J. Haydn - Hob III:1 - String Quartet Op. 1 No. 1 in B flat major

[@fransmeersman2334]

For the upload of all the string quartets of Joseph Haydn you desereve my deepest gratitude. I've have many but not all.

[@vincentd.centenophd263]

I concur.

[@fransmeersman2334]

@Braylon Idris Please stop !

[@hansneusidler7988]

The adagio absolutely serene, solemn and peaceful. Good for the soul...

[@claudettechaplet7937]

Cet adagio est superbe il m'apaise chaque fois que je l'écoute c que du bonheur

[@erika6651]

The intro to the Adagio was quite striking and could easily fit in with Beethoven's later ideas. Papa Haydn never ceases to amaze.

[@RoyTooldipendent]

Exactly! It reminds me a lot the Molto Adagio (also III mov.) of Beethoven string quartet op. 132 Heavenly sublime

[@elaineblackhurst1509]

Haydn’s father was a master wheelwright; you’re right though that Joseph Haydn never ceases to amaze.

[@sachamoule]

Beethoven himself - quite relunctantly though - admitted in his old days that Haydn's teaching had not been so bad after all...

[@elaineblackhurst1509]

@@sachamoule Beethoven’s earlier adverse comments were all about the counterpoint* lessons, not Haydn generally; you’re right though that he always struggled to properly acknowledge Haydn. * A form of musical grammar - the lessons lasted on and off about 14 months between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second trip to England in January 1794.

[@wrrichardson]

@@elaineblackhurst1509 Feel obliged to request a Beethoven biography recommendation from you; you appear to be quite the historian.

[@marianabaccela8326]

The Adagio is the best. Thank you very much.

[@darylchambers5945]

My thoughts entirely. Achingly beautiful.

[@johntuffin3262]

Mariana Baccela I agree too.

[@the_eternal_student]

I like the string quartet most of any ensemble or genre, because of how well it can represent the complete immediate family. The correlation is: Father: cello, Mother: viola, Son: second violin, and Daughter: first violin.

[@bigbeddie]

What a lovely idea, but I'm curious to know how you chose to attribute the first and second violins as you did.

[@siegfriedstark]

Aside from their ineffable sublimity, Papa Haydn's works are genuine lessons of craft, form and technique. The first movement is a short compendium of sonata-form.

[@elaineblackhurst1509]

Joseph Haydn’s father was a wheelwright.

[@alcyonecrucis]

One of the best for sure. Those cadences !!

[@yhonoscarrojasmontoya8290]

Este cuarteto junto con el cuarteto "La Alondra" y " El Emperador" son mis favoritos de papá Haydn...🎼

[@davephillips1263]

Charles Rosen's book The Classical Style got me further into Haydn's music, now I'm hooked. Can't get enough of the quartets, I'm glad Haydn wrote a lot of 'em. :) Thanks for the excellent posts, they are greatly appreciated.

[@elaineblackhurst1509]

Dave Phillips Published in 1971, it remains a standard, and classic text on music of the period. Almost fifty years on, with significant developments in musicologists’ understanding of Haydn, and the publication, recording, and performances of much of his music - often for the first time since the eighteenth century - Rosen’s appreciation of Haydn would have been even greater today, and some sections would certainly have been written differently, usually even more to Haydn’s advantage (and one or two of his other slightly odd pronouncements could would have been revised and audited). Who would ever dare to issue a revised, updated version ?

[@BESTOFCLASSICALMUSIC]

A lovely work and performance!

[@lawrencetaylor4101]

I'm only recently discovering Hayden. And appreciating him.

[@ArturLUBIACYgry]

I'm grateful that you uploaded those string quartets:) I'm learning english by them (during listening them) :D Have a nice day :>

[@johntuffin3262]

ArturLUBIACYgry Four years later I expect your English is amazing.

[@carlconnor5173]

Only 63 (?) more to listen to. I heard the B flat major from opus 20 by chance earlier today. I had the radio turned down, but my ears perked up ‘cause I liked what I was hearing. I turned it up. Opus 1 is splendid enough. But the rest may be even more amazing than the Symphonies, if that’s possible.

[@Alix777.]

His quartets are as good as his symphonies. He was truly the best in those 2 genres.

[@elaineblackhurst1509]

@@Alix777. …and several others; for example, Haydn’s sacred choral music as a body of works has rarely been bettered, and only occasionally matched.

[@elaineblackhurst1509]

Haydn wrote *68* string quartets: 🎼The ten very early divertimenti a quattro catalogued as Opus 0, Opus 1 Nos 1 2 3 4 and 6, and Opus 2 Nos 1 2 4 and 6 (c.1754-1761, one or two possibly later). 🎼Opus 9 Nos 1-6 (1769) 🎼Opus 17 Nos 1-6 (1770/71) 🎼Opus 20 Nos 1-6 (1772) 🎼Opus 33 Nos 1-6 (1781) 🎼Opus 42 (a single quartet written in 1785*) 🎼Opus 50 Nos 1-6 (1787) 🎼Opus 54 Nos 1-3/Opus 55 Nos 1-3** (1788) 🎼Opus 64 Nos 1-6 (1790) 🎼Opus 71 Nos 1-3/Opus 74 Nos 1-3** (1793) 🎼Opus 76 Nos 1-6 (1797) 🎼Opus 77 Nos 1-2 unfinished set, 1799) 🎼Opus 103 Unfinished quartet, the composer’s attempt to work further on Opus 77 (1803). Note the omission of the entirely spurious ‘Opus 3’ that includes the sugary-sweet ‘Serenade’ movement that is the most un-Haydnesque melody ever not composed by Haydn, along with the string quartet arrangement of The Seven Last Words which is Haydn’s single most over-rated and over-played work (the orchestral original and choral version are both unique masterpieces). It is the unwarranted addition of these works to the list that accounts for the incorrect figure of 83 that appears in some lists of Haydn string quartets. There is not a single dud across the 68 quartets which stand as one of the absolute monuments of Western Classical music, and illustrate a phenomenal growth and development in the composer over a period just short of half a century only rarely matched. * Possibly a commission from Spain for six smaller quartets which Haydn managed one, but never completed. ** These two groups are both one set of six arbitrarily split and published separately by the publishers. Hope that’s of use to yourself, or anyone else passing by.

[@akari_flower_of_life]

どこか遠い世界に生まれた人みたいだ。生まれながらにして幼い頃から、 教養を身に着けている様で、完了し完成され完全なる魂を持つその人は、 最早、地上の迷いを物ともしないのですね。

[@fi8009]

LOL I'd never imagine his op.1 no.1 to be this good.

[@elaineblackhurst1509]

F I Whilst you may speak of ‘early’, ‘middle’, ‘sturm und drang’, ‘late’ Haydn, or whatever else, you could never label any work as ‘immature’. From the very outset, not a single work by Haydn is less than sophisticated, competent and professionally composed, and very often highly original too.

[@cracknblast8247]

@@elaineblackhurst1509 Agreed :)

[@vilebrequin6923]

@@elaineblackhurst1509 spot on!

[@vincentd.centenophd263]

I, too, am surprised. I love this quartet, especially the Adagio.

[@kurisu_rpg]

This was written when he was in his 20s and despite the "opus 1 no 1" it was not the first thing he wrote. Most of his works were not published and sold so they didn't have opus numbers.

[@ClassicalMusicAndSoundtracks]

The slow movements is wonderful

[@tepmich]

Wunderschön !!! Tepper Michael.

[@mateuszandrzejewski3616]

I'm really surprised, that his early quartets are so beautiful. Especially Adagio.

[@carlconnor5173]

I’m new to his Quartets. I was awakened to Haydn’s genius in his Symphonic development by the critic David Hurwitz. Then David got me onto the Quartets. Haydn was truly a genius! Mozart and Beethoven rightly get praised for their genius. But Haydn was innovating before either of them. Check out Hurwitz’s KZbin channel!

[@insidioushumdrum1378]

yeah, but what a bitch adagio is to play

[@davidyiu6660]

Qwe😢

[@davidyiu6660]

Qwe😢 Qwe😢

[@needleboy17]

15:15 - Movement 5. If you remembered hearing this during your childhood, you clearly were a great man.

[@ClassicalMusicAndSoundtracks]

WhyP

[@paulfreeman4900]

If a person's cultural sophistication can be measured it is by this remarkable body of work. 16 strings and 4 bits of wood. The fulcrum upon which the next 150 years is known.

[@ES-mu4rv]

Adagio is the most beautiful piece of classical music, in my opinion.

[@elaineblackhurst1509]

Enrique Sarabia Most of the early quartets* before Opus 20 have a slow movement similar in style to this one. The slow movements in the very early quartets were often lyrical solo violin serenades, written especially for Luigi Tomasini - the lead violin of the Eszterhazy orchestra. Check them out; they are better than most listeners would expect from such early works. * The ten very early quartets numbered as Opus 0, 1, and 2; the set of six Opus 9; the set of six Opus 17. Note: ignore the spurious Opus 3 with the sugary-sweet and totally un-Haydnesque ‘Serenade’ movement as this set is definitely *not* by Haydn.

[@delroyroberts9244]

The problem with the GREAT Joseph Haydn is, that unlike Mozart, he was not a child progidy, but he was on a par with the former. His first published work (this one) was published when he was 25. He was known as the "Father" of the string quartet and the symphony. His "Creation" mass is top notch, as are so many of his symphonies: nos. 6, 22, 31, 45, 48, 49, 53, 55 59, 61, 73, 83, 85, 86, 88!, 92-104 to name a few. Enjoy them, but NEVER with NORRINGTON

[@juanitagalve4990]

Preciosa .

[@claudio8313]

Adagio is Sublime

[@pepehaydn7039]

Menuets too, and the outer movements as well.

[@juanitagalve4990]

Me encanta

[@the_eternal_student]

I do not like the fancy clothes, but I do like the clear and contrasting sections.

[@michaelm3115]

As Mr. Benaud used to say: "Marvellous that."

[@Swaroque]

Gem ! Haydn's style is more entertaining.

[@annfenchlokentaz8592]

Joseph Haydn : Quatuor Hob.III:1 ; Op.1 No.1 en Si bémol majeur "La chasse"

[@johdousha]

Good God, that Adagio...

[@allangreen4492]

Who are the family in the gorgeous portrait ? Warmest thanks for posting such lovely music so beautifully performed.

[@allangreen4492]

I am now able to answer my own question. The picture is of Holy Roman Emperor Leopold II and his large family. The painting is by Zoffany.

[@dr.luisfelipeiriasgiron1259]

Por favor, ¿de quién es la familia que aparece en la pintura?

[@version191]

exquisite

[@NotReallyJacket]

yes, quite, the orchestration is remarkable.

[@OrdenJust]

Called, "La Chasse", or, "The Hunt". But judging by the tempi of the movements, they are really hot on the trail only in the first and fifth movements. Either they lose the scent of their quarry in the 2nd, 3rd, or 4th sections, or else hunting is quite strenuous, and they elect to try sneeking up on their prey.

[@elaineblackhurst1509]

Orden Just The nickname refers only to the first movement with its six/eight time signature which was commonly used in eighteenth century Austria to depict hunting style music. It is actually, not particularly appropriate or helpful, and like almost all of the nicknames given to Haydn’s works, it is entirely spurious.

[@vladiinsky]

Hello. One question: in Trio the violins play pizzicatto...my version doesn't say like this. Was it written by Haydn?

[@pogodu59]

+vladiinsky Not in the 1764 version ( the first ) but in each version after

[@vladiinsky]

Thanks!

[@davidrawzen8232]

Actually it was composed somewhere between 1757 and 1762, not before that...

[@kelsocampbell1301]

I wonder when listening to the Adagio here, if Beethoven was somehow influenced by this melody in formulating the first movement of his Missa Solemnis: Kyrie...same melody, but in D major. ....has anyone else noticed that? do-fa-mi-re-la-sol...

[@canman5060]

Composed in 1751. The Baroque about to finish !

[@elaineblackhurst1509]

The early-Classical and late-Baroque ran along side-by-side for about a quarter of a century 1740-1765; most composers were either one or the other, and there are very few who are not clearly identifiable as such.

[@poutinepack]

someone confirm with me that Im supposed to listen to this for grade 9 rcm history

[@manolo1130]

3:00

[@eduardova6736]

which are the most important string quartets of Haydn? thank you!

[@Potato-cp2xh]

Opus 33, 71, 74, 76 and 77. I an go more into detail instead of just pointing out the more important sets if you want.

[@elaineblackhurst1509]

Hannah Strickland All of the string quartets of Haydn are important to some degree, none are unimportant. Set yourself the task - it will actually be a very fulfilling and life enriching journey - of listening to all 68* starting from Opus 1 No1. There is barely a single one that does not bear repeated listening, and rather like reading a book, it’s better to read the introductory chapters to understand the later plot. In total, they represent one of the pinnacles of all western classical music and are of such importance and stature they have influenced composers from Mozart and Beethoven, to the present day. These 68 quartets are a musical treasure chest, and no other composer has written so much music of such sustained inspiration over such a long period; in many respects, as a composer of string quartets, Haydn has never really been surpassed, only occasionally equalled. *Opus 0, 1, and 2* (c.1754 - 1762). There are ten very early works, essentially five movement ‘Divertimenti a quattro’, but well worth investigating. Whilst early works, Haydn is almost unique amongst composers in having no immature period; from the outset, everything is competently and professionally composed, and highly original. [Opus3] Forget the spurious so-called ‘Opus 3’ which includes the well-known sugary sweet serenade, it’s not by Haydn. *Opus 9* (c.1769) The first of the more usual four movement quartets to appear as a set of 6; they already contain music foreshadowing what is to come, with the inclusion of a single - profound - minor key quartet. Whilst genuine quartets, they contain first violin parts clearly written for Luigi Tomasini, Haydn’s first violin leader at Eszterhaza; this is particularly evident in the soloistic, serenade type slow movements. The d minor Opus 9 No 4 is probably the world’s first truly great string quartet (it includes an astonishing foreshadowing of the opening theme of the first movement of Mozart’s Symphony 40). *Opus 17* (1770 -1771) Very similar in style to Opus 9: moderately paced opening movements in four of the quartets, solo opportunities for the first violin in the slow movements, and a very powerful c minor quartet - Opus 17 No 4. Outside the ten early quartets, perhaps the least known set of all. *Opus 20* (1772) This set is quite simply one of the greatest breakthroughs in the history of western classical music - in short, Opus 20 defined what was to be a string quartet. Six unqualified masterpieces of inspired originality and genius, written at the peak of Haydn’s ‘sturm und drang’ phase. These are dense, profound works - two in minor keys - full of interest, with fugal finales in three cases. (Opus 20 was inexplicably omitted from the list above suggested in another reply to your question). From Opus 20 onwards, put very simply, with virtually no exceptions, Haydn only writes masterpieces. *Opus 33* (1781) After the monumental Opus 20, this next set written almost a decade later, are the six quartets written ‘...in a new and special way,’ as Haydn announced - referring to the increased concentration on rigorous motivic and thematic working out and development, often integrating counterpoint, rather than it being something separate as in the fugal finales of Opus 20. This is the set that pushed Mozart into spending three years writing his own set of six dedicated to Haydn (though we know that he was familiar with some of the earlier ones as well). Opus 33 again shows further significant developments in the form; it is worth listening carefully to see why Mozart - CPE Bach too - spent so much time studying them: they will repay every moment spent listening to them. *Opus 42* (1784) There is a single d minor quartet, possibly the only one completed for a projected, but unfulfilled commission from Spain for a set of small quartets. This is the work I would recommend as a first for someone who had never listened to quartet before - it is the perfect introduction to the form. *Opus 50* (1787) Haydn’s first set since hearing and playing Mozart’s six dedicated to himself. Barely a note sounds like Mozart but he has very subtly incorporated one or two Mozartian influences, for example some new slithery chromaticisms appear in music that is so quintessentially still his own. Tovey described the fugue that ends the f# minor quartet Op 50 No 4 as: ‘…the quietest and deepest of all instrumental fugues since Bach’. It’s typical of the treasures one finds scattered randomly throughout the 68 quartets. [Opus 51] The Seven Last Words (1787) Ignore this string quartet arrangement of The Seven Last Words (Opus 51). It was a reduction put together for quartet by Haydn and published the year after the original; it loses so much in comparison to the marvellous orchestral original, it is not idiomatic quartet writing. This quartet arrangement of the fantastic orchestral original is simply Haydn the businessman trying to boost sales of a very popular work. Haydn also authorised a keyboard version which was published the same year. *Opus 54 & 55* (1788) This is actually one complete set of six; it is probably the first set where Haydn is starting to think more in terms of public performance rather than just private chamber music, it is another very fine set with movement after movement of quartet writing of the highest quality. Opus 54 No 2 is one of the many quartets sometimes nominated as Haydn’s very greatest single quartet. *Opus 64* (1790) Once again, this set contains some spectacular, ‘public’ music, indeed soloistic virtuoso music; some of which was performed in London on the composer’s first visit to the city at Salomon’s concerts in the world 1791 and 1792 seasons. Once again, the story is simply one masterpiece after another in an endless stream of invention, inspiration and originality. *Opus 71 & 74* (1793) Once again, one complete set of six - the split is entirely arbitrary on the part of the original publishers in London, Paris, and Vienna, and was not the composer’s intention. The set was written at Eisenstadt during the summer of 1793, the time he spent in Vienna between the two long London visits. Beethoven also spent time there, and the two composers would have been together, discussing music and composition - probably not just the counterpoint lessons. These quartets were undoubtedly written with the London concert halls in mind, you can clearly hear that each quartet begins with a big ‘stop talking’ gesture. All six are impressive, big scale, musically ambitious quartets. *Opus 76* (1796-1797) Haydn’s final completed set, crowns his towering achievement in taking the quartet from incidental divertimento type background music, to a form by which every later composer would ultimately be judged in the field of instrumental composition. The most amazing thing is that Haydn is still saying new things and still developing the quartet as a means of musical, emotional, dramatic and intellectual communication. *Opus 77* (1799) Haydn was commissioned to write another set of six quartets by Prince Lobkowitz who also commissioned Beethoven’s first set of quartets (Opus 18) at the same time. The ageing and tiring composer managed to complete only two whilst simultaneously working of The Seasons. Haydn was extremely exhausted by the composition of The Seasons, but there is no sign of this in his last two completed quartets; both these works contain for example, extraordinary key relationships both within and between movements, something that had fascinated Haydn for many years and was taken up by all his greatest successors. The presto scherzo of Opus 77 No 2 has been described as sounding like something from Dvorak; an illustration of just how far Haydn had come. *Opus 103* (1803) Haydn managed an Andante grazioso and Minuet of a projected d minor quartet that was published unfinished as Opus 103. _______________________________ In summary, they are all important, and they are all worth listening to. Rather like reading a book, I suggest you start at the beginning, and work your way through, and rather like a book, don’t miss out any chapters - read the whole amazing story. * Note: There are 68 Haydn string quartets as outlined above. In some older or ill-researched accounts, you will read of 82, 83, or 84 quartets: this is explained by the entirely erroneous inclusion in the first ‘complete’ edition of the quartets published in Paris by Pleyel in 1802 of the spurious Opus 3, and the arrangements of the Seven Last Words (Opus 51), neither of which should be included - hence the square brackets. Remove these works, and you are left with the correct number of 68 as described above.

[@elaineblackhurst1509]

Eduardo Valdes Ayon See my long reply in this thread; I hope you find it useful.

[@leoshaoweijoel]

Haydn really got used to the classical style really early as this was composed right after the baroque period

[@freetime2006]

junk ads and infomercials trash the music: nice idea.

[@edivaD62]

Better than Mozart's quartets.

[@mrbrianmccarthy]

People talk about Beethoven's string Quartets, and act like Haydn was"setting the stage for Beethoven", but the fact is BEETHOVEN LEARNED FROM HIM. He learned so many stylistic traits from haydn its ridiculous, and IMO neither Mozart or Beethoven ever equalled Haydn in this idiom(The String Quartet) Haydn is THE master of this idiom. Mozart's 6 "Haydn" quartets are as good as Haydn's and Beethoven's OP 18 and Op 59 are also very good, but never forget Haydn wrote over 60 of these!! As for Beethoven's later quartets, MEH. Overrated, too long, too dense, too labored.

[@elaineblackhurst1509]

The relatively common idea that Haydn and Mozart played John the Baptist to Beethoven’s Jesus Christ is an unfortunate and simplistic caricature that serves all three composers ill as it is simply wrong on a number of counts.

[@Swaroque]

I'm enjoying Haydn's quartets nowadays. I discovered Haydn through his farewell symphony coming from the romantic period. Now I hate romantic era, but Haydn, Mozart, and Beethoven. I also believe Haydn put more of his soul into the quartets. Mozart's are excellent, but Haydn has more but doesn't jump from emotion to emotion like Mozart. Some amount of angularity that Haydn has compared to Mozart sounds good to me.

[@urshandschin5108]

I agree. ​​⁠With all due respect to Beethoven, Haydn is (for me) a far better composer than him.

[@mrbrianmccarthy]

@@urshandschin5108 Haydn was a lot more innovative. The one thing Beethoven had over both Mozart and Haydn was his sense of drama. (Which sometimes didn't serve him well, it's true, as some of his endings go on---and on---and onnnnnn) But that being said, some of Mozarts endings were too abrupt too and Beethoven did extend the development section and the Coda and used more dynamics than the other two composers mentioned. But I think when it comes to diversity, I think Haydn and Mozart especially were far more skilled at all facets of composition, and wrote for the idiom they were presented with. Beethoven himself even said "I always hear the orchestra", but thats not a strength when you're writing chamber music or solo instruments. Lastly, Beethoven gets a lot of credit for innovations that both Mozart 7 Haydn started ------In Haydn's case one particular thing comes to mind: I call it "The Haydn Pause" Haydn likes to state a theme at the beginning of his expositions and then pause and restart it again. Beethoven used this a lot in his pieces(think of the Appassionata & the Hammerklavier Sonatas, the beginnings of those pieces) He learned that trick from Haydn, and many more. Mozart admired Haydn and openly stated his admiration by dedicating 6 String Quartets to him---Beethoven, on the other hand famously said "I learned nothing from Haydn" ---

[@gabrielfromyhr5694]

1st movement not unlike Mozart's Hunt quartet

[@elaineblackhurst1509]

Gabriel Fromyhr Due to the 6/8 time signature of the first movement, this quartet too carries the nickname The Hunt/La chasse/La caccia.