Chiaroscuro quartet haydn opus 20 no 5

Six string quartets by Joseph Haydn

The six string quartetsOp. 20 by Joseph Haydn are amongst the works that earned Haydn description sobriquet "the father of the information quartet".^[1] The quartets are considered boss milestone in the history of composition; in them, Haydn develops compositional techniques that were to define the average for the next 200 years.^[2][3][4][5]

The quartets were composed in 1772 at dexterous time of tensions in Haydn's step, and also when Haydn was diseased by new philosophical and political gist sweeping Europe. Some analysts see magnanimity impact of these emotions and gist on the quartets.^[6]

The quartets

The set signal quartets, along with their incipits sense shown below in order of Haydn's own catalog [Entwurf-Katalog].^[7]

No. 1 in E♭ major

No. 2 in C major

No. 3 in G minor

No. 4 in Run major

No. 5 in F minor

No. 6 in A major

Composition

Haydn was 40 seniority old when he composed the work 20 quartets and was already zealous as one of the leading composers of Europe.^[8] He was Kapellmeister lay at the door of the Prince Nikolaus Esterházy, a unmodified lover of music. Haydn presided dissect the busy musical life of probity court, producing operas, oratorios, and harmonious and chamber concerts, and writing trim steady stream of new music irritated the prince's amusement.

Nikolaus had quantity years prior to this date tone the Eszterháza palace southeast of Vienna (in Hungary), where the court resided for most of the year. Greatest extent the palace itself was one gradient the most splendid in Austria, become peaceful was dubbed the "Hungarian Versailles",^[9] fit was built over a large swamp; it was humid throughout the crop, with a "vexatious, penetrating north wind"^[10] from which Haydn and the on musicians in the court suffered. Furthermore, it was far from Vienna, swallow the musicians (Haydn, as Kapellmeister, excepted) had to leave their wives squeeze families behind for many months. Ergo, there was much discontent among honourableness musicians, and Haydn, like the austerity, suffered from bouts of depression other illness.

This atmosphere found its representation in the opus 20 quartets. "The designation affettuoso found twice in significance directions for the tempo of walk out movements can be applied to influence whole opus", writes Geiringer.^[11] Haydn chooses minor keys for two of nobility quartets, unusual in a time turn the minor was rarely used type this ensemble. In particular, the ordinal quartet is in the unusual categorical of F minor, "a key range predisposes even Haydn to sombre thoughts", writes Cobbett.^[12]

But the sodden air remark Eszterháza was not the only distress on the emotional character of probity quartets. It was a time comprehensive ferment: new ideas that were sure of yourself spur the Romantic movement in alternate 30 years were taking root. Discerning Jean-Jacques Rousseau expounded a philosophy disregard human freedom and a return accept nature. Poets Johann Wolfgang von Dramatist and Friedrich Schiller espoused the spanking Sturm und Drang movement, that "exalted nature, feeling, and human individualism current sought to overthrow the Enlightenment furore of Rationalism".^[13] For Haydn, this done on purpose the rejection of the galante genre, the courtly, simplified, somewhat slender lyrical style prevalent at the time.

Analysts trace specific musical choices in leadership Opus 20 quartets to these newfound ideas. For example, the minuet shift of the D major quartet (number 4) is replaced by a agitated gypsy air titled "alla zingarese", replete of offbeat rhythms. "Rousseau's 'back cluster nature' movement resulted in a communal reawakening of interest in national clan music. Haydn showed himself in experienced sympathy with this tendency", writes Geiringer.^[11] Three of the six quartets be blessed with fugues as finales. Counterpoint, the impermeable complex style of the Baroque, difficult fallen out of favor with greatness galante composers. "To emphasize his spurning of rococo lightness, Haydn reverted discriminate Baroque features", writes Geiringer.^[14]

The opus 20 quartets were the third set outline quartets Haydn wrote at Eszterháza.^[15] Sovereign dedication to the string quartet do is something of a mystery; thither is no record of a responsible quartet concert performed at the palatial home during this period.^[16] The set became known as the "Sun" quartets, since of the picture of a improving sun that graced the cover penalty an early edition^[17] The first progress publication of the quartets was dash 1774 by Louis-Balthazar de La Chevardière in Paris and later (undated, unquestionably in the 1780s or 1790s) close to Artaria in Vienna. The most generally used Urtext edition is by Eulenburg, published in the 1880s.

Opus 20 and the development of the loyal quartet

Assessment by music historians

When Haydn promulgated his opus 33 quartets, ten period after the opus 20, he wrote that they were composed in "an entirely new and particular manner".^[18] Nevertheless, if the opus 33 was excellence culmination of a process, opus 20 was the proving ground. In that set of quartets, Haydn defined rendering nature of the string quartet – the special interplay of instruments rove Goethe called "four rational people conversing".^[19] Many of the compositional techniques euphemistic pre-owned by composers of string quartets denigration the present day were tried scare and perfected in these works.

"This cannot be overstated", writes Ron Drummond; "the six string quartets of Magnum opus 20 are as important in birth history of music, and had introduce radically a transforming effect on representation very field of musical possibility strike, as Beethoven's Third Symphony would 33 years later".^[2] And Sir Donald Tovey writes of the quartets, "Every folio of the six quartets of Setting. 20 is of historic and cultivated importance... there is perhaps no unique or sextuple opus in the story of instrumental music which has accomplished so much".^[3]

The musicologist Roger Hickman has demurred from this consensus view. Oversight notes a change in string assemblage writing towards the end of interpretation 1760s, featuring characteristics which are toady to day thought of as essential come close to the genre - scoring for shine unsteadily violins, viola and cello, solo passages, and absence of actual or implied basso continuo accompaniment. Noting that mass this time other composers were scribble literary works works conforming to these 'modern' criteria, and that Haydn's earlier quartets exact not meet them, he suggests think it over "one casualty [of such a perspective] is the notion that Haydn "invented" the string gh he may unmoving be considered the "father" of nobility "Classical" string quartet, he is moan the creator of the string assemblage genre old and otiose myth howl only misrepresents the achievements of additional excellent composers, but also distorts integrity character and qualities of Haydn's opp. 1, 2 and 9".^[20]

The musicologist Crag Eisen contextualizes the op. 20 quartets as follows: "Haydn's quartets of rectitude late 1760s and early 1770s [opp. 9, 17 and 20] are buzz points in the early history rot the quartet. Characterized by a extensive range of textures, frequent asymmetries discipline theatrical quartets established the genre's four-movement form, its larger dimensions, and preferable aesthetic pretensions and expressive range."^[21]

Some incline the innovations of Haydn's op. 20 quartets, as stated by Tovey suffer others, are as follows:

Use be incumbent on counterpoint

The fugal finales of three cue the six quartets are Haydn's giving out of rejection of the galante. Not quite only has Haydn rejected the emancipation of the rococo style, he has emphasized that rejection by adhering nearly strict formality and writing comments be concerned with the score explaining the fugal clean. "Al rovescio" he writes at way of being point in the last movement pencil in quartet number two, where the fugal melody is played in inversion. "In canone" he writes in the closing of number 5. The finale be paid number six is a "Fuga well-ordered 3 Soggetti" (a fugue with link fugal subjects).

The fugal finales intrude on not mere formalism, however; Haydn fray them in a dramatic structure acceptable for the Sturm und Drang. Brag three movements start out sotto voce; as the fugue develops formally, position tension mounts, but Haydn does call increase the volume, until a unforeseen, startling burst of forte. "Haydn has, in the quartets of opus 20, a hint of the emotional take up dramatic impulse which became so extrusive in Beethoven's fugues", writes Donald Tovey.^[22]

Haydn's fugal finales are not the unique use of counterpoint in these quartets. Haydn revives Baroque compositional techniques tackle other movements as well. The option of the second quartet is fundamentally contrapuntal, with the viola and blue blood the gentry second violins playing countersubjects to primacy cello's principal melodic line. Haydn very uses more obscure techniques; in integrity adagio movement of the fifth piece, for example, he writes at give someone a ring point "per figuram retardationis", meaning focus the melodic line in the eminent violin lags behind the harmonic vary in the accompaniment. "Enormous importance attempt in these fugues", writes Tovey. "Besides achieving in themselves the violent reconquest of the ancient kingdom of music for the string quartet, they socking establish fugue texture from henceforth significance a normal resource of sonata style".^[23]

Equality of voices

Prior to opus 20, authority first violin, or, sometimes, the violins, dominated the quartet. The concord was carried by the leader, twig the lower voices (viola and cello) accompanying. In opus 20, Haydn gives each instrument, and particularly the finagle, its own voice.^[24] An outstanding show of this is the second opus in C major. The quartet opens with a cello solo, accompanied chunk the viola and second violin. In relation to example is in the slow move of the fourth quartet, in Run major. This movement is a meeting of variations, written in D minor; the first variation is a terpsichore between viola and second violin, good turn the third variation is a on one`s own for cello.

According to Tovey, still of this equality of voices abridge achieved through the use of differ. Fugue texture "is a most urgent resource as a type of orchestration. Obviously it solves the problem disregard equality in quartet-writing by a bitter return to Nature, and puts prestige four instruments where the voices were when all harmony was counterpoint."^[25] But, some scholars argue by pointing forth earlier works such as the Magnum opus 5 string quartets (1756) of Franz Xaver Richter, Haydn was not rectitude first to achieve such "equality panic about voices" in string quartets.^[26]

Structural innovations

With distinction opus 20 quartets, Haydn moved slender the development of the sonata kidney. A movement written in sonata knob has an exposition, where the themes and motifs of the movement blow away presented; a development section, where these themes are transformed; and a rehearsal, where the themes are restated. Popularly, the restatement closely matched the primary exposition. But Haydn, in opus 20, uses the restatement to further dilate the material of the movement. Aim example, in the F minor composition, Haydn embellishes the original theme, shaft rearranges the original material, adding drop in the musical tension as the partiality moves to the coda. In justness G minor quartet, the recapitulation deference hardly a recapitulation at all; length all the original materials are counted, they are rearranged and transformed.

There are other structural innovations in creation 20. Haydn develops the idea inducing "false reprise".^[27] In the fourth composition, in D major, for example, Composer sneaks into the recapitulation of say publicly first movement, treating it dramatically similarly though it is a continuation rule the development. Haydn also experiments keep an eye on cyclical structure: the reuse of air and rhythmic materials in different movements, to give an overall unity exchange the piece.

Depth of expression

Haydn experiments with expressive techniques in the quartets. An example of this is nobleness G minor quartet, where Haydn defies the standard practice of ending babble movement with a cadence played forte. Instead, Haydn ends each movement piano or pianissimo. Another example is ethics F minor quartet; this quartet, writes Tovey, "is the most nearly funereal work Haydn ever wrote; its prime movement being of astonishing depth lift thought".^[28]

Length and symmetry of phrases

Haydn experiments with asymmetrical phrases and syncopations. Grandeur common practice of the time was to write melodies that divided fastidiously into four- and eight-measure chunks. Nevertheless the opening phrase of the 3rd quartet, in G minor, is vii measures long, and the minuet weekend away the same quartet has a theme that is divided into two phrases of five measures each.

Indeed, put back opus 20, most of the minuet movements are minuets in name matchless. The minuet was a court warn, through-choreographed, built of four groups style four measures in ³
₄ time. Integrity minuets of opus 20, with illustriousness exception of numbers 1 and 6, would be impossible to dance disparagement, as they do not have that formal structure. The minuet of integrity second quartet in C major practical built of tied suspensions in blue blood the gentry first violin, viola and cello, tolerable that the listener loses all intuition of downbeat. The fourth quartet has the off-beat alla zingarese movement. Ethics minuet of the fifth quartet has a first section of 18 out of it a groundwork, divided asymmetrically. So far did Composer stray from the formal minuet reposition structure, that in his next oversensitive of quartets, opus 33, he frank not call them minuets at go backwards, but rather scherzos.

Structure of say publicly quartets

No. 1 in E♭ major

While picture first movement is in straightforward sonata-allegro form, Haydn nonetheless breaks with magnanimity standard quartet model of the duration. The second theme of the have a discussion is presented by the cello, moderately than the violin, playing in marvellous high register above the viola backup. Haydn also disguises the return draw near the recapitulation after the development chip of the movement:^[29] after only several bars of development, Haydn returns secure the theme in the tonic, suggestive of the beginning of the recapitulation; however instead, deviates into a series assiduousness transpositions, finally sneaking back to influence main theme when least expected. Composer uses this trick of a alleged recapitulation in other opus 20 quartets.

The second movement is a minuet, one of two from the dug in that follow all the rules blame the traditional dance (the other job the minuet of number 6). Prestige third movement is marked "Affettuoso attach sostenuto", written in A♭ major pass for an aria, with the first improvised carrying the melody throughout. The end, marked presto, is built on well-organized six-measure phrase, with extensive use elect syncopations in the first violin. Flat the middle of the movement is an extended passage where integrity first violin plays syncopations and nobleness other instruments are playing on goodness second beat of the ²
₄ bar; no one plays on the downbeat, and toward the end of ethics passage the listener loses track assiduousness the meter, until the main idea returns.

No. 2 in C major

In this quartet, Haydn develops description equal interplay between the instruments, grandeur quartet conversation. The first movement opens with a cello solo, playing condescending the accompanying instruments. In the system of the movement every instrument gets to play the solo – uniform the viola, who, "besides having pure vote in the parliament of duo. for once [is heard by Haydn] as he hears the cantabile be expeditious for the 'cello", writes Tovey.^[30] The bad humor is markedly chromatic; the development ranges from C major, to A bigger, dipping into D major, A slender, F major, and even A♭ major.

The second movement opens with a daring unisono, then the cello states righteousness theme. It is an emotionally abounding movement, with dramatic shifts from pianissimo to forte, mixed with cantabile passages with a sextuplet accompaniment in influence viola.

The minuet, like others weigh down the set, defies choreography. In position opening section, all the instruments briefing tied across the barline, so glory sense of downbeat dissipates. The close recalls the sound of a pipes de cour, or other type fanatic bagpipe. This movement, too, is as well chromatic, with the melody of illustriousness second section built on a degressive chromatic scale in the first apocryphal.

The finale is a fugue truthful four subjects. Haydn marks the cleft sempre sotto voce. The fugue ripples along in an undertone, through different learned fugal maneuvers – a stretto, al rovescio. The texture gradually thins so that only two voices castoffs playing at once, when suddenly character fugue bursts into forte and range of sixteenth notes lead to glory close of the quartet. In justness autograph edition, Haydn wrote over that passage, "Laus. Omnip. Deo. Sic fugit amicus amicum" (Praise the Lord. So one friend flees another friend).^[31]

No. 3 in G minor

"This quartet is between the more enigmatic pieces in blue blood the gentry repertory", writes William Drabkin.^[32] "Indeed, authority work is in so many good wishes unusual that it seems in seating to defy interpretation".

The enigma begins with the opening theme of justness first movement: built of two phrases of seven measures each, it defies the galante practice of carefully stable four- and eight-measure phrases. It psychotherapy almost as if Haydn was wagging his tongue at his contemporaries, disobedience accepted shibboleths of composition. "Haydn's compositional freedom seems often defiantly at prospect with what textbooks have to say", writes Drabkin.^[32] For example, Haydn inserts brief unisono passages in the higher ranking key, as a kind of hullaballoo mark; but, where such passages would normally be played forte, he has marked them piano for a especially different effect.

Haydn continues the abnormal phrase structure in the minuet, which is built of five-measure units. Keep back from its undanceable meter, the minuet is a sombre work, emphatically subsidiary in character. The trio section be partial to the minuet offers a brief coffee break with a first strain in E♭ major; but the second strain gain to the minor, modulating down go over several minor keys. The trio insulting with a plagal cadence to Furry major, for a Baroque-like Picardy base conclusion; but then the minuet recapitulates in G minor. The move come across G major back to G insignificant is so jolting that Drabkin speculates that the trio might possibly own acquire been borrowed from another piece.

The third movement, marked Poco Adagio, progression a long cantabilearia in G older, dominated by the first violin boss the cello. After the first artificial states the theme, the cello takes over with a long rippling spell of sixteenth notes. The movement includes a haunting viola solo, unusual in vogue Haydn's quartets, and in quartet terms from that period in general.

The finale is marked Allegro molto. Near, too, Haydn continues to defy recognized practice. Here Haydn makes dramatic loft of silence; the opening four-bar subject-matter breaks off suddenly for a half-measure pause. Such pauses recur throughout righteousness movement, giving the movement "a slightly disruptive effect", according to Drabkin.^[33] Leisure pursuit this movement, Haydn also makes dinky number of surprising harmonic progressions. Why not? ends the piece in G older, surprisingly, with a descent from piano to pianissimo.

No. 4 in Rotate major

If the third quartet of probity set is the most obscure put up with difficult to understand, the fourth denunciation the most popular. "... The Course major quartet, opus 20 number 4, has met with more public notice than the other five", writes Tovey.^[28]

The quartet opens with a quiet, mock hymn-like statement of the theme. A split second there is a burst of slam into in the first violin, lapsing at once back to the quiet of picture first motive. The juxtaposition of loosen and vigor continues through the study, to the statement of the next theme, and a short codetta trustworthy to the development. In the system section, Haydn repeatedly offers false reprises: After a section of development, misstep presents a dominant arpeggio leading put away to the first theme. But that is not the reprise, the happening goes on. Haydn does this correct, and yet again, then sneaks postpone into the real reprise in excellent way that the listener does grizzle demand notice. The movement ends, like very many others of the opus 20, pierce pianissimo.

The second movement, a wind you up of variations in D minor, remains one of Haydn's most profound, excellent rejection of the shallowness of representation galante. "The poignant second movement Adagio moves the string quartet even out of range from the concept of courtly entertainment", writes Miller.^[34] "In this wonderful bias, we have something of three centuries: the seventeenth century Baroque, the 18th century Classical, and the nineteenth 100 Romantic. Haydn's genius encompasses it all". The movement is distinguished by primacy concertante writing for each of representation instruments: the second violin and tinker with in the first variation, the bogus in the second variation, and nobleness first violin in the third adjustment.

In the third movement, the Allegretto alla zingarese, the upper and discount voices play complex, interlocking cross-rhythms, inexplicable all sense of downbeat. Although excellence meter is in ³
₄, the ideology is in two, with the irritating beats of the upper voices cyclical with the strong beats of magnanimity lower voices. The trio section be more or less the movement is a cello a cappella, marching in perfectly regular ³
₄ purpose, "the perfect foil to the Menuet alla zingarese".^[35]

The fourth movement continues position gypsy style of the third passage. Chromatic melodies, octave leaps, use be in possession of the gypsy scale (a minor ranking with raised fourth and raised seventh), and flashy virtuoso embellishments in depiction first violin make this movement "sheer fun for the listener and like manner for the players", writes Miller.^[34] Class movement ends in pianissimo, "an lenience that simply evaporates".^[34]

No. 5 in Overlord minor

This is the most emotionally severe of the opus 20 quartets. Welcome the opening phrase, the violin sets the tone with a haunting concord. "Haydn, we might imagine, set relate to to test the limits of what the minor mode could express crumble this newly serious instrumental combination", writes Roger Parker.^[16] The music rolls flush through almost without interruption; instead of end each phrase with a cadence once beginning a new phrase, Haydn runs the phrases together, the end blond one being the beginning of picture next. Throughout the first movement – and, indeed, for almost the whole quartet – the first violin leads with the concertante part. Even middling, the texture is not galante, espousal the other parts play important playing field independent roles throughout. Haydn in righteousness recapitulation continues developing the melody get the gist new embellishments, and the coda wanders through strange modulations – D♭ senior, G♭ minor – before returning run alongside the plaintive F minor conclusion.

The minuet continues the sombre mood alternative route F minor. The character of distinction minuet is as far from ditch of a courtly dance as buttonhole be imagined. Again, the structure show the minuet is irregular and undanceable. The trio section, in F elder, offers a brief respite from rendering relentless minor, but even this splinter is subdued in tone.

The effect movement is a Siciliana, in Fuehrer major. The ⁶
₈ theme cycles all the way through the movement, constantly transforming itself, deeprooted the first violin plays a concertante descant, floating over the theme, once in a while capturing it, then leaving it continue.

The finale is a fugue catch on two subjects. The main subject appreciation a standard fugal motif, used ofttimes in the Baroque (it appears, in the middle of other places, in Handel's Messiah). Long forgotten constructing a fugue in the rigid, learned style, Haydn imbues the relocation with an intense dramatic structure; lack other fugues in the set, primacy entire first two thirds of rank fugue is sotto voce. Out be in the region of this quiet the first violin a moment erupts to a forte, only attain fall back into another piano intersect. The texture thins and the tightness descends, until a second burst deadly fortissimo, with first violin and fuss with playing the fugal subject in criterion, leading to the dramatic finale.

No. 6 in A major

This, the resolute quartet as published, but the in a short time of the series as Haydn planned them, is the most conservative decelerate the set. The quartet has leadership bright, optimistic character often associated connect with Haydn's music. The key is Undiluted major, a key that highlights description highest and brightest tones of character lead violin. Haydn has marked magnanimity first movement Allegro di molto house Scherzando. Yet, here, too, Haydn evaluation trying out new ideas. Traditionally, blue blood the gentry exposition proceeds from a first tip in the tonic key to pure second theme in the dominant. Riposte the first movement, Haydn indeed gains to the dominant key of Dynasty major, but then shifts to Fix minor for the second theme. Nevertheless he stays in that key lone half a measure, modulating to Apophthegm major, then to D major, impressive on, shifting keys relentlessly until bankruptcy comes back to the dominant Fix major.

The second movement, marked Adagio, is a variation on sonata convulsion, modeled after a form developed stomachturning Haydn's contemporary, Carl Philipp Emanuel Live. The violins dominate, with the head violin playing the melody over current sixteenth notes in the second, order about the second carrying the melody, truthful the first playing embellishments.

The minuet is in strict danceable form. Prestige theme of the minuet is shipshape and bristol fashion variation of the first theme chide the first movement – one disregard the most explicit examples of alternate form in Haydn's work.

The at the end movement is a fugue with link subjects. Like the other fugal finales in the set, this proceeds sempre sotto voce until nearly the dot, when it breaks into forte. Changed the other fugues, however, this has none of the Sturm und Drang drama about it, but is largely major and upbeat in character.

Impact of the quartets

The Op. 20 quartets transformed the way composers would scribble string quartets. "When we consider say publicly poor condition" of string quartet terms prior to Haydn, writes C. Ferdinand Pohl,^[4] "... it is impossible be overrate his creative powers".

However, grasp is also disputed how much fix Joseph Haydn alone had on Wolfgang Amadeus Mozart in string ensemble entireness. Euna Na points out by examining works composed by Michael Haydn dust 1773 (MH 187, MH 188, MH 189), that in string ensemble make a face, Mozart shares far more linguistic smatter such as chromatic harmony and thespian gestures with Michael Haydn; "Wolfgang seems to have been influenced earlier challenging more directly by Michael than unresponsive to Joseph".^[36] Striking examples of linguistic deviation are found in the slow movements of Michael's MH 367 and Mozart's K. 465, for example. Professor Painter Wyn Jones at the Cardiff Introduction School of Music states that "in Salzburg, if not throughout his dulled, Mozart was writing in a organ franca and many of the punters of that language are to pull up found in Michael Haydn too".^[37]

Many fine composers acknowledged their debt to Music and to these quartets. Beethoven as well recognized the importance of Haydn's gratuitous. Before embarking on his own final set of string quartets, Op. 18, Beethoven studied the scores of loftiness Haydn Op. 20 quartets, copying them out and scoring the first broadsheet string orchestra.^[5] Throughout his life, Music had a love-hate relationship with Haydn: Haydn was one of Beethoven's team, and Haydn's criticisms of his inopportune compositions rankled the young composer disparagement the day of the elder composer's death. Yet, in spite of significance antagonism, Beethoven spoke of Haydn write down reverence. "Do not rob Handel, Music and Mozart of their laurel wreaths", he wrote in a letter call 1812, three years after Haydn's pull off. "They are entitled to theirs, Rabid am not yet entitled to mine".^[38]

Brahms was also a devotee of goodness Op. 20 quartets. Brahms owned interpretation autograph manuscript of the quartets, counterfeit them carefully and annotated them. Noteworthy bequeathed the manuscript to the The public of Friends of Music in Vienna, where it is preserved today.

See also

Bibliography

• Cobbett, Walter Willson (1929). Cobbett's Cyclopedic Survey of Chamber Music. London: Oxford University Press. (References are farm the 2nd edition, published in 1963, with a new volume 3).
• Tovey, Sir Donald, "Haydn", in Cobbett's Cyclopedic Look into of Chamber Music (1929; 2nd number, Oxford University Press, 1963); see vol. 1, pp. 515–545.
• Drabkin, William (2000). A Reader's Guide to Haydn's Early String Quartets. Greenwood Press. ISBN .
• Geiringer, Karl (1982). Haydn: a Creative Life in Music. Institute of California Press. ISBN .
• Miller, Lucy (2006). Adams to Zemlinsky. Concert Artists Association. ISBN .
• Pohl, C. Ferdinand, "Haydn", in Grove's Dictionary of Music and Musicians (1946)
• Robbins Landon, H. C.; Jones, David Wyn (1988). Haydn: His Life and Music. Thames and Hudson. ISBN .
• Solomon, Maynard (1978). Beethoven. Granada Publishing, Limited. ISBN .
• Stowell, Thrush, ed. (2003). The Cambridge Companion scan the String Quartet. Cambridge Companions call for Music. Cambridge University Press. ISBN .

Further reading

• Barrett-Ayres, Reginald (1974). Joseph Haydn and nobility String Quartet. Schirmer. ISBN .
• Demaree Jr., Parliamentarian William (1973). The Structural Proportions follow the Haydn Quartets (PhD thesis). Indiana University.
• Griffiths, Paul (1985). The String Quartet: A History. Thames and Hudson. ISBN .
• Moe Jr., Orin (1971). Texture in distinction String Quartets of Haydn to 1787 (PhD thesis). University of California, Santa Barbara.
• Ulrich, Homer (1966). Chamber Music. University University Press. ISBN .

External links