Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets. MacKay, J. S. Haydn: Online Journal of the Haydn Society of North America, 2(3):1–27, 2018.
Another Look at Chromatic Third-Related Key Relationships in Late Haydn: Parallel Keys and Remote Modulation in Selected String Quartet Minuets [link]Paper  abstract   bibtex   4 downloads  
As asserted by Ethan Haimo in a 1990 article, Joseph Haydn's Piano Trio in A-flat major, Hob. XV: 14 (1789-90), comprises his first use of a chromatic third relationship between movements of an instrumental work, with a I-flat VI-I tonal plan. This harmonic strategy, immediately taken up by Beethoven in his Piano Trio in G major, Op. 1 no. 2 (slow movement in E, VI) and his Piano Sonata in C major, Op. 2 no. 3 (slow movement in E, III), quickly became a conventional feature of early 19 th-century tonality. Such third-related shifts in Haydn's instrumental music occur earlier than 1790, especially in his string quartet Minuet-Trio movements, often built around a parallel major-parallel minor pairing of keys and their relatives. For instance, in Haydn's String Quartet in F major, Op. 50 no. 5 (Der Traum), third movement, Haydn effects a chromatic third modulation in two stages: touching briefly upon the parallel key (f minor) in the trio, then moving immediately to its relative major, A-flat (i.e. flat III of F major). As for works written after 1790, the Minuet and Trio of the Emperor Quartet in C major, Op. 76 no. 3, demonstrates the opposite strategy: after beginning the trio in the relative minor, Haydn shifts modally to its parallel key, A major, as the passage develops (VI of C major). As demonstrated by the above-mentioned quartet movements and others drawn from Opp. 74, 76, and 77, such two-stage chromatic third shifts at the formal level and this procedure's affinity with modal mixture, provides a new paradigm for understanding remote modulations, both in the late Classical period and beyond.
@Article{          mackay2018-another,
    author       = {MacKay, James S.},
    year         = {2018},
    title        = {Another Look at Chromatic Third-Related Key Relationships
                   in Late Haydn: Parallel Keys and Remote Modulation in
                   Selected String Quartet Minuets},
    abstract     = {As asserted by Ethan Haimo in a 1990 article, Joseph
                   Haydn's Piano Trio in A-flat major, Hob. XV: 14 (1789-90),
                   comprises his first use of a chromatic third relationship
                   between movements of an instrumental work, with a I-flat
                   VI-I tonal plan. This harmonic strategy, immediately taken
                   up by Beethoven in his Piano Trio in G major, Op. 1 no. 2
                   (slow movement in E, VI) and his Piano Sonata in C major,
                   Op. 2 no. 3 (slow movement in E, III), quickly became a
                   conventional feature of early 19 th-century tonality. Such
                   third-related shifts in Haydn's instrumental music occur
                   earlier than 1790, especially in his string quartet
                   Minuet-Trio movements, often built around a parallel
                   major-parallel minor pairing of keys and their relatives.
                   For instance, in Haydn's String Quartet in F major, Op. 50
                   no. 5 (Der Traum), third movement, Haydn effects a
                   chromatic third modulation in two stages: touching briefly
                   upon the parallel key (f minor) in the trio, then moving
                   immediately to its relative major, A-flat (i.e. flat III
                   of F major). As for works written after 1790, the Minuet
                   and Trio of the Emperor Quartet in C major, Op. 76 no. 3,
                   demonstrates the opposite strategy: after beginning the
                   trio in the relative minor, Haydn shifts modally to its
                   parallel key, A major, as the passage develops (VI of C
                   major). As demonstrated by the above-mentioned quartet
                   movements and others drawn from Opp. 74, 76, and 77, such
                   two-stage chromatic third shifts at the formal level and
                   this procedure's affinity with modal mixture, provides a
                   new paradigm for understanding remote modulations, both in
                   the late Classical period and beyond.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {haydn},
    mendeley-tags= {haydn},
    number       = {3},
    pages        = {1--27},
    url          = {https://www.academia.edu/42811788/Another_Look_at_Chromatic_Third_Related_Key_Relationships_in_Late_Haydn_Parallel_Keys_and_Remote_Modulation_in_Selected_String_Quartet_Minuets?email_work_card=view-paper},
    volume       = {2}
}
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