A Canon Within a Canon: The Influence of the 30 berühmte Quartette on the Contemporary Reception of Haydn’s String Quartets

Casey Mullin

A Canon Within a Canon: The Influence of the 30 berühmte Quartette on the Contemporary Reception of Haydn’s String Quartets

Western Libraries

Research output: Thesis › Doctoral Thesis

Abstract

<p> The 68 quartets of Joseph Haydn form a corpus that is large enough that few performers and listeners are likely to become equally familiar with all of them, yet foundational enough to the quartet repertory that all are certainly worthy of some amount of performance and appreciation. Unlike the quartets of Beethoven and Shostakovich (bodies of work small enough to be programmed and recorded as a block) or Mozart, Schubert and Dvo&rcaron;ák (where the chronologically latest are generally the ones favored), Haydn’s 68 don’t cohere or break out as cleanly in terms of popularity, despite their extensively studied stylistic evolution and well-documented chronology. Upon closer examination, however, the publication history of the quartets offers a significant clue to ascertaining their relative popularity. The anthology known variously as Thirty Celebrated Quartets or 30 berühmte Quartette first appeared in print in 1918 to the editorial credit of Andreas Moser and Hugo Dechert, and has, through numerous republications, become the ubiquitous set of parts to inhabit the music stands of quartet players of all backgrounds. Part 1 outlines the publication history of Haydn’s string quartets, places this anthology in context thereof, and attempts to (at least partially) account for the choice of contents therein. Part 2 employs a discometric approach to assessing the impact that this anthology has had on contemporary reception of “Papa” Haydn’s legacy. As this discographic analysis will demonstrate, in the eyes of performing groups, record companies and the listening public alike, not all Haydn quartets are created equal. By shining scholarly light on this differential reception that some Haydn enthusiasts might take for granted, the broader objective is to challenge the canon-perpetuating forces that ultimately do not serve to advance our collective appreciation of this master’s work, and of the medium with which he is inextricably linked.</p>

Original language	American English
Qualification	Ph.D.
Awarding Institution	Music
Supervisors/Advisors	Van Boer, Bertil H., Advisor, External person Dudenbostel, Ryan, Advisor, External person Ray, James, Advisor, External person
Publisher	Western Washington University
State	Published - Jan 1 2022

Disciplines

Music

Access to Document

A Canon Within a Canon The Influence of the 30 ber hmte QuartettFinal published version, 4.63 MBLicense: Unspecified

Cite this

@phdthesis{9eb51992637642c0bef2a49870b02f64,

title = "A Canon Within a Canon: The Influence of the 30 ber{\"u}hmte Quartette on the Contemporary Reception of Haydn{\textquoteright}s String Quartets",

abstract = " The 68 quartets of Joseph Haydn form a corpus that is large enough that few performers and listeners are likely to become equally familiar with all of them, yet foundational enough to the quartet repertory that all are certainly worthy of some amount of performance and appreciation. Unlike the quartets of Beethoven and Shostakovich (bodies of work small enough to be programmed and recorded as a block) or Mozart, Schubert and Dvo&rcaron;ák (where the chronologically latest are generally the ones favored), Haydn’s 68 don’t cohere or break out as cleanly in terms of popularity, despite their extensively studied stylistic evolution and well-documented chronology. Upon closer examination, however, the publication history of the quartets offers a significant clue to ascertaining their relative popularity. The anthology known variously as Thirty Celebrated Quartets or 30 berühmte Quartette first appeared in print in 1918 to the editorial credit of Andreas Moser and Hugo Dechert, and has, through numerous republications, become the ubiquitous set of parts to inhabit the music stands of quartet players of all backgrounds. Part 1 outlines the publication history of Haydn’s string quartets, places this anthology in context thereof, and attempts to (at least partially) account for the choice of contents therein. Part 2 employs a discometric approach to assessing the impact that this anthology has had on contemporary reception of “Papa” Haydn’s legacy. As this discographic analysis will demonstrate, in the eyes of performing groups, record companies and the listening public alike, not all Haydn quartets are created equal. By shining scholarly light on this differential reception that some Haydn enthusiasts might take for granted, the broader objective is to challenge the canon-perpetuating forces that ultimately do not serve to advance our collective appreciation of this master’s work, and of the medium with which he is inextricably linked.",

author = "Casey Mullin",

year = "2022",

month = jan,

day = "1",

language = "American English",

publisher = "Western Washington University",

school = "Music",

}

TY - BOOK

T1 - A Canon Within a Canon: The Influence of the 30 berühmte Quartette on the Contemporary Reception of Haydn’s String Quartets

AU - Mullin, Casey

PY - 2022/1/1

Y1 - 2022/1/1

N2 - The 68 quartets of Joseph Haydn form a corpus that is large enough that few performers and listeners are likely to become equally familiar with all of them, yet foundational enough to the quartet repertory that all are certainly worthy of some amount of performance and appreciation. Unlike the quartets of Beethoven and Shostakovich (bodies of work small enough to be programmed and recorded as a block) or Mozart, Schubert and Dvo&rcaron;ák (where the chronologically latest are generally the ones favored), Haydn’s 68 don’t cohere or break out as cleanly in terms of popularity, despite their extensively studied stylistic evolution and well-documented chronology. Upon closer examination, however, the publication history of the quartets offers a significant clue to ascertaining their relative popularity. The anthology known variously as Thirty Celebrated Quartets or 30 berühmte Quartette first appeared in print in 1918 to the editorial credit of Andreas Moser and Hugo Dechert, and has, through numerous republications, become the ubiquitous set of parts to inhabit the music stands of quartet players of all backgrounds. Part 1 outlines the publication history of Haydn’s string quartets, places this anthology in context thereof, and attempts to (at least partially) account for the choice of contents therein. Part 2 employs a discometric approach to assessing the impact that this anthology has had on contemporary reception of “Papa” Haydn’s legacy. As this discographic analysis will demonstrate, in the eyes of performing groups, record companies and the listening public alike, not all Haydn quartets are created equal. By shining scholarly light on this differential reception that some Haydn enthusiasts might take for granted, the broader objective is to challenge the canon-perpetuating forces that ultimately do not serve to advance our collective appreciation of this master’s work, and of the medium with which he is inextricably linked.

AB - The 68 quartets of Joseph Haydn form a corpus that is large enough that few performers and listeners are likely to become equally familiar with all of them, yet foundational enough to the quartet repertory that all are certainly worthy of some amount of performance and appreciation. Unlike the quartets of Beethoven and Shostakovich (bodies of work small enough to be programmed and recorded as a block) or Mozart, Schubert and Dvo&rcaron;ák (where the chronologically latest are generally the ones favored), Haydn’s 68 don’t cohere or break out as cleanly in terms of popularity, despite their extensively studied stylistic evolution and well-documented chronology. Upon closer examination, however, the publication history of the quartets offers a significant clue to ascertaining their relative popularity. The anthology known variously as Thirty Celebrated Quartets or 30 berühmte Quartette first appeared in print in 1918 to the editorial credit of Andreas Moser and Hugo Dechert, and has, through numerous republications, become the ubiquitous set of parts to inhabit the music stands of quartet players of all backgrounds. Part 1 outlines the publication history of Haydn’s string quartets, places this anthology in context thereof, and attempts to (at least partially) account for the choice of contents therein. Part 2 employs a discometric approach to assessing the impact that this anthology has had on contemporary reception of “Papa” Haydn’s legacy. As this discographic analysis will demonstrate, in the eyes of performing groups, record companies and the listening public alike, not all Haydn quartets are created equal. By shining scholarly light on this differential reception that some Haydn enthusiasts might take for granted, the broader objective is to challenge the canon-perpetuating forces that ultimately do not serve to advance our collective appreciation of this master’s work, and of the medium with which he is inextricably linked.

UR - https://cedar.wwu.edu/wwuet/1079

M3 - Doctoral Thesis

PB - Western Washington University

ER -

A Canon Within a Canon: The Influence of the 30 berühmte Quartette on the Contemporary Reception of Haydn’s String Quartets

Abstract

Disciplines

Access to Document

Other files and links

Cite this