The four-part habit of writing in instrumental forms—Pioneers of the string quartet proper: Richter, Boccherini and Haydn; Haydn’s early quartets—The Viennese era of the string quartet; Haydn’s Sonnen quartets; his ‘Russian’ quartets; his later quartets—W. A. Mozart; Sammartini’s influence; Mozart’s early (Italian) quartets; Viennese influences; Mozart’s Viennese quartets—His last quartets and their harmonic innovations.
The greater part of the vocal music of the fifteenth and early sixteenth centuries was written in four parts, masses and motets as well as chansons. Only the madrigal was normally in five. After the middle of the sixteenth century, however, composers inclined to increase the number of parts, until four-part writing became rare.
During the seventeenth century, while the art of instrumental music was growing rapidly, composers centred their attention either on groups of several instruments, which we may call primitive orchestras, or on one or two solo instruments supported by the figured bass of the harpsichord. Therefore, about the middle of the eighteenth century, when sonatas and symphonies took on their modern form, instrumental compositions were usually for orchestra, or for a trio, or for a solo instrument with harpsichord accompaniment. But besides these there were many works of indistinct form and name; and not a few of these were written in four parts. Hardly before 1750 can such sonatas or symphonies a quattro be considered string quartets in the present meaning of the word. They are planned and executed in an orchestral manner.
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.