I mentioned the two quintets by Mozart last week but, I’m sure, both we and the works will profit from another week’s scrutiny.
The piano and wind quintet in E-flat (K.452) was written in 1784; the string work in g (K.516) in 1787. With the possible exception of the last movement of K.516, the two pieces form an extreme contrast with one another. While the wind instruments give an out-door, fresh-air feel to their piece, the string quintet is full of claustrophobic dark passion.
This depth of emotion is, it seems, associated in Mozart’s mind with the key of g-minor. Compare Pamina’s aria from The Magic Flute (below) with the Adagio opening of the string quintet’s finale. Then there are the two g-minor symphonies…
Allegro
Menuetto and Trio. Allegretto. 11:15
Adagio ma non troppo 16:23
Adagio — Allegro. 24:03
After this quintet had been given its first performance Mozart told his father that it was the best work he’d ever written. Judge for yourselves:
00:00 Largo – Allegro moderato
10:19 Larghetto
19:08 Allegretto
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Iaago
The Art of Listening 