String Quartets, Op. 33 (Haydn)

The Op. 33 String Quartets were written by Joseph Haydn in the summer and Autumn of 1781 for the Viennese publisher Artaria. This set of quartets has several nicknames, the most common of which is the "Russian" quartets, because Haydn dedicated the quartets to the Grand Duke Paul of Russia and many (if not all) of the quartets were premiered on Christmas Day, 1781, at the Viennese apartment of the Duke's wife, the Grand Duchess Maria Feodorovna.

This quartet in B minor is numbered in variously as No. 31, Hob. III:37 and FHE No. 70.

The first movement pretends to start in D major before settling in the home key of B minor, echoed by Haydn's later quartet in B minor, Op. 64, No. 2.

This quartet in E-flat major, nicknamed The Joke is numbered in variously as No. 30, Hob. III:38 and FHE No. 71.

The fourth movement implemented a lighter character, originating from Haydn’s first shift from the minuet to the scherzo. It also portrayed some new features in Haydn's compositions, for example, the Rondo form, which satisfied audiences since the form was becoming enormously popular at this time. In a letter to Artaria, Haydn boasted about his pieces by saying, they are “a new and entirely special kind.” The rondo form of the final movement remains true to its definition by always returning to the tonic in the refrain.

The "Rondo" results in an ABACA form. Chronologically, the first refrain (A) (mm.1–35) beginning in E flat major, repeats each section, (a) and (ba), forming (aababa.) In the first episode (B) (mm.36–71) beginning in A flat major, moves to F minor and finally resolves to E flat major at the beginning of the second refrain (A) (mm.72–106), which is almost an exact repetition of the first refrain (aba) with the only change being the omission of the repeats. The second refrain is not only the arrival point of the tonic, but is also the final point of modulation for the remainder of the piece. The piece then progresses to new thematic material in the second episode (C) (mm.107–140), but, again, does not modulate to a new key. After the new material, the final refrain (A) (mm.141–147), should be considered A’ due to the refrain material being condensed. The end is quite unique; this particular coda changes the tempo to an adagio (mm.148–153) then, in the conclusion of the piece, moves to (a’) as Haydn teases the audience, hence the name, "The Joke."

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