Wolfgang Amadeus Mozart - String Quartet No. 19 "Dissonance", K. 465 [With score]
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- čas přidán 1. 10. 2018
- -Composer: Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791)
-Performers: Quatuor Mosaïques
String Quartet No. 19 in C Major, K. 465, written in 1785 [Haydn Quartet VI]
00:06 - I. Adagio - Allegro
14:08 - II. Andante cantabile
22:18 - III. Menuetto. Allegro
28:36 - IV. Allegro molto
The last of the six quartets Mozart dedicated to Haydn, K. 465 is officially in the sunny key of C major, but it owes its "Dissonant" nickname to its slow, tense introduction, full of unresolved harmonies over a throbbing cello line. Soon enough, this disorienting Adagio gives way to the first movement's bright, Allegro main matter. The first violin sings out the short-phrased principal theme, which the other instruments soon pick up in contrapuntal imitation. A second, more jittery melody and a third in triplets all become fodder for a brief development section, although it's the first theme, now with a minor cast, that dominates the proceedings until the recapitulation soothes the troubled quartet -- the exposition returning, of course, without the baggage of the "dissonant" introduction.
The second movement, Andante cantabile, wraps itself in warm F major, with all four instruments exploring a variety of highly lyrical thematic passages. Third comes a witty, Haydn-esque Minuet (and one that would influence Beethoven), full of sudden dynamic contrasts and pitting various combinations of instruments against each other. The brief Trio section dips into C minor for an episode of agitated pathos. As it begins, the finale (Allegro) has every indication of being a conventional if quick rondo, but the music continually veers into unexpected harmonic territory, skidding into the minor and fragmenting the themes; this is perhaps a sonata-allegro movement, with the development section split among the episodes of a rondo. Performers may play this as either comedy or drama, but the music is really a bold melding of the two.
[allmusic.com] - Hudba
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00:06 - I. Adagio 3/4 (66-76 bpm)
1:49 - Allegro 4/4 Allegro - fast, quickly, and bright (120-156 bpm)
4:12 repeats exposition (allegro)
14:08 - II. Andante cantabile 3/4 (Andante - at a walking pace (76-108 bpm)
22:18 - III. Menuetto. Allegro 3/4 Trio 24:40
28:36 - IV. Allegro molto3/4 (molto allegro is slightly faster than allegro, but always in its range) 2/4
Many thanks to Damon for putting this online and most of the above information. Temposuggestions are intended to be taken with salt, by the grain.
Thank you so much!!
No tempo is the best tempo.
Fun fact: When others complained that the opening wasn't done right, Hayden said, "If Mozart wrote it, he knew what he was doing."
Could you please share your references? This is really interesting.
Could you tell us who said that?
*Haydn
I'm curious to see the source you found that information (for knowledge purposes since Haydn appreciated Mozart)
@@schrysafisLandon, Essays on the Viennese Classical Style, 17
“You expected Mozart, but it was me, Shostakovich!”
Hilarious. Frankly, if one is to tell me that this piece was made by Shostakovich, I wouldn't bat an eye.
1:47 "Just kidding guys, it's me! Wolfgang!"
Literally, everything from the beginning to around 40 or 50 seconds was honestly like time traveling a little under 200 years!
Hahahahahaha you got it
After this strange introduction, the first movement proper may come as a relief, although its repeated-note accompaniment is obviously related to the cello's repeated notes at the introduction's start, just as the opening first violin motif (which dominates the movement) is related in its contours and closing 'sigh' figure to the melodic ideas we have heard developing so tortuously just moments before. And as the movement progresses, you'll notice plenty of moments in which that troubled opening is briefly recalled, whether in the way that the instruments come in one after another, or in the way (particularly in the so-called 'second subject' area of the sonata form), in which a seemingly simple melody dissolves into wandering chromaticism. Notice also how, particularly towards the end of the movement, those repeated notes on the cello, which started the whole adventure, return insistently, as if to remind us of the trouble they caused.
The second moment is an Andante cantabile in F major, and starts in much simpler vein: with a clear melody in the first violin. But almost immediately, in the second phrase, you'll hear again that winding chromaticism in the inner parts, and also those tell-tale repeated notes in the cello. Soon after that, the moment become obsessively concerned with a small motive that is first passed from violin to cello, and then to the inner parts; and then, again, you will hear the characteristic build up of instruments, starting (as the slow introduction did) with the cello and moving upwards. In other words, it soon becomes clear that the slow introduction to this 'dissonance' quartet has actually been a kind a mine from which material for the rest of the movements are to be taken.
I can deal more briefly with the final two movements. The Minuet and Trio is, as always, the simplest in its outward form, but you'll nevertheless notice that those recurring elements still make an appearance. Indeed, even the violin's opening tag, much repeated by all the instruments, has an element of the slow introduction's chromaticism in it, an element that later gets developed quite extensively. And again you'll find examples of that 'staggered' entry of the instruments (this time starting with the first violin and moving down through the others). The trio is in a fiery and quite startling C minor, again with obvious links to the slow introduction in its motivic working. The final movement is certainly the least complicated in harmonic terms, although it again shows an occasional propensity to dive into a world of complex chromaticism. But its comparative simplicity on the harmonic level doesn't mean any sense of relaxation in terms ofthematische Arbeit: far from it. Listen carefully, and you'll notice a continual tendency to inject little moments of significant activity into all the instruments, with barely a bar going by in which the interaction between the four members of the quartet is stable.
www.gresham.ac.uk/lecture/transcript/print/mozart-quartet-in-c-major-k465-dissonance/
I find the slow movement more intriguing
Love that comment!!
When I hear the opening, I can just imagine Mozart sitting at his billiards table on a cold, dark January night writing this, while people outside push on the through the snowfall to get home. One of the best quartets by Mozart imo
And singing the opening C notes to himself as "bum, bum, bum"
I don't ever remember teaching this man!
it was the other around, big D...
What makes this even funnier is the perplexed face he has in the photo ahahah.
Yes you did. He was sitting at the desk next to Weinberg.
1:24 moment says something different mr dmitri
You are a wizard, Harry and a bloody good one, I'd wager
The opening is the most chillingly beautiful thing I've ever heard.
When my wife and I got married we had a string quartet from the West Virginia Symphony play the Dissonance Quartet. In retrospect dissonance was the theme of our marriage :)
So cute.
@@Ivan_1791 A dissonant marriage doesnt sound so cute to me...
If dissonance was the theme, you should have played Xenakis! :)
You know this was inspired by his wife's labor pains
@@johannesbroemmel6452 same thought
He really did master the art of composition didn’t he.. wow!
0:00 - 39:13 favorite part
A shame mozart didn´t compose like in this opening more often
A complete shame
Was delighted to hear Mozart playing using more unconventional melodies. Thank you for this gift.
Brilliant work, you can tell Mozart didn't skip his musical studies
why so?
@@brenobac839apparently because it's a violin concerto with three accompanists
@@brenobac839it has a great melody, especially at the beginning
@@brenobac839 do you not have ears?
The opening adagio has every note of the chromatic scale in it. Mozart, the original 12 tone composer :p
It's actually true, there are more of his openings with all 12 tones. Piano Concerto no. 24 in C minor is an ingenious example as well.
Same thing appears in Symphony 40. in G-minor 4th movement, bar 125. Pretty interesting
Absolutely not true. The same can be said of the last fugue on the first book of the well tempered clavier. So I’m any case, that title belongs to Bach.
@@roberacevedo8232 and Gesualdo incorporated all 12 tones in a few of his madrigals well before Bach.
@@brianr.3085 Gesualdo the first twelve tone composer
2nd movement: the conversation between first violin and cello that begins in measure 12 is just sublime
Magnifique témoignage d'un homme de qualité...Merci encore Wolfgang.
The greatest musical genius of all time
There was nothing like this introduction before Mozart wrote this !
Mozart is beyond his time.
Mozart doing dissonance. Perfect. Crazy I've never come across it before
00:06 - I. Adagio - Allegro
14:08 - II. Andante cantabile
22:18 - III. Menuetto. Allegro
28:36 - IV. Allegro molto
@DamonJHK It’s just a shame about all the adverts.
@@bmmtxbNothing he can do about it. Even if your video isn’t monitized CZcams still puts ads because they have to make 💰
this quartet! if a better one anywhere I don't know it, this thing just keeps coming right out of darkness, out of nothing, and back again and again it emerges out of the pocket of God!
Listen to quartet for the end of time
Mozart was definitely beyond his time.
No no, he was WITHIN his time.
@@sandeegrey5977 and yet...
@@m1sfit_l0v3 And yet what? This was in his time.
Il secondo tempo È UN AUTENTICO MIRACOLO!!!
Denso di sentimento!!!!
Beginning reminds me of Beethoven’s Op. 131. One must hear that piece to truly understand music.
Best quartet ever.
Nice
@@Ivan_1791 yes. Beethoven op 131 is greatest string quartet ever.
All of the last 5.
in sooth @@ValzainLumivix
This so makes me think of the "Star Trek - The Next Generation " season three episode "Sarek"
1:10 Shostakovich motif
:0 fantastic observation. exactly D S C H
@@eduardorabelo5642 please could you clarify? What should I listen of Shostakovich? Thank you
@@viktoriakireeva5860 Schostakovich put a theme of DSCH standing for Dmitri SCHostakovich (where E flat is eS and B is H in German note naming system) in a lot of his early compositions as a kind of signature (similarly the theme of BACH on which Liszt composed a well known piece can be achieved)
One of the most notorious examples of DSCH motif is his string quartet no. 8 (which is funnily enough later composition where he just quoted himself, something he also liked to do)
Basic Schosty compositions you should definitely study:
String Quartet No. 8
Symphony No. 5
Symphony No. 8
Symphony No. 9
Symphony No. 11
Violin concerto No. 1
Also, he is one of those composers where you cannot listen without learning the historical context first, otherwise the music becomes nearly meaningless.
Hope that helps
@@jansvarz3522 wow thank you so much for your reply. I’ll need to ask my friend for help though, to explain to me what it all means 🤦♀️😂😂. Thank you again! 🤗
@@jansvarz3522❤❤❤❤
1:14 DSCH??
Omgh
LMAO
Always thought the same.
😱
Mozart, in addition to being a genius, was apparently a prophet.
How good of you go to the trouble of putting this on, complete with the music. Thank you.
He was doing so well… Until he clicked “Yes” to all the adverts
Clearly, Shostakovich ripped Mozart off
Yeah, I see that DSCH motif in there
And Bach :) Kunst der Fuge
in my opinion, everyone ripps everyone's art off : it's called love
but seriously, shosta probably didnt think of this when establishing the dsch motif
Who didn't? It's called inspiration. Music would be stuck if composers didn't take others' overlooked ideas pushing them further according to their own personal style and interpretation. Beethoven did it. Mozart did it. Everyone did it. You need a base to do something else. There is always a base. The image of the genius who takes his ideas from some mystical place and they're completely original and unique ideas is a myth invented in the Romantic Era. Also, geniuses can do predictions about future like in this case which can be very ahead of their times, but their total work will never be ahead of their time, otherwise they would be considered clinically crazy and put in a mental hospital. None of that happened with the artists we praise today, unless they were really mentally unstable. Artists are always the product of their times. The genius is a combination of hardwork, talent and thinking.
Mozart - way ahead of your time...
meraviglioso
Ugh, wish the entire quartet was written like the adagio. Still very impressive that Mozart wrote that in 1785
Remember the first time you heard this...what a surprise!
That's what's so cool about Mozart: all the surprises. Just when you think you've heard them all, up comes another one.
Thank you!!!
I think the 4th movement is like happiness and misery appear at the same time.
My favorite of mozart.
Who else remembers how much of a media circus there was back when he first dropped this album
La perfezione.
20:20 -Jack's quick notes
Thanks so much for posting.
I would never thank any CZcams poster who allows commercials-and this particular video is just riddled with commercials.. The poster is not doing it out of the goodness of his heart; he’s doing it for money. He’s not even contributing any work himself; he’s merely appropriating the work of others: the composer, the performers, the publisher. .
The passage at 7:00, clearly a technique from Michael Haydn symphony in F, MH284 (listen to the development section of the Haydn)
Mozart remembered everything he ever studied so doesn't surprise me. One of his many gifts.
Isn't it odd that, even some130 years after we'd collectively, heard modern music with "dissonant" chords, we still cringe when we hear the inclusion of a truly dissonant chord, inserted deliberately and wantonly by Mozart [0:22-0:23] ? Can you imagine the fainting and choking upon hearing this bit of musical wit in the late 1700s? I can't be sure, but I believe that the Naughty Boy inserted at least 30 such instances in this quartet, but we "Moderns" don't think of them as such, for example, 6:21-6:52.
Huh? Your time marks don't make any sense. There are no dissonant chords at either location...
@@scottdow5171Thanks. I was ashamed of myself... 😂😂😂
Fainting and choking? Gross oversimplification of history
Very mice
🐀
mice.
moice
mice
berry mice. mice berries
Listen to Michael Haydn viola quintets: F major MH 367 (which predates Mozart's K.465 by several months and has a slow movement that anticipates it) is a contrapuntal masterpiece.
I had no Idea his first name was Mike 😂
Adagio reminds me a bit of Art of fugue 1.
20:27 good
This is wild
0:06
W.A.Mozart String quartet K.465 "dissonance" 1nd
와악 다몬님 오랜만에올리시는군요.. 역시 올리시는 범위가 참으로 다양하다는 생각이 듭니다만 옆의 하이든사진은 어째서인가요?
(앗.. 누구셨더라.. 혹시 제 구독자시지만 댓글 처음으로 남기시는 분인가요!)
옆의 하이든 그림은 모차르트가 현악 4중주 14번부터 19번까지 하이든에게 헌정한 것을 감안하고 또 하이든의 작곡기법에 영향을 받은 곡들이라 해봤습니다ㅋㅋ
Damon J.H.K. (멋대로 구독한사람은 맞고 처음댓글남긴것도맞고)으음 사실은 숨겨진 다몬님의 팬입니다!!(는 사실이지만..)여튼 다몬님의 서이이고..닉은 lemulam인지뭐시기이고...앗 말씀드린적없는것같지만 다몬님의 trio for piano, flute and cello에 매우 감동한 미개한사람입니다..
설명 감사드리고 역시 모차르트랑 하이든이 괜히 같이묶이는게아니다싶군요 ㅋㅋ
@@pasac415 앗! 블로그부터 알고지냈던 사이군요! 여기서 보다니 매우 반갑습니다!ㅋㅋ (그나저나 미개를 아시다니.. 보통분이 아니시군요..크킄)
숨어계시다가 나오셨다니, 매우 옳은 선택입니다ㅎㅎㅎ
+플룻 첼로 피아노 [망작]도 아시다니.. 너무나 감사드립니다!!
Damon J.H.K. 망작이라니 명작에서 오타내신거같군요 크킄(?)
4:06 what type of chord is that? :0
In those times, why would he do this quartet? As an experiment? You need such bravery to do it surrounded by people who would say you became crazy and cancel you
If only we knew.. I’m so so curious as to WHY?…
That's why he's mozart
He wrote 6 quartets (including this one) in dedication to Haydn. As a giant genius he was, he did need recognition (or approval, appreciation or perhaps admiration) from someone like Haydn, who was THE great master at that time. Haydn was probably the only one who can fully understood Mozart's music by that time. They played these quartets together at Mozart's home. Haydn the violin, Mozart the viola. and to Leopold Mozart's great satisfaction, Haydn made that famous remark: "Your son is the greatest composer known to me, either in person or by name." Haydn was absolutely right. It takes a genius to know a genius after all.
1:23 DSCH Motif?
20:08
1:24 Shostakovich string quartet 8?
2:41
The Opening is heavily seasoned with shostakovich
0:39
Wait a minute, what year was this composed? 1935?
According to the description, it was written in 1785
@@green2709 This was made as a joke.
Whats Shostakovich doing in the Classical period?
Wtff 4 adss??? Are u kidding me???
for self 28:35
1:47 Eerily reminiscent of Haydn's "The Bird" with the second-viola eighths and arpeggios by the cello (czcams.com/video/xiO8cihJBwg/video.html).
And more subtly, 22:04 employs the same ending cello motive as Haydn Op. 76 No. 6 (czcams.com/video/F-ea5qbfCGA/video.html), which features another beautiful second movement.
1:48
34:18
11:27
11:39
12:02
12:29
13:05
13:31
like the music to dark, fancy cozy cartoon
1:13 DSCH motif!
not sure if my ears are mature towards music or not but this is the only string quartet i like from Mozart
1:15 wtf I did not expect to hear the DSCH motif.
imagining mozart as a weird looking anime man makes his music that much better, thanks fate series
que es lo que paso aca
Reminds me of Ives
19:26
0:00
7:10
8:37
2020년 7월 2일 아침, 뉴욕.
14:08 andante
The beginning seems to be inspired by the second movement of Vivaldi's Autumn Concerto.
doubtful as Mozart probably wouldn't have heard his music during his life. Vivaldi's music was out of fashion and no longer played. unlike today where we have access to music of all previous centuries, that wasn't the case before recorded music. Mozart did have exposure to bach and handel but only because he was able to study their scores. Vivaldi was all but forgotten and rediscovered in the 20th century
@@mistressmozart I don't think that Mozart was not familiar with Vivaldi. 1) Even though Vivaldi's music had been forgotten for a long time, he still had an influence on his contemporaries. 2) Vivaldi lived and worked in Vienna where he was the court composer for a while. Before his death, he had sold many manuscripts of his music and surely performed his music as well. It's also highly probable that Haydn - one of Mozart's teachers - was familiar with Vivaldi's music. And even though it had become forgotten, the change certainly didn't take place all of a sudden and it's possible that there were chamber ensembles that still played Vivaldi.
@@dzinypinydoroviny he probably knew Vivaldi, but this is way more dissonant than Vivaldi's autumn.
@@nickn2794 That is true because of the cross relationships but the character of the two pieces, the fashion of the opening - first the bass, then the other voices are joining in one after another-, the triple metre, the dissonance itself - these things make them very similar.
0:42 divin
The beginning is so Schostakovitsch-like
“There will be Blood”
Once upon a time, a old guy was sitting miserably in a cold and dark room while watching life flash before his eyes, the pain he is slowly feeling of a unknown illness seeking the depth of his organs while looking out the window. Droplets of rain hit the window, thunder striking, with each strike the old man takes one final breath of his life until he started to die slowly…. AY THAT WAS MATCHING WITH TYE BEGINNING
Mahler, are you? Oh no, it's just Wolfgang 😂
Lunatics like Schönberg thought it was funny to take these things to their breaking point and write from there
Schoenberg wrote in order to express extreme emotions, not for fun
its good but i like 15 more.
The andante cantabile sounds almost like Beethoven !
No, Beethoven sounds almost like Mozart
@@TheALDOALAN Well this peticular andante does not sound very mozartian
@@jasonquidoz3452 Mozart lived before Beethoven, Mozart can not sound like someone who lived his artistic career after his death.
@@TheALDOALAN Why could he not ? If Mozart, for this one quartet, used techniques that came to be associated to Beethoven in retrospect, why could you not say that it sounds beethovenian ?
@@jasonquidoz3452 Seeing it that way, you're right
This is some Bloodborne shit
Is there something Shostakovich did that Mozart didn’t do in this quartet?
He wrote pieces that didn’t resort to trite, generic melodies and tonal conventions… this quartet almost convinced me to listen to more Mozart with the interesting harmony in the introduction, and then the first theme reminded me why i avoid listening to him… 🥱
@@zachlewis6798 🤣😴😴
@@zachlewis6798 the theme is to balance out the first movement by contrasting the adagio. Listening to the unfamiliar gets tiring too if it goes on and on. Maybe try listening to the quartet as a whole, as it was conceived by the master
@@zachlewis6798 Don't you like bright melodies?
Shostakovich decided to experiment with time paradoxes, invented a time machine and while Mozart was asleep inserted his composition at the beginning of Wolfgang's score, thinking that no one would notice. Nice try, Dmitry!
Coming from Ives, I don't see why he calls this dissonance
Well, dissonance is more of a cultural concept than a "scientific" one in this context. Of course the Ives quartets (and other works of his) contain much harsher sounding writing although compare it to something like say Lachenmann or Ferneyhough quartets and it will seem very consonant in comparison. It has more to do with the fact that if you try to imagine listening to it with a late 18th century mindset/ear the opening is very dissonant for the cultural understanding of dissonance and consonance of the time it was written in.
at the beginning every dissonance is justified thanks to the delays
Johannes Brahms (1896): " I always find Beethoven's C Minor concerto {the Third Piano Concerto} much smaller and weaker than Mozart's. . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant!
I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance.
Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works. "
This is incredibly ironic considering that Brahms can easily be seen as little more than an artisan reiteration of Beethoven.
Look, I adore Brahms but that's total nonsense. Brahms had a pretty complicated view of Beethoven, likely because he got compared to him over and over again. Beethoven's symphonies, and especially as you go down the list, are widely accepted as timeless masterworks. His third piano concerto is beautiful and haunting. His string quartets absolutely speak for themselves, and you can find plenty of original and "true" dissonance in them--especially in the late works, and that goes for his piano sonatas as well. On top of that, the whole "Beethoven's commissions weren't great," makes completely no sense. His ninth symphony was commissioned, and he dedicated many of his greatest works to his patrons--including the Rasumovsky quartets that Brahms weirdly mentions without thinking that that counts as a "commission."
What Brahms really should've said, here, is "I like Mozart better than Beethoven," which--fine, that's very fair. But Beethoven wasn't composing things that were "truly" dissonant? C'mon, dude.
@@bathtubbarracuda2581 Mozart also influenced Brahms heavily. Mozart piano concerto No.24 in C minor - Brahms No.1 in D minor. Mozart Clarinet Quintet - Brahms Clarinet Quintet.
@@jackjack3320 Found your alt (@Bernstein said. Beethoven was bad at melody-writing) sucker! I'll now let you keep trolling, or should I say, prolling, with those accounts of yours.
@@bathtubbarracuda2581 - Rubbsh, Brahms was entirely his own master. He or she who can't see this is tone deaf. Just think of the Sextet in B flat major in which Brahms breaks into new fresh unforeseen ground.
11:10 Mozart predicted Beethoven
띠용
띠요옹
STUPID to have a really obnoxious ad right in the middle of a piece of music, not even between movements!
i don t know if you found it in the mean time, but you can install adblocks, it prevents adds on most sites, including youtube
@@bdfdttrststj3109 thanks - I have have adblock, but it doesn't prevent ads on CZcams - must check into that!
And people say Haydn was better doing string quartets... Are you kidding me?
Aaron Drayer Mozart at his best wrote quartets with more complex counterpoint and harmonies I think
We owe Haydn a lot. Everyone, and Mozart most.
You here :)
Said no one ever!!!
@@rubisco1981 yes but Mozart is a 1000 times greater composer
I’m gae
You guys have no clue ! This is average Mozart work, boring. Quartets 20 and 23 are far much better !
Subjective opinion