. The last movement is full of
improvisatory ideas and contains some similar braying to that in Mendelssohns
Midsummer Nights Dream Overture
The Emperor is well known for the use Haydn made of the Emperors hymn which he
wrote. He uses it in the second movement as a theme and variations although it is
probably better described as a Theme with Four Repetitions and Added Figuration.
The first movement has particular interest not least for its drone effect.

Four quartets are not a lot to represent Haydn. So how about us answering the cuts
and promote a cycle of all 83 of his quartets!!!
I would like to end this note with an item of local interest:
Haydn in Greenwich;
When Haydn first visited London in 1791 he became interested in anatomy and met
John Hunter, the leading surgeon of his day, who lived in Lincolns Inn Fields in what
is now the Sir John Soane Museum. His wife, Anne Hunter, was a prototype women
libber writing poetry. Their friendship flourished and John Hunter offered to remove
the polyps in Haydns nose although Haydn turned his offer down.
In 1793 John Hunter had a heart attack and died. He made little provision in his will
for Anne as he wanted to give his large collection of specimens to the nation. This
left Anne with their two houses in Earls Court and Leicester Square being sold to pay
Johns debts and Anne had to find a position as a companion to two ladies living in
Maze Hill, Greenwich. Later Parliament ordered the sale of the specimens and
Annes situation recovered.
In 1794 Haydn returned for his second visit to London and picked up again on his
relationship with Anne which was one of their singing together. Haydn would visit
Anne at Maze Hill. He set her poetry to song and these are still played and
recorded. They are also said to have had a keen, albeit strange, interest in
anatomical parts. In addition to a polyps in his nose Haydn also had a roving eye.
We shall never know what went on behind the curtains at Maze Hill but for curious
neighbours, both then and now, one can say that plus a change.