Mozart's first quartet, in G major (80 K.), was composed on the first journey to Italy, at Lodi, on March 15, 1770, at seven o'clock in the evening—a circumstance of which he preserved the memory long afterwards. The concluding rondo is written in a later hand on different paper; and perhaps the whole consisted originally of only three movements—adagio, allegro and minuet.[ 45 ] A clear insight into the essential conditions of quartet style, freedom and independence of all the parts, a concentration of the whole work into a well-defined form, together with a perfection of thematic elaboration, are all plainly discernible in this first attempt, which, unimportant and wanting in originality as it may be, yet gives the impression of a well-rounded piece of workmanship. The second violin is worked out independently, with special care, in which the tenor participates; less success has attended the effort for a free movement for the bass. Attempts in counterpoint—as, for instance, at the beginning of the second part—are, as might be expected, learner-like, but they show that he knew what he was about. The last movement betrays a firmer hand from the very beginning.
Three short divermenti follow, in D, B flat, and F major (136-138, K.), each having three movements, composed at Salzburg in 1772, precise and fresh in treatment, but evidently only meant for exercises.
On the journey to Milan at the end of October, 1772, Wolfgang beguiled the tedium of the way by composing a "quattro"; and in Milan he was again (February 6, 1773) busy with a quartet under his father's directions. This no doubt belongs to a succession of six quartets in D, G, C, F, B flat, and E flat major (155-160, K.), which, judging from style and handwriting, fall within this period. They consist each of three movements, two closing with the minuet (156, 158, K.), while the presto, 3-8, with which the first begins has quite the form of a closing movement. The adagio QUARTETS, 1772. which follows it is unusually serious—a simple melody with a uniform accompaniment in rich harmonies. This is erased and another substituted, which is longer and more elaborate, with a freer movement of the parts and a lighter expression. In other cases the andante begins (as in 137 K.), and is followed by the allegro. These quartets are not of wide scope, nor are the different movements actually elaborated, but greater practice in composition is evident throughout.
The different motifs are better adapted for elaboration, and there is a remarkable increase of skill in dealing with the smaller divisions of each part, on the working out of which depend the life and unity of the whole conception. The opening phrases, repetitions, &c., are freer and better fitted in; two-part imitation is sometimes neatly introduced and fluently and gracefully carried out.
The composer's power has evidently grown as he worked, and the later quartets are by far the most original. The second movement of the fifth (159 K.), an allegro 3-4 in G minor, following an andante in B flat major, has, through its rhythm and modulation, an expression of dry humour that is quite suggestive of one of the later scherzos.
Six quartets, composed in August and September of the same year, at Vienna, stand on a far higher level, and were probably written to order (168-175, K.). The superscription of the first shows that the whole six were planned together; they were written in quick succession, and their variety represented the different tendencies of the quartet style. In Vienna, of all places, the birthplace and domain of Haydn's chamber-music, the ambitious youth would exert himself to satisfy the demand for the highest class of compositions. Most of them have the approved four movements, and the composer's invention and execution keep pace with the more extended scope of the composition. The quartets are manlier and more mature than in the earlier works of the kind; but the singular beauty of form, the grace and freshness of Mozart in his full development, only show themselves in momentary gleams of inspiration.
An effort to mould the raw material into form by means of skilful workmanship, and to make it subservient to the INSTRUMENTAL MUSIC. spirit, is apparent throughout. We can see traces already of the study and preparatory work which resulted in the fine and serious compositions of the following year—the Masses in F and D major, and the Litany in D major. First and foremost is apparent the effort to analyse and vary the musical materials ready to hand by means of counterpoint. The first and last quartet end with a thoroughly worked-out fugue, complete with stretto and inversions. The close of the first fugue ended abruptly; Mozart has therefore erased the last four bars, and has substituted the subject in unison, thereby producing a lengthened and very effective conclusion. The second fugue is not by any means so fresh and lively as the earlier one, but it is richer in artistic work. Nor are Mozart's studies in counterpoint apparent here only. An adagio (168 JK.) begins with a four-part canon and retains the same character, although not so strictly carried out; in tone and substance this is one of the best of the series. Imitation is the rule in the elaboration of the first movements; and in the last quartet the whole of the first movement in D minor is built upon one characteristic motif. A free movement of the parts, a skilful employment of passages, variety of instrumentation, and other such means for giving life and animation to the music, are carefully provided, more especially in the minuets. An examination into details will discover traces of careful and delicate handling throughout the work.
There are more instances of fantastic ideas, generally rhythmical in form, than are usually found in Mozart; this is owing, no doubt, to Haydn's influence. The slow movements are for the most part expressive of simple feeling, the andantino grazioso of the last quartet being especially tender and graceful. The closing rondos are least significant; they are not worked out, and the different parts are put together without any true connection. The demands on the instruments are increased in comparison to the earlier quartets, but there is still no bravura; the first violin leads the parts, but is not treated as a solo instrument. In fact all four instruments are treated in essentials as on an equality, so that the tone and character of the QUINTET, 1772. whole regulate every detail, thus fulfilling a fundamental law in the composition of quartets.
It must have been as a result of his Vienna studies that Mozart wrote a quintet (174 K.) after his return in December of the same year; perhaps the example of Michael Haydn had some influence. Mozart writes from Munich (October 6, 1777) that he had invited Herr Dubreil, a pupil of Tartini, and that they played "Haydn's two quintets." Joseph Haydn declares, in answer to A. Romberg, who asked him why he has not written any quintets, that he had never been commissioned to do so;[ 46 ] on the other hand, three quintets by Michael Haydn in F, C, and G major, dating between 1770 and 1780, now lie before me. Mozart's quintet shows unmistakable progress; both the plan and execution are broader, and there is more of the true Mozart spirit in the conception of the motives. It is especially interesting to compare two different elaborations of the finale which exist.[ 47 ] Mozart has taken the primary subject of the first work, and treated it independently in the second, thereby providing a just standard of criticism against himself. The first theme in the later elaboration is quite new, and gives the key to the character of the movement; then follows as a contrasting motif the chief subject of the former work with suitable alterations. Originally this consisted of eight bars, and was in three parts—[See Page Image] INSTRUMENTAL MUSIC. but afterwards the two first bars form the subject, taken up by one part after the other; while the minims, which are appended to the rapid semiquavers, give an effect of rhythmical and harmonious climax:—[See Page Image]
It results from this that the divisions next following are easier and more flowing; while, on the other hand, the preparation for the third principal motif is broader and calmer. This third motif gives occasion for an especially happy modification. Originally it ran thus—[See Page Image]