Saturday, September 15, 2007

Haydn StrQtet in gm Op.74 No.3, 1st and 2nd Mvmt

The first movement is a basic Sonata form, ABA. The A section is mm.1-78, starting in gm and modulating to BbM. I marked measures 1-8 as an introduction. The B section is mm.79-168 and I marked this section as being in cm and fm, modulating to GM as it leads into the return of the A section. The A section returns at measure 169 and continues on to the end in the key of GM with a codetta measures 193-197.

The second movement is Theme and Variations form; however, I think that this movement could possibly be a double variation form because the first and second theme appear to be in different modes (theme I, Major; theme II, minor). Another reason I think this is a double variation piece is because of the placement of the Major and minor themes: Since the Major theme opens the piece, the variations are ordered in such a way as to close with the Major theme. The theme is introduced in mm.1-10. Variation I is mm.11-22 in the keys of bm and EM. Variation II is mm.23-37 in the key of em. Variation III is mm.38-51 in EM, and Variation IV is mm.52-59 also in EM.

In the second movement, there is an interesting chord in measure 8, G dominant 7. I think that Haydn uses this chord to possibly poke fun at the fact that this quartet piece is in gm, and to "reminisce" on the close of the previous movement, which ends in Gmajor. What do you think about measure eight and the role it plays in this Haydn quartet?


Daniel White said...
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Daniel White said...

I drew most of the same conclusions for the analysis; however, while I was listening to both movements, I never thought that the chord in m. 8 (of the second movement) was Haydn "reminiscing" the first movement, until I read that. I think that is a valid point, and quite possibly the reason.

SamanthaW said...

I agree with you that the first movement is in sonata form. I also marked my Themes the same in movement 2 other than the fact that I though 1-10 and 11-22 as one variation though you might be right about it being an introduction because of the repeat bars and m. 17 is just reinforcing the intro.

I also liked your insight about the chord in m. 8, I did think of it like that, but it makes sense.

Ryan Atkinson said...

I would generally agree with your analysis of this piece except for, ABA would not be basic Sonata form correct? As Sonata is exposition, development, and recap, not necessarily ABA. I also feel this is not a Sonata for the reason that, in a Sonata the recap is in the tonic key, and this piece modulates. Other than that I would say your measure markings and keys are correct.