that specific descending motif of six semiquavers was used by L. van Beethoven in his Fourth piano concerto and as the main motif of the fugue in Hammerklavier's last movement.
Beethoven's Pathetic is bases on Mozart's Figaro, and Beethoven's Tempest is also from Mozart... Beethoven's first sonata, wich i hate, is stolen from Mozart's early symphonies, he only transposes it in the romantic style.
For those so-called "commentators" you refer in your notes for the video (excelent, by the way), who consider this quartet "less successful" than the Haydn Quartets, I recommend that they learn some music before saying silly things like those ones. This last quartet is a miracle, of invention, technique, inspiration, and points to late Beethoven and late Schubert in a lot of aspects (Schubert in the moving slow mouvement, Beethoven in the First and last mouvements).
It's not silly. Yes this quartet does point to Beethoven and Schubert in some ways and it is a wonderful quartet, but that doesn't mean it's as good as the "Haydn" quartets. If you want to talk about technique, nothing in the Prussian quartets matches the finale of the G major Haydn quartet. If you want to talk about invention, nothing in the Prussian quartets is as inventive as the harmonic recontextualization of the tone-row like opening of the Eb major Haydn quartet. As for inspiration, that's all a matter of opinion I guess, but accounts suggest that Mozart felt more inspired/proud while writing the Haydn quartets and he certainly spent more time on them, so we shouldn't be surprised that they turned out better. But of course, this doesn't mean the Prussian quartets are bad. They are wonderful. They simply rely more often on simple textures, like the one that occurs at 3:00 minutes in this video.
you care more about some vanity-based interpretation over how impactful or inventive a piece is, rather than more objectively how great of a composition it is. @@danielgrotz6599
@@danielgrotz6599 Well this is the only one i like, along with the 20. Despite all Haydn quartets, or even the quintets. But the duos for violin and alto are beyond all that, mostly the second.
Sono pienamente d'accordo con Te. Mi hai fatto venire i brividi con la parola "monumento", hai straragione. Il primo tempo è molto bello, ma il secondo è stupefacente per contabilità e contrappunto allo stesso tempo. Il terzo movimento è geniale, il VIOLONCELLO è da brividi!! Il quarto ha tanto di quel contrappunto ed è complesso a tal punto da lasciare sbalorditi e attoniti!!!
@@salvatoremartella5397 cAntabilità.....sono perfettamente d'accordo con voi....nel finale mi gira la testa e mi perdo come in un complesso contrappunto bachiano....
@@doublesharp4325 I know, Berlioz wrote about it in his instrumentation treatise. He told a treble clef only gets its "real pitches" after a tenor one, because it gives the sense of rising (idk). When not, it might be just to avoid the ledger lines
Damn, it's been at least ten years since i've listened to these last quartets. (My old record by the Juilliard was pretty chewed up) Just unbelievable. I'm not sure if it's the music that brings a tear to my eye, or the FACT of its being. The symphonies, the choral works, the concertos, the quartets, and sonatas are simply polished gems. It's almost unfair that MO was so incredible. ha ha
Thank you, Damon for all that you do. Your added scores are very much appreciated. Can someone please tell me what "harmony" is implied in the dissonant 23rd measure? Seems like an inverted G minor. With a C it would be G G minor Add 4, but the C#? Is Mozart just pushing dissonance here to briefly ( and radically ) offset the strong diatonic Major key harmony of the piece?
Sorry, I neglected to specify the Andante Second Movement: 23rd measure - Seems like an inverted G minor. With a C it could be an inverted G minor Add 4, but the C# ?
That is some intense string writing. Incredible. The dissonance is sometimes unrelenting. This might have been written sometime in the 1840s considering......
![Wolfgang Amadeus Mozart - String Quartet No. 21, K. 575 [With score]](http://i.ytimg.com/vi/jJJrD19AMhg/mqdefault.jpg)
![Wolfgang Amadeus Mozart - String Quartet No. 21, K. 575 [With score]](/img/tr.png)
![Wolfgang Amadeus Mozart - String Quartet No. 20, K. 499 [With score]](http://i.ytimg.com/vi/w6YQM87WgR8/mqdefault.jpg)
00:00 - I. Allegro moderato
08:46 - II. Andante
14:17 - III. Menuetto. Allegretto
18:05 - IV. Allegro
Damon J.H.K. A
Lui.
18:55 & 21:38 how are Mozart's transitional sections always so incredible
Il minuetto e l ultimo movimento sono incredibili!!!
Estos últimos cuartetos de Mozart son maravillosos.
that specific descending motif of six semiquavers was used by L. van Beethoven in his Fourth piano concerto and as the main motif of the fugue in Hammerklavier's last movement.
Beethoven's Pathetic is bases on Mozart's Figaro, and Beethoven's Tempest is also from Mozart... Beethoven's first sonata, wich i hate, is stolen from Mozart's early symphonies, he only transposes it in the romantic style.
@@laurenth7187 I doubt the first sonata falls under the 'romantic' category ??
These Late quartet are very beautiful, looking forward to the 6 Haydn quartet ....
Coming soon! :)
Dear Maestro J.H.K. , Thank you so much !!
For those so-called "commentators" you refer in your notes for the video (excelent, by the way), who consider this quartet "less successful" than the Haydn Quartets, I recommend that they learn some music before saying silly things like those ones. This last quartet is a miracle, of invention, technique, inspiration, and points to late Beethoven and late Schubert in a lot of aspects (Schubert in the moving slow mouvement, Beethoven in the First and last mouvements).
It's not silly. Yes this quartet does point to Beethoven and Schubert in some ways and it is a wonderful quartet, but that doesn't mean it's as good as the "Haydn" quartets. If you want to talk about technique, nothing in the Prussian quartets matches the finale of the G major Haydn quartet. If you want to talk about invention, nothing in the Prussian quartets is as inventive as the harmonic recontextualization of the tone-row like opening of the Eb major Haydn quartet. As for inspiration, that's all a matter of opinion I guess, but accounts suggest that Mozart felt more inspired/proud while writing the Haydn quartets and he certainly spent more time on them, so we shouldn't be surprised that they turned out better. But of course, this doesn't mean the Prussian quartets are bad. They are wonderful. They simply rely more often on simple textures, like the one that occurs at 3:00 minutes in this video.
I don’t know if works of art can be evaluated solely based on the influence they have had on the works of subsequent and inferior artists
you care more about some vanity-based interpretation over how impactful or inventive a piece is, rather than more objectively how great of a composition it is. @@danielgrotz6599
@@danielgrotz6599 Well this is the only one i like, along with the 20. Despite all Haydn quartets, or even the quintets. But the duos for violin and alto are beyond all that, mostly the second.
Thans for the comercials in the begining of the develoment
Esecuzione stupenda di un monumento della produzione quartettistica di ogni tempo. Grazie a Damon per aver proposto anche la partitura.
Sono pienamente d'accordo con Te. Mi hai fatto venire i brividi con la parola "monumento", hai straragione.
Il primo tempo è molto bello, ma il secondo è stupefacente per contabilità e contrappunto allo stesso tempo.
Il terzo movimento è geniale, il VIOLONCELLO è da brividi!!
Il quarto ha tanto di quel contrappunto ed è complesso a tal punto da lasciare sbalorditi e attoniti!!!
@@salvatoremartella5397 cAntabilità.....sono perfettamente d'accordo con voi....nel finale mi gira la testa e mi perdo come in un complesso contrappunto bachiano....
Thanks so much for posting.
So modern
0:37 my eyes might be tricking me, but I can't help seeing a treble clef standing on that cello part in an eighteenth century string quartet
It's an octave-down "false" treble clef. You will find this a lot in Mozart's and Beethoven's string quartets.
@@doublesharp4325 I know, Berlioz wrote about it in his instrumentation treatise. He told a treble clef only gets its "real pitches" after a tenor one, because it gives the sense of rising (idk). When not, it might be just to avoid the ledger lines
@@dacoconutnut9503 Kinda missleading. Why not just put the treble clef when the notes are played as high.
@@doublesharp4325 even in Bruckner!!
ua-cam.com/video/nkbdUjjfRTQ/v-deo.html An Analysis of the incredible last movement of this quartet
Thank you very much!
Damn, it's been at least ten years since i've listened to these last quartets. (My old record by the Juilliard was pretty chewed up) Just unbelievable. I'm not sure if it's the music that brings a tear to my eye, or the FACT of its being. The symphonies, the choral works, the concertos, the quartets, and sonatas are simply polished gems. It's almost unfair that MO was so incredible. ha ha
Not sure about the sonatas. He was greater in orchestral music.
you forgot the operas!!!
0:46 Waldstein sonata
also some motives in the first movement resemble the main motives in Hammerklavier's last movement
5:24~42
20:03~15
20:43~57
22:52
I can't believe Mozart wrote this!
Why?
Ignorance
Ох! Спасибо!
Thank you, Damon for all that you do. Your added scores are very much appreciated. Can someone please tell me what "harmony" is implied in the dissonant 23rd measure? Seems like an inverted G minor. With a C it would be G G minor Add 4, but the C#? Is Mozart just pushing dissonance here to briefly ( and radically ) offset the strong diatonic Major key harmony of the piece?
The last one :), yes thank you :)
Sorry, I neglected to specify the Andante Second Movement: 23rd measure - Seems like an inverted G minor. With a C it could be an inverted G minor Add 4, but the C# ?
You’re basically there. It’s a c# diminished seventh over a d pedal, which resolves to a D major harmony, the dominant of our secondary key, G major.
Mozart non e' di questo pianeta!!!
5:24
The third one tho 🥰😍 it's so amazing
That is some intense string writing. Incredible. The dissonance is sometimes unrelenting. This might have been written sometime in the 1840s considering......
4:54
10:32
What a beautifully sad slow movement…
Esecuzione splendida, ma non capisco il saltare il primo ritornello nel secondo tempo.
Classical music like this is unlistenable on UA-cam now. What's the point if it always gets interrupted by ads?
Listen to it on a computer with an ad-block!!!
or get youtube revanced on android
andante