By John Irving
This booklet is a advisor to Mozart's six most renowned string quartets, devoted to his buddy, Joseph Haydn. as well as delivering an entire synopsis of every quartet this publication examines the tune with regards to Mozart's prior quartets, considers the genesis of those six items and charts their reception via a large variety of assets: letters and diary entries, modern feedback and early biographies.
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Additional info for Mozart: The ’Haydn’ Quartets
203 (especially its Prestissimo finale). At times Mozart appears to break out beyond the normal dimensions of a quartet into quasi-orchestral textures (bars 113–21 and 307–13). 168–73. 458 achieves a masterly integration of both idioms. The texture is kaleidoscopic in its variety but is at the same time carefully regulated by a network of textural and thematic cross-references drawing upon the resources of counterpoint, all in the service of a dramatically unfolding form. The relationship between the ‘first’ and ‘second’ subjects provides a good illustration of textural crossreferencing.
Where the motif is transferred from cello to second violin); and (iii) the concluding exposition material, which is a version of the main opening theme at bar 122. In the development section imitative counterpoint comes decisively < previous page page_43 next page > < previous page page_44 next page > Page 44 to the fore. At bar 140 there is a brief stretto presentation of the main theme, continuing with three further sequential statements by the first violin, giving rise to a succession of paired entries descending through the texture (bars 149–61) and including a powerful descending suspension chain leading ultimately to a cadence on D (V/G minor) which marks the end of the first stage of the development.
Every bar is governed by precise dynamic or articulation marks which require careful attention from the players. The opening theme, for instance, depends as much upon the contrasts of piano and sforzando, legato and staccato for its effect as upon the actual pitches. Concealed beneath the hyper-refined melodic façade, lies a straightforward harmonic skeleton. Bars 7– 14, for example, form the ‘transition’ between the first and second subjects of the exposition: the first four bars move in sequential stages from C minor through B flat major–minor towards the secondary dominant F, though its arrival is obscured both by the abrupt register transfer from first violin to cello half-way through the bar, and by the chromatic part-writing, eventually coalescing to form an augmented-sixth chord on the second beat of bar 11 (forte), whose resolution (piano) to the target pitch, F, goes almost unnoticed.