Thirty Celebrated String Quartets, Volume II Cover Image

Thirty Celebrated String Quartets, Volume II: String Quartet Book

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Thirty Celebrated String Quartets, Volume II Cover Image

Thirty Celebrated String Quartets, Volume II: String Quartet Book

By Franz Joseph Haydn; Revised by Andreas Moser and Hugo Dechert

Item: 00-K03544

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Description
Expertly arranged String Quartets by Franz Joseph Haydn from the Kalmus Edition series. This is from the Classical era. Op. 3, Nos. 3, 5; Op. 20, Nos. 4, 5, 6; Op. 33, Nos. 2, 3, 6; Op. 64, Nos. 5, 6; Op. 76, Nos. 1, 2, 3, 4, 5, 6

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Additional Details
Series: Kalmus Edition
Publisher: Alfred Music
Page Count: 304
ISBN10: 0-7692-2571-3
ISBN13: 978-0-7692-2571-5
UPC: 029156146547
SKU: 00-K03544

More about this title

About the Composer: Franz Joseph Haydn

Haydn spent nearly thirty years as Kapellmeister for the Esterházy court, where he developed the string quartet from a divertimento-like entertainment into the backbone of chamber music. His prolific output across the genre shows constant innovation: the Op. 20 quartets introduced fugal finales and deeper harmonic exploration, the Op. 33 set earned the nickname "Russian" quartets for their folk-like themes, and the final Op. 76 cycle represents the culmination of his mastery, written when he was in his sixties.

Teachers return to Haydn's quartets because they balance accessibility with genuine sophistication. His textures are transparent enough that young players can hear how the parts interlock, yet his harmonic language and formal architecture reward years of repeated study.

Why we love this

A single volume containing nearly forty quartets gives you unmatched flexibility for contest preparation, thematic programming, and sequential study of Haydn's stylistic evolution. The Kalmus Edition provides clean, readable texts that let the music speak without editorial interference, making it ideal for groups working through the quartets chronologically or selecting pieces that match their technical level and interpretive maturity.

What to expect

Haydn's string quartets speak in conversational tones, with voices entering and withdrawing like people talking in a room. The music is witty without being lightweight, elegant without pretension, and emotionally direct even when the harmony grows complex. You hear the pleasure of pure instrumental writing unadorned by orchestral color.

Who it's for

Quartet programs preparing for ASTA or state-level competitions will find multiple options matched to their abilities across volumes. Advanced high school and college ensembles studying the development of the quartet genre benefit from having this many works in a single print edition, allowing them to trace Haydn's refinement of texture, form, and harmonic language over two decades.

How to get the most out of it

  • Approach the Op. 20 quartets with attention to the weight of harmonic movement; Haydn shifts between major and minor and explores remote tonal areas in ways that feel exploratory rather than settled.
  • Balance transparency in the Op. 33 set by resisting the urge to oversing the folk-like themes; let the accompaniment figures breathe and maintain rhythmic lift.
  • In the Op. 76 quartets, shape the longer phrases with subtle dynamic shaping rather than obvious crescendos, since Haydn's late writing depends on harmonic color and voice leading to create momentum.
  • Use first violin and cello dialogue as a structural anchor in slow movements; these conversations often carry the narrative weight that sustains longer forms.

How to use it

Pair Op. 76 quartets as anchor works for a chamber concert centered on late Classical string writing, or use selections from across the volume to create a lecture-demonstration on how the quartet evolved from Haydn's early innovations through his mature mastery. Contest programs benefit from having multiple options; coaches can select pieces that suit the ensemble's strengths while building technical range.

Skills your students will build

  • Reading in multiple clefs across four parts simultaneously
  • Maintaining rhythmic independence while tracking harmonic progression
  • Identifying and executing fugal entries and stretto passages
  • Balancing sustained lines against active accompaniment figures
  • Responding to harmonic modulation and remote key areas
  • Shaping longer phrases through voice leading rather than dynamic extremes
  • Executing rapid passagework cleanly across register changes

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