Emanuel Aloys Förster (1748–1823) was among the most significant composers of Viennese chamber music at the turn of the nineteenth century. The three sets of six string quartets that he published are exemplary works in the genre at that time, fine examples of the intellectually and emotionally engaging nature of classical string quartets. Yet these works are not part of the standard chamber music repertoire, nor are they much discussed by musicologists, except in terms of the supposed “influence” between Förster and Beethoven. Thus our assessment of this important composer in general, and his contributions to Viennese string quartet culture around 1800 in particular, is hampered by a narrowness of vision. This new edition of Förster’s op. 16 (1798) shows that, like Haydn, Mozart, and Beethoven, he found the string quartet to be an ideal medium for trying out new compositional experiments, novelties that would appeal especially to the connoisseur. These innovations include rich and varied use of imitation in sonata form movements, songful unfolding in the slow movements, and humorous use of register and articulation in minuet and trio movements.

Emanuel Aloys Förster (1748–1823) was among the most significant composers of Viennese chamber music at the turn of the nineteenth century. The three sets of six string quartets that he published are exemplary works in the genre at that time, fine examples of the intellectually and emotionally engaging nature of classical string quartets. Yet these works are not part of the standard chamber music repertoire, nor are they much discussed by musicologists, except in terms of the supposed “influence” between Förster and Beethoven. Thus our assessment of this important composer in general, and his contributions to Viennese string quartet culture around 1800 in particular, is hampered by a narrowness of vision. As shown in this new edition of Förster’s op. 21 (1803), Förster remained close to the overall design for string quartets that Haydn and Mozart had set, with some experiments in form and movement order in quartet no. 3. In other respects they present increasingly experimental writing. The harmonic innovations in quartet no. 4, for example, are especially striking; they require an excellent performing ensemble to render them effective. Förster also explored the special effects that are achievable by a string quartet, as in the Adagio con sordino from quartet no. 4. Hymnlike adagios that unfold in elaborate, ornamental lines also become increasingly prominent in op. 21, his final published set of string quartets.

In the course of a 50-year period, Haydn composed some 80 string quartets, whose range and variety of structural invention rank second only to those of Beethoven. This fine new anthology consists of the six pieces known collectively as Op. 17: String Quartet in E Major, Op. 17, No. 1; String Quartet in F Major, Op. 17, No. 2; String Quartet in E-flat Major, Op. 17, No. 3, and three other pieces.