Mozart’s Quartet K. 464: Part IV
Introduction
The finale is one of the most remarkable moments of this quartet and one of the most thrilling finales in Mozart’s oeuvre. Contrary to the composer’s usual practice, it is largely made up of two small motifs introduced at the outset. These motifs allow Mozart to explore an incredible range of counterpoint throughout this movement. Perhaps the most incredible aspect is that the level of detail displayed appears effortlessly elegant and graceful.
Exposition
Just as in the first two movements, Mozart introduces two motifs (motifs a1 & a2) right from the start separated by silence.
These two simple and seemingly banal motifs then allow Mozart to show off with his skill at counterpoint. From here, these two motifs are the only material he uses in Theme Group A, and it veritable showcase of counterpoint. Mozart combines these motifs in uncountable ways, using imitation, inversion, extension, and truncation.
For the second theme group (Theme Group B), we might expect a new theme, but here Mozart, in the style of Haydn, continues with a “development” of motifs a1 & a2. The pulsating cello confirms that we’ve moved to the expected dominant key of E major.
In the Closing Theme Group, Mozart finally gives us a second theme (c). Just as it seems we’ve been liberated by the obsession of motifs a1 & a2, they creep back in at the end of the exposition.
Development
The development announces itself in dramatic fashion and then a deafening silence. From here, Mozart continues his imitative counterpoint of motifs a1 & a2. And as if juggling two motifs was too easy, suddenly Mozart introduces two new motifs d1 & d2.
After a passage of dense counterpoint with these new motifs, the music comes again to halt. After the tension of the all this counterpoint, Mozart introduces a wonderfully still chorale theme (e) that calms the water for the time being. He explores this new theme (e) by adding a countersubject of flowing eighth notes (quavers) in the second violin.
Recapitulation
The Recapitulation brings back what we heard in the Exposition, but this time we hear it with the added motifs d1 & d2 that were introduced in the Development. Here Mozart ramps up the contrapuntal action.
Coda
The coda begins with the now undeniably familiar motif a1, but instead of the response of motif a2, Mozart introduces a new response (motif a3). He then goes on to show off for a final time his contrapuntal prowess with motifs a1, a3, d1, & d2. The movement ends in a beautiful whisper.
This extraordinary movement is a brilliant display of Mozart’s contrapuntal mastery, transforming two simple motifs into a complex, yet effortless, musical journey. As we conclude our exploration of this quartet, it is clear that K. 464 is more than a technical showcase—it is a profound, emotional journey. Mozart’s genius lies in creating complex musical structures that feel natural and elegant. It is one of his most compelling string quartets and even inspired Beethoven to write his own Op. 18, No. 5 quartet, which we’ll explore next.
See This Work Live
Friday 15 November 2024
19:30
Paris 7th
Wolfgang Amadeus Mozart
String Quartet in A major, K. 464
Ludwig van Beethoven
String Quartet in A major, Op. 18, No. 5
Marie Salvat & Juliette Leroux violins
Kyle Collins viola
Marie-Thérèse Grisenti cello