@@qwertyuiop-ke7fs Sympho-concertanto for alt and violin, most of operas and a lot of pieces are the same. But I should say that I didn't understand neither his trios nor divertisments
Nice!! Isn't though?! The intro to the fourth movement is one of the most time stopping - the world turns off for just a minute - moments in all of music that I know of for me.
What a wonderful string quartet this is. Absolutely delightful opening movement, with masterful writing that's very idiosyncratic to the string quartet as a medium: melodic lines being passed around; different parts joining each other to finish lines; great dialogue. Quite long minuet, with some unexpected chromaticism thrown in as well. Both aspects unusual for a minuet/trio. The wave effect in the opening of the second half (13:11) is pretty cool. The fugal finale, while full of contrapuntal rigor, still manages to convey the energetic, fun, and celebratory atmosphere that is so common in Haydn's finales (the finale to Haydn's 88th symphony comes to mind). Fun humor as well: the second half begins with an old-style monte before flippantly being cut off by a quick cadence at 32:10, after which Mozart continues with the more modern style of the first half.
Danke für die Partitur zum Mitlesen, die komplizierte Stimmführung und die raffinierte Chromatik werden viel besser verständlich. Geniale Komposition. Danke, Mozart ...
The first movement of sonata allegro is in two parts not three. 1) exposition 2) development - recapitulation. The repeat sign at the end of the movement takes us back to the development. The development and recapitulation are treated as one section.
@@qwertyuiop-ke7fs I don't think they resemble Beethoven's late quartets at all really... Perhaps the most "outward going" quartet of Mozart's is his dissonance quartet, anticipating his Grosse Fugue.
@@qwertyuiop-ke7fs You are right, the beggining of the last movement antecipate not only the Great Fugue of Beethoven, but also the Finale of his own "Jupiter" symphony!
Alan Tyson us’d to read volumes into simple changes of pen-nibs (M. went thro’ a lot of pen-nib-sharpenings/pen replacements during the ‘final copying-out phase’ of a composition into ‘fair copies’ - there is a pen nib change (and a change in ink colour, which suggests a separate ‘sitting’) in bar 63 (and several during the ‘development section’ of the 1st movement which seems to have given M. some trouble) - but as we don’t have any surviving drafts in autograph for the 1st movement we cannot say for certain this was a ‘compositional break’ or whether Constanza shouted from t’other room at that bar ‘Wolferl, dinner !!’ or even if at this point M. had to leave his stand-up-writing desk and take a well-earn’d shite-all we know is that sudden pen-nib widths & ink colour changes usually mean a break of some kind before & after - interestingly the paper types studies of Alan Tyson in the 1970s & early 1980s shew that M. often left his compositions as chunks of fragments (anywhere from say 48 bars to as many as 300 bars-using one early paper-type) then putting the unfinish’d composition away for as long as a year or more (as with the first movement of K. 449 whose first 4 sheets were set out on mid-1782 paper (written out during his ‘first Bach/CpheBach/Handel’ year with Baron van Swieten’s Sunday afternoon soirées) whereas the final pages of the first movement were written on late 1783 papers-after which the Concerto switched to his later 1784 stile (movements 2 & 3) suggesting that M. had put the unfinish’d first movement away (as he had done with more than 45 other compositions begun that year judging from ink-type changes, nib width changes & paper type changes) for several months before finding the time to resume ‘where he had left off’…a fascinating glimpse into Mozart’s feverishly busy work schedules during the final ten years of his all to brief lifespan in ‘post Salzburg’ Vienna…
Beethoven may be more difficult but never more mysterious withal. Mozart has the mystery of everything presented upfront, as inevitable as the sun and rain but no more comprehensible for all that. Out of a deep darkness spring his movement, muscular movements! bold, ample. Reminds me of Whitman. Mozart's darkness is a real darkness, while Beethoven seems the darkness of abstraction attenuated to obfuscation, one gets lost chasing loose ends ...
florid, but do you have a single fact to back that up? and is obfuscation not mysterious? you might as well say that red and blue are the same color, because without substantiation your observations are akin to bombastic delusion.
The beginning of the development is a recitative. It could be played freely as recitatives usually are. It's a very interesting twist. It has been done before however with other compositions.
Anyone else notice all three G major string quarters by Mozart (numbers 1, 3, and 14) open with the exact same 3 notes (D up to G down to F#)? The rhythms are similar as well. Quarter 3 adds a slight variation to the melody, rising up to B before the G but otherwise it’s identical - Does anyone know if there is a meaning to this motive?
@@normalvinegarghost2646 I'm not too familiar with chamber music. Not my favourite type of classical music. How does one form a solid opinion on a type of music without... idk... listening to it?
13:08 is such a great place for a time stamp! Talk about musical architecture!! 15:14 always reminded me of a 'Who done it ' - a story of some dastardly deed. 15:14 is like zeroing on on a clue and 16:29 is back to the mystery. Mozart's music is such a gift for those who have the ears to hear it.
![Wolfgang Amadeus Mozart - String Quartet No. 15, K. 421 [With score]](http://i.ytimg.com/vi/yIli9mrMFSo/mqdefault.jpg)
![Wolfgang Amadeus Mozart - String Quartet No. 15, K. 421 [With score]](/img/tr.png)
00:06 - I. Allegro vivace assai
11:37 - II. Menuetto. Allegro
19:24 - III. Andante cantabile
26:39 - IV. Molto allegro
Around 32:44 - the score appears 2 bars too late.. I apologize for the mistake.
@@DamonJHK ummm the description is huge lol
Mozart is perfection
Incredible. So beautiful. Love the fugue during the 4th movement
Mozart at his peak. This is original and unique music. The motivic economy is astounding.
im sitting here dumbfounded at just the amount of material in the first movement. he tops himself every ten seconds
@@qwertyuiop-ke7fs Sympho-concertanto for alt and violin, most of operas and a lot of pieces are the same. But I should say that I didn't understand neither his trios nor divertisments
living architecture, absolutely soft and sofisticated
Nice!! Isn't though?! The intro to the fourth movement is one of the most time stopping - the world turns off for just a minute - moments in all of music that I know of for me.
What a wonderful string quartet this is.
Absolutely delightful opening movement, with masterful writing that's very idiosyncratic to the string quartet as a medium: melodic lines being passed around; different parts joining each other to finish lines; great dialogue.
Quite long minuet, with some unexpected chromaticism thrown in as well. Both aspects unusual for a minuet/trio. The wave effect in the opening of the second half (13:11) is pretty cool.
The fugal finale, while full of contrapuntal rigor, still manages to convey the energetic, fun, and celebratory atmosphere that is so common in Haydn's finales (the finale to Haydn's 88th symphony comes to mind). Fun humor as well: the second half begins with an old-style monte before flippantly being cut off by a quick cadence at 32:10, after which Mozart continues with the more modern style of the first half.
kinda random but whats the most exciting hidden gem of piano music you have found recently?
Danke für die Partitur zum Mitlesen, die komplizierte Stimmführung und die raffinierte Chromatik werden viel besser verständlich. Geniale Komposition. Danke, Mozart ...
Thank you for upload the score, so all voices can be followed better in their complicated chromatic . Thank You Mozart, of course...
Thank You Maestro J.H.K., you are brilliant !!
The first movement of sonata allegro is in two parts not three. 1) exposition 2) development - recapitulation. The repeat sign at the end of the movement takes us back to the development. The development and recapitulation are treated as one section.
I really enjoyed the set as well as the scrolling sheet music. Thank you for that as well as the insightful and very well written description.
Thanks so much for posting.
I think the 4th movement is so beautiful and exciting.
And haunting. The intro, for me, is one of the greatest beauties in music. Words struggle to describe music like that.
this work seems to mean a big historical step into the great extended forms , made with small steps
unbelievable how much some of it reminds me of late beethoven quartets
@@qwertyuiop-ke7fs I don't think they resemble Beethoven's late quartets at all really... Perhaps the most "outward going" quartet of Mozart's is his dissonance quartet, anticipating his Grosse Fugue.
@@qwertyuiop-ke7fs You are right, the beggining of the last movement antecipate not only the Great Fugue of Beethoven, but also the Finale of his own "Jupiter" symphony!
i invite to check my channel
These are called Haydn quartets for a reason.
Too good.Thoroughly enjoyed.
A masterpiece, but almost seems like I can tell where he got up to pour another glass of wine...
And where would that be
@@leo32190 End of the exposition. That cadence has nothing to do with the previous thematic material, but it works, because he's MOZART, by God!
@@Churchcantor Could you pls be more specific? Thanks. ;-)
I think you mean 1 mov. Indeed those bars were added months later. 🙃
Alan Tyson us’d to read volumes into simple changes of pen-nibs (M. went thro’ a lot of pen-nib-sharpenings/pen replacements during the ‘final copying-out phase’ of a composition into ‘fair copies’ - there is a pen nib change (and a change in ink colour, which suggests a separate ‘sitting’) in bar 63 (and several during the ‘development section’ of the 1st movement which seems to have given M. some trouble) - but as we don’t have any surviving drafts in autograph for the 1st movement we cannot say for certain this was a ‘compositional break’ or whether Constanza shouted from t’other room at that bar ‘Wolferl, dinner !!’ or even if at this point M. had to leave his stand-up-writing desk and take a well-earn’d shite-all we know is that sudden pen-nib widths & ink colour changes usually mean a break of some kind before & after - interestingly the paper types studies of Alan Tyson in the 1970s & early 1980s shew that M. often left his compositions as chunks of fragments (anywhere from say 48 bars to as many as 300 bars-using one early paper-type) then putting the unfinish’d composition away for as long as a year or more (as with the first movement of K. 449 whose first 4 sheets were set out on mid-1782 paper (written out during his ‘first Bach/CpheBach/Handel’ year with Baron van Swieten’s Sunday afternoon soirées) whereas the final pages of the first movement were written on late 1783 papers-after which the Concerto switched to his later 1784 stile (movements 2 & 3) suggesting that M. had put the unfinish’d first movement away (as he had done with more than 45 other compositions begun that year judging from ink-type changes, nib width changes & paper type changes) for several months before finding the time to resume ‘where he had left off’…a fascinating glimpse into Mozart’s feverishly busy work schedules during the final ten years of his all to brief lifespan in ‘post Salzburg’ Vienna…
Mozart's quartets 1-13 are good, but starting from this one, they start getting _good._
@@concerned1 I assumed it was normal compositional progression. Earlier works being less mature than later ones.
23:50 Nice Tonicization 29:59 Nice suspensions
Mozart is the musical Christ.
Tchaikovsky would agree with that
This One and Beethoven op.95 are my favorite quartets
The finale...
Beethoven may be more difficult but never more mysterious withal. Mozart has the mystery of everything presented upfront, as inevitable as the sun and rain but no more comprehensible for all that. Out of a deep darkness spring his movement, muscular movements! bold, ample. Reminds me of Whitman. Mozart's darkness is a real darkness, while Beethoven seems the darkness of abstraction attenuated to obfuscation, one gets lost chasing loose ends ...
Hmm...Beethoven's darkness seems pretty real to me. The guy lost his hearing.
You use a thousand words to say "I like this more than Beethoven's"
@@ezequielstepanenko3229 thank you for your sarcasm, I was simply effusing over something that I like, but you have bad intentions
@@reaganwiles_art ok, I get it now
florid, but do you have a single fact to back that up? and is obfuscation not mysterious? you might as well say that red and blue are the same color, because without substantiation your observations are akin to bombastic delusion.
A masterpiece.... whatelse?
You know that? As you get aged you will find Mozart more and more.
21:29 what a theme! A folgoration
L oeuvre la plus spécifique ce que Mozart a de spécial , de déliquescent , de precieux et de pervers ( avec la sonate kochel 448 ) , selon moi...
Thanks! :-)
The beginning of the development is a recitative. It could be played freely as recitatives usually are. It's a very interesting twist. It has been done before however with other compositions.
idk why but the end of the exposition of the first movement makes me giggle
Thank you, does this mean you're going to upload all six of them? :)
Bingo!
Only the realest search this as mozart k387
Anyone else notice all three G major string quarters by Mozart (numbers 1, 3, and 14) open with the exact same 3 notes (D up to G down to F#)? The rhythms are similar as well. Quarter 3 adds a slight variation to the melody, rising up to B before the G but otherwise it’s identical - Does anyone know if there is a meaning to this motive?
13:07
25:54 amazing
Finale resembles Jupiter's finale.
Huh. Now that you mention it, I do hear the similarities.
@@normalvinegarghost2646 Why are you finding my year old comments? Lol.
@@iks.7048 Idk, why are you in the comments of a Mozart quartet? I thought you didn't like chamber music?
@@normalvinegarghost2646 I'm not too familiar with chamber music. Not my favourite type of classical music. How does one form a solid opinion on a type of music without... idk... listening to it?
13:08
15:14
16:18
16:29
13:08 is such a great place for a time stamp! Talk about musical architecture!! 15:14 always reminded me of a 'Who done it ' - a story of some dastardly deed. 15:14 is like zeroing on on a clue and 16:29 is back to the mystery. Mozart's music is such a gift for those who have the ears to hear it.
0:39
0:00 13:13 21:29 26:47 33:31
21:29
Whose here because of School am I the only one ok Lol.. This Score is so good I wanna play it
kinda random but whats the most exciting hidden gem of piano music you have found recently?
28:38 I would love to hear words that describe this music.
Jubilant
@@isaacanwarwatts8844 But its also mystical and whimsical in a way. So heavy!
The Devil went down to Georgia and, there at the crossroads, had a fiddle off.
So you think you can repeat
this defective cadence like that so many times as you want Mr. Mozart?
An Analysis of "the ingenious fugal finale": ua-cam.com/video/uoXDHOyfJ-k/v-deo.html
3:52
How to arrange from String Quartet to Orchestra?
Add more people…
ah yes, let's ask UA-cam comment
28:20
4:47 syncopation
What hz is this in?
24:13 turned the page two bars too early
15:14
Is that a rondo sonata?
I believe the finale its just a rondo with the imitative counterpoint technique.
@@nicolasferreira3994 actually is in sonata form with counterpoint elements.
@@nicolasferreira3994 the counterpoint does not has any impact on form, you can do a sonata form a 5 voices counterpoint or what ever
Why does it feel like the pitch has dropped half a tone?😂😅
It has; they’re tuning according to Mozart’s tuning fork (somewhere between A = 420-430, I believe, though I would need to check on that).
What is the A here?
This is music not a book
Thanks so much for posting.
21:30
Thanks so much for posting.