6th String Quartet in E Flat Major

Haydn Quartets. Par MOZART WOLFGANG AMADEUS. Haydn Quartets / Seiffert, Wolf-Dieter / Répertoire / 2 Violons, Alto, Violoncelle

Appony Quartets-Joseph Haydn composed the string quartets known as Op.71/74 also called the 'Apponyi' Quartets in 1793. The composer dated the autograph scores accordingly although the year that appears on those of the B flat major and D majorquartets shows signs of having been corrected. These two works might already have been finished in 1792. However it is certain that Op.71/74 were composed in Vienna during the period between Haydn's two journeys to England andintended as a series of six quartets.The decision to divide the quartets into two sets of three was taken by the publishers. The three Quartets Op.71 were first published in 1795 by Corri Dussek & Co. then in a slightlyrevised reprint by the Viennese publishing house of Artaria & Co.

Though conceived as four separate movements my second string quartet has a single motif which is common to them all. This is the three-note 'Muss es sein?' from Beethoven's last quartet Op. 135. But whereas Beethoven's theme is notated G E A flat thus giving it an F minor connotation I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity in fact becomes the tonal basis of the whole work only to be resolved at the end of the final movement.Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme while the second has a 'majorised' version which is alsoexpressed as a chord. The third movement with its 'scherzoid' middle section reverts to the major-minor ambiguity of the first and the finale begins with the 'majorised' version as an ostinato accompaniment on pizzicato cello.The slow movement is sub-titled 'In memoriam DSCH' and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note.This is not to imply that the work contains no other thematic material. One important theme a rising fifth and a second is also common to three of the movements and is ultimately derived from my first quartet Op. 1 of 27 years earlier to which this second contribution to the form is in many ways like a sequel. Like the earlier work too this quartet is dedicated to my wife.

Quartet No. 1 in G Major, K.80 Quartet No. 2 in D Major, K.155 Quartet No. 3 in G Major, K.156 Quartet No. 4 in C Major, K.157 Quartet No. 5 in F Major, K.158 Quartet No. 6 in B-flat Major, K.159 Quartet No. 7 in E-flat Major, K.160 Quartet No. 8 in F Major, K.168 Quartet No. 9 in A Major, K.169 Quartet No. 10 in C Major, K.170 Quartet No. 11 in E-flat Major, K.171 Quartet No. 12 in B-flat Major, K.172 Quartet No. 13 in D Minor, K.173 Quartet No. 14 in G Major, K.387 Quartet No. 15 in D Minor, K.421 Quartet No. 16 in E-flat Major, K.428 Quartet No. 17 in B-flat Major, K.458 Quartet No. 18 in A Major, K.464 Quartet No. 19 in C Major, K.465 Quartet No. 20 in D Major, K.499 Quartet No. 21 in D Major, K.575 Quartet No. 22 in B-flat Major, K.589 Quartet No. 23 in F Major, K.590

Volume One Quartet No. 1 in F Major, Op.18, No. 1 Quartet No. 2 in G Major, Op.18, No. 2 Quartet No. 3 in D Major, Op.18, No. 3 Quartet No. 4 in C Minor, Op.18, No. 4 Quartet No. 5 in A Major, Op.18, No. 5 Quartet No. 6 in B-flat Major, Op.18, No. 6 Quartet No. 7 in F Major, Op. 59, No. 1 Quartet No. 8 in E Minor, Op. 59, No. 2 Quartet No. 9 in C Major, Op. 59, No. 3 Volume Two Quartet No. 10 in E-flat Major, Op. 74 Quartet No. 11 in F Minor, Op. 95 Quartet No. 12 in E-flat Major, Op. 127 Quartet No. 13 in B-flat Major, Op. 130 Quartet No. 14 in C-sharp Minor, Op. 131 Quartet No. 15 in A Minor, Op. 132 Quartet No. 16 in F Major, Op. 135 Grosse Fuge in B-flat Major, Op. 133