Mozart String Quartet In G Major K 387 Analysis Essay - Essay for you

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Mozart String Quartet In G Major K 387 Analysis Essay

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String Quartet No

String Quartet No. 14 (Mozart)

The String Quartet No. 14 in G major. K. 387, nicknamed the "Spring" quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer's inscription on the title page of the autograph score is stated: "li 31 di decembre 1782 in vienna". [ 1 ] The work was perhaps edited in 1783. This is the first of the Haydn Quartets. a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn. who is generally viewed as the father of the string quartet form.

Movements Edit

As with all later Mozart quartets, this quartet has four movements :

The first movement, in G major. contrasts fairly diatonic passages with chromatic runs. According to (Williams, 1997) "it must come as something of a surprise to anyone examining this quartet just how much chromaticism there is in it." In contrast to the standard quartet form, which places the minuet as the 3rd movement, this quartet has the minuet as its 2nd movement (another example of this ordering is the String Quartet No. 17 ). It is a long minuet, written in the tonic key of G major, with its chromatic fourths set apart by note-to-note dynamics changes. The minuet is followed by a slow movement in the subdominant C major. whose theme explores remote key areas.

The fugal theme of four whole notes in the finale points ahead to the finale of Mozart's "Jupiter" Symphony of 1788, a movement which also begins with four whole notes that are used in a fugal fashion, in the coda. and it also points back to Michael Haydn 's Symphony No. 23 in which the finale is also a fugato based on a theme of four whole notes, [ 2 ] which Mozart copied out the first few bars of and was mistakenly entered into Köchel's original catalog as K. 291.

Notes Edit
  1. ^ Mozart, Wolfgang Amadeus; Finscher, Ludwig (preface); Anderson, Kinloch (transl.) (2007). The Ten Celebrated String Quartets. Kassel: Bärenreiter Verlag. p. X.   Cite uses deprecated parameter |coauthors= (help ) ISMN M-006-20118-1
  2. ^ David Wyn Jones, "The Origins of the Symphony" A Guide to the Symphony Oxford: Oxford University Press (1996): 15
References Edit
  • John Irving, Mozart, the "Haydn" quartets. Cambridge: Cambridge University Press (1998)
  • Williams, Peter F. The chromatic fourth during four centuries of music. Oxford : Clarendon Press ; New York : Oxford University Press, 1997: 130
External links Edit

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Mozart: String Quartets: in G major K387, in B flat major K458 ‘Hunt’ - The Strad

Mozart: String Quartets: in G major K387, in B flat major K458 ‘Hunt’ Composer Catalogue number

Just like skinning a cat, there are many ways of interpreting Mozart. The Hagens opt for a no-holds-barred Romantic approach, showing little concession to historical style but shaping the line with striking individuality. The players’ fragmentation of the opening phrases of the first movement of K387 regrettably comes at the expense of continuity. Their addition of up to one bar’s length of unscripted silence after key phrases in the same work’s trio disruptively reforms Mozart’s symmetry. However, such comments are essentially grasping at critical straws in the wind. Elsewhere, the Hagens allow the music to breathe freely, as in their commendably spontaneous minuet of K458; and the clarity of their articulation and voicing of the counterpoint in the spirited finale of K458 are particularly effective.

Leader Lukas Hagen holds most of the aces in these commanding and often exhilarating readings but the unanimity of these players’ relaxed interpretations confirms a true team effort. They apply a wide range of dynamic nuance, vibrato and timbre, particularly in the first movement of K458; the slow movements, too, are expressively conveyed, particularly the introspective Andante cantabile of K387. Internal blend, balance and ensemble are impeccable and the exemplary recording does full justice to the Stradivari instruments in their hands.

Mozart - Quartet for Strings No

Quartet for Strings No. 14 in G major

The String Quartet No. 14 in G major. K. 387, nicknamed the "Spring" quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer's inscription on the title page of the autograph score is stated: "li 31 di decembre 1782 in vienna". [ 1 ] The work was perhaps edited in 1783. This is the first of the Haydn Quartets. a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn . who is generally viewed as the father of the string quartet form.

Contents Movements

As with all later Mozart quartets, this quartet has four movements :

The first movement, in G major. contrasts fairly diatonic passages with chromatic runs. According to (Williams, 1997) "it must come as something of a surprise to anyone examining this quartet just how much chromaticism there is in it." In contrast to his 4-movement symphonies, all of which place the minuet as the 3rd movement, this quartet has the minuet as its 2nd movement. It is a long minuet, written in the tonic key of G major, with its chromatic fourths set apart by note-to-note dynamics changes. The minuet is followed by a slow movement in the subdominant C major. whose theme explores remote key areas.

The fugal theme of four whole notes in the finale points ahead to the finale of Mozart's "Jupiter" Symphony of 1788, a movement which also begins with four whole notes that are used in a fugal fashion, in the coda . and it also points back to Michael Haydn 's Symphony No. 23 in which the finale is also a fugato based on a theme of four whole notes, [ 2 ] which Mozart copied out the first few bars of and was mistakenly entered into Köchel's original catalog as K. 291.

Media Notes
  1. ^ Mozart, Wolfgang Amadeus; Finscher, Ludwig (preface); Anderson, Kinloch (transl.) (2007). The Ten Celebrated String Quartets. Kassel: Bärenreiter Verlag. p. X.   ISMN M-006-20118-1
  2. ^ David Wyn Jones, "The Origins of the Symphony" A Guide to the Symphony Oxford: Oxford University Press (1996): 15
References
  • John Irving, Mozart, the "Haydn" quartets. Cambridge: Cambridge University Press (1998)
  • Williams, Peter F. The chromatic fourth during four centuries of music. Oxford : Clarendon Press ; New York : Oxford University Press, 1997: 130
External links

Mozart, String Quartet in G major, K

Mozart, String Quartet in G major, K. 387 (Mozartwoche 1998)

Mozart, who had been profoundly moved by Haydn's String Quartets op. 33,
composed these quartets between 1782 and 1785 and dedicated them to his
revered friend Joseph Haydn with the words: "Here they are then, O great
man and dearest friend, these six children of mine. They are, it is true,
the fruit of long and laborious efforts¿"
The Hagen Quartet, consisting of the siblings Lukas, Veronika and Clemens
Hagen along with the violinist Rainer Schmidt, attracted great attention
and scored impressive successes while its members were still students at
the Salzburg Mozarteum. Their international career began with their
appearance at the Lockenhaus Chamber Music Festival in 1981. The quartet
is now internationally known for its inspired performances, especially of
works by Mozart.

Mozart, String Quartet in G major, Op

String Quartet in G major, Op. 10, Haydn. No. 1, K. 387, Spring Wolfgang Amadeus Mozart, 1756-179 String Quartet in G Major, K. 387, No. 1 of the “Haydn” Quartets ,
1782

After moving to Vienna, acquiring a deeper education in Bach, meeting Haydn for the first time and encountering his landmark string quartets, Op. 33, published only a year before in 1781, a twenty-six-year-old Mozart turned again to the genre of string quartet. Motivated purely by inspiration and respect rather than the dictates of patronage or the good fortune of commission, Mozart worked hard over a period of roughly two years to compose what became the set of six quartets he dedicated to Haydn. Of the twenty-three quartets he wrote, even among the celebrated last ten, the “Haydn” quartets are considered Mozart’s finest. In technique, variety, ingenuity and sheer musical brilliance, they constitute an important landmark of their own equal to if not surpassing Haydn’s models (at least up to that time). Together, the twelve quartets of Mozart and Haydn combined comprise the first great watershed of Viennese Classical chamber music. The first, and in some ways, most impressive of Mozart’s set is the String Quartet in G Major, K. 387, completed in December of 1782.

The first movement sonata has two prominent themes, both sharply articulated by dynamic contrasts between loud and soft with segments that move in small chromatic steps. These qualities – frequent dynamic contrast and chromaticism – characterize themes in the other movements as well suggesting an artistic unity to the quartet as a whole, a rare trait this early in the string quartet history. The development is a rich example of the quartet as an enlightened conversation among friends, a musical conversation much in the manner of operatic recitative, a natural inclination for Mozart. As always with his chamber music sonata forms, the so-called “recapitulation” features significant elaboration and extension making the thematic recurrence more than a mere reprise, but in fact, a much fuller realization creating an elevated conclusion.

The Menuetto theme begins with two gentle downward leaps, then combines both the loud/soft dynamics and the chromatic vocabulary from the previous movement into a jerky upward climb that hints at the future of the scherzo genre with a mild jest elaborated in contrary motion by the cello. The section is rounded off by a lovely, poised minuet phrase, all gallant propriety restored with the unaccented chromatic line trailing off in well-mannered conclusion. The second reprise inverts both the leaps and the chromatic line while shifting the melodic roles down into the cello and viola parts for a witty contrast that revels in Mozart’s newfound facility for independent part writing. Yet another contrast exercises the full range and power of quartet texture as the trio begins with all four players in bold unison. Dramatic with its minor key, continued chromatic and dynamic tension, and a sorrowful sighing motif (in the cello), the trio introduces the first dark shadow in the quartet. With a formal plan of dramatic modulation even in the Menuetto, all four movements of this early classical masterpiece are ruled by sonata form.

Moving to the warm glow of the sub-dominant key (C major), the Andante cantabile sings an exquisitely graceful song, sophisticated with shifts into pathos, its supple heroic reassertions and its radiant flairs of divine beauty. The dark intensity of the trio returns along with the stark intonations of all four instruments in unison. But this wayward tangent is lovingly coaxed back into illumination with gentle guidance that rises into a rich, polyphonic cadence that blossoms into four independent but interwoven threads. The marvel of this slow movement is beautifully expressed by Alec King who writes, “Mozart pours forth a stream of rapt, contemplative music. rich. soaring. with beautifully calculated climaxes. It is a remarkable example of the sustained, exalted feeling expressed with wonderful harmonic resource, yet without a single melodic phrase that is at all memorable in itself.”

The finale is a further miracle and an important milestone in the history of the string quartet and classical music in general. Cast in sonata form, its exposition is made of equal parts polyphonic fugue and homophonic melody with accompaniment, the ancient learned style and the fashionable gallant style seamlessly mixed into a wonder of exciting complexity and relaxing ease, a unified drama par excellence. The reintroduction of polyphony as a compliment to the accompanied lyricism of the progressive sonata form is one of the key events in achieving the mature classical style and it is difficult to find another example of the effortless, almost insouciant blend that Mozart attained here (the closest example being Mozart’s own Jupiter Symphony whose finale uses almost the same theme). Each of the two thematic areas of the sonata includes both a fugato (a portion of a fugue) and an accompanied theme. The second thematic area even combines the first and second fugato subjects into a double fugato. The development begins with yet another fugato based on a new, third theme. With its Molto Allegro drive, its rococo shimmer and its contrapuntal grandeur, one would expect a conclusion of awesome might. Instead, Mozart ends with subtle, delicate finesse, quietly completing the final statement of the first fugato subject with its missing three-note tail for perfect harmonic closure as if he were whispering the simple solution to a perplexing but delightful riddle. In addition to highlighting the contrapuntal riches of the fresh but now mature quartet form, Mozart simultaneously demonstrates two other cardinal features of the genre: humor and intimacy.

  • allegro —fast, lively tempo
  • andante —moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
  • assai —very much. Intensifies the direction of its neighboring words, e.g. "allegro assai", very fast
  • cantabile, cantate, cantando —singing, lyrical, flowing
  • chamber music, Kammermusik [G], Musique de chambre [F], Musica da camera [I] —"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players
  • minuet, menuet [F], Menuett [G], menuetto [I], minuetto [I] —A graceful, courtly French dance of the Baroque and Classical period with a triple meter and a moderate tempo.It was introduced at the court of Louis XIV. In classical forms such as the symphony or chamber music, the minuet evolved into the more vigorous scherzo.
  • molto [It] —very much
  • quartet, quatuor [F], quartett [G], quartetto [I] —ensemble or work for four players the most important examples being the string quartet and the piano quartet
  • string quartet, Streichquartett [G], quatuor à cordes [F], quartetto d'archi [I], quartetto di cordi [I] —music for 2 violns, viola and cello as well as the ensemble itself; one of the essential genres / forms / ensembles of chamber music
  • vivace —brisk, lively tempo faster than allegro

with thinking heart and feeling mind, I'll embody your muse, thy soul divine

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Wolfgang Amadeus Mozart - String Quartet no

String Quartet no. 14 in G 'Spring', K. 387

he String Quartet No. 14 in G major, K. 387, nicknamed Spring quartet, was composed by Mozart in 1782. The work was perhaps edited in 1783. This is the first of the Haydn Quartets, a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn, who is generally viewed as the father of the string quartet form. he String Quartet No. 14 in G major, K. 387, nicknamed Spring quartet, was composed by Mozart in 1782. The work was perhaps edited in 1783. This is the first of the Haydn Quartets, a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn, who is generally viewed as the father of the string quartet form. 更少

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String Quartet no. 14 in G 'Spring', K. 387

String Quartet no. 14 in G 'Spring', K. 387

Mozart - String Quartet No. 14 in G Major, K. 387 - I. Allegro vivace assai

Mozart - String Quartet No. 14 in G Major, K. 387 - II. Meneutto & Trio, Allegretto

Mozart - String Quartet No. 14 in G Major, K. 387 - III. Andante cantabile

Mozart - String Quartet No. 14 in G Major, K. 387 - IV. Molto Allegro

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed.

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String Quartet No

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String Quartet No. 14 in G major ("Spring"), K. 387