1. The vast majority of the tables here are the work of Anton Vishio, work for which I shall be eternally grateful. However, he is not to be blamed in any way for the text ruminations that follow. Wong Jing Men Jamie, also contributed to bludgeoning the first two sections into a shape suitable for posting. My deepest thanks.
2. Vom Krieg (1827); Carl von Clausewitz: "System in this treatise is not to be found on the surface, and instead of a finished building of theory, there are only materials."
3. In order to “move things along”, we employ a number of abbreviations throughout the text, viz:
General:
H = Haydn
HSQM = Haydn String Quartet Minuets
SYM(s) = Symphony (ies)
SQ(s) = String Quartet(s)
We consider the data from two perspectives: either in terms of the components of the entire movement; or in terms of the juxtaposition, or opposition, of the three classic divisions of the entire movement, i.e. the minuet section, vs. the trio section, vs. the da Capo.
Any discussion of components involves quotation marks.
"A" = the first "section" of the "minuet" portion of the movement (i.e. up to the first repeat sign).
"B" = the second "section" of the "minuet" portion of the movement(i.e. from the first to the second repeat sign).
"C" = the first "section" of the "trio" portion of the movement (i.e. from the last repeat of the minuet to the first repeat sign of the trio).
"D" = the second "section" of the "trio" portion of the movement (i.e. from the first repeat sign of the trio to the last).
"E" & "F" = sections subsequent, and/or additional, to "A", "B", "C", "D".
The following are ways of thinking about the components, and are italicized.
"ML"(s) = Measure Length(s) (used in "A", "B", "C", etc.).
"S"(s) = Section(s); as in the total number of "A"s, "B"s etc. within an entire movement. These are usually "10-S" but there are also "7-S", "9-S", "11-S" and "14-S" .
"DL"(s) = Different Length(s); as in how many different lengths are used across "A", "B", "C", "D".
"W"(s) = Weight(s); a way to think about and to distinguish different arrangements of various "DL"s.
Any discussion of the juxtaposition of the major divisions involves BOLD.
M = the Minuet sections of the entire movement; i.e. normally "A" + "B".
T = the Trio sections of the entire movement; i.e. normally "C" + "D".
dC = the da Capo section.
TML = Total Measure Length (of an M or T).
PT = Partition Types i.e. how the total of an M (or a T) is partitioned.
A note of caution:
When refering to an entire movement, we say minuet movement, or more simply, movement. M ONLY refers to that part of the movement that occurs before the Trio.
4. The choice of this edition is a personal PZ decision. In the event of discrepancies between the data presented, and some other edition, please consult the Robbins Landon. As detailed by RL, he excludes certain data-points from his SQ edition, and we follow that exclusion. As an aside, we point out that the excluded works also do not appear in the Landon edition of Symphonies. That is doubly discriminatory, but that is not our problem. The missing data points will not materially impact our overall “conclusions”, such as they are. We also remark that the op. 3 quartets are now considered spurious. Here to, the overall picture will not change were we to eliminate these data. We will also not enter in to a discussion as to if the first batches of quartets up thru op. 33 are divertimenti, or quartets.
5. Without meaning to detract from H's imagination, and/or Cage-ian penchant for syntactic experiment, the above measure-counts, while somewhat extreme in their variety, are not without precedence. For example, Tilden A. Russell, in both “The Unconventional Dance Minuet: Choreographies of the Menuet d'Exaudet”. Acta Musicologica Vol. 64, Fasc. 2 (Jul. - Dec. 1992), pp. 118-132., and “Minuet Form and Phraseology in Recueils and Manuscript Tunebooks”. The Journal of Musicology, Vol. 17, No. 3 (Summer 1999), pp. 386-419, has shown that, while H may be a bit over-the-top in terms of variety, the “standard” four-square minuet movement construct promulgated by some theorists is HARDLY the norm we have been hornswoggled into believing.
6. Without meaning to detract from H's imagination, and/or Cage-ian penchant for syntactic experiment, the above bar-counts, while somewhat extreme in their variety, are not without precedence. For example, Tilden A. Russell, in both “The Unconventional Dance Minuet: Choreographies of the Menuet d'Exaudet”. Acta Musicologica Vol. 64, Fasc. 2 (Jul. - Dec. 1992), pp. 118-132., and “Minuet Form and Phraseology in Recueils and Manuscript Tunebooks”. The Journal of Musicology, Vol. 17, No. 3 (Summer 1999), pp. 386-419, has shown that, while Haydn may be a bit over-the-top in terms of variety, the “standard” four-square Minuet construct promulgated by some theorists is HARDLY the norm we have been hornswoggled into believing.