I
Franz Xaver Richter (1709-1789), Franz Joseph Haydn (1732-1809), and Luigi Boccherini (1743-1804) brought the string quartet into popular favor. Richter was, next to Johann Stamitz, the most significant of the composers at one time or another associated with the orchestra at Mannheim, who may properly be called the founders of the classical symphony. Six of his string quartets were published in London between 1767 and 1771. These were probably written much earlier. One finds in them the now clearly defined sonata-form; a careful writing for each of the four instruments (two violins, viola, and 'cello), which, of course, marks the disappearance of the figured bass from music of this kind; finally an intimacy of sentiment rather distinct from the hearty music of the young Mannheim symphonies.
Luigi Boccherini, for many years supposed to have created the string quartet out of his head, is now generally recognized as a disciple of the Mannheim reformers. He was himself a brilliant 'cellist. In 1768 his performances at the Concerts spirituels brought him and his compositions into fame. He held court positions at Madrid, later was chamber-composer to Frederick Wilhelm II, of Prussia; and after the death of this king in 1797 went back again to Spain, where, unhappily, in spite of the friendly patronage of Lucien Buonaparte, the French ambassador, he was overtaken by poverty and misery.
As a composer of chamber music he was unusually prolific. He wrote no less than one hundred and twenty-five string quintets, one hundred and thirteen of which are for two violins, viola, and two 'celli; and there were at least ninety-one string quartets from his easy pen. The first six of these were composed about 1761, and were published in Paris in 1768, while Boccherini was in that city. They appeared as Sei Sinfonie, or Sei Quartetti, for two violins, alto, and violoncello, dedicated to amateurs and connoisseurs of music.
A sympathetic writer on Boccherini’s life and work[62] said of these first quartets that in them the composer revealed himself entirely. ‘His taste, his style, his easy touch, his genius show themselves suddenly with a superiority, an understanding of the art, which leave similar works by his predecessors far behind. He thus becomes creator of this genre, of which he fixes the true character forever. Other great masters who have come since have doubtless modified and extended the domain of the Trio, the Quartet, and the Quintet, but following the road which he had the glory first to trace. When one approaches the works of his immediate predecessors and of his contemporaries, and compares them with his, one cannot but admire the complete revolution, ahead of the time and yet sure, accomplished at the first shot, and without hesitation, by a young artist of twenty-one years!’
This is extravagant. Boccherini is not now considered the creator of a new style. Indeed, there is no musician to whom alone the invention of any musical form may be ascribed. But his writing is clear and fluent, and intimately adapted to the string instruments for which it was conceived. These first quartets are said to have been especially admired by the great violinist Viotti.
It is unhappily true that Boccherini does reveal himself entirely in the first six of his published works. Subsequent works show little sign of advance or development. In his work as a whole there is a fatal sameness. Too much gentle elegance has driven out humor and genuine vigorous life. For this reason a great part of it has fallen into oblivion. Yet it does not lack charm, and is, indeed, conspicuous for excellent treatment of the slender tone-material.
Pioneers of the String Quartet. From top left to bottom right:
Luigi Boccherini, Wolfgang Amadeus Mozart,
Joseph Haydn, Franz Xaver Richter.
Haydn’s string quartets are immensely more vigorous. Three sets of six were published in Paris between 1764 and 1769.[63] These first eighteen of his numerous works in this form had been written some ten years earlier, while Haydn was at the house of Joseph von Fürnberg in Weinzirl, near Melk, not far from Vienna. The young nobleman was an enthusiastic amateur of music and was accustomed to invite friends to his house to practise and play with him all sorts of chamber music. He suggested to Haydn, who had in some way become known to him, possibly by some early trios, that he write a string quartet. This Haydn did, and his music made such a favorable impression that the fame of it spread rapidly abroad. There followed seventeen more quartets, all written for the group of musicians whom Fürnberg had gathered round him. In this group were men who played the horn, the oboe, and the flute; and some of these first eighteen quartets were originally composed for strings and wind. The wind players were, however, unskillful, and Haydn contented himself for the most part in writing for only the four strings.
It is interesting to note that Haydn wrote these quartets as Cassations, Divertimenti, and Notturni;[64] a fact which goes far to show how loose was the terminology of instrumental music even as late as 1755. Cassation, divertimento, serenade, notturno, all meant about the same thing: a piece of music in several movements of light character, usually arranged for a band of both wind and string instruments. They differed from the sonata and from the growing symphony in number of movements. There were usually at least five. These early quartets of Haydn’s were printed in Paris as symphonies, symphony still being applicable to any piece of music written for more than three instruments.
It would seem, then, that Haydn wrote his quartets just to suit the requirements of a happy circumstance; that he had no idea of creating a new art form; that he applied to music for four instruments the principles of form with which he was already familiar through the works of Emanuel Bach, and which, moreover, were becoming more and more familiar to the world by reason of the popular fame of the Mannheim symphonies. But by this happy circumstance he came upon the special branch of music which to the end remained wholly fitting to his genius.
As to the special form of these first quartets there is little to say. The first twelve, with one exception, have five movements apiece. Of these, two are usually minuets. The first is usually in the sonata-form. The fifth quartet has three movements. It was undoubtedly not only originally conceived as a symphony, but was actually so played, and may, therefore, be called Haydn’s first symphony. Of the last six quartets four have four movements; the fourteenth has three and the sixteenth is the only one of Haydn’s quartets with but two movements. In this very first series, written for the pleasure of a music-loving young nobleman, Haydn found himself. They show each after the other a steady progress in the treatment of instruments, in the management of form; and, finally, seem to show a decision, henceforth maintained almost without exception, to limit the number of movements to four.
All are full of that spirit of joy and healthiness which has ever been associated with Haydn’s music in general. They introduced a new spirit into the art of music—the spirit of humor, sunny and naïve. On account of this they were welcomed in all the countries of Europe, and spread such general delight that before the middle of the ‘sixties Haydn was among the best known of all musicians. A Parisian publisher named Vénier included the first six of Haydn’s quartets in a series of works di varii autori which were published in Paris about 1764 with the motto: Les noms inconnus bons à connaître. In this series there were forty-six numbers, of which Haydn’s quartets formed the sixth. Other composers represented were Jomelli, Stamitz, Christian Bach and Boccherini.[65] By 1765 editions had appeared in Amsterdam and in London as well.