Haydn composed his six Opus 20 Quartets in 1772, only one year after his Opus 17 Quartets, yet commentators universally remark on his great advance in quartet writing between the two sets. Haydn himself was excited about them, appending more effusive Latin annotations than his usual “Fine Laus Deo” at the conclusion of most of the quartets. They were published c. 1774 in Paris by Chevardière, but it was their c. 1779 publication by Hummel that gave rise to the nickname “Sun” Quartets, because of the lovely illustration of a rising sun that decorated the title page.

Scholars have not been able to establish the order of composition of the Quartets. They are presented in a different order in the two early editions and in a third order in the c.1800–01 Artaria edition that was revised by Haydn, but it is well-known that composers did not arrange their publications by date of composition. It was in the Artaria edition that they received the familiar numbering, and a dedication—to the chamber-music-loving Prince Nikolaus Zmeskall von Domanovecz. Together the Opus 20 Quartets offer an astonishing variety of textures and forms. Especially notable is the new importance and complete independence of the cello part and a more prominent kind of contrapuntal mastery.

The first movement opens in the texture of a trio sonata with a unique distribution of roles: the cello delivers the melody while the violin has an inner part, and the viola plays the bass. Haydn transposes the melody when it continues in the violin. The surprisingly dark development begins with strong proclamations alternating between the violin and cello. The cello’s melodic role will remain a recurring practice throughout the quartet.

The Capriccio in the minor mode is a naturally exploratory and theatrical movement, much like a recitative and aria. A unison opening statement gives way to investigations of various musical ideas that are interrupted or echoed by similarly unified moments throughout. The mood is lifted and stabilized with the violin’s beautiful lyrical moment in the middle until some drama and harmonic uncertainty. The Capriccio continues into the third movement uninterrupted.

The third movement, Menuetto, features the characteristics of a musette, a pastoral dance-like piece that suggests the sound of the bagpipe, also known as a musette. Hence, the reappearing extended drones provide a foundation for the light major melody that alternates with brief chromatic lines in minor phrases. Once again, the cello carries the melodic responsibility for a phrase before the minuet ends softly and gently.

As is also true for quartets five and six from Opus 20, Haydn closes with a fugue for the final movement. The violin boldly launches into a statement of the first of four subjects (Fuga a 4 Soggetti) to be carefully interwoven. Eventually, the theme is presented upside down by the first violin in the development. Alternating chromatic lines provide suspense that builds into a suddenly loud section with one final homophonic conclusion.

—©Jane Vial Jaffe, Ainsley Berryhill