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In 1787, Mozart wrote a pair of revolutionary quintets, the "viola quintets" (as opposed to the doubling of cellos in the "cello quintets" of Boccherini and Schubert). Mozart decided to make these quintets very different too, embuing the major chord K.515 with a bright, sunny disposition and making the minor K.516 darker and more tragic. However, in both Mozart showed his great love for the viola by writing music of fine texture.
The first movement allegro changes from a nervy G minor to a softer theme in B-flat major. The first theme is played on the violin, the second on the viola. Mozart cleverly develops the music, playing the motifs together and shifting them from major to minor to change their feel.
This dark to light transition is captured wonderfully in the minuet. The outer parts of the movement feature sharp, angry, accented chords before the calm of the storm and then the angst returns, each time darker and more dissonant. The trio changes character completely being light and airy before the darkness returns and we 3nd with quiet bleakness.
The 3rd movement, adagio. is tender and songlike, played on muted strings, creating a peaceful atmosphere until the mood becomes melancholic. For me this is the beauty of sadness in musical form. Eventually this is broken by the dualism of violin and viola in glorious interplay but the mood prevails.
The finale again breaks the rules. It was highly irregular for composers of the period to place two adagios next to each other but Mozart begins his final movement with a short tense adagio introduction and you suspect that this is where the quintet will end. However, suddenly, we hear a rondo in G major, as if Mozart is laughing at the fact that he's fooled us yet again. We can still recognize themes from earlier in the quintet, especially the revisitation of the second theme of the opening movement but now it's buoyant. It's a brilliant piece and a masterclass of quintet writing. What else would you expect from Mozart?
Here's a quite romantic performance, from YouTube, by the Melos Quartet with musicologist (and member of Collegium Aureum) Franz Beyer taking the 2nd viola part.
There are many, many fine recordings of this work but I'll try and cover as many of the very best as possible, below. I've had to be very selective so there's been a fair number of recommendable recordings left off just so the list is not too silly so don't be annoyed if your own favourite isn't here. Still stacks to go at. There's a pile of great recordings at the top end that I really couldnt split. My advice is to hear all of them to find your own favourite! We're really spoilt for great recordings of this quartet.
Btw, there's an interesting but very long lecture about this quartet in the clip below.
Most-zart
Amadeus / Aronowitz (1969)
Lindsays / Ireland
Eder / Fehervari
Takacs / Pauk
Melos / Beyer
Chilingirian / Inoue
Kuijken / Terakado
Sine Nomine / Oleg
ABQ / Wolf
Tatrai / Mauthner
Ensemble 415
Vegh / Wallfisch live @ Prades (compromised very hissy sound)
Salomon / Whistler
Stradivari / Lethiec
Allegri / Pacey
Heifetz, Piatigorsky et al (1964)
Fine Arts / Dupuoy & Tursi (1986/1975)
Budapest / Katims (1945)
More-zart
Artis / Schnitzler - very brisk opening that some may consider a bit quick but I loved. Otherwise a superbly balanced and unaffected, strong performance.
Orlando / Imai - one of those occasions when the Orlando were in total command. No frills, no ornamentation just impressive clarity.
Ensemble Villa Musica - it's brisk, some may feel a bit brash even, but you really can't help enjoying the vitality of their vision which carries you along .
Takacs / Koromzay - much better than their later Decca (Pauk) recording. This has the youthful spirit that imbued those early Takacs recordings and some joyful phrasing.
Tokyo /Zukerman - very firm, quite serious and powerful performance. Sometimes the vibrato can be a little wide but it's so meaty and articulate you can't fail to enjoy it.
Juilliard / Graham - much preferable to their earlier, poorly recorded live LOC Trampler effort. A firm and articulate all-rounder.
Budapest / Trampler - the Budapest really get to grips with the melancholic nature of this quintet. A bit hissy but Praga have cleaned the sound up well on the later recording.
Sine Nomine / Schiller (live) - if their studio account is impressive then you need to hear this one. Volatile and dark reading caught in a highly realistic, live acoustic.
Van Kuijk / La Marca - intonation is immaculate, recorded sound is perfect and there's great dynamic contrasts. I just needed convincing that they fully capture the mood of the whole quartet as well as a few of their competitors.
Talich / Rehak - Calliope's dry sound may not appeal to a few but the beauty of the Talich tone carries the whole performance and their rhythms are so well-sprung.
Smetana / Suk - solidly engaging in every way. The sound of a five-piece in full flight and enjoying themselves immensely.
Prazak / Beyerle or Talich - both these Prazak recordings are splendid and which you prefer will probably prove to be as tough a call as I had. I do have a slight prefence for the recording with Talich though. It's rugged and bold but beautifully expressive but then again so is the other!
Ebene - released today, I've listened to this a few times. The recorded sound is close and very impressive. The playing, intonation and dynamics are world class however the Ebene are a little too broad and relaxed in the outer movements for me here. The adagio is stunning, though. Hugely recommended but the list below all play with more spark and livelier rhythms.
Magnifi-zart
Grumiaux et al (1973) - released 50 years ago this superb account set a very high bar that few others have reached. Yes, the first violin is balanced a bit forward but it would be churlish to suggest this is in any way a bad thing when you hear the quality of the playing (some of those runs and flourishes are delightful) . Perfectly paced reference recording.
Nash / Dukes - there's some seriously impressive playing here (unsurprisingly) and this is a rich and wholly committed effort. The recording is quite close but it lends the music an interesting atmosphere.
Klenke / Schoneweg - gloriously balanced sound, superb textures and delightful colour make this an essential listen. If you demand a more lyrical approach in great sound this could be a favourite.
Griller / Primrose (1958) - forget the age, the sound of this 60+ year old recording is wonderful (a bit of hiss but you soon ignore it). Phrasing, shaping and detail are great and even a touch of portamenti can't detract me from this aural beauty.
Accardo et al - one that caught me on the hop. Terrific and tensile recording but with the most beautifully, lyrical adagio you're likely to hear. Dreamy virtuosic violin playing that's never schmaltzy or exaggerated.
Fine Arts / Gandelsman - gloriously pungent traveralsal in a nice, slightly reverberant but very live acoustic which lends this Lyrinx recording even more vibrancy. I almost missed this killer recording. Don't make the same mistake as me.
L'Archibudelli - what a gem! Employing less vibrato and some seriously dynamic playing this account has a rhythmical stridency which Ive gotta admit to loving. Bowled me over on first listen and may be a tiny overall favourite of mine but that may change with the strength of the competition.
www.talkclassical.com
The first movement allegro changes from a nervy G minor to a softer theme in B-flat major. The first theme is played on the violin, the second on the viola. Mozart cleverly develops the music, playing the motifs together and shifting them from major to minor to change their feel.
This dark to light transition is captured wonderfully in the minuet. The outer parts of the movement feature sharp, angry, accented chords before the calm of the storm and then the angst returns, each time darker and more dissonant. The trio changes character completely being light and airy before the darkness returns and we 3nd with quiet bleakness.
The 3rd movement, adagio. is tender and songlike, played on muted strings, creating a peaceful atmosphere until the mood becomes melancholic. For me this is the beauty of sadness in musical form. Eventually this is broken by the dualism of violin and viola in glorious interplay but the mood prevails.
The finale again breaks the rules. It was highly irregular for composers of the period to place two adagios next to each other but Mozart begins his final movement with a short tense adagio introduction and you suspect that this is where the quintet will end. However, suddenly, we hear a rondo in G major, as if Mozart is laughing at the fact that he's fooled us yet again. We can still recognize themes from earlier in the quintet, especially the revisitation of the second theme of the opening movement but now it's buoyant. It's a brilliant piece and a masterclass of quintet writing. What else would you expect from Mozart?
Here's a quite romantic performance, from YouTube, by the Melos Quartet with musicologist (and member of Collegium Aureum) Franz Beyer taking the 2nd viola part.
There are many, many fine recordings of this work but I'll try and cover as many of the very best as possible, below. I've had to be very selective so there's been a fair number of recommendable recordings left off just so the list is not too silly so don't be annoyed if your own favourite isn't here. Still stacks to go at. There's a pile of great recordings at the top end that I really couldnt split. My advice is to hear all of them to find your own favourite! We're really spoilt for great recordings of this quartet.
Btw, there's an interesting but very long lecture about this quartet in the clip below.
Most-zart
Amadeus / Aronowitz (1969)
Lindsays / Ireland
Eder / Fehervari
Takacs / Pauk
Melos / Beyer
Chilingirian / Inoue
Kuijken / Terakado
Sine Nomine / Oleg
ABQ / Wolf
Tatrai / Mauthner
Ensemble 415
Vegh / Wallfisch live @ Prades (compromised very hissy sound)
Salomon / Whistler
Stradivari / Lethiec
Allegri / Pacey
Heifetz, Piatigorsky et al (1964)
Fine Arts / Dupuoy & Tursi (1986/1975)
Budapest / Katims (1945)
More-zart
Artis / Schnitzler - very brisk opening that some may consider a bit quick but I loved. Otherwise a superbly balanced and unaffected, strong performance.
Orlando / Imai - one of those occasions when the Orlando were in total command. No frills, no ornamentation just impressive clarity.
Ensemble Villa Musica - it's brisk, some may feel a bit brash even, but you really can't help enjoying the vitality of their vision which carries you along .
Takacs / Koromzay - much better than their later Decca (Pauk) recording. This has the youthful spirit that imbued those early Takacs recordings and some joyful phrasing.
Tokyo /Zukerman - very firm, quite serious and powerful performance. Sometimes the vibrato can be a little wide but it's so meaty and articulate you can't fail to enjoy it.
Juilliard / Graham - much preferable to their earlier, poorly recorded live LOC Trampler effort. A firm and articulate all-rounder.
Budapest / Trampler - the Budapest really get to grips with the melancholic nature of this quintet. A bit hissy but Praga have cleaned the sound up well on the later recording.
Sine Nomine / Schiller (live) - if their studio account is impressive then you need to hear this one. Volatile and dark reading caught in a highly realistic, live acoustic.
Van Kuijk / La Marca - intonation is immaculate, recorded sound is perfect and there's great dynamic contrasts. I just needed convincing that they fully capture the mood of the whole quartet as well as a few of their competitors.
Talich / Rehak - Calliope's dry sound may not appeal to a few but the beauty of the Talich tone carries the whole performance and their rhythms are so well-sprung.
Smetana / Suk - solidly engaging in every way. The sound of a five-piece in full flight and enjoying themselves immensely.
Prazak / Beyerle or Talich - both these Prazak recordings are splendid and which you prefer will probably prove to be as tough a call as I had. I do have a slight prefence for the recording with Talich though. It's rugged and bold but beautifully expressive but then again so is the other!
Ebene - released today, I've listened to this a few times. The recorded sound is close and very impressive. The playing, intonation and dynamics are world class however the Ebene are a little too broad and relaxed in the outer movements for me here. The adagio is stunning, though. Hugely recommended but the list below all play with more spark and livelier rhythms.
Magnifi-zart
Grumiaux et al (1973) - released 50 years ago this superb account set a very high bar that few others have reached. Yes, the first violin is balanced a bit forward but it would be churlish to suggest this is in any way a bad thing when you hear the quality of the playing (some of those runs and flourishes are delightful) . Perfectly paced reference recording.
Nash / Dukes - there's some seriously impressive playing here (unsurprisingly) and this is a rich and wholly committed effort. The recording is quite close but it lends the music an interesting atmosphere.
Klenke / Schoneweg - gloriously balanced sound, superb textures and delightful colour make this an essential listen. If you demand a more lyrical approach in great sound this could be a favourite.
Griller / Primrose (1958) - forget the age, the sound of this 60+ year old recording is wonderful (a bit of hiss but you soon ignore it). Phrasing, shaping and detail are great and even a touch of portamenti can't detract me from this aural beauty.
Accardo et al - one that caught me on the hop. Terrific and tensile recording but with the most beautifully, lyrical adagio you're likely to hear. Dreamy virtuosic violin playing that's never schmaltzy or exaggerated.
Fine Arts / Gandelsman - gloriously pungent traveralsal in a nice, slightly reverberant but very live acoustic which lends this Lyrinx recording even more vibrancy. I almost missed this killer recording. Don't make the same mistake as me.
L'Archibudelli - what a gem! Employing less vibrato and some seriously dynamic playing this account has a rhythmical stridency which Ive gotta admit to loving. Bowled me over on first listen and may be a tiny overall favourite of mine but that may change with the strength of the competition.
Merl's Blogged String Quartet and String Quintet...
As some of you are aware I started blogging my recommended string quartet recordings a while back as I didn't want to lose them in the Weekly String Quartet thread. However, blogging on TC has many limitations and there was no way to link all my posts in one place without the page disappearing...
www.talkclassical.com
