39 / 80
INTÉGRALE DES QUATUORS À CORDES 39
The introduction of
K.158
poses a question: two themes, very different in colour,
answer one another. Mozart obviouslywished to upset the norms: he changes key
and rhythm, and gives free rein to his inventiveness and imagination. The theme
of the
Andante
makes us think of the beginning of a fugue: it is a canon, with an
unexpected development that is worthy of the truly great Mozart. The
Minuet
is
moreclassical,withatriofulloffreshnessandcharm.
The last-but-one of the six ‘Milan’ Quartets,
K.159
, is no doubt the most original.
The lofty theme of the opening
Andante
shows great maturity. There is a supreme
balance, a regal elegance, and we find ourselves miles away from the so-called
galant
style. The climate is similar to that of the last six symphonies, but without
the anguish of that period. The Allegro in Gminor, like Symphony No. 40, is a pure
masterpiece: division, modulations, chromaticism... And it was written by a young
manof sixteen!The
Allegro grazioso
, in rondo form, is reminiscent of the French form
ofthegavotte,anditsepisodesaredarkandfeverish.
The first nine notes of the opening allegro of
string quartet in E-flat major, K.160
are
the same as those of the
Divertimento
K.136: the theme is light, carefree and
galant
.
Is this an allusion toMozart’s imminent return toAustria? The
Adagio
, on the other
hand, is full of sadness andnostalgia–an expressionofMozart’s feelings at the idea
ofleavingMilan,orofhisapprehension?TheFinale,whichisalmosthammeredout,
has the firmness and resolute character of a march. The instruments answer each
another in pairs. Mozartmustmake up hismindwholeheartedly andwith resolve;
hemustreturntothefold,andmoveonto‘pasturesnew’.