Haydn 'Joke' Quartet, 4th mvt Analysis by

aaron_lum1 — 2025-04-04 06:33:48 UTC

What’s the form of Bars 1 - 37?
Identify the term representing the held Bb note in the cello from Bars 16 - 21. Give another section where such a device occurs.
What’s the form of the entire 4th movement? (Hint: Use letters to demarcate sections)
How does Haydn make use of the instrumentation to create different textures and combinations? Example: In the beginning, he uses Violin 1 for the melody, while the rest of the instruments accompany with light staccato notes). Look at these sections:
1. Bars 9 - 16
2. Bars 22 - 28
3. Bars 37 - 41
4. Bars 108 - 119
Why do you think this is described as the ‘joke’ quartet? (Hint: Listen to Bars 149 - end, what do you think Haydn is trying to do?

Group 3 (Elise, Nicole, Calista, Alyssa, Shu Min)

2025-04-04 08:40:33 UTC

Ternary form.
Pedal point. The other section is Bars 87 - 92.
Rondo form (A: 1-37, B: 37-70, A: 71-107 C: 108 - 140 varied A: 141 - 172
9 - 16: violin 2 harmonising melody with viola and cella playing longer accompaniment
22 - 28: violin 2 harmonising melody, viola playing pedal point, cella playing bass
37 - 41: violin 2 has counter melody, viola playing almost nothing, cello playing pedal point
108 - 119: violin 1 pedal point, violin 2 (main melody) and viola playing melody, cello pedal point
unexpected pauses, random adagio section, don’t know when it will end, incomplete repetition of theme

grp 2:

2025-04-04 08:44:23 UTC

ternary form
tie, bar 37
rondo form: abacaba

4. bars 9-16 the violin 1 is carrying the main melody while cello/ violin 2 and viola is playing a light accompaniment (staccato)

bars 22-28 all the four instruments are mirroring each other in terms of melody (rhythmic motif)

bars 37-41 there is some form of imitation with viola, violin 2 and cello as the accompaniment that echoes the main melody, creating a denser texture with interlocking melodies.

bars 108-119: violin 1 and 2 plays at higher ranges while viola and cello plays at lower ranges, contributing to complex layering and sudden shifts and contrasts between legato and staccato playing are included.

- General Pause: sudden complete silence in bar 154-156, bar 158-160, bar 162-164, and bar 167-170. give the audience a feel of ‘should i clap now??’ creates tension

- change in dynamics from p in bar 153 to pp in bar 170

- from bar 153 to 173, conversation-like, fragmented motif, unexpectedly ends with an unanswered question, leaving the refrain hanging in mid-air

- change of time signature to 2/4 in bar 148

- increase in tempo from Adagio to Presto in bar 152