Wolfgang Amadeus Mozart (1756 -1791)
Divertimento in F major, KV 138
1) Allegro
2) Andante
3) Presto
Franz Schubert (1797-1828)
String quartet No. 14 in D minor, D 810 (“Death and the Maiden”)
1) Allegro
2) Andante con moto
3) Scherzo. Allegro molto
4) Presto
Wolfgang Amadeus Mozart (1756 -1791)
Divertimento in F major, KV 138
The divertimenti for string quartet are Austrian composer Wolfgang Amadeus Mozart’s great contribution to the multi-movement genres of classical music. This particular divertimento was composed when he was only 16 years old and bears the marks of his admirable youthful creativity.
The cheerful and fast-paced first movement begins with its characteristic melodic theme in all instruments (in unison), but as it progresses, the intense and original harmonies capture the listener’s interest.
In the andante that follows, the violins interpret the lyrical melody; complicated and made more exciting by the rhythmic and harmonic pluralism of the viola and cello.
In the last movement, a joyful and short rondo, we can discern clear influences from Italian chamber music (Mozart had just returned to Salzburg from his second successful tour of Italy). The main melody, often interrupted by contrasting harmonic and rhythmic elements, returns triumphantly at the end of the work.
Franz Schubert (1797-1828)
String quartet No. 14 in D minor, D 810 (“Death and the Maiden”)
In 1822 the Austrian composer was found to be suffering from an incurable and, at the time, fatal disease. The famous string quartet (commonly known as “Death and the Maiden”) was composed in 1824 and, according to many scholars of his work, reflects his poor psychological state, knowing that he was nearing the end of his life. It is rightly regarded as one of the pillars of the chamber music repertoire and, with its intense dramatic tone, is a representative example of Schubert’s last period of composition. The quartet takes its name from the song “Der Tod und das Mädchen”, D 531, a setting of the homonymous poem by Matthias Claudius on the horror and redemption of death, which the composer had written seven years earlier.
The first (fast) movement, morphologically a two-part sonata, oscillates between major and minor modes. Intense melodic lines alternate with subtle lyrical moods, always accompanied by sudden outbursts.
The second (slow) movement, morphologically themed with variations, is based on the melodic theme of the song “Der Tod und das Mädchen”. Each of the five variations expresses a profoundly different emotion, and we constantly observe extreme shifts in dynamics and colour in general.
In the third movement, morphologically a classical minuet, the violin takes the melodic lead, with very interesting rhythmic contrapuntal from the other instruments. The lively and lyrical intermediate trio serves as a real respite from the exciting rhythm of the whole work.
The finale of the quartet, morphologically a rondo-sonata, is notable not only for its exaggerated speed and its reference to the Italian dance “Tarantella”, but also for its rich variety of melodic themes, colours and rhythmic consonances. Such extensive variations can be found in the string quartets of the late Romantic period. The work was first performed at a private concert in 1826 and published in 1831, three years after the composer’s death.
