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CHROMATICISM, FORM, AND EXPRESSION IN HAYDN'S STRING QUARTET OP. 76, NO. 6

CHROMATICISM, FORM, AND EXPRESSION IN HAYDN'S STRING QUARTET OP. 76, NO. 6 stct. Some, including Donald Fncis Tovey and even Karl Geiringer, have found in its remoteness signs of the composer’s waning creative powers.2 The prevalence of the major mode and apparent simplicity of this work provide, however, a necessary foil for highly inventive chromatic experimentation, which is itself the basis for formal innovation at the broadest levels of structure. Chromaticism is the means in this quartet for remarkably profound personal musings on Haydn’s part, couched of course within his chacteristically restined mode of expression. My theory of chromaticism in classic-period music has been fully set forth in a previous article (Baker 1993), in which I deal with instrumental music of Mozart. The basic tenets of the theory should become evident in the process of the analytical discussion of op. 76/6 to follow. A brief comment on the theoretical foundations of my approach is appropriate here, however. My view of chromaticism has developed from two main sources: 1) theorists contempory with Haydn and Mozart, and 2) theorists working at the end of the tonal period, especially Schoenberg, Webern, and Schenker. Schoenberg and Webern, in particular, held that the process of unfolding of the twelve pitch-classes of the chromatic universe is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

CHROMATICISM, FORM, AND EXPRESSION IN HAYDN'S STRING QUARTET OP. 76, NO. 6

Journal of Music Theory , Volume 47 (1) – Jan 1, 2003

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Publisher
Duke University Press
Copyright
Copyright 2003 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-47-1-41
Publisher site
See Article on Publisher Site

Abstract

stct. Some, including Donald Fncis Tovey and even Karl Geiringer, have found in its remoteness signs of the composer’s waning creative powers.2 The prevalence of the major mode and apparent simplicity of this work provide, however, a necessary foil for highly inventive chromatic experimentation, which is itself the basis for formal innovation at the broadest levels of structure. Chromaticism is the means in this quartet for remarkably profound personal musings on Haydn’s part, couched of course within his chacteristically restined mode of expression. My theory of chromaticism in classic-period music has been fully set forth in a previous article (Baker 1993), in which I deal with instrumental music of Mozart. The basic tenets of the theory should become evident in the process of the analytical discussion of op. 76/6 to follow. A brief comment on the theoretical foundations of my approach is appropriate here, however. My view of chromaticism has developed from two main sources: 1) theorists contempory with Haydn and Mozart, and 2) theorists working at the end of the tonal period, especially Schoenberg, Webern, and Schenker. Schoenberg and Webern, in particular, held that the process of unfolding of the twelve pitch-classes of the chromatic universe is

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2003

There are no references for this article.