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What does FHE stand for? Something Haydn Edition? I've never heard of it, I think a note explaining it would be useful. -- Camembert
FHE - First Haydn Edition
We catalogue Haydn's music by 3 main lists:
Hoboken (Hob.) Opus (Op.) First Haydn Edition (FHE)
--- Of Course if you know the scale, it's highly suggested that you use it. ---
For Example: Joseph Haydn - Symphony No. 85 in B- flat major, Hob. I:85 (La Reine) - "The Queen" Some Smphonies and quartets have nicknames, non of which Haydn named himslef. But it helps identifying the pieces.
Presonally, I do not use the FHE, and it's actually pretty rare to see that.
Maybe, somtimes when the subject is his early works,
— Preceding unsigned comment added by 109.65.0.49 ( talk) 08:16, 16 September 2019 (UTC)
According to Oxford Music Online - highly reliable, what has been claimed here as Opus 0, is incorrect - it needs to be under "Opus. 1, No. 0" or however you want to format it to that information —Preceding unsigned comment added by 161.73.43.87 ( talk) 21:26, 11 January 2009 (UTC)
It seemed like a nice idea to add html encoding to get the 'flat' and 'sharp' characters to show up, but the encoding does not work (at least on my machine). All I get is a faint empty square. 66.63.144.242
Accidentals work on my Mac. Stephen B Streater 00:05, 24 February 2006 (UTC)
It's nice to hear what these pieces sound like, and here's a link to a right's cleared extract of Op 33 no 2: The Joke
I'd like to add this link in to the article, but it seems slightly unusual to add an external link to the middle where the piece appears, and adding a whole section to the end seems a bit excessive for one link. I'll leave it here in the talk section while I (and hopefully others) think about where this (and other links) could go. Stephen B Streater 00:04, 24 February 2006 (UTC)
The 5 extant autographs are dated 1791. So why 1790? (see Webster, James (Jan. 1975).
"The Chronology of Haydn's String Quartets". The Musical Quarterly. 61 (1): 19 (from 17-46).
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Sound the Note! 05:31, 14 October 2007 (UTC)
DOH!: what i came to find, wasn't here to be found. And i might not be the only one. If it's not not known, maybe a note to that effect, and maybe the best guess? Thx, "alyosha" (talk) 03:34, 28 May 2008 (UTC)
There's been a bit of edit/revert going on between a registered editor and an anon regarding nicknames for each set. The proposed nicknames are:
The question is which of these are "standard" and which are not as common.
Personally, I'd vote to at least drop the "Tost" labels just because of the confusion of multiple sets (what good is a label if it doesn't disambiguate?). Also, when I have seen Tost used, I've see 54/55 together as "Tost" and more rarely I've seen 64 as "Tost II" or "Second Tost". I've never seen "Tost III".
Anyone else have any opinions? Its a relatively minor issue, but since there's been some edit/revert, I feel it deserves a few more opinions. Cheers. DavidRF ( talk) 01:34, 22 December 2008 (UTC)
Burton's phrasing is a little ambiguous, but it sounds like he's saying that Op. 64 was specifically dedicated to Tost. Then in his notes to DG 431145-2, a 3-disc set again with the Amadeus Quartet, including Opp. 51 & 64, Burton says"These [Op. 54 and Op. 55] quartets appear, like their successors, the half-dozen op. 64, to have been written for Johann Tost. Tost was a violinist in Haydn's orchestra at Esterháza, who gave up his job in 1788 to go to Paris. He later returned to Austria and married Prince Esterházy's housekeeper; eventually he became a successful manufacturer and merchant, playing the violin only as a hobby. It was certainly through Tost that the op. 54 and 55 quartets (as well as the symphonies nos. 88 and 89) came to be published in Paris. At the same time, none of the early printed editions of the quartets specifically identify Tost as their dedicatee, as do the first publications of op. 64. But there are many signs that the first violin parts of the earlier set are conceived for the same outstanding player as those of the later. The late Hans Keller, in his interpretive study of The Great Haydn Quartets, concluded on the basis of all twelve quartets that Tost must have been "an exceptional musician with an intense and rich imagination".
Before this passage Burton mentions that Op. 64 was composed in 1790, "the year in which his employer Prince Nikolaus Esterházy died, leaving him free to accept the invitation to visit London ..." It might be speculated (Burton does not) that if Haydn's employment had ended, a "wealthy merchant" formerly in the orchestra may have paid Haydn something for the dedication. These DG publications say merely "Tost Quartetten" without specifying set numbers such as I, II, III. Milkunderwood ( talk) 20:37, 30 November 2011 (UTC)Like their predecessors, the two sets of three opp. 54 and 55, these quartets are dedicated to Johann Tost, a former violinist in Haydn's orchestra at Esterháza who had become a wealthy merchant in Vienna. Presumably because of this, they occasionally highlight the first violin part in brilliant passage-work or expressive high-lying melodic writing.
It might be a good idea to footnote the name Tost to Johann - does anyone have access to a copy of Keller? Milkunderwood ( talk) 23:16, 30 November 2011 (UTC)
What are the FHE numbers assigned to each of the quartets, and where did they come from? No source is mentioned or given. Milkunderwood ( talk) 21:39, 30 November 2011 (UTC)
We know that Haydn's Op. 20 influenced Mozart's Viennese Quartets (KV 168–173, followed by the quintet KV 174), and that Haydn's Op. 33 influenced Mozart's Haydn Quartets Op. 10 (KV 387, 421, 428, 458, 464, 465). Therefore it is amusing to note that the next quartets by Haydn are the singleton Op. 42 and the set for the King of Prussia Op. 50 (with Mozartian influence), and that the next quartets by Mozart are the single Hoffmeister Quartet (KV 499, followed by the quintets KV 515 and 516) and a set for the King of Prussia (KV 575, 589, 590). (And even though those were to be Mozart's last quartets, it has been speculated that the "Hungarian amateur" Mozart wrote the quintets KV 593 and 614 for was Tost, the dedicatee of Haydn's Op. 54, 55, and 64!) Alas, I would be surprised if any reliable source remarked on this coincidence, unless it could be demonstrated that it was more than such. Double sharp ( talk) 09:48, 3 May 2016 (UTC)
"Assuming a first movement and finale that measured up to the dynamism of the two inner portions, it would appear that Haydn had something particularly formidable in mind, perhaps a bold demonstration of undiminished strength – to himself and to the world at large – even as he faced imminent collapse from inside.
As a consequence of the afflictions that darkened the last years of Haydn's career, Lobkowitz had to make do with an unfinished commission, Haydn's publishers were denied the satisfaction of even a half set of completed works to issue, and Griesinger was left with unfulfilled promises. Might it also be said that the oeuvre was deprived of a crowning masterpiece?" – The String Quartets of Joseph Haydn (Grave and Grave, 2006): p.335
"But this is not the only allusion to Haydn's previous works: the Seasons contains references to Haydn's music from years back. When he finished it, he was written out. The last years of Haydn's life, with all his success, comfort, and celebrity, are among the saddest in music. More moving than the false pathos of a pauper's grave for Mozart (who was only buried there because Baron Van Swieten advised the economy to Constanza) is the figure of Haydn filled with musical ideas which were struggling to escape, as he himself said; he was too old and weak to go to the piano and submit to the discipline of working them out." – The Classical Style (Rosen, 1971): p.373
Double sharp ( talk) 15:39, 4 May 2016 (UTC)
Oh, and what could have been: in 1801 Greisinger wrote "Haydn macht jezt sechs Quartette für den Fürsten Lobkowiz und hernach will er dem Graf Fries sechs Quintette componiren; er hat sie schon vor mehreren Jahren versprochen." The thought of Haydn string quintets! Double sharp ( talk) 14:57, 16 May 2016 (UTC)
It seems like an interesting thing to have, something like:
C | c | D | d | E♭ | E | F | f | f♯ | G | g | A | B♭ | b |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
1/6 (3/2) 9/1 20/2 33/3 50/2 54/2 64/1 74/1 76/3 |
17/4 | 1/3 (2/5) 17/6 20/4 33/6 50/6 64/5 71/2 76/5 |
9/4 42 76/2 103 |
1/2 1/0 (2/3) 9/2 17/3 20/1 33/2 50/3 64/6 71/3 76/6 |
2/2 (3/1) 17/1 54/3 |
2/4 (3/5) 17/2 50/5 74/2 77/2 |
20/5 55/2 |
50/4 | 1/4 (3/3) 9/3 17/5 33/5 54/1 64/4 76/1 77/1 |
20/3 74/3 |
2/1 (3/6) 9/6 20/6 55/1 |
1/1 (1/5) 2/6 (3/4) 9/5 33/4 50/1 55/3 64/3 71/1 76/4 |
33/1 64/2 |
Double sharp ( talk) 05:49, 5 September 2016 (UTC)
Why not post all of the first themes or first portions of first themes as many are already shown? Amoss1985 ( talk) 21:43, 19 December 2021 (UTC)
After you add all the incipits for Haydn quartets, please create a similar page for the string trios. Then, I will make a donation to wikipedia. — Preceding unsigned comment added by Amoss1985 ( talk • contribs) 13:30, 12 January 2022 (UTC)
There are 68 quartets by Haydn. There used to be 83. What are the 15 quartets that got debunked? I think it would be an interesting addition to the article. And a matter of personal importance as well: have I been tricked into playing (and perhaps enjoying) string quartets by some phoney???!!!
Anyone have a list of the non-Haydn quartets? Thanks. Ravpapa ( talk) 06:35, 5 February 2023 (UTC)