海顿的弦乐四重奏曲

海顿被誉为“交响乐之父”，其实也是“弦乐四重奏之父”。许多评论甚至认为，海顿对于弦乐四重奏这种音乐形式的发展所作出的贡献，要超过作曲家对交响曲发展的贡献。但有意思的是，作曲家曾经承认，自己使用这种形式创作音乐是“纯属偶然”的，可见海顿只是在不知不觉中完善了弦乐四重奏，而非刻意去创造或革新。他一生创作了一百余首交响曲，而其弦乐四重奏作品的数量也毫不逊色，粗略统计一共有八十多首。

This is a list of string quartets by Joseph Haydn, including the number they are given in Anthony van Hoboken's catalogue of his works. "FHE" stands for "First Haydn Edition."

海顿的弦乐四重奏曲

Opus 1 (1762-64)

• Quartet No. 1 in B♭ major ("La Chasse"), Op. 1, No. 1, FHE No. 52, Hoboken No. III:1
• Quartet No. 2 in E♭ major, Op. 1, No. 2, FHE No. 53, Hoboken No. III:2
• Quartet No. 3 in D major, Op. 1, No. 3, FHE No. 54, Hoboken No. III:3
• Quartet No. 4 in G major, Op. 1, No. 4, FHE No. 55, Hoboken No. III:4
• Quartet No. 5 in E♭ major, Op. 1, No. 0, Hoboken No. II:6 (also referenced as Opus 0)
• Quartet in B♭ major, Op. 1, No. 5, FHE No. 56, Hoboken No. III:5 (later found to be the Symphony A, Hob. I/107)
• Quartet No. 6 in C major, Op. 1, No. 6, FHE No. 57, Hoboken No. III:6

Opus 2 (1763-65)

• Quartet No. 7 in A major, Op. 2, No. 1, FHE No. 58, Hoboken No. III:7
• Quartet No. 8 in E major, Op. 2, No. 2, FHE No. 59, Hoboken No. III:8
• Quartet in E♭ major, Op. 2, No. 3, FHE No. 60 (arrangement of Cassation in E-flat major, Hob. II:21), Hoboken No. III:9
• Quartet No. 9 in F major, Op. 2, No. 4, FHE No. 61, Hoboken No. III:10
• Quartet in D major, Op. 2, No. 5, FHE No. 62 (arrangement of Cassation in D major, Hob. II:22), Hoboken No. III:11
• Quartet No. 10 in B♭ major, Op. 2, No. 6, FHE No. 63, Hoboken No. III:12

Opus 3 (spurious)

This set of quartets is now commonly attributed to Romanus Hoffstetter.

• Quartet in E major, Op. 3, No. 1, FHE No. 64 (spurious), Hoboken No. III:13
• Quartet in C major, Op. 3, No. 2, FHE No. 65 (spurious), Hoboken No. III:14
• Quartet in G major, Op. 3, No. 3, FHE No. 66 (spurious), Hoboken No. III:15
• Quartet in B♭ major, Op. 3, No. 4, FHE No. 67 (spurious), Hoboken No. III:16
• Quartet in F major, Op. 3, No. 5, FHE No. 68 (spurious), Hoboken No. III:17
• Quartet in A major, Op. 3, No. 6, FHE No. 69 (spurious), Hoboken No. III:18

Opus 9 (1769)

• Quartet No. 11 in D minor, Op. 9, No. 4, FHE No. 16, Hoboken No. III:22
• Quartet No. 12 in C major, Op. 9, No. 1, FHE No. 7, Hoboken No. III:19
• Quartet No. 13 in G major, Op. 9, No. 3, FHE No. 9, Hoboken No. III:21
• Quartet No. 14 in E♭ major, Op. 9, No. 2, FHE No. 8, Hoboken No. III:20
• Quartet No. 15 in B♭ major, Op. 9, No. 5, FHE No. 17, Hoboken No. III:23
• Quartet No. 16 in A major, Op. 9, No. 6, FHE No. 18, Hoboken No. III:24

Opus 17 (1771)

• Quartet No. 17 in F major, Op. 17, No. 2, FHE No. 2, Hoboken No. III:26
• Quartet No. 18 in E major, Op. 17, No. 1, FHE No. 1, Hoboken No. III:25
• Quartet No. 19 in C minor, Op. 17, No. 4, FHE No. 4, Hoboken No. III:28
• Quartet No. 20 in D major, Op. 17, No. 6, FHE No. 6, Hoboken No. III:30
• Quartet No. 21 In E♭ major, Op. 17, No. 3, FHE No. 3, Hoboken No. III:27
• Quartet No. 22 in G major, Op. 17, No. 5, FHE No. 5, Hoboken No. III:29

Opus 20, the "Sun" quartets (1772)

• Quartet No. 23 in F minor, Op. 20, No. 5, FHE No. 47, Hoboken No. III:35
• Quartet No. 24 in A major, Op. 20, No. 6, FHE No. 48, Hoboken No. III:36
• Quartet No. 25 in C major, Op. 20, No. 2, FHE No. 44, Hoboken No. III:32
• Quartet No. 26 in G minor, Op. 20, No. 3, FHE No. 45, Hoboken No. III:33
• Quartet No. 27 in D major, Op. 20, No. 4, FHE No. 46, Hoboken No. III:34
• Quartet No. 28 in E♭ major, Op. 20, No. 1, FHE No. 43, Hoboken No. III:31

Opus 33, the "Russian" quartets (1781)

• Quartet No. 29 in G major ("How Do You Do?"), Op. 33, No. 5, FHE No. 74, Hoboken No. III:41
• Quartet No. 30 in E♭ major ("The Joke"), Op. 33, No. 2, FHE No. 71, Hoboken No. III:38
• Quartet No. 31 in B minor, Op. 33, No. 1, FHE No. 70, Hoboken No. III:37
• Quartet No. 32 in C major ("The Bird"), Op. 33, No. 3, FHE No. 72, Hoboken No. III:39
• Quartet No. 33 in D major, Op. 33, No. 6, FHE No. 75, Hoboken No. III:42
• Quartet No. 34 in B♭ major, Op. 33, No. 4, FHE No. 73, Hoboken No. III:40

Opus 42 (1784)

• Quartet No. 35 in D minor, Op. 42, FHE No. 15, Hoboken No. III:43

Opus 50, the "Prussian" quartets (1787)

• Quartet No. 36 in B♭ major, Op. 50, No. 1, FHE No. 10, Hoboken No. III:44
• Quartet No. 37 in C major, Op. 50, No. 2, FHE No. 11, Hoboken No. III:45
• Quartet No. 38 in E♭ major, Op. 50, No. 3, FHE No. 12, Hoboken No. III:46
• Quartet No. 39 in F♯ minor, Op. 50, No. 4, FHE No. 25, Hoboken No. III:47
• Quartet No. 40 in F major ("Dream"), Op. 50, No. 5, FHE No. 26, Hoboken No. III:48
• Quartet No. 41 in D major ("The Frog"), Op. 50, No. 6, FHE No. 27, Hoboken No. III:49

Opus 51 (1787)

• The Seven Last Words of Christ, Op. 51 (transcription of work originally written for orchestra), Hoboken No. III:50-56

Opus 54, 55, the "Tost" quartets, sets I & II (1788)

Named after Johann Tost, a violinist in the Esterhazy orchestra from 1783-89.

• Quartet No. 42 in C major, Op. 54, No. 2, FHE No. 20, Hoboken No. III:57
• Quartet No. 43 in G major, Op. 54, No. 1, FHE No. 19, Hoboken No. III:58
• Quartet No. 44 in E major, Op. 54, No. 3, FHE No. 21, Hoboken No. III:59
• Quartet No. 45 in A major, Op. 55, No. 1, FHE No. 22, Hoboken No. III:60
• Quartet No. 46 in F minor ("Razor"), Op. 55, No. 2, FHE No. 23, Hoboken No. III:61
• Quartet No. 47 in B♭ major, Op. 55, No. 3, FHE No. 24, Hoboken No. III:62

Opus 64, the "Tost" quartets, set III (1790)

• Quartet No. 48 in C major, Op. 64, No. 1, FHE No. 31, Hoboken No. III:65
• Quartet No. 49 in B minor, Op. 64, No. 2, FHE No. 32, Hoboken No. III:68
• Quartet No. 50 in B♭ major, Op. 64, No. 3, FHE No. 33, Hoboken No. III:67
• Quartet No. 51 in G major, Op. 64, No. 4, FHE No. 34, Hoboken No. III:66
• Quartet No. 52 in E♭ major, Op. 64, No. 6, FHE No. 36, Hoboken No. III:64
• Quartet No. 53 in D major ("The Lark"), Op. 64, No. 5, FHE No. 35, Hoboken No. III:63

Opus 71, 74, the "Apponyi" quartets (1793)

Count Anton Georg Apponyi, a relative of Haydn’s patrons, paid 100 ducats for the privilege of having these quartets publicly dedicated to him.

• Quartet No. 54 in B♭ major, Op. 71, No. 1, FHE No. 37, Hoboken No. III:69
• Quartet No. 55 in D major, Op. 71, No. 2, FHE No. 38, Hoboken No. III:70
• Quartet No. 56 in E♭ major, Op. 71, No. 3, FHE No. 39, Hoboken No. III:71
• Quartet No. 57 in C major, Op. 74, No. 1, FHE No. 28, Hoboken No. III:72
• Quartet No. 58 in F major, Op. 74, No. 2, FHE No. 29, Hoboken No. III:73
• Quartet No. 59 in G minor ("Rider"), Op. 74, No. 3, FHE No. 30, Hoboken No. III:74

Opus 76, the "Erdödy" quartets (1796–1797)

• Quartet No. 60 in G major, Op. 76, No. 1, FHE No. 40, Hoboken No. III:75
• Quartet No. 61 in D minor ("Quinten", "Fifths", "The Donkey"), Op. 76, No. 2, FHE No. 41, Hoboken No. III:76
• Quartet No. 62 in C major ("Emperor" or "Kaiser"), Op. 76, No. 3, FHE No. 42, Hoboken No. III:77
• Quartet No. 63 in B♭ major ("Sunrise"), Op. 76, No. 4, FHE No. 49, Hoboken No. III:78
• Quartet No. 64 in D major ("Largo"), Op. 76, No. 5, FHE No. 50, Hoboken No. III:79
• Quartet No. 65 in E♭ major, Op. 76, No. 6, FHE No. 51, Hoboken No. III:80

Opus 77, the "Lobkowitz" quartets (1799)

• Quartet No. 66 in G major, Op. 77, No. 1, FHE No. 13, Hoboken No. III:81
• Quartet No. 67 in F major, Op. 77, No. 2, FHE No. 14, Hoboken No. III:82

Opus 103 (1803)

• Quartet No. 68 in D minor, Op. 103, Hoboken No. III:83 (incomplete)

所谓“弦乐四重奏”，是由两把小提琴、一把中提琴以及一把大提琴所组成的。这四种弦乐器代表四个声部，从而构成一个高中低音相当完整的小型乐团。海顿经过数十年对弦乐四重奏这一曲式的创作，逐渐确立了其基本创作技巧以及四乐章的整体构架。又经过莫扎特、贝多芬、舒伯特、舒曼等一代代后辈音乐大师的完善，弦乐四重奏逐渐成为了“室内乐”的代表形态，其拥有均衡的四部合声，音色容易协调，表现力丰富，音域宽广，富于音色对比。

海顿从18岁开始创作弦乐四重奏，直到晚年一直未曾间断，作品往往是以曲集的方式出版，通常习惯以六首作品为一个整体，辑成一套。早期的作品作曲家自己称之为“多声部嬉游曲”或者“四声部嬉游曲”，在诸多方面还处于不成熟的探索阶段，但在这个过程中海顿逐渐确立了弦乐四重奏的创作形式。1772年左右的问世No.31-36《四重奏嬉游曲》是海顿在弦乐四重奏领域成功的开始，这六部作品甚至被一些学者认为是“巅峰之作”。此后作曲家又写下了No.37- No.42《俄罗斯四重奏》，这套作品是真正以奏鸣曲形式写成的现代弦乐四重奏鼻祖。而此后海顿的弦乐四重奏创作显得越发成熟、优秀，陆续写下了 No.44-49《普鲁士四重奏》、No.50-56《临终七言四重奏》、No.57-No.68《第一、第二托斯特四重奏》、No.69-No.74 《亚波尼四重奏》以及No.75-No.80《艾尔道迪四重奏》等。

在众多作品中比较引人瞩目是晚年的一些作品，具有代表性的则是No.75-No.80这六首。这套弦乐四重奏创作于1797年，也就是海顿写下《小号协奏曲》之后的一年。由于曾经出价转让给约瑟夫.艾尔道迪伯爵，所以有了《艾尔道迪四重奏》这样一个标题。实际上大家更熟悉其中三部作品的小标题：《五度》、《皇帝》、《日出》。d小调的No.76《五度》是因为其第一主题的主要动机为下降五度音型而得名。而降B大调的No.78被称之为《日出》，则因为整部作品体现出精神抖擞的气质而得名。C大调的No.77的第二乐章主题是著名的《皇帝赞歌》，所以被称之为《皇帝》。这个背景很能体现海顿“忠君爱国”的情结。在伦敦的时候，海顿便受英国国歌《神佑我王》的启示，很想为自己的祖国创作一首国歌。1796年，奥地利和法国开战，这一事件更激发了作曲家写作国歌豪情。不久之后，海顿根据《上帝保佑弗兰茨皇帝》的歌词，以一首克罗地亚民歌为基础写成的一首合唱曲，也称之为《皇帝赞歌》。1797年2月12日，在奥地利国王弗兰茨生日当天，这首国歌在维也纳国家剧院和各地的大剧院同时演唱。有趣的是这首当时的奥地利国歌现在是德国国歌。海顿对于这段旋律非常钟爱，在 No.77弦乐四重奏中再次使用便是一个例证。甚至根据有些文献记载，海顿临终前正值法军进攻维也纳的关头，弥留之际的作曲家常常满怀深情地在钢琴上演奏这首歌曲，以期从中得到精神上的安慰。