Declining health prevented Haydn from completing a 1799 commission from Prince Lobkowitz for a set of six quartets. Two completed works were published by Artaria in 1802 as Op. 77; the unfinished Op. 103 was printed by Breitkopf & Härtel in 1806. Along with indications of further development along lines pursued in Op. 76 — for example, an accelerated pace for the dance movements and the use of remote keys for interior portions of the cycle — there are signs of retrenchment, notably the scarcity of learned counterpoint and the avoidance of dramatized, end-focused designs in favor of equilibrium and symmetry. The seriousness and intensity that mark the completed movements of Op. 103 — an Andante grazioso in B flat and a veritable Sturm und Drang dance movement in D minor — are signs of a particularly ambitious, unrealized plan for the work as a whole.
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Noted for timbral brilliance and an accent on taxing first-violin delivery, this set, Op. 54/55, is traditionally linked to the violinist Johann Tost, who served as a middleman in its sale. Extroverted and intensely energetic, especially in the fast outer movements, these works display a wide tonal range, an enriched harmonic syntax, fast tempos, and streamlined surface activity. Whereas slow movements feature expressive soloistic embellishment (notably the ternary variation design of Op. 54/3, the gypsy lament of Op. 54/2, and the concerto-style Op. 55/1), the finales concentrate on compositional intrigue — especially Op. 55/1, with its synthesis of fugue (looking back to Op. 20) and rondo (as in Op. 33), and Op. 54/2, famous for the incomparably witty inspiration of a form that thwarts expectations at virtually every turn. Chromatic harmony figures prominently through inflections within phrases and remote tonal excursions within themes.
Drawing on Italian, French, German, and Viennese precedents, Haydn's early string quartets were among the first to define the genre's components: two violins, viola, and cello, without doubling and without basso continuo or contrabass support. The predominant cyclic design features a principal sonata-form movement followed by three other ingredients (minuet-trio, slow movement, finale) that unfold within its orbit. The six quartets in a normal opus group embrace various style topics and allusions, including popular song and dance, aria, concerto, and strict style. Each has a different tonal center; keys with few accidentals are favored; and connections are sometimes apparent between the prevailing character of a quartet and the traditional associations of its key. Minor tonality is always represented, normally by one quartet only. Virtually all groups feature musical wit, irony, and humor in addition to more elevated modes of discourse.
beginnings and endings of chords and phrases often a little ragged. This unfortunate tendency somewhat mars a particularly beautiful moment in the Adagio of the Partita Op. 78. Rhythm is occasionally also something of a problem, particularly in the linking passages of the first clarinet, and this is often combined with a somewhat unpolished technique. This is particularly noticeable in the last movement of Op. 78, in which the virtuoso clarinet passages seem just on the edge of Christian Leitherer's technical capabilities. Generally both the oboe and clarinet soloists seem more comfortable in the upper registers, which shine over the top of the ensemble with a pleasant clarity; in lower passages their tone can be a little spread and lacklustre. The slight vibrato occasionally employed in the clarinet line will not be to the taste of all listeners. Intonation is generally stable, but there are some slight problems between the first and second clarinet in octave passages, and some of the ensemble unisons are not quite pure in the upper voices. Intonation is one of the great challenges of playing in an ensemble of this kind, and it is hardly surprising to hear discrepancies even in the very best of ensembles. There is no doubt that Krommer made the first oboe and first clarinet the leading instruments in these Partitas, but every now and then he gives the bassoon a wonderfully virtuosic solo. When this lies in the upper register of the instrument, it carries through the ensemble well, but it can sometimes become a little lost in the accompanying voices as the line descends. This seems to be a result of the accompanying lines not giving the bassoon soloist enough space rather than the bassoon's failure to project. At seventy-two minutes, the CD is one of the longer recordings of Harmoniemusik currently available. Although the addition of a trumpet in Op. 83 provides some variation in the texture, it does occasionally feel a little long with no variation in texture, colour or repertory. Those interested in organological details will also be disappointed that the liner notes by Bernhard Blattmann (given in French, German and English) do not contain any information on the instruments used for the recording. For the wind music enthusiast, this will be a welcome addition to a CD collection, as it explores repertory that has not had much exposure and is performed by an ensemble which pursues it with enthusiasm and dedication. For those yet unacquainted with the genre of Harmoniemusik, this recording will provide a pleasant introduction. melanie piddocke
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