{"id":268,"date":"2014-04-22T13:28:54","date_gmt":"2014-04-22T13:28:54","guid":{"rendered":"https:\/\/wordpress.clarku.edu\/musicresearch\/?page_id=268"},"modified":"2014-05-05T21:20:00","modified_gmt":"2014-05-05T21:20:00","slug":"more-than-a-sales-pitch-humor","status":"publish","type":"page","link":"https:\/\/wordpress.clarku.edu\/musicresearch\/more-than-a-sales-pitch-on-haydns-op-33-quartets\/more-than-a-sales-pitch-humor\/","title":{"rendered":"More than a sales pitch: Humor"},"content":{"rendered":"

Humor is often considered a hallmark of Haydn\u2018s music; yet, humor emerged as an intrinsic element of the composer\u2019s style only around 1780.\u00a0 Therefore, the presence of humor in Op. 33 suggests another musical trait that differentiates these string quartets from Op. 20.\u00a0 The humor in question refers to the interplay of expectation and surprise that ensues.\u00a0 Steven Paul supports this interpretation: \u201cHaydn\u2019s humor, however, was not merely designed to entertain, amuse, or even fool musical performers and audiences.\u00a0 It also plays an important role in the form and structure of his music by providing elements of relaxation, comic relief, and variety.\u201d\u00a0 For this reason, the term \u201cwit,\u201d with its emphasis on clever playfulness, may be more appropriate than \u201chumor.\u201d[1]<\/a>\u00a0 In Mark Evan Bonds\u2019 \u201cHaydn, Laurence Sterne, and the Origins of Musical Irony,\u201d the author asserts that Haydn\u2019s instrumental music \u201csucceeded in calling attention to the very artificiality of [his] own works\u201d (he claims that Haydn and Sterne both do this, albeit in different artistic media).[2]<\/a><\/p>\n

Haydn\u2019s conscious implementation of his wittiness to his audience represents a new, highly personal, and interactive perspective towards his music.\u00a0 This notion, which was highly innovative during Haydn\u2019s time, is elucidated well in an 1807 article written by Haydn\u2019s contemporary, the philosopher C.F. Michaelis: \u201cMusic is humorous when the composition accords with the mood of the artist rather than strictly adhering to an artistic system.\u00a0 The musical thoughts are then of a \u201cnew and special\u201d kind; they do not follow each other in a way one would expect, but they surprise by totally unexpected turns and transitions.\u201d[3]<\/a>\u00a0 However, this is not to say that these quartets contain the very first examples of humor in Haydn\u2019s music; there are some early examples in Op. 20, as we shall see.\u00a0 But the level of sophistication of Haydn\u2019s sense of humor in Op. 33 surpasses all his previous works, Op. 20 included.<\/p>\n

As was mentioned above regarding the rondo form, one component of Haydn\u2019s sense of humor is his ability to thwart the audience\u2019s sense of expectation.\u00a0 An early example of the composer\u2019s penchant for the unexpected can be found in the opening theme of Op. 20 no. 3.\u00a0 Here, the theme is broken into two phrases of seven measures each, directly contradicting the popular galant<\/i> style of the time, which was a reaction against the showy, overly ornamented music of the late Baroque era (Figure 4.a).\u00a0\u00a0 <\/b><\/p>\n

\"fig.<\/a><\/p>\n

Figure 4.a,\u00a0 Op. 20, No. 3, first mvt, mm. 1-7<\/i><\/strong><\/p>\n\nhttps:\/\/wordpress.clarku.edu\/wp-content\/uploads\/sites\/293\/2014\/04\/Fig.-4a.wav<\/a><\/audio>\n

 <\/p>\n

A typical galant<\/i> phrase structure was based on a series of modules of two or four measures, producing a square structure, and this is just what Haydn avoids here.\u00a0 The use of uneven numbers of measures returns in the second movement, a minuet.\u00a0 Just as he did in the first movement, Haydn breaks the opening theme into two phrases of an odd number of measures, in this case five.\u00a0 This type of manipulation is indeed clever, but is not as immediately apparent to the listener as that of Op. 33.\u00a0 Haydn would use such disruptions in Op. 33 to an even greater extent, as this article will soon explore.<\/p>\n

The unexpected is an element of Op. 20 in other ways as well.\u00a0 In the first movement of Op. 20 no. 3, Haydn employs brief unison passages, a common practice at the time, to a decidedly different end in measures 24-25 (Figure 4.b), 107-108 (Figure 4.c), 145-146, 151-152, and 240-241.<\/p>\n

\"fig.<\/a><\/i> Figure 4.b,\u00a0 Op. 20, No. 3, first mvt, mm. 23-25<\/strong><\/em><\/p>\nhttps:\/\/wordpress.clarku.edu\/wp-content\/uploads\/sites\/293\/2014\/04\/Fig.-4b.wav<\/a><\/audio>\n

____________________________________________________________\"fig.<\/a><\/i> <\/i><\/strong>Figure 4.c, Op. 20, No. 3, first mvt, mm. 107-109<\/strong><\/em><\/p>\nhttps:\/\/wordpress.clarku.edu\/wp-content\/uploads\/sites\/293\/2014\/04\/Fig.-4c.wav<\/a><\/audio>\n


\n<\/b><\/p>\n

Usually, passages of this nature would be written with forte <\/i>dynamic markings for a powerful effect, especially since they are in the relative major key of the movement, but here Haydn instead marks them piano <\/i>in order to achieve a more subtle, somewhat perplexing sound.\u00a0\u00a0 The ending of the first movement of Op. 20 no. 3 also plays with the unexpected.\u00a0 The forte <\/i>cadence on measure 268 is eight measures in the making. These eight measures outline each instrument slowly building, calling and answering, toward this forte<\/i> tonic. The listener would be entirely satisfied with the movement ending this way, but Haydn decides to prolong the audience\u2019s expectations with a second, quick cadence, marked piano<\/i>. In this movement can be found some of the most closely related examples of \u201chumor\u201d to Op. 33, albeit still light-years away from the later Haydn\u2019s interpretation of this concept.<\/p>\n

The finale of Op. 33 no. 2\u2014the so-called \u201cJoke\u201d quartet\u2014is a crystal-clear example of Haydn’s newfound humor.\u00a0\u00a0 Any listener, having never heard the piece before \u2013 from the layperson with no musical background to the musicologist \u2013 is taken by the \u201csurprise\u201d ending.\u00a0 This quality is especially reflective of Haydn’s newly shifted focus towards his audience, which lends itself to such entertaining moments as this ending.\u00a0 The structure of this finale\u2019s rondo (A-B-A-C-A), as previously discussed, is another revealing decision made by the audience-conscious Haydn.\u00a0 At the end of this rondo, beginning with a fermata at measure 148, the composer begins to set up his joke (Figure 1.b).<\/p>\n

 <\/p>\n

\"Fig.<\/a>Figure 1.b Op. 33, No. 2, fourth mvt, mm.157-172<\/strong><\/i><\/p>\nhttps:\/\/wordpress.clarku.edu\/wp-content\/uploads\/sites\/293\/2014\/04\/Fig.-1b.wav<\/a><\/audio>\n

 <\/p>\n

The long pause could imply an ending, but this notion is abruptly dismissed by a forte <\/i>sixteenth note at the beginning of the miniature Adagio section which lasts for a scant four bars.\u00a0 Next, the first violin plays the opening theme, only to be interrupted every two bars by rests that grow progressively longer.\u00a0 Compounding this unsettling cliffhanger are the dynamic markings used. The music diminishes in volume until the eventual ending, which is pianissimo, <\/i>at which point the audience finally breathes a collective sigh of relief. <\/i>\u00a0This oft-cited example of Haydn’s wit is certainly important, but it is only one of numerous other examples.<\/p>\n

The finales of Haydn\u2019s quartets are often rife with humor, as the finale of Op. 33 no. 4 demonstrates.\u00a0 The feel of this presto <\/i>movement is playful, which suits the surprise ending well.\u00a0 Two unexpectedly long pauses at measures 197 and 199 set the stage for the final ten measures, which are both marked pizzicato <\/i>and piano<\/i>.\u00a0 Since this movement contains no previous examples of pizzicato <\/i>dynamic markings \u2013 or rests longer than a quarter note (not counting fermatas) for that matter \u2013 this decision is startling, yet oddly satisfying.\u00a0 It is almost a welcome respite from the previous nonstop barrage of notes; an effect of which the new listener-motivated Haydn was undoubtedly seeking.<\/p>\n

A more subtle yet equally comical passage can be found in the B-section of this rondo, beginning at m. 16.\u00a0 Here, Haydn begins a drawn out, overly dramatic preparation of the dominant that lasts for thirteen measures, only to result in a mere recapitulation of the main theme, which is almost mockingly small.\u00a0 Again, Haydn manipulates the audience by cutting their expectations short; one would expect a grander, more triumphant resolution of this tension, but instead is parsimoniously rewarded with a rehashing of previous material.<\/p>\n

Another example of Haydn’s more subtle wittiness in this set is in Op. 33 no. 3, commonly referred to as \u201cThe Bird.\u201d\u00a0 The beginning of the piece subverts audience expectations without necessarily embarrassing listeners, as the finale of no. 2 might have (i.e., premature applause).\u00a0 Instead, the first seventeen measures act as a kind of introduction before m. 18, which could be argued as the definitive start of the piece.\u00a0 The half note rests at measure 6 and 12 break up this introduction in a way that does not imply a real beginning.\u00a0 Furthermore, the leading tone is flatted in m. 13, which creates a sort of temporary minor feel.\u00a0 Measure 17 finally resolves this tension, bringing the music home with a cadential 6-4 chord preceding a perfect authentic cadence.\u00a0 At this point, the piece finally feels as though it is justified in beginning in full; the slight confusion that precedes this moment strengthens this feeling.<\/p>\n

By employing such witty tactics, Haydn was able to draw his listeners in rather than alienate them, which was a distinct possibility with such aesthetically risky decisions as were made in Op. 33.\u00a0 Op. 33\u2019s use of the unexpected, themes with uneven numbers of measures, surprise endings, and even surprise beginnings, all showcase Haydn\u2019s humorous range.\u00a0 Humor was not new for him, as Op. 20 shows, but Op. 33 marks the first time Haydn employed sophisticated moments of musical wit throughout a work.<\/p>\n

With this, as with the other areas we have surveyed, we can see that the Op. 33 quartets differ from their contemporaries in a manner that certainly denotes a new and special quality.\u00a0 The use of rondo form, evolutionary textures, and amusing wit all acted to engage the audience and leave them entertained to an extent that even the masterful Op. 20 could not achieve.\u00a0 Haydn had every reason to compose and market such innovative music to an audience that the Enlightenment had acted upon, and to which his renegotiated contract gave access.\u00a0 It thusly seems justified to take Haydn\u2019s written word, and to give to Op. 33 the credit it deserves as a groundbreaking work of art.<\/p>\n

\u00a0next section<\/strong><\/a><\/p>\n

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[1]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Steven E. Paul, \u201cComedy, Wit and Humor in Haydn\u2019s Instrumental Music,\u201d in Haydn Studies<\/i>, Larson et al., 450-5.<\/p>\n<\/div>\n

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[2]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mark Evan Bonds, \u201cHaydn, Laurence Stern, and the Origins of Musical Irony,\u201d Journal of the American Musicological Society<\/i> 44 (1991): 58.<\/p>\n<\/div>\n

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[3]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Paul, \u201cComedy,\u201d 451.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Humor is often considered a hallmark of Haydn\u2018s music; yet, humor emerged as an intrinsic element of the composer\u2019s style only around 1780.\u00a0 Therefore, the presence of humor in Op. 33 suggests another musical trait that differentiates these string quartets from Op. 20.\u00a0 The humor in question refers to the \u2026 Continue reading<\/a><\/p>\n","protected":false},"author":8,"featured_media":0,"parent":63,"menu_order":4,"comment_status":"open","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-268","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/pages\/268","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/comments?post=268"}],"version-history":[{"count":0,"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/pages\/268\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/pages\/63"}],"wp:attachment":[{"href":"https:\/\/wordpress.clarku.edu\/musicresearch\/wp-json\/wp\/v2\/media?parent=268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}