@Constantinos Aspris Seems I was hasty in typing out that comment 8 months ago. Though, thanks to your reply I got to be prompted to come back and listen to this incredible quartet. I wonder which movement you might have assumed I was referring to. The finale: movement 4.
This has sentimental value to me, being one of the very first quartets I bought decades ago; it was on the reverse side of the Hoffmeister Quartet on an HMV record, played by the Heutling Quartet..
I love coda themes in Mozart's quartets - like 18:55. They are so simple and catchy and they are like rays of sunshine after contrapuntal or virtuoso passages. Another one that comes to mind is from the finale of quartet 14.
Mozart perform’d on the fortepiano for King Wilhelm II of Prussia in the 3rd year of his reign with the cooperation of his Masonic Brother Prince Karl Lichnovski, who apparently had been sent to Berlin on some kind of Masonic-related spy-mission relating to the approaching Revolution in France) on 26 May 1789-and having secur’d a Scrittura to compose ‘three easily perform’d quartets’ (Wilhelm II of Prussia was a talented amateur violoncellist) and started immediately on the first of his ‘Prussian Quartets’ (this one in D was enter’d into his Catalogue at the end of June 1789-following a promise to Lichnowsky to pay back the 100 dukaten he borrow’d for traveling expenses which he never repaid-until Lichnowsky sued him in Court in Jan 1791 to get back); he return’d to Vienna without Lichnowsky flat broke on 14 July 1789 (‘Bastille Day’) having apparently gambl’d away the last 40 dukaten in his pocket); the violoncello part of these Prussian Quartets often contain delicious solos & elegiac-bravura passages which were put into them ‘to please the King’ although when offer’d the reversion of the post of Kapellmeister in Berlin he (for some reason we shall never know !) he turn’d it down in favor of Joseph II who had made him Court Chamber Composer replacing Willibald von Gluck in November 1787)-had he accepted the Offer his life might have been very different...
![Wolfgang Amadeus Mozart - String Quartet No. 23, K. 590 [With score]](http://i.ytimg.com/vi/NN0ZKZ274t4/mqdefault.jpg)
![Wolfgang Amadeus Mozart - String Quartet No. 23, K. 590 [With score]](/img/tr.png)
00:00 - I. Allegretto
07:35 - II. Andante
11:38 - III. Menuetto & Trio. Allegretto
17:28 - IV. Allegretto
Yesterday I stood inches away from a part of Mozart's original score in the British Library. What a moving experience.
WHAT????!???!? NO WAY!!! THATS COOOL!!
8:33 This theme, and the way it is passed around every player, is one of my favorite things from all of Mozart’s output. So beautiful.
Love the Allegretto of this quartet: so fun.
@Constantinos Aspris Seems I was hasty in typing out that comment 8 months ago. Though, thanks to your reply I got to be prompted to come back and listen to this incredible quartet.
I wonder which movement you might have assumed I was referring to.
The finale: movement 4.
This has sentimental value to me, being one of the very first quartets I bought decades ago; it was on the reverse side of the Hoffmeister Quartet on an HMV record, played by the Heutling Quartet..
Looks like such a fun piece to play. Really equal parts for Mozart!
my friends brother played this and my fav part is the fourth mvt 17:28 - IV. Allegretto
Divine!!!!
I love coda themes in Mozart's quartets - like 18:55. They are so simple and catchy and they are like rays of sunshine after contrapuntal or virtuoso passages. Another one that comes to mind is from the finale of quartet 14.
I got this song from Mozart becomes uncanny
Thank you!
Mozart perform’d on the fortepiano for King Wilhelm II of Prussia in the 3rd year of his reign with the cooperation of his Masonic Brother Prince Karl Lichnovski, who apparently had been sent to Berlin on some kind of Masonic-related spy-mission relating to the approaching Revolution in France) on 26 May 1789-and having secur’d a Scrittura to compose ‘three easily perform’d quartets’ (Wilhelm II of Prussia was a talented amateur violoncellist) and started immediately on the first of his ‘Prussian Quartets’ (this one in D was enter’d into his Catalogue at the end of June 1789-following a promise to Lichnowsky to pay back the 100 dukaten he borrow’d for traveling expenses which he never repaid-until Lichnowsky sued him in Court in Jan 1791 to get back); he return’d to Vienna without Lichnowsky flat broke on 14 July 1789 (‘Bastille Day’) having apparently gambl’d away the last 40 dukaten in his pocket); the violoncello part of these Prussian Quartets often contain delicious solos & elegiac-bravura passages which were put into them ‘to please the King’ although when offer’d the reversion of the post of Kapellmeister in Berlin he (for some reason we shall never know !) he turn’d it down in favor of Joseph II who had made him Court Chamber Composer replacing Willibald von Gluck in November 1787)-had he accepted the Offer his life might have been very different...
I think it was king Frederich the II (frederick the great)
0:42 "tenor clef? Pffft it is only for choral music, I only use treble and bass clefs, eventually alto clefs"
it’s not even real it’s a fake treble clef 😭
12:47 music of the future
Thankyou
The second movement has a lot in common with Mozart's K476: "Das Veilchen"... sneaky Mozart hehehe
I'll bet you he never even had to look at another score. It was already memorized . One of his unique musical gifts
18:22
0:30
12:46