Classical Music | Violin Music

Recorded on 07/02/2015, uploaded on 08/23/2015

Musician's or Publisher's Notes

Fourteen years passed between the composition of Mozart’s first quintet for strings and the two colossal works that appeared in 1787—No. 3 in C major and No. 4 in G minor (No. 2, which also appeared that year, was merely a transcription of his earlier Serenade No. 12). Like their predecessor, as well as their two successors that would follow in 1790-91, the 1787 quintets are scored for the usual quartet (two violins, viola, and cello) plus a second viola. It is a somewhat curious choice of instrumentation, no doubt arising out of Mozart’s love for the instrument, which goes against the perhaps more usual combination of an added cello found in the works of Boccherini and Schubert. Nevertheless, the C major and G minor Quintets were completed within mere weeks of each other, and were likely conceived as a contrasting pair of works. Indeed, they bear resemblance to another of pair of Mozart’s works that were likewise completed close to each other—the famous G minor Symphony and the “Jupiter” Symphony, also in C major.

Like the G minor Symphony, though more intensely wrought, the Quintet No. 4 is a work of pathos and tragedy. The minor modes were rarely used during the Classical period as the central keys for large-scale works, making its use here even more poignant. The first movement proceeds under ghastly shadows, with both themes inextricably bound to the minor mode. Relief is never attained during the movement as it comes to a close in the minor. Like its predecessor, the Minuet comes second, yet its rhythmic irregularities and sudden dynamic changes make it impossible for it to brighten the downcast mood of the work. Even the G major trio section fails to offer any lasting consolation. The following E-flat major Adagio continues the melancholic tone of the work with an opening theme of deep longing. Falling deeper into despair, the Finale opens with a lengthy Adagio introduction in the tonic key of G minor. However, after coming to a tentative pause on the dominant, the Quintet finally finds comfort in the key of the tonic major. Yet, the G major music that follows seems at best to be only an acceptable consolation, and the presence of the dark, foreboding clouds that dominated the previous three movements can still be felt at times.      Joseph DuBose

            Allegro
            Menuetto: Allegretto
            Adagio ma non troppo
            Adagio - Allegro

The Steans Music Institute is the Ravinia Festival's professional studies program for young musicians.