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{{short description|Six string quartets composed by Joseph Haydn in 1797 or 1798}}{{Use dmy dates|date=January 2020}}The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von ErdÅ‘dyIn full, Joseph Georg Erasmus Adrian Gabriel Michael Anton Franz von Erdödy. (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass.Although accounts left by visitors to the Esterházy estate indicate that the quartets were completed by 1797, an exclusivity agreement caused them not to be published until 1799.Heartz, Daniel, Mozart, Haydn and Early Beethoven 1781–1802, pp. 212–215, Norton (2009), {{ISBN|978-0-393-06634-0}} Correspondence between Haydn and his Viennese publishers Artaria reveal confusion as regards their release: Haydn had promised Messrs. Longman Clementi & Co. in London the first publishing rights, but a lack of communication led him to worry that their publication in Vienna might also be, unintentionally, their first appearance in full. In the event, their publication in London and Vienna was almost simultaneous.The Op. 76 quartets are among Haydn's most ambitious chamber works, deviating more than their predecessors from standard sonata form and each emphasizing their thematic continuity through the seamless and near-continual exchange of motifs between instruments.Grave, p. 312. In addition to not using the expected sonata form in some of the string quartets' first movements, Haydn employs uncommon forms in other movements such as a canon, a fantasy and an alternativo. He also plays with tempo markings, key signatures and many sections emphasizing the viola and cello. Charles Burney wrote to Haydn praising these innovations:JOURNAL, Laszlo, Somfai, 2010, Two Compositional Essays in the "Erdödy" Quartets Op. 76, Studia Musicologica, 51, 3/4, 317–324, ...they are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before.The set is one of the most renowned of Haydn's string quartet collections.BOOK,weblink The Rough Guide to Classical Music, 252, Staines, Joe, Penguin, 2010, 978-1405383219,

No. 1 ("Jack-in-the-box")

This G major quartet is numbered variously as No. 60, No. 40 (in the First Haydn Edition (FHE) and No. 75 (in the Hoboken catalogue, where its full designation is Hob.III:75). It is nicknamed Jack-in-the-box after the humorously surprising coda of its finaleweblink It consists of four movements:{{Ordered list|type=upper-roman

Tempo#Italian tempo markings>Allegro con spirito relative g'' { key g major time 2/2 4-. f r -. r 4-. r r bar ".|:" clef "bass" d,,-. p b4( g) c( a) fis4( a8) fis-. d4 e8-. fis-. g4-. e-. b-. cis-. d2( d'4) }

Tempo#Italian tempo markings>Adagio sostenuto relative e' { key c major time 2/4 e4( _markup{ italic "a mezza voce" } d) c8.( cis16 d8 e) f8([ a g f)] f8([ e d8. dis16)] e4( d!) c4( d8 e) override TupletBracket.bracket-visibility = ##f f8( times 2/3 { a16 f d) } c8( times 2/3 { b16 d g) } f4( e8) r}

Minuet>Menuetto. Presto relative d' { key g major time 3/4 partial 4 d-. p g4-. g-. e-. a-. a-. d,-. c'-. c-. ais-. b-. b-. } |Allegro ma non-troppo relative g' { key g minor time 2/2 override TupletBracket.bracket-visibility = ##f partial 4 times 2/3 { g8( f fis g) } bes4-. g-. d-. times 2/3 { c'8( d c) } es4-. c-. fis,-. times 2/3 { d'8( es c) } bes4-. times 2/3 { bes8( c a) } g4-. d-. es4( trill d8) r es4( trill d8) r acciaccatura d8 afterGrace es1( trill {d16 es) } d4-. d'-. r2 } }}Although its opening key signature indicates that the work is in G major, the quartet moves in and out of G minor and the last movement begins in the key of G minor.Keller, p. 208. I. Allegro con spirito An alla breve written in G major, is in sonata form. After a short introduction, the exposition begins in measure 3, ending in the dominant key of D major in measure 88. The development section lasts from measure 89 to 139, with the recapitulation beginning in G major in measure 140. II. Adagio sostenuto Written in C major and {{music|time|2|4}} time the movement uses sonata form. It has a hymn-like character and has been compared with the slow movements of Mozart's Jupiter symphony and Haydn's own 99th symphony. III. Menuetto. Presto The third movement in G major is the minuet, but, unusual in a minuet written at this time, the tempo indication is Presto, giving it the feel of a scherzo when played. The trio section is more lyrical and features the first violin playing a Ländler while accompanied pizzicato. IV. Allegro ma non-troppo A finale, alla breve in sonata form, is written in G minor rather than the expected G major, producing an unusual, darker ambience until G major returns for the movement's coda. No. 2 ("Fifths") This quartet in D minor is numbered as No. 61, No. 41 (in the FHE) and Hob.III:76. In a reference to the falling perfect fifths at its start, it is known as the Fifths (or, in German, Quinten) quartet. The movements are:{{Ordered list|type=upper-roman

Tempo#Italian tempo markings>Allegrorelative a' { key d minor time 4/4 a2 f d, e2 a, d8( cis d e) g([ f] e) a 4 c!16( bes a gis) a4 r }

Tempo#Italian tempo markings>Andante o più tosto allegrettorelative a' { key d major time 6/8 partial 8 a8( _markup { italic "mezza voce" } fis-.)[ fis-.] a32( g fis g) a4 ^markup { italic "ten." } b8 f e,4 e32( d cis b) a4 }

Minuet>Menuetto. Allegro ma non-tropporelative d'' { key d minor time 3/4 partial 4 d8( f e) f4-. f8( g f e) d4-. d8( e f g) a4-. a-. d-. cis8( e) a,4-. }

Tempo#Italian tempo markings>Vivace assairelative a' { key d minor time 2/4 partial 8 a8 p d8-. d4-> e16( cis) d8([ f gis a)] d,8-. d4 e16( cis) d8([ f gis a)] gis8-. gis-. gis16( a b gis) a4( a,8) a'-. gis8-. gis-. gis16( a b gis) a4 fermata e'8 fermata } }} I. Allegro It is written in D minor, common time and is in sonata form. The falling fifths motif dominates the exposition section and is featured heavily in the development section using inversion, stretto and other devices. II. Andante o più tosto allegretto It is a ternary variation form in D major and {{music|time|6|8}} time. III. Menuetto. Allegro ma non-troppo A D minor minuet in {{music|time|3|4}} time. It is unusual in that the movement is written like a canon and the trio section is written in the tonic major key as opposed to a relative key (in D major). It has been called the "Witches' Minuet" ("Hexenminuett").BOOK, Gleason, Harold, Becker, Warren, January 1988, Chamber Music from Haydn to Bartók, Alfred Publishing Company, 12, 0899172679, The minuet is actually a two-part canon: the two violins play (in parallel octaves) above the viola and cello (also playing in parallel octaves) who follow one measure behind the violins. Haydn previously used a two-part canon with the lower string trailing the upper strings by a single bar in the minuet of his 44th Symphony. IV. Vivace assai The last movement, in D minor and {{music|time|2|4}} time, uses sonata form. It ends in D major.{{anchor|Emperor quartet}} No. 3 ("Emperor") The Quartet No. 62 in C major, Op. 76, No. 3, Hob. III:77, boasts the nickname Emperor (or Kaiser), because in the second movement is a set of variations on "" ("God save Emperor Francis"), an anthem he wrote for Emperor Francis II, which later became the national anthem of Austria-Hungary. This same melody is known to modern listeners for its later use in the German national anthem, the Deutschlandlied, which has been used since Austria-Hungary and the Weimar Republic. The quartet consists of four movements:{{Ordered list|type=upper-roman

Tempo#Italian tempo markings>Allegrorelative g'' { key c major time 4/4 partial 8 g8 f e4( f8-.) d-. c4-. r8 g-. p e8-. a-. g-. fis-. g4 r8 d' e8 g4 f! e16 trill d e8-. c'-. f d,,8-. r -. r 4 r }

Tempo#Italian tempo markings>adagio; cantabilerelative g' { key g major time 2/2 partial 2 g4.( _markup{ musicglyph #"p" italic "dolce" } a8 b4 a c b) a8( fis g4) e'( d c4 b) a( -tweak X-offset #2.8 turn b8 g) d2 }

Minuet>Menuetto. Allegrorelative c'' { key c major time 3/4 partial 4 c4 f b4( c) e g,2( c4) d,2( a'4) g,4. }

Tempo#Italian tempo markings>Prestorelative g'' { key c minor time 2/2 4-. f r -. r 4 r r c p b2( c4) d es2( d4-.) r } }}The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The second movement, in G major cut time, is in strophic variation form, with the "Emperor's Hymn" as the theme. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C major, is in sonata form.Samuel Adler has singled out this work's second movement as an outstanding example of how to score for string instruments, observing of the movement's final variation:This is a wonderful lesson in orchestration, for too often the extremes in the range are wasted too early in a work, and the final buildup is, as a result, anticlimactic. The other formal factor to notice is that the entire structure is an accumulation of the elements which have slowly entered the harmonic and contrapuntal scheme in the course of the variations and have become a natural part of the statement [i.e. theme].Samuel Adler, The Study of Orchestration (New York: Norton, 1989), 110–115, quotation at 113. No. 4 ("Sunrise") The Quartet No. 63 in B{{music|flat}} major, Op. 76, No. 4, is nicknamed Sunrise due to the rising theme over sustained chords that begins the quartet. It consists of four movements:{{Ordered list|type=upper-roman

Tempo#Italian tempo markings>Allegro con spiritorelative e' { key bes major time 4/4 r2 r4 e( p f4. a8 acciaccatura c8 bes a bes d) f4.( a,8 bes d f a) bes4.( a8 g f es d( c4-. r d-. r es4-. r r2 }

Tempo#Italian tempo markings>Adagiorelative es' { key es major time 3/4 es4( d es) f4 g2espressivo fermata f4( e f) g4 as2 espressivo fermata c4( b c) g4 as~ as16( bes!32 c bes as g f) es4.( d8 as' d,) es8( g bes d es g) }

Minuet>Menuetto. Allegrorelative a' { key bes major time 3/4 partial 4 a8( f bes) a8( bes) a8( bes) d( bes) f'4-. f-. a,8( bes) a8( bes) a8( bes) d( bes) f'4-. f-. a,8( bes) a8( bes) a8( bes) g'( bes,) bes'8( bes,) bes'( bes,) bes'( bes,) bes'8( g) e( c) bes( g) f4 r }

Finale (music)>Finale. Allegro, ma non-tropporelative f'' { key bes major time 2/2 partial 4 f8( _markup { italic "mezza voce" } es) d4( es) c-. d8( c) bes4( c) appoggiatura { g32 f e } f4 g8( a) bes4-. c-. d-. appoggiatura { es16 f } g4 fz acciaccatura d8 c8( bes c d) c4-. } }} First movement analysis {{More citations needed section|date=January 2019}} Exposition The opening of the movement begins in a way that seemingly contradicts the allegro con spirito marking. Violin II, viola, and cello sustain a tonic chord while the first violin plays the melody (the "sunrise" motif) on top. In measure 7, the same instruments sustain a dominant seventh chord while the first violin again plays a rising solo on top. In measure 22, all instruments reach forte, and allegro con spirito character is apparent through the sixteenth-note movement and lively staccato eighth notes trading off between the parts. In measure 37, the opening sunrise theme returns, this time with the solo in the cello and the sustained chords in the violins and viola. The lively sixteenth-note section returns in measure 50, beginning with sixteenth notes in the cello which move to the viola, and finally, the violins. In measure 60, all instruments drop to piano for a six-measure staccato eighth-note section before jumping to an all sixteenth-note fortissimo in measure 66 to finish off the exposition. Development The development in measure 69 begins with the same texture as the opening of the movement—with the 2nd violin, viola, and cello sustaining a chord while the 1st violin plays a solo on top. The first chord, sustained from bars 69–72, is a D minor chord, the relative minor of the dominant, F major. The second chord, sustained from bars 75–79, is an F{{music|sharp}} diminished seventh chord, resolving to G minor in measure 80, which signifies the return of trading moving sixteenth notes. The following five measures revolve around G minor, only to modulate to E{{music|flat}} major in measure 86. The major tonality lasts but two measures, as it shifts to F minor in measure 88, F{{music|sharp}} diminished in 89, and G minor in measure 90. In measure 96, the violins play staccato eighth notes followed by eighth-note rests, while the viola and cello fill in the violins' eighth note rests with their own eighth notes. This sets up a pattern for the rest of the development section, in which one instrument, mainly the 1st violin (in measures 98 to 102), fills in an eighth rest with a lone eighth-note, thus giving each measure a steady eighth-note pulse.Throughout this section, the dynamic gradually drops from forte to pianissimo by means of a poco a poco decrescendo. When the pianissimo is finally reached in measure 105, the retransition to the recapitulation begins, ending on the dominant seventh chord (F) of the original key, B{{music|flat}} major. Recapitulation In measure 108, the beginning of the recapitulation begins just as the beginning of the exposition, with the 2nd violin, viola, and cello sustaining a tonic chord while the 1st violin plays the sunrise motif above it. In measure 135, the allegro con spirito sixteenth-note section returns in the 1st violin, punctuated by staccato eighth notes in the other instruments. The sixteenth notes trade off to the 2nd violin, culminating in an all-instrument unison in measure 140. After this, the opening theme returns again, with the solo line beginning with the cello and moving up through the viola to the 2nd violin. In measure 151, all strings crescendo to the returning sixteenth-note theme in measure 152.In measure 162, the staccato eighth-note trade-off section returns, in the tonic key and piano dynamic. A fortissimo appears in measure 172, beginning the lead into the I7 chord fermata. Beginning in the following measure, the viola, and two violins pass each other the opening sunrise motif for a measure at a time, while the remaining instruments sustain chords. The tonic returns in measure 181, with a brief teaser of the staccato eighth-note theme, to be replaced by the sixteenth notes played by all instruments in the fortissimo dynamic. In the final three bars, all four instruments play a succession of tonic B{{music|flat}} major chords. No. 5 ("Largo," "Friedhofsquartett") The Quartet No. 64 in D major, Op. 76, No. 5, consists of four movements:{{Ordered list|type=upper-roman

Tempo#Italian tempo markings>Allegrettorelative a' { key d major time 6/8 partial 8 a8 mf d8.( cis16 d8) e( cis a) d8( e fis) g4( fz fis8) e8.( fis16 e8) b'( g e) d16( cis) e( cis) d( b) a8( b cis) }

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Tempo#Italian tempo markings>Largo. Cantabile e mestorelative cis' { key fis major time 2/2 partial 4 cis ^markup { italic "tenuto" }

Minuet>Menuetto. Allegrorelative a { key d major time 3/4 partial 4 a4 f d4( fis a) a4( g fis) acciaccatura fis8 e4( d e) e8( fis) d4-. d'-. acciaccatura cis8 b4( ais b) gis8( a!) d,4 fis' fz acciaccatura a,8 gis4( fis gis) gis8( a) a,4 bar ":|." }

Tempo#Italian tempo markings>Prestorelative cis''' { key d major time 2/4 partial 8 cis8-! f d4-! r r4 r8 cis8-! d4-! r r4 r8 cis8-! d8-![ cis-! d8-! cis-!] d4 r } }}The first movement (in D major, {{music|time|6|8}} time) departs from the sonata form of the first four to what Robin Golding describes as "unorthodox variations".Gutmann, Peter. "Classical Notes," 2010. Joseph Haydn: String Quartets, Op. 76. Retrieved 31 December 2018. The second movement, written in F{{music|sharp}} major in cut time, is in sonata form. The third movement, in D major and D minor, is a standard minuet and trio, while the fourth movement's D Major, cut time Presto is in an irregular sonata form.Grave, p. 305Haydn's Op. 76, No. 5, has been nicknamed the Largo and Friedhofsquartett (Graveyard-Quartet).SWR2 [Südwestrundfunk Kanal 2], 28 March 2018. Joseph Haydn: "Friedhofsquartett". Retrieved 1 January 2019. Both monikers stem from its substantial slow movement, which dominates the work.See also BOOK, The String Players' Guide to Chamber Music, 98, Christensen, James, Chicago: Open Court, 2008, 978-0812696271,weblink Christensen refers to the quartet as "Op. 76 No. 5, with the Churchyard (Graveyard) Largo"."[It is] called the Graveyard Quartet because the second movement … is often played at burials," writes Sonia Simmenauer in her book Must It Be?: Life in a Quartet.BOOK, Muss es sein?: Leben im Quartett, 84, Simmenauer, Sonia, Berlin: Berenberg Verlag GmbH, 2016, 978-3937834245, In the original German text, the work "genannt >Friedhofs-Quartett