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The Op. 50 string quartets contain some of the purest writing Haydn ever accomplished. In this first full account of these six quartets Dean Sutcliffe evaluates the Op. 50 in relation to Haydn's more frequently performed quartets and considers their relevance to the composer's wider output. A lucid and accessible discussion of the music emphasises the unity of each quartet: not only motivic unity, but unity also of texture, articulation, harmony and syntax. Each quartet is described in detail. The informative background provided by Dr Sutcliffe includes a brief history of the string quartet, and an assessment of Haydn's earlier works in this genre and of his role at Esterhaza. The description of the composition and publication of the Op. 50 quartets is based on the evidence of Haydn's surviving letters and the recently discovered autograph copies of Nos. 3 to 6 - a discovery which is vividly documented here for the first time.

opus-50 --- Haydn, Joseph, --- Haydn, Franz Joseph --- 526.30 --- Genre- en werkbesprekingen --- Muziekanalyses --- Muziekgeschiedenis --- Instrumentaal --- Kwartetten --- Strijkers --- Strijkkwartet --- Haydn, Joseph (1732-1809) --- 18e eeuw --- Oostenrijk --- Haydn, Joseph

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Sociability may be a key term of reference for eighteenth-century studies as a whole, but it has not yet developed an especially strong profile in music scholarship. Many of the associations that it brings do not fit comfortably with a later imperative of individual expression. W. Dean Sutcliffe invites us to face up to the challenge of re-evaluating the communicative rationales that lie behind later eighteenth-century instrumental style. Taking a behavioural perspective, he divides sociability into 'technical' and 'affective' realms, involving close attention both to particular recurring musical patterns as well as to some of the style's most salient expressive attributes. The book addresses a broad span of the instrumental production of the era, with Haydn as the pivotal figure. Close readings of a variety of works are embedded in an encompassing consideration of the reception of this music.

Instrumental music --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Music, Instrumental --- History and criticism. --- Social aspects --- History --- Haydn, Joseph, --- Mozart, Wolfgang Amadeus, --- Mozart, Wolfgang Amadeus --- Mozart, Johannes Chrysostomus Wolfgangus Theophilus --- Gaĭdn, Ĭ., --- Gaĭdn, Ĭosif, --- Gaĭdn, Ĭozef, --- Haiden, Josip, --- Haidnas, J., --- Haidun, --- Hayden, Joseph, --- Haydn, --- Haydn, F. J. --- Haydn, Franz Josef, --- Haydn, Franz Joseph, --- Haydn, Giuseppe, --- Haydn, Ios. --- Haydn, J. --- Haydn, Jos. --- Haydn, Josef, --- Haydn, Joseph --- Heyden, Joseph, --- Khaĭdn, Ĭozef, --- היידן, י., --- Criticism and interpretation. --- Haydn, Franz Joseph --- Mot︠s︡art, Volʹfgang Amadeĭ, --- Mōtsaruto, --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib, --- Mozart, Johann Chrysostom Wolfgang Amadeus, --- Mozart, W. A. --- Mozart, Wolfgango Amadeo, --- Mot︠s︡art, V. A. --- Mocartas, V. A., --- Motsart, Volphnkank Amedaios, --- Mot︠s︡art, Volfang Amadeus, --- Mozzart, Apollo, --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus, --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus, --- Mozhate, --- Моцарт, Вольфганг Амадей, --- מוצרט, --- מוצרט, וולפגנג אמדאוס, --- 莫札特, --- Mozart, Wolfgang Amadeusz, --- Mozart, W.A. --- Mot︠s︡art, Volʹfgang Amadeĭ --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib --- Mozart, Johann Chrysostom Wolfgang Amadeus --- Mozart, Wolfgango Amadeo --- Mocartas, V. A. --- Motsart, Volphnkank Amedaios --- Mot︠s︡art, Volfang Amadeus --- Mozzart, Apollo --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus --- Mozhate --- Моцарт, Вольфганг Амадей --- Mozart, Wolfgang Amadeusz

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Music --- Mozart, Wolfgang Amadeus

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Saggi di João Pedro d’Alvarenga, Andrea Coen, Todd Decker, Emilia Fadini, Sara Gross Ceballos, Valerio Losito, Jacqueline Ogeil, Serguei N. Prozhoguin, Joel Sheveloff, Rohan H. Stewart-MacDonald, W. Dean Sutcliffe, Colin Timms, Chris Willis While the publication of both single- and multi-author studies of composers in their anniversary years has become a predictable part of today’s musicological landscape, such works still have their uses. If this is less apparent in the case of some of the biggest names, where suspicions of overkill or ‘cashing in’ may well be raised, the practice can be more readily justified for that vast majority of less celebrated — and commercially less attractive — composers. Marking anniversaries in such a way can give them a better chance to have their voices heard, and can act as a spur to activities on a larger scale. Scarlatti research has often been carried out in relatively isolated pockets, defined by very different epistemological values, and often enough marked by strong polemics between various parties. The lack of certain knowledge and agreed priorities can be enticing, but it can also produce mutual frustrations. In the light of such factors, the present collection could not offer, and is not intended to offer, a comprehensive survey of Scarlatti research; rather, we present a series of case studies, covering not just the magnificent corpus of keyboard sonatas, but other genres and aspects as well. The title reflects not just the feeling of adventure that seems to animate the sonatas, but also the fact that a certain intrepid spirit is required when approaching any aspect of the world of Scarlatti.