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MOZART_QUATUOR TALICH
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The Finale beginswith a triple call.The themes are in turn playful and dance-like.
There is a false conclusion (again as in Bartók), and the piece ends with a desire
to live; the crisis is over.
In the
string quartet in B-flat major, K. 458
, the first theme is a veritable fanfare,
the second is gay and strongly rhythmical, and the third, unexpectedly, is a lyrical
and joyful song, ending the firstmovement in a highly exalted tone.
The highly rhythmic Minuet is followed by a Trio which is just as joyous and
carefree.
The
Adagio
is in complete contrast. Here we find the tragic mood of Mozart at
his greatest: a theme consisting of cries and appeals is followed by a pathetic
melody fromthe cello, which gradually alleviates the agony.
The Finale, strongly rhythmic in structure and again calling to mind Bartók, is
a perpetual bouncing romp, during which the theme of the first movement
reappears.
The first theme of
string quartet inAmajor, K. 464
is statedpianoby the first violin
alone, then answered forte by the four instruments together. The whole of the
firstmovement is developed along the lines of question and answer.
The Minuet presents the same theme, but this time in reverse intensity: the
question is asked by the four instruments, with the answer provided piano by
the violin. This same patternwas later to reappear in
Die Zauberflöte
.
The Andante, which was to have been cantabile, gives up the epithet. With
its six variations, the theme has a human dimension: the melody resembles the
spokenword.
The lastmovement – the culminationof thework –provides a joyous conclusion
in the formof a fugue.