![]() There is a splendid balance between the keyboard and the strings, and any sacrifice of prominence suffered by the strings due to the piano’s natural sonorous superiority is compensated for by the number of strings-only passages throughout the work. This is not to say that the E-flat-major Quartet is any less chamber-like than the G-minor. The present work’s keyboard scoring does not reflect any contriteness the piano is extremely active throughout and in the last movement has some distinctly concerto-like passages. As badly as Mozart needed a commercial success at this difficult period of his life-when his Viennese celebrity, only some three years old, was already beginning to fade-he still did not take to heart Hoffmeister’s complaint about the Gminor Quartet’s demanding piano part. ![]() Even so, he went on to write a second Piano Quartet in E-flat, in 1786, some weeks after the completion of Le nozze di Figaro. ![]() However, when the publisher, Hoffmeister, complained that the public found the Quartet too difficult and would not buy it, Mozart released him from his contract. 478-apparently the first work ever written for this combination-was to have been followed by two more compositions with the same scoring. Mozart’s first quartet for piano and strings, in G minor, K. ![]()
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