Mozart’s Quartet K. 464: Part III
Introduction
A typical theme and variations often makes use of ornamentation as way of varying a simple theme. As the variations unfold, the ornamentation becomes more and more intricate. But in this movement, Mozart is much more free in his variations. The first variation is an ornamentation of the theme, but after, each variation becomes more of a freer development of thematic motives, an exploration of counterpoint, and a journey of emotions. At certain points, the original theme is no longer recognisable, but there is always some form of cohesion between the variations. This is not a simple exercise in variations, but a veritable tour de force of emotion that demonstrates Mozart’s meticulous craftsmanship and limitless creativity.
Theme
The movement begins with a theme that presents a long melody in the first violin. We will highlight certain motifs that reappear throughout the ensuing six variations and coda; notably motif a, a dotted rhythm of falling thirds; motif b, a rising syncopated line; and motif c, a four-note figure using expressive chromaticism (a typical Mozartian poetic technique). There are also several other expressive techniques that we’ll point out, such as sforzandi on the weak beat, creating surprise and instability; modulation to the minor mode, adding a darker more pensive mood; and syncopation, creating metric instability.
Variation I
After a theme of a gentle and interior nature, in the first variation, Mozart ornaments the line of the theme in a fluid and more exterior way. Some of the motifs presented in the theme, now appear in the other instruments, most prominently motif c.
Variation II
The third variation sees the second violin providing a driving rhythmic motor that takes over the moving notes of the preceding variation. This not only creates cohesion between these two variations, but also provides stability to an increasingly unstable movement.
Whilst the basic line of the theme remains, this variation strangely does not use any of the previous motifs in any obvious way, save for motif b. Motif a, the dotted rhythm that opens the movement, is only present in that the rhythm appears through the variation but not in its original context. To the listener, we subconsciously hear the link between these elements, but it’s so liberally used that the music sounds fresh and new.
Of special note, in the second bar of the variation, the first violin introduces a seemingly innocent triplet motif, which provokes a conversational response in the cello. This will be highlighted in the video below. This seemingly minute cello figure will come back near the end of the movement in a significant and surprising way.
Variation III
After the rousing second variation with its incessant motor, the third variation proposes a completely different profile of the theme. The theme is no longer sung by a voice but is now fragmented into small bits passed around the upper instruments. Motif a is presented here not as a descending dotted rhythm that leads to a long sung phrase, but as an ascending dotted rhythm that poses a question. The violins pose the questions twice each time responded to by the viola with a descending scalar figure. Motif c then takes over as it is passed to each instrument in imitation and sometimes in inversion. After the dark turn to the minor mode in the second half, there is a final imitative exchange of motif c and its expressive chromaticism.
Variation IV
We now turn from D major to Mozart’s “tragic” key of D minor. The theme is not easily perceptible in this variation, although we hear the contour of the original. The triplet motif, barely noticeable from variation II, now invades the fabric of this variation. It is heard incessantly as it is passed between the instruments in a troubling and anxious way. Both halves of this variation also end with a dramatic shriek in the violins (a reference to the fortepianos we heard in the original theme).
Variation V
After the drama of the previous variation, the fifth returns us to D major and provides relief. It breaks free from the structure of all the previous variations, in that there are no repeats. Instead, it seems to take on the spirit of a fugue. We first hear a reinterpretation of motif b in the first violin, followed by a fugal entrance of the same material in the second violin. Curiously, motif a is a prominent part of this variation, but not in its original context. Whereas in the theme, it appeared as a pick-up to the rest of the melody, here it is placed in the centre of the line. As the variation continues, the counterpoint becomes more and more complex and more and more free.
Variation VI
In a shocking move, the sixth variation deviates from any previous iteration by the presence of a rhythmic motif in the cello. It seems to appear out of nowhere and completely invades the presence of the movement. However, this cello motif (motif d) that resembles a military drum has been discretely previewed already in the second variation.
In terms of the original theme, nothing appears recognisable to the ear, but the melody follows the same contour and harmonic construction. Motif c does appear to bring coherence to this extraordinary turn of events.
Coda
After this remarkable variation, a long coda begins with the passing of motif d through the other instruments. After a dramatic falling gesture in the first violin, the original motif returns slightly changed. The music seems to be coming to a peaceful end. Imitative counterpoint of motifs c and a reappears, and then suddenly the cello erupts with the percussive motif d one last time. The music softens, but with the beating of motif d in the background until the end.
This incredibly free and innovative set of variations is a testament to Mozart’s formidable genius, creative spirit, and undeniable craftsmanship. Not only is it the heart of this quartet, but one of the finest movements Mozart has ever written for the genre.