Haydn - String Quartet in E flat Op.33 No.2 'The Joke' movement IV._1

Haydn - String Quartet in E flat Op.33 No.2 'The Joke' movement IV._1

1. Performing Forces and Their Handling.

   • Violin 1 Violin 2 Viola Cello.
   • First violin often plays higher than the second (even though they are the same instrument).
   • One player per part; no doubling is expected.
   • Unlike Baroque Trio Sonatas, no keyboard continuo is required, Trio Sonatas also typically had more crossing of the violin parts.
   • String-playing Techniques:
     • Consistently arco
       • Frequently staccato for light playful effect.
         • Double-stopping used in two passages, notably in the brief Adagio near the end for greater weight and mock solidarity.
   • Dynamics:
     • Two episodes at bars 36 and 107 are forte (f), Sforzando (sfz) emphasises some strong beats in the first.
       • Each phrase of the Adagio starts imposingly at f.
         • Use of piano as well as crescendos and diminuendos, most effective use of quiet dynamics for the 'joke' ending with its subtle pianissimo (bars 141-148), as is the last continuous hearing of the first part of the Rondo refrain.

2. Texture.

   • Three-part texture in second phrase of the refrain, first heard in bars 3-4.
   • Homophonic texture:
     • Occasionally chordal/ homorhythmic, e.g. two pause chords in bars 139-140.
   • Largely four-part.
     • Independent parts, not doubling at unison or octaves.
       • Some doubling in 3rds, 6ths and 10ths (bar 9 of opening/ refrain).
   • Violin 1 melody usually dominates, with melody-dominated homophony at the beginning.
   • Textural exceptions and noteworthy points:
     • Bars 112-116 = instruments other than Violin ! have the melody.
       • Bars 3-4 = Viola acts as bass part in the three-part texture.
         • Bar 151/ 149 = five/ six part textures produced by double-stopping.
     • bars 87-92 = pedals.
       • Bars 128-131 = unusual textural divisions seemingly pairing off the outer and inner parts.
         • Bars 132-135 = three upper parts working together whilst Cello is isolated.

3. Structure.

   • Multiple interpretations.
     • Rondo form is the most common and persuasive analysis..
       • Bars 0-36 is A Refrain (with repeats).
         • Bars 36-70 = B Episode.
           • Bars 71-107 = A refrain.
             • Bars 107-140 = C Episode.
               • Bars 140-172 = A' Refrain (substantially altered).
                 • Internal structure of A is binary form
                 • here are problems, such as:
                   • A refrain is substantially altered.
                     • Two episodes B and C are very similar
                     • Each episode has a rather transitory feel, e.g. lack of resolution during pedal passages.
                       • C is a direct reference to A (bars 139-10 in C to bars 27-18 in A).
                         • Each episode finishes with a V7 chords - lack of finality.
                           • Emphasises the musical identity and completeness of the Refrains.
                             • Increases dramatic impact of the bizarre, fragmented final refrain.
                           • monothematicism is a key feature of the piece.
                             • Structural contrasts are diluted as a result

4. Melody.

   • Extremely typical of the Classical period.
     • Periodic phrasing, e.g. opening 8 bars as 2+2+4 Classical phrase structure.
   • Much use of scale and arpeggio patterns (bars 17-21) with good alternation between them.
   • Some chromaticism with a mainly diatonic melody (e.g. bars 9-12).
     • Melodic dissonance creates interest, e.g. strong beat A natural in Arpeggio passage in bars 18 and 20.
       • Passing notes are diatonic and unaccented (e.g. the D in bar 3) and chromatic and accented (e.g. the B natural in bar 13.
         • Bar 4 lower auxiliary note.
           • Echappee in bar 3 (the G).
             • Ornaments are limited but acciaccaturas are heard, e.g. bar 7.
           • Articulation such as short slurs and staccato bring the music to life.
             • Monothematicism is a key feature of the melody and the piece as a whole.

5. Harmony.

   • Fucntional.
     • Tonic and dominant chords frequently used (opening three chords are I-V-I).
   • Frequent perfect cadences and use of pedals.
     • Use of some chromatic harmony, e.g. the diminished triad in bar 69.
     • Harmonic sequences, e.g. bars 59-61.
     • Unusual humorous effects:
       • 'Hanging' V chord in bar 28 before return of main theme.
       • Extended dominant pedals, as can be seen on page 203.
         • Affirming cadence is never reached.
           • Sf marking exaggerate the sense of exasperation.
           • Lengthy indecision speeds up harmonic rhythm in bar 59 (and following) from one chord per bar to two chords per bar as if to escape this unresolved pedal.
             • Mock dramatic 9th chord at the start of the Adagio.
               • opening two-bar phrases may be the same in terms of rhythm, but harmonic rhythm varies considerably.
                 • Echappee moment is the same, yet the resolution at the end of bars 1 and 3 is different as in the first, the First Violin resolves to a consonant fifth note of chord V, whereas in the second it lands on an E flat, the dissonant seventh of the prevailing harmony.
                   • Increase in harmonic tension is increased further when we hear a chromatic retardation with a B natural in bar 5, resolves briefly to a C natural before dropping to an A flat, doubling the seventh of a V7d chord.
                     • Calms down for II-V-I progression in bars 7-8.
                       • Rapid pace means harmonic nuances are over in a flash.
                       • Carefully calculated and brilliant tension is created followed by a carefree release in the concluding bass.

6. Tonality.

   • Functional Tonality.
     • Frequent perfect cadences and both dominant and tonic pedals.
   • Each Rondo section is based around the tonic of E flat and all modulations are to closely related keys.
     • 37-47 = A flat major (subdominant).
       • 48-53 = F minor (supertonic minor).
         • 64-68 = B flat major (dominant).
         • ore obvious move to C minor is avoided as it is too sombre.
           • Focuses more on the bright key of Bb major.
             • Tonal scheme underpins the joyful mood.
               • Pedal in bars 16-28, dominant preparation for the return of the main theme, yet only at the end as the start is more ambiguous (17-20 are harmonies of a diminished seventh outline (on a tonic pedal at that point). yet perhaps the whole passage is in E flat major with secondary dominant influences causing chromaticism.

7. Metre and Rhythm.

   • Change in metre is unusual for a Rondo movement.
   • Adagio in 148 interrupts compound duple metre with slow duple time for four bars.
     • Rhythm is simple in style and is dominated by crotchets (often dotted) and quavers.
       • 'Breathless' quaver passages, e.g. bars 54-67.
         • Rhythmic diminution, Motive X becomes three quavers at bars 22-23.
           • Innoculous repeated opening followed by metrical distortion at the pedals through 'elison' overlap of two-bar unit.
             • Anacruses at the start of the Adagio.
               • bar 149 follows with demisemiquavers, creating a bold lombardic ('scotch snap') rhythm.
                 • Incredible use of silence in Presto.
                   • Especially four-bar silence after false-ending phrase at bar 166 where it sounds like it should end.

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