ROLES AND DEVELOPMENT OF SECOND VIOLIN IN HAYDN: STRING QUARTET OP. 17, NO. 6 AND STRING QUARTET OP.76, NO. 3

Abstract

Through an examination of Franz Joseph Haydn’s String Quartet in D Major, Op. 17 No. 6 (1771) and String Quartet in C Major, Op. 76 No. 3 (1796-1797), this study aims to demonstrate the evolution and development of the second violin line within the genre of the string quartet. It shows the development of compositional techniques alongside new creative ideas concerning the interpretation of the second violin part through analysis of musical scores, sound recordings and performance practices.

This research shows how the character of the second violin evolves from a mere ‘accompanying’ role, as in Haydn’s String Quartet Op. 17, No. 6, to its role in his String Quartet Op. 76, No. 3, where it utilizes higher playing positions, often taking the principal melodic line, resulting in technical demands more akin to Haydn’s first violin writing. The recorded interpretations of the Festetics Quartet, Kodály Quartet and Buchberger Quartet are used to analyze Haydn’s tempi, dynamics, and articulations. This article will promote a better understanding of the importance of the second violin and its significance to the development of the string quartet.