W. A. Mozart - KV 428 (421b) - String Quartet No. 16 in E flat major

更新日：2018年7月11日

The quartet is set in 4 movements:
1. Allegro ma non troppo (0:00)
2. Andante con moto (10:35)
3. Menuetto: Allegro (24:45)
4. Allegro vivace (31:02)

Composed in Vienna in June or July 1783. Published in 1785 as Op. 10 No. 4 with a dedication to Joseph Haydn.

https://en.wikipedia.org/wiki/String_Quartet_No._16_%28Mozart%29

Performers: Mosaïques Quartet.

関連

-428～封鎖された渋谷で～の攻略動画
-428～封鎖された渋谷で～

Patrick Rogers より:

2015年1月16日 7:27 PM

36 minutes of pure heaven -- ravishing -- a performance superbly flexible, superbly human. For Rossini Mozart was the "Angelo di musica" -- yes but also a highly complex, modern sensibility that stretches the classical idiom almost to the breaking point. Something enigmatic and disturbing in this piece--yet it has an intimacy that can only come from total honesty.

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- Das Kinderspiel より:
  
  2018年5月24日 12:18 AM
  
  Excelente comentario, saludos desde México
  
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Sean McHugh より:

2015年2月28日 6:58 AM

The Beethovenization although interesting undermines the grace and spirit, particularly in the finale.

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- Billy Zé より:
  
  2015年8月3日 1:50 AM
  
  +Sean McHugh how does one go about the re-Mozartinisation of something like that? thank you for the interesting comment. i enjoy it because they tend to play at slower tempi than others i've listened to. is that part of the Ludwig-ness of which you speak? tengo una interpretación por Cuareto Italiano que es realmente maravillosa. hace un tiempo de 28 minutos. es una obra de la hermosura eterna del gran maestro Mozart. muchas gracias y saludos desde Tokio.
  
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Nico Bakker より:

2015年9月27日 7:03 PM

i like and admire Anton Webern, Schoenberg.
Schoenberg studied 'the old Masters , particulary W.A. Mozart.
Unpredictable music, like throwing notes around by way of chance is not Music at all.
The Stuerm und Drang period is tuest as predictable by way of working to a Climax.
If W.A. Mozart doen not stand out in his period is a matter of opinion wich can turn out in giving argumentive exemples and counter-argumentive examples, and in the End we stand where we were as in the beginning, we do not want to do that...

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Bárbara Maryah より:

2015年10月7日 8:56 AM

wonderful

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Roger A. Mueller より:

2017年4月29日 11:39 AM

He's going toward romanticism here and you can hear it in the first movement. Unconventional for 1783.

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Martin Spaink より:

2017年9月1日 11:25 PM

with such good music, played so well and tastefully, why do people get in to each others' hair so much, I wonder... let's all keep a civil tongue please!

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Maxwell Kaye より:

2017年10月3日 5:02 AM

One of my favorite pieces of music by my favorite composer. Bravo!

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Adrian Cheale より:

2018年1月29日 8:22 AM

Why on earth is Mozart given such adulation? His quartets, (like much of his music) are so dull, especially compared to Haydn. Haydn in comparison is consistently underrated. Haydn was far more inventive. Mozart's the most overrated composer of all time (apart from Mahler). Such boring, twee music.

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- Alex Shih より:
  
  2018年3月29日 1:57 PM
  
  Darkness Youtube How was the galant style a "shithole?" Sure, it might not have been as complex as romantic or baroque styles, but it's definitely a style worth studying. I admit that Mozart moves my soul much more than Haydn, but Haydn was good at a lot of things that Mozart never really did that well in. Mozart uses cookie-cutter 4-bar and 8-bar themes all over the place, while Haydn uses them much more sparingly. Heck, Haydn's whole approach to rhythm in general was a hell of a lot more sophisticated than Mozart's. A lot of the accents on weak beats and irregular phrase structure that you find in Beethoven originated from Haydn, not Mozart. Not to mention Haydn's incredible innovations in sudden extreme dynamic changes and development of the symphony and string quartet that would later become a mainstay in Beethoven's music. He was also much better at musical humor than Mozart. The rhythmic illusions, false endings, and monothematic nature of much of his work would later become much more common in the romantic era.
  
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- Darkness Youtube より:
  
  2018年3月29日 9:36 PM
  
  Nope, there's none in Haydn music that matches the complexity of the ending of Mozart's Symphony No.41 in C major last movement. even in the famous online article, "10 GREAT FUGUES NOT BY BACH" (FLAMEHORSE MAY 28, 2012), there are listed two fugues by Mozart (Requiem Kyrie, Jupiter Symphony), two fugues by Beethoven (Hammerklavier, Grosse Fuge), one by Handel (Messiah Amen), but NONE by the great Joseph Haydn. So even those cookie-cutter 4-bar and 8-bar themes, Mozart was even better at assembling them contrapuntally in fugues, canons, fugatos. Also as I said, face it, *Haydn had no talent to write operas, "the summit of ambition for any composer at this time" (quoted from BBC Beethoven documentary 2/3).* Don't make me mention their influence on Beethoven cause even Beethoven's greatest theme "Ode to Joy" was derived from Mozart's Misericordias Domini in D minor K.222. It's well known Beethoven even wrote down a large chunk of Mozart's Symphony No.40 4th movement in his notebook to study.
  
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- Darkness Youtube より:
  
  2018年3月29日 10:16 PM
  
  *Chromatic harmony is richer in Mozart than Haydn* , compare their string quartets, or their similar orchestral works, (3/4 time, C minor) Haydn's Symphony No.78 in C minor (1782) with Mozart's Concerto No.24 in C minor (1786). In the Haydn symphony, in the opening for example, the second violins and violas in each measure play groups of 6 eighth notes in G and than Ab and then back to G and so on, GGGGGG - AbAb... - G.. - Ab - G - Ab for 6 fucking measures, then the basses take over the base harmony, does the same half-step alternations on C - B - C - B - C - B for another 6 fucking measures, after that, *it's not chromatic anymore*- Eb to Db, (repeat) and then Ab to Bb. Stay in Bb for 4 measures, then to Ab, to Db. Now look at the Mozart concerto, not only did the opening theme, with its use of all 12 tones in the chromatic scale, inspire Giselher Klebe (1925~2009) in writing of his tone row in Symphony for Strings (1953),
  unlike Haydn who spams repetitions of G-Ab or C-B, Mozart's baseline does something more interesting. In the opening of the concerto, for example, look how the basses (also groups of 6 8th notes) *go from C - B - Bb - A - Ab - G - F under just 10 measures* (first violins also do between over measures 64 ~ 70 in high registers) and continues its restless chromatic bassline, which is much more interesting than Haydn's spamming of groups of 6 8th notes over a half-step, a poor excuse for chromaticism by Mozart's standard. Look how Mozart makes melody out of chromatic fourths in the woodwinds before the soloist enters. (measure 81)
  Where do we find in Haydn's piano music something like Rondo in A minor K.511 and its infleunce on Frederic Chopin?
  Also consider, this passage from Charles Rozen's The Romantic Generation page 358 "Perhaps this interest in the inner parts accounts for Chopin's idolization of Mozart's music, where the inner part writing is richer than in any of Mozart's contemporaries." You can find the whole page online.
  
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- Assen Vaptsarov より:
  
  2018年5月15日 3:19 PM
  
  Mozart is life, bro 🙂
  
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Gérard Begni より:

2018年2月23日 12:47 AM

The dissonance of the beginning of the quartet (A in E flat major) dives it its flavour all along the quartet. This is a very subtle work.

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christian wirth より:

2018年5月18日 6:22 AM

danke!
Habe Link gesetzt: http://www.wgsebald.de/MOZART/juli.html#27

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