Skye 1/1/21 Skye 1/1/21

Haydn’s ‘Sunrise’ Quartet

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".

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

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

Skye 3/9/20 Skye 3/9/20

Haydn’s Seven Last Words

The Seven Last Words of Our Saviour on the Cross is an unusual orchestral work that was commissioned in 1786 for the Oratorio de la Santa Cueva (Holy Cave Oratory) in Cadiz for the Good Friday Service that year. The following year it was published in a number of other versions including a choral arrangement as well as for string quartet.

*Extract from a first edition of the orchestral version of the work*

The Seven Last Words of Christ on the Cross (Die Sieben Letzten Worte Unseres Erlösers am Kreuze)

The Seven Last Words of Our Saviour on the Cross is an unusual orchestral work that was commissioned in 1786 for the Oratorio de la Santa Cueva (Holy Cave Oratory) in Cadiz for the Good Friday Service that year. The following year it was published in a number of other versions including a choral arrangement as well as for string quartet.

The complete work is made up of seven ‘sonata’ slow movements or meditations, each representing a different ‘word’ or state of Christ on the cross. These are framed by the dramatic opening ‘introduction’ and ‘earthquake’ movements.

Haydn himself explained that he found it incredibly difficult to write the work saying:

“Some fifteen years ago I was requested by a canon of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.”

Aside from explaining that Haydn found it ‘no easy task’, the above description conjures a powerful vision of the setting for the performance and makes the music itself even more powerful. The video recording included here, directed by Jordi Savall, was specially filmed in the cathedral itself. It is an amazing rendition of an incredible and unique work.

Things to listen for:

Introduction - (opening) - note how Haydn creates a sense of tension and drama by beginning with two very strong unison ‘statements’ from the whole orchestra in the minor key. In the third ‘statement’ [0:16] he switches to something much more intimate before returning to the stong statements at [0:40].
40:23 Sitio (I am thirsty)- Note how, after the initial opening chord, Haydn creates a feeling of tenderness by having the strings pluck a gentle rocking quaver accompaniment. He then switches entirely to something much more intense at [41:15] where the violins suddenly play forte repeated quavers.
1:04:49 -Il terremoto (Presto e con tutta la forza) (The Earthquake). This is a completely bizarre movement to end the piece where Haydn is aiming to create the biblical moment when the curtain is torn and an earthquake occurs. Note how Haydn, again, uses unison writing in the strings along with trumpets and timpani to create a feeling of intense drama.

LISTEN HERE:

Recording: Le Concert des Nations Jordi Savall - conductor. Live-recording from the Oratorio de la Santa Cueva in Cadiz, Andalucia in Celebration of the 200th anniversary of Haydn’s death in 2009

Skye 1/8/20 Skye 1/8/20

Haydn Mass for Maria Theresa

Haydn wrote his Theresienmesse in B flat major for the name day of Princess Esterházy in the summer of 1799 and it was first performed in the Bergkirche at Eisenstadt. On that day there was said to have been a banquet at which the Prince drank to Haydn’s health. Rosenbaum (a former secretary of the Esterházy family) noted in his diary that there was also Turkish music performed in the square followed by the performance of a French play.

Haydn wrote his Theresienmesse in B flat major for the name day of Princess Esterházy in the summer of 1799 and it was first performed in the Bergkirche at Eisenstadt. On that day there was said to have been a banquet at which the Prince drank to Haydn’s health. Rosenbaum (a former secretary of the Esterházy family) noted in his diary that there was also Turkish music performed in the square followed by the performance of a French play.

The work is named after Maria Theresa of the Two Sicilies, Empress consort of Francis II who was one of the most important music patrons of the day. The Empress herself was the soprano soloist at private performances of both The Creation and The Seasons in May 1801 at the Viennese Court. It is possible that she was also the soloist in private for this work as well. But it is not documented as far as we know. The first mention of the title of the work can only be traced back as far as 1815.

The mass is scored for solo vocal quartet, chorus, strings, two clarinets, two trumpets, timpani and organ continuo. Interestingly there are no oboes, bassoons, horns, or flutes in the work - which is probably due to the availability of musicians at the particular time that the work was composed.

LISTEN HERE:

Skye 12/7/20 Skye 12/7/20

Prince Galitzin and Beethoven: An Overture to Innovation

Among the numerous patrons who recognized and nurtured the genius of Ludwig van Beethoven, Prince Andrey Kirillovich Razumovsky Galitzin holds a special place. His support and patronage during the later years of Beethoven's career were pivotal in the creation of some of the composer's most profound and innovative works. The relationship between Prince Galitzin and Beethoven is a testament to the transformative power of enlightened patronage in the world of classical music.

Prince Galitzin and His Patronage of Beethoven: An Overture to Innovation

The Noble Patron: Prince Andrey Kirillovich Razumovsky Galitzin

Prince Andrey Kirillovich Razumovsky Galitzin (1773-1846) was a Russian aristocrat, diplomat, and an avid lover of the arts, particularly music. Born into the illustrious Galitzin family, he was educated in the rich cultural traditions of Europe and developed a deep appreciation for classical music. His diplomatic postings across Europe, especially in Vienna, placed him in the midst of its vibrant musical life, where he became acquainted with many prominent composers, including Beethoven.

Ludwig van Beethoven: The Mature Master

By the time Prince Galitzin began his patronage of Beethoven, the composer was already an established figure in the musical world. However, Beethoven's career was marked by profound personal and artistic challenges, including his worsening deafness. Despite these difficulties, Beethoven continued to push the boundaries of musical form and expression, particularly in his later works.

The Patronage

Prince Galitzin’s patronage of Beethoven began around 1822, during a period when Beethoven was experiencing both professional triumphs and personal hardships. Recognizing Beethoven's genius, Galitzin commissioned him to compose a series of string quartets. This commission resulted in the creation of three remarkable works: the String Quartets Op. 127, Op. 130, and Op. 132. These quartets are among Beethoven's most innovative and complex compositions, often referred to as his "late quartets."

The support from Galitzin was not merely financial; it also included moral and intellectual encouragement. Galitzin’s genuine admiration for Beethoven’s music and his willingness to support the composer's ambitious projects provided Beethoven with the freedom to experiment and push the boundaries of his art. The late string quartets, in particular, reflect this spirit of innovation and exploration, incorporating new forms and techniques that would influence future generations of composers.

The Impact on Beethoven's Career

Galitzin’s patronage came at a crucial time in Beethoven's career. The financial support allowed Beethoven to focus on his compositions without the immediate pressure of economic hardship. This period of relative stability enabled Beethoven to delve deeply into his creative process, resulting in works that are characterized by their profound emotional depth and structural complexity.

The late string quartets commissioned by Galitzin are considered some of Beethoven's most significant contributions to the chamber music repertoire. These works are renowned for their intricate counterpoint, innovative structures, and emotional intensity. They represent a culmination of Beethoven's lifelong exploration of musical ideas and remain central to the string quartet literature.

The Legacy

The relationship between Prince Galitzin and Ludwig van Beethoven highlights the vital role of patronage in the arts. Galitzin's support provided Beethoven with the means and the inspiration to create some of his most enduring works. The late string quartets stand as a testament to the collaborative spirit between patron and artist, showcasing the transformative impact that enlightened support can have on creative genius.

Prince Galitzin’s legacy as a patron is immortalized in the profound and innovative music that Beethoven composed during this period. Today, as we listen to Beethoven's late quartets, we are reminded of the important role that patrons like Galitzin played in nurturing and sustaining artistic excellence. Their partnership underscores the enduring power of patronage to foster creativity and contribute to the cultural heritage of humanity. Through his support of Beethoven, Prince Galitzin not only helped shape the future of classical music but also left an indelible mark on the history of the arts.