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MOZART_QUATUOR TALICH
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The
HaydnQuartets
K.387,421,428,458,464,465 (1782-1785)
The
string quartet in G Major, K387
begins with a relaxed, songlike, almost
youthful, theme, which gradually darkens with each stage of its development,
without ever straying from its sustained tempo.
The Minuet undoubtedly has all the characteristics of a tribute to Haydn. Its
‘abstract’ theme is linked to a jocular subject, which leads to more serious,
modulated appeals, which are then developed in the plaintive Trio with its
pathos-laden, restrained questioning.
The
Andante cantabile
is invested with a serenity and peacefulness that are rarely
found inMozart’s work. Beyond any formof unbearable anguish or overflowing
joy,wehavehere,asheerrapturethatisclosetothe
Andante
ofBeethoven’sString
Quartet N
o
. 15. This mysterious affiliation with Beethoven calls tomind Bartók’s
quartets, in which each instrument encompasses a range of several octaves in
counterpoint to support a songlike melodic line which constantly passes from
one instrument to another. The result is prodigious, even visually.
The Finale is amodel of architectural structure, a facet of Mozart’s mastery that
is not often sufficiently emphasised. He is sometimes capable of intellectualising
without losing either his momentum or his inventive genius: profuse virtuosity,
with an unceasing flow of new ideas, throwing new light on the same themes,
and leading to a peaceful and discreet conclusion.
Without any form of introduction, the
Allegro moderato
from the
string quartet
in D minor, K. 421
plunges the listener into a mood of restlessness and disquiet,
despite the apparent lightness of the score, which is both airy and profound.
With its feverish climate of resignation in the face of unhappiness, and smiles
forced through tears, this is theMozart of the Dminor Concerto.