classic correspondence


Dear Wolfgang,

I am writing to you because after receiving a very special commission on the occasion of the closing of the 80th anniversary of the creation of the Salzillo Museum in Murcia, in which the musicians of the Saravasti Quartet want to program works written by the two of us .

Hoping you agree, I have confirmed that we would be happy to collaborate on this concerto of the Mozart-Haydn binomial in chamber music.

You already know that I am easily persuaded, especially when the orders come from Spain, as happened in 1875 with the request of the Canon of Cádiz for The Seven Words of our Savior on the Cross.

With regard to the evening of Saturday 21 May in the Church of Jesus in Murcia, I presented to the Saravasti Quartet the programming of my string quartet opus 20 nº 6 in A major along with his string quartet K.421 in D minor.

Since we met in Vienna in the winter of 1781, I have felt a special admiration for you, which I know, dear friend, is mutual. Over time, our collections of quartets have become mirrors that reflect our creative affinity, which is why our music was chosen for this special Night of the Museums.

I have long accepted my status as the father of the string quartet genre in exchange for your recognition as the greatest composer of this genre for taking it to the highest level.

The collection of string quartets he has dedicated to my humble person is without doubt the most sublime published so far in this genre in which the modern musician so clearly expresses his mission. You cherish such a human language that your compositions have a universal dimension. That is why I have chosen for this program your Quartet K. 421, one of your favorite sons, the result of a long and laborious work, as you indicated at the time.

Every time I hear it, I remember the evenings at the Storace house where we played the string quartet pieces we were most passionate about with Dittersdorf and Vanhal late into the night.

I deign to include in the concert of the Church of Jesus my Quartet opus 20 nº 6, which you have always held in high esteem for its polyphonic and contrapuntal writing, its fugue ending and the elegance of the writing. I remember how he especially liked the musical effect of attacking the Minuetto without a break with the slow movement.

I don’t want to say goodbye without showing you the pride I feel for having been a contemporary of yours and that our compositions continue to dialogue with each other to this day.


Daddy Haydn

Source: La Verdad


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