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String Quartet in D minor H.III Op.76 No.2
Franz Joseph Haydn Lyrics

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

Elaine Blackhurst

@Rabbi Barry Kornblau
Apologies, I have only just spotted this.

You can search analyses of Opus 76 - or indeed Opus 71/74, or Opus 77 - quite easily, but some of the points to note would be:

- Structural advances - variation and fugue for example;

- Wide ranging tonal experimentation;

- Quartets designed for public, not private performance - hence bigger sounding, and less intimate works;

- The compositional technique is far closer to Beethoven than to Mozart; not just early Beethoven, but mature Beethoven; for example, building extended musical structures from small motivic cells;

- experimentation with form other than sonata form;

- take a look at the extraordinary Fantasia: Adagio movement of the string quartet Opus 76 No 6;
(then make your own list of astonishing innovations);

- Et cetera.

In terms of this quartet, right from the opening figure of the falling fifth, the obsessive and concentrated working of the motif throughout is truly ingenious in a manner of composition totally different to that of Mozart - note ‘different’ not better or worse.

The Minuet is a million miles away from the Allegretto-type three in a bar found in even the latest Mozart - it is strikingly modern one-in-a-bar Scherzo-type pointing the way to later Beethoven (Haydn actually learned this trick from Beethoven; it is truly quite startling that the old man was still prepared to learn from the young man at 67 years of age*).

There are aspects of through-composition (the falling fifth or variant) which appear in all four movements - this is never found in Mozart but became increasingly common in Haydn, even much earlier Haydn.

In later German music it became known as a leitmotif, but the origins of this are to be found here.

As a general point about Mozart and Haydn, one of the features that separates them from almost all their contemporaries is the continuous development as composers year on year.

This is a key reason why Haydn moved beyond his great friend who died in 1791 was that he carried on composing until about 1803 (and lived until 1809); in those twelve years, it was inevitable that Haydn would continue to develop his musical language - in fact the language of music more generally, and as mentioned above, some of this was actually prompted by his lengthy encounters - both musically and personally - with Beethoven.

Opus 76 is a good example of how Haydn actually did this; as is in another area, the Representation of Chaos from The Creation which in terms of its shifting, unresolving tonalities is proto-Wagnerian; it is the most audacious, and harmonically adventurous music written in the 18th century.

Hope that helps.

* Some of the ‘Minuets’ in the Opus 76 and Opus 77 string quartets are nothing of the sort; they are genuine, modern, Beethovenian scherzi, this one in Opus 76 No 2 is a sort of hybrid with its own very Haydnesque idiosyncrasies.

Elaine Blackhurst

The ‘Fifths’ nickname comes from the almost obsessive use of the falling fifth interval throughout the first movement, not the slow movement.

There are however, a number of Haydn studies that have shown that the composer sometimes ‘through-composed’ works ie different movements of a work shared common rhythmic, melodic, harmonic and/or motivic features.
In this quartet, the fifth motif is evident in one form or another throughout all four movements.

In this quartet, ‘Fifths’ is a useful nickname to aid listeners in understanding the composer’s intense, concentrated and ingenious development of this particular motif, a compositional technique very common in Haydn - and later in Beethoven who adopted many of Haydn’s compositional techniques, an obvious example being the motif that opens his 5th symphony (cf. first movement of Haydn Symphony 28).

This preoccupation with often tiny motifs is markedly less evident in Mozart; it is a fundamental difference between Haydn - and Beethoven - and Mozart.

All comments from YouTube:

Calista Lu

6:50 2nd movement
12:38 3rd movement
15:56 4th movement

Kristín Ásta

Thank you🙏


Thank you so much mate!

Tony Musiker


florestan eusebius

It seems to me that writing for string quartet brings the best, most ambitious, and perhaps most unprecedented ideas from the great composers! This quartet is a perfect example. The movements in minor keys (first, third, and last) are dramatically intense, rugged in their texture yet organically written. The second movement is remarkable not in spite of, but because of its simplicity, not to mention its melodic beauty and its warmth. Bartje Bartmans has seriously done a great service to the community of YouTube by introducing everyone to so many awe-inspiring musical works.

Elaine Blackhurst

The short answer is that there’s nowhere to hide when writing a string quartet - every single aspect of the composer’s technique and inspiration is exposed; it’s possible in some other genres to mask over a variety of deficiencies in a composition by burying them under a big-scale heavyweight, and often spectacular orchestration - no names mentioned.

Ezra Anderson

I don't know why, but this almost reminds me of a proto-"Death and the Maiden" quartet. Might be a far-fetched connection, but what is certain is that this is Haydn at his most inventive.

Rick Shafer

Stunning.I love how Haydn makes a robust piece out of four instruments of the same kind.

Connor Knight

@Hayden wrong spelling = wrong guy


@Timothy Thorne thanks man you're too kind <3

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