Genre: Chamber Music
Composer: Hayden
Title: String Quartet No.29 in G major, Op.33-5, Hob.III-41
Composition Year: 1781 (by Hayden's letter)
Place of composition: Eszterháza
Publications / Editions: April 13, 1782 Wien's Artaria Press
Tribute, instrument: dedicated to the Russian Grand Pavel Pavel Petrovich.
Year of release: Unknown
First place: Unknown
Starring: Unknown
Instrumentation / vocalist / characters
Violin 2, viola, cello
Composition of movements
(0:00) 1 movement Vivace assai, G major 2/4 beat, sonata type. It starts with the two-word Xuzhou and is used as the ascending musical form of the first theme. The first theme consists of 22 words consisting of 3 phrases of A - B - C. The Transition Department proceeds around the second phrase in the first theme. The second theme is a dance form, and the latter phrase is a singer. Cordeta changed to E flat major after moving from G major to E minor around the first subject. The power section consists of four parts. The second part of the recital is reproduced in the first theme and the second part is progressed in a new melody. Coda goes on to the first theme of the E flat major, and the Xiaoju part again appears.
(5:46) 2 movement Largo e cantabile, G forged 2/2 beat, 2 part format. Proceeding at a slow tempo of the first violin melody. PART 1 The first theme begins with G forgiveness and the second theme is presented as B flat major. The transitional section consists of five words and is reproduced in the first theme. The second part consists of transitional form phrases, and the second theme is not reproduced and leads to a four-word coda.
(9:24) 3 movement Scherzo. Allegro, G major. The first part of Scherzo starts with two beats. The trio goes on to dance in the style of the G major Lentler style.
(12:20) 4 movements Finale. Allegretto, G major 6/8 beats, variation type. The subject is a repeating two-part form with eight words, followed by three variations and a coda. In the first variation, the first violin proceeds at the melody of the sixteenth note. The second variation is centered on the motive. The third variation goes to viola and cello.
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