Perhaps the most characteristic of all the Mozart quintets. Filled with charm, joy, humor, and tragedy, with specific passages that go forward in time 150 years.
Yes, those two. The one mentioned in E flat is pehaps even more artful. However, it's not my favourite. The one in g minor is more beloved by many and for good reasons (it's so expressive and screams of despare!). But my personal favourite is the one in C, not despite the more conventional material and more cliché like frases, but because of them! It's how he treats this material that gives me goosebumps!
One author has called this passage the most astonishing example of polyphony in the entire classical period! There are so many dissonances with these passing notes and suspentions!
Wow that minuet really shows the influence of Haydn. No surprise, as this was written in the era when they were good friends and regularly played each other's chamber music together.
I love the first movement with its nostalgic grandeur. We hear the wistfulness first in the soft but firmly rooted triadic arpeggiation of its opening and yearning upper strings. Shortly thereafter, the confident, vigorous main theme enters, characterized by the "royal" figuration of dotted quarter+quaver and dotted quaver+semiquaver. The themes are laid out quickly; we plunge quickly into a network of contrapuntal complexity. There's no coyness either in the efficient declaration of the development section. After the ensuing demonstration, it's such a stroke of emotional genius to be confronted again by the same music of the beginning -- soft, warm, wistful, sparse. But vigor and optimism have the last word, with punctuating coda of the main theme. I find in Mozart's works an emotional sophistication rooted in a moral outlook that I have a lot of sympathy and respect for.
In the light of what you have just said, sophistication does not prevent emotion when it is a sensitive person who composes. On the other hand, sophistication without art becomes mechanical. Put pigs in a castle, they won't become lords, but the castle will soon become a pigsty.
What you hear is as written in Mozart’s autograph, with the descending chromatic six-note phrase - this is correct. The score you see on the screen shows a mistake that was copied widely and made its way into published editions - and is wrong.
The version played here is the authentic one in Mozart's autograph, before a foreign hand changed it to what you see in this score; the Neue Mozart-Ausgabe restores the autograph reading. This clarifies the passage just after 27:46 as a development of the theme.
Leider spielen sie das Thema des 4. Satzes nicht, wie es hier in den Noten wiedergegeben und zum Beispiel auch vom Amadeus-Quartett so ausgeführt wird, sondern (weniger schön) als absteigende chromatische Linie
For IV. Allegro, the theme on the score does not match what is played, played is Mozart's chromatic original version, the score show an other version later by another anonyme person. If you want to hear the score version show here : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-NMKu3I3tukA.html As far as I know, this is the only time someone has made a small change for the better to a Mozart composition. Which version do you prefer ?
I also prefer the "unauthentic" version, but, for me, it is just a detail. Now, is it impossible that the changes were made according to indications from Mozart ?
@@jeanpaulchoppart6818 I don't have any more precise information on this than the mention written on the vinyl record by Quatuor Amadeus, Cecil Aronowitz 2nd alto, with the two versions in a row: « Final, von fremderHand veränderte spätere Fassung ». It would be good to ask the question to people who are specialists in classical music, even Mozart: know where and when the alternative version was found. Can we challenge ourselves to find a better answer, and come back to share it here?
@@mizuqatsi "where and when the alternative version was found" : good question, indeed. But I have no idea who I could ask this question to or in what book or article I could find the answer. If you find something, please share it. Thanks for your reply.
nope nope.. i prefer the descending chromatics.. he contrasts those with ascending chromatics throughout the piece. Kinda goes against the musical structure he intended if you change it to what this score has
This brilliantly-crafted Quintet in D Major (scor’d for: 2 violini, 2 viole, e violoncello) was completed on 6 December 1790 and was perform’d (according to family friend Father Maximilian Stadler from Salzburg-NB not the clarinet virtuoso Anton Stadler) by Mozart & Haydn (at times sharing the 1st viola part) before the latter’s first trip to England 15 December 1790; it was not publish’d until 1793 by Artatia of Wien with the incipit ‘compos’d for an Hungarian Amateur’ - most likely candidate being Anton Tost, the 2nd violinist in Haydn’s (recently partly-disbanded) Esterhazy Court Orchestra, who plunk’d down 15 Dukaten for it...necessary at the time for the Mozart Family was again expecting another baby (born 26 July 1791) and was at the time recovering from Joseph II death in Feb 1790-9 months earlier-and found himself heavily indebt to ‘certain notorious Jewish userers from Frankfort, including one Herr Goldhahn who fleac’d (gentiles) in need with interest rates of 35% per annum...’)
Of course! This quintet's structure is really unique compared to others so you'll have to wear with me hehe. It open with a pretty typical slow introduction with four-is parts: a heraldic call to attention, then a lyrical rejoinder (these two are repeated a few times), then a section that searches its way to the dominant, and finally, a lock on the dominant at measure 16. This leads to the beginning of the exposition, the primary key area, which has a rather complex primary theme. The primary theme is stated in whole once and is followed by a little codetta-like tag. Then, the primary theme is repeated again at measure 34, but takes a different course (notice the different harmony at measure 41) and dissolves into a transition that gets its momentum by developing the dotted codetta-like tag material. A lock on V/V is reached at measure 54 which eventual leads to the medial caesura at measure 63. Here, we expect a unique secondary theme in the dominant, but instead we are treated with a transformation of the primary theme (very reminiscent of Haydn!) but some new material is introduced at measure 71 in place of the triplet figure from the primary theme. Even more new thematic material is introduced and leads to a perfect authentic cadence in V at measure 89, marking the essential expositional closure. A subdued closing theme (expect a coda!) follows and a re-transition begins that leads either to the beginning of the exposition if the repeat is taken, or the development. The development occurs in roughly three stages: a pre-core that develops the syncopated, limping (alla zoppa) part of the primary theme from measures 102-122, the core of the development that develops both the triplet figure and hammer-stroke cadential figure of the primary theme while sequencing through the circle of fifths form meaures 123-137, and finally, a re-transition that fades away into the recapitulation from measures 138-143. The recapitulation begins on measure 143 and has some tweaks: first, the primary theme is not repeated, rather, it goes straight into the transition. Second, the transition is extended greatly, in very typical Mozartian fashion. The crux point is reached at measure 179 (I believe) and the recapitulation follows the course of the exposition practically measure for measure. At the end of the recapitulation, the grand pause makes us expect a coda, but surprise! the sow introduction return as a coda. However, only the first seven measures of it are followed and it leads a different path to the dominant. Another grand pause follows the dominant chord and... the primary theme, with it's overly-determined establishment of tonic and cadence, comes to close the movement. A joke worthy of Haydn :)
