Mozart’s Quartet K. 464: Part II
Introduction
The first movement is usually followed by a slow movement and then a dance movement, but in this quartet Mozart reverses this order so that we hear the minuet first. The remarkable thing about this Minuet is that Mozart continues to write in a highly contrapuntal fashion, quite unusual for the simple minuet form.
Minuet
The minuet consists of only two simple motifs that Mozart presents at the outset: motif a, announced by all four voices in unison, answered by motif b proposed by the first violin.
In the skilled hands of Mozart, these two simple motifs provide endless possibilities for counterpoint. He begins by combining both motifs together, followed by overlapping imitations of motif a, then overlapping imitations of motif b (which includes its inversion, or turned upside down). The first part ends with one last motif b in the first violin, and then a shortened motif a in the second violin and cello.
The second half of the minuet begins with two statements of motif b in the violins, now sounding mysterious, followed by a halting silence. The viola and cello add two more statements of motif b before combining motif b with its inversion in the cello. A sudden forte statement of the incomplete motif b ends with a jarring silence.
Now the b motif is combined with an inversion of the a motif, followed by two more statements of the b motif, which is now more elaborately accompanied.
The final bars of the minuet combine the a and b motifs, once with motif a inverted, followed by overlapping imitation of the b motif combined with strong statements of motif a. This all leads to another incomplete statement of the b motif and another dramatic pause. This section ends a few more statements of the b motif and its inversion.
What stands out about this seemingly simple minuet is that Mozart is able to use only two motifs to create complex interactions throughout the quartet all whilst seeming effortlessly elegant and natural. Now listen to the entire minuet uninterrupted.
Trio
The contrasting trio section is much more straightforward, but no less delightful. It follows the typical symmetrical form of c-d-c’, which are labelled in the video.
Following the trio, the minuet returns without repeats. This creates an overall structurally symmetrical movement of minuet-trio-minuet. Mozart uses the simplicity of the minuet form to showcase his contrapuntal prowess all whist sounding effortlessly elegant and uncomplicated, the most Mozartian of traits.