Haydn’s ‘Sunrise’ Quartet
Title page of an early edition of Haydn’s Sunrise String Quartet
Haydn String quartet Op. 76 No. 4 ‘Sunrise’
1st Movement: Allegro con spirito
Haydn’s Op. 76 string quartets were written later in his life, between 1797-1798. They were composed while he was still in the employ of the Esterházys and also while he was composing the Creation. The famous music historian, Charles Burney, wrote that he "had never received more pleasure from instrumental music", describing the Op. 76 as "full of invention, fire, good taste and new effects".
The nickname of this quartet, ‘Sunrise’, comes from the opening theme where Haydn lays down a chord in the key of B flat major that provides a warm grounding from which the ascending first violin figure rises. Even though the movement is marked Allegro con spirito, he manages to trick the listener into thinking that it could be a slow movement. This leads to the real start of the piece which presents itself in bar 22 [0:45]. The mood suddenly changes to a fast-paced, energetic and disorientating ‘canon’ with all four voices engaged and active in their own individual roles.
Throughout the movement, Haydn reinvents the theme and passes it between all four voices with each instrument having a chance to shine. This is also representative of the development of the string quartet style that, by this time, is more focused on increased virtuosic demand on all four players rather than just the 1st violin.
Things to listen out for:
Opening - Observe how Haydn creates the sense of sunrise by firstly commencing with a smooth and warm chordal entry and has the 1st violin part rise up out of the opening chord.
At bar 37 there is a ‘surprise’ change of pace from the slow and calm section to a very fast and energetic section where all four voices are very active and seemingly in their own world.
Note at 1:13 how he completely changes the pace again from the intense driving rhythmic prior section and we return to the opening sense of calm contemplation suspended on a chordal thread. We then hear an alternate variation to the opening violin ‘Sunrise’ theme now in the cello. Note the difference in the theme. It is now descending rather than ascending.
At 4:35 we hear a version of the theme suddenly in the minor key - note how this creates a completely different effect to the opening major version.
LISTEN HERE:
Recording: Quatour Mosaiques
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