Genre not found
Artist not found
Album not found
Song not found

String Quartet in B Minor Hob.III:37 : 4. Presto
Franz Joseph Haydn Lyrics

No lyrics text found for this track.

The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Most interesting comments from YouTube:

Elaine Blackhurst

Remo Mazzetti
Beethoven did claim that he learned nothing from Haydn; it was reported reliably by his former pupil Ferdinand Ries.

It should be made completely clear however that the lessons to which Beethoven was referring were devoted entirely to counterpoint and plodding through hundreds of exercises from Fux’s manual Gradus ad Parnassum (many of which were not corrected by Haydn), the lessons were not about composition in general, though they must have discussed both old and modern music more generally.

The quotation taken out of context is therefore misleading.

The background to the comment however is one of a series of misunderstandings between the two composers, and Beethoven’s annoyance that when he arrived in Vienna in 1792 expecting to be the most celebrated composer in the city, he found Haydn following his first London visit, and even more so after the second in 1795, had assumed the position almost of an avant la lettre international celebrity superstar, of which he was quite simply jealous.
Spectacular successes like The Creation in 1798 rubbed salt in the wounds.

Beethoven was far more complimentary about Haydn, indeed defended him from any criticisms once Haydn had effectively ‘retired’ from about 1804.

As I said originally, Beethoven’s comment is probably the most disingenuous comment from one composer about another ever made; Beethoven owed rather more to Haydn - as he knew very well - than he chose to admit.

Beethoven’s time came; but he struggled to deal with his old counterpoint teacher for quite some time.

Elaine Blackhurst

Arya Vaseghi
Beethoven learnt a huge amount from Haydn who certainly had much to teach him.

There is no evidence that Haydn had any problems with Beethoven’s new works, apart from the misunderstandings that arose over the c minor piano trio Opus 1 No 3.

The sources of this story about the c minor trio have been largely discredited as the claims that Haydn said it should not be published cannot be true; when Haydn first heard the work immediately after his return from the second London trip, and made the alleged comment in August 1795, the trio had already been published in Vienna!

The formal lessons which went less well were entirely based on Fuxian counterpoint.
When Haydn departed for his second London trip, Albrechtsberger took on the job, continued to use Fux, and found Beethoven equally difficult.

Elaine Blackhurst

Ben Ehrmantraut
It’s not so much to do with dialogue as with motivic and thematic development - everything is rigorously worked out.

Opus 20 was composed in 1772;
Opus 33 in 1781.

Like Mozart, the thing that separates these two composers from all their contemporaries is the fact of their continuous development and growth which is often spectacular, year on year.

The two sets of quartets were written nine years apart, Opus 20 are products of ‘sturm und drang’; by 1781, Haydn was in a new world.

I can hear almost nothing of Vivaldi in any of these works, though generally speaking, there is more than a whiff of Italy in Haydn, Mozart, and most of their contemporaries.

All comments from YouTube:

Brian McCarthy

Another interesting thing about the OP 33 series-----Haydn completely did away with the minuet and replaced it with the scherzo----and everyone of them is amazing. These pieces were written in 1779, 20 years before Beethoven wrote his scherzos and 40+ before Mendelssohn. Again Papa Haydn was an innovator.

Brian McCarthy

Utterly awesome performance of one of Haydn's best quartets. Every movement is vital and still sounds great 250 years later! the scherzo is imaginative,and the last movement rocks as hard as anything Mozart or Beethoven ever did.The slow mvt has some bewitching intervals, and the 1st mvt is great too---all good!


Wonderful work. I love the way Haydn starts the quartet as if it were beginning in D Major but slyly slips into b minor very soon.

Elaine Blackhurst

Tonal ambiguity and instability - and off-tonic - are all later Haydnesque characteristics which also became Beethovenian ones in the following generation.

Richard Atkinson

Gottfried von der Goltz (the first violinist in this recording) has to be the greatest gut-string violinist of all time. I first heard these recordings of Op. 33 almost 20 years ago, and they are still the best quartet performances/recordings of any Haydn or Mozart quartets that I know of. I wish they had recorded some complete cycles instead of just Op. 33.

Jorge Guimarães

uuuh nice unexpected richard atkinson cameo

Jules G

The Finale is a pure beauty

Peter Crosland

superb, Haydn + youth = magic


This is one of my favorites.

Ricard Ferrer


More Comments

More Versions