by Kevin McLaughlin

Haydn’s Op. 76, No. 4 (“Sunrise”) begins with a first-violin line unfurling over softly lit inner voices as the quartet waited for daylight. But when Haydn quickly broadened the texture into something fuller and more forceful, the quartet’s delicacy came at the expense of expressive weight.
The second movement opened almost inaudibly, the players hardly breathing, as if afraid of being discovered. By the Menuetto, the ensemble had loosened up, swaying with Haydn’s unexpectedly intricate rhythms, not waiting to be asked to dance. In the finale’s fugue, lines passed so smoothly from one player to the next that the seams disappeared, leaving only music. [Read more…]



