From Mozart to the second school of Vienna essays

From Mozart to the second school of Vienna essays At Dimitris Mitropoulos hall on the 3rd of February took place a part of the sere From Mozart to the second school of Vienna. Wolfang Amadeus Mozarts piano, violin, viola and violoncello quartet num.2 in E-major, K.493 and Arnold Schoenbergs Ode to Napoleon Buonaparte, Op. 41 for string, piano and voice quartet and after the break, Wolfang Amadeus Mozarts piano, oboe, clarinet, horn and bassoon quintet in E-major, K-452. The quartets and the quintet were played as written above. Firstly, K.493 which wasAccording to Mozart's own catalogue, the second quartet in E-flat major was completed on June 3, 1786, less than nine months after the letter to Hoffmeister about the advance. This time, Mozart had the piece printed by the rival publisher Artaria and that edition is the earliest version we possess. With the exception of a few drafts from the Finale, which are in the British Museum, no autograph score remains. Even if one feels the work to be a relief after its uncompromising counterpart in G minor, the later quartet cannot really be seen as an easier alternative. It is too elaborate for that. This time Mozart sets the piano against the string trio more, but this is not done purely for convenience. The strong polarity of tonic and subdominant in the first two movements creates a somber undercurrent which is emphasized by the instrumentation. The second theme of the first movement (a softer version of the pent-up energy of the beginning, introduced by the violin) is preceded by a contracted motif of two descending sixths which then persists throughout the whole movement as a kind "idee fixe". There are no less than 31 reputations of it in the development, where it serves as a harmonic "pivot" for a very bold series of modulations. The slow movement exudes warmth and thoughtfulness, twinned with chromatic "moments of doubt". Harmonically expansive answering phrases in ...