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MOZART_QUATUOR TALICH
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The theme of the first movement,
Allegretto
, is rich and positive; it progresses
strongly, almost belligerently. The second movement,
Menuetto
, adopting the
same assertive tone, is far removed from the usual charm of a minuet. The
following
Adagio
is imposing and tranquil, very similar in its mood to the Jupiter
Symphony. There is a pathetic quality in the final
Allegro
, with its
moto perpetuo
,
which forges ahead, as if exorcising anguish.
In June 1789, Mozart returned to Vienna fromBerlin to
find a commission fromFriedrichWilhelmII of Prussia
for six string quartets. We know that only three saw the
light of day, and that the king was an excellent cellist,
which explains why Mozart gave such prominence to
the cello part.
The
Prussian
Quartets K. 575, 589, 590 (1789-1790)
The
Quartet N
o
. 21 in Dmajor K.575
is unusual in that three of its fourmovements
are allegretto. The first shows the deep creative crisisMozartwas going through
at that time: gone is the characteristic explosion of themes, but we find the
extraordinary skill of a man who was used to composing to order. The delicate
Andante
is perfectly in keeping with courtly cultural tastes
(style galant)
. In
the following
Menuetto
we find the poignancy and pathos of the six Quartets
dedicated to Haydn: the key is upset in the reprises; Mozart’s revolt in this piece
prefigures the titanic audacities of Beethoven’s last quartets. The theme of the
final movement is stated in a high tessitura by the cello, before being skilfully
developed.