My mind was blown by the dissonance near the start of Var II in the second movement (14:58), where the raised seventh of the ascending D melodic minor scale in the second violin clashes with the neutral seventh of the descending scale in the cello. Privileging the voice leading over "prettiness" in harmonies to this extent really gives this moment a Renaissance flavor to me, and I'm so glad that this cellist places the C natural on the downbeat to accentuate the tension. I browsed around other recordings where they dodge this by placing the grace note before the beat but I prefer this dissonant version so much more!
Way too momentary. There are far more intriguing examples in his contemporaries. See the Talkclassical discussion "Instances of Academics Not Being Reliable (Regarding Music History and Other Things)."
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Variation IV in the slow movement takes breaks out of the strict mold created for the other variations. In those previous variations the number of measures are fixed. The interest lies in the free expression by the solo instrument. In the final variation Haydn takes the material to a new step freeing from the box like restraints. After the theme is stated we expect the same treatment but we are treated to a fantasy. Although this is a common practice among composers, this is what puts these composers in the genius category.
In the second strain of each variation there is a very expressive crescendo in the last four measures. The cello and viola , in particular, are prominent here. While playing, you can feel how the musical phrase demands an increase in sound to there end of the phrase.
Variation I of the slow movement has gorgeous dialogue between second violin and viola while first violin and cello have the background. Reading a score helps the uncovering of the compositional techniques
Thanks for posting this astonishing work with its score. It's a fine performance, would have been even better if the quartet had respected Haydn's dynamic markings.
The composer’s name is Joseph Haydn. The ‘Franz’ is a baptismal name and should *not* be used, just like you wouldn’t add Johannes Chrysostomus Wolfgangus Theophilus to Mozart’s name - see how silly it is ?
