# Mozart - String Quartet 23 K590 (SQ review)



## Merl (Jul 28, 2016)

Mozart's final string quartet was written just a year and a half before his own death and was originally intended to be the third of six dedicated to King Frederick William II of Prussia. In June, 1790, Mozart told Puchberg in a correspondence that he had been "obliged" to give away the quartets "for a mere song in order to have cash in hand to meet my present difficulties." Along with the other two Prussian quartets, K. 590 is sometimes regarded by critics as being the ugly sisters to the six "Haydn" quartets composed between 1782 and 1785. Artaria's advertisement for the "Prussian" quartets described them as "concertante quartets," due to the prominence of the cello parts, which were written specifically for the cello-playing Frederick William. Although the structure is looser than the "Haydn" there is huge skill in Mozart's cello discourse with all instruments within the quartet. As usual it's in four movements - an opening Allegro moderato, a fine Andante, a Menuetto, and an Allegro finale. The first movement is full of busy dialogues, often changing, and begins with an opening arpeggio followed by a descending scale, before the second theme comes in. At the end of the movement the coda restates the development, slows down, and ends on a high note. Mozart never specified whether the second movement was an Allegretto or an Andante. Its a melancholy movement and Einstein called it "the bliss and sorrow of a farewell to life" . The Menuetto is filled with ornamental appoggiaturas (quick ornamental notes played just before main notes) and contrary phrases. Even the trio is slightly irregular and eccentric here. The finale is the most intriguing, being frolicsome and brisk with each instrument given a spot to shine. With its intricate fugal and contrapuntal sections, unexpected pauses and silences and finely developed counterpoint its a treat. Mozart even messes with the ending, using a bagpipe-like drone to finish his final quartet.

Here's a recording from YouTube of the Escher Quartet





Jumping Jack Flash

Chilingirian
Budapest (1955)
Franz schubert
Festetics
Salomon
Stradivari
Shanghai
Weller
Guarneri (1965)
Eder
Brandis
Juilliard (1974)
Talich
Kocian
Chiaroscuro

*Killer Queen

Klenke* - lighter, airier in style. The Klenke are a delight with their delicate touches but their unison chords and stops aren't as firm as I'd like in this quartet. Otherwise a treat.
*Prague* - Another recording focusing more on the beauty of tte melodies perhaps at the expense of some punch. Don't get me wrong, it's lovely but I'd like some more fire.
*ABQ (EMI) *- strong and confident but doesn't possess the delicacy of their earlier recording or the Teldec's more capable, punchier unison playing.
*Amadeus (1958 /1968) *- the two most pungent and punchy of the Amadeus recordings for me these about sum the Amadeus' Mozart up perfectly. Easy to like and equally impressive.
*Orion* - wonderfully poised and with enough individual flair to mark it out from the mere recommendables this is an intelligent effort.
*Suske* - although the first violin playing is angelic I need a little more steel to go with that beauty. That violin though..... Mmmm
*Doric* - Mozart with attitude and a fine one. My only issue is some exaggerated phrasing that's not a big deal but is unnecessary when it's played this well. Some gorgeous first violin playing.
*Prazak* - quite full and symphonic approach with plenty of power and depth but perhaps not as subtle as others here.
*Tokyo (2005)* - their better performance from this disc. Deep, rich cello sound in a warmly resonant acoustic.
*Leipziger* - delightful flow and articulation. Very clean and flowing with the minuet being particularly lovely. More umph and it would have been higher.
*Petersen* - some people accuse the Petersen of being a bit rushed here. I don't hear it. I just hear a really responsive account with fine detail.
*Emerson* - rhythms are gauged especially well in this persuasive and percussive reading and I like thst the viola is miked generously and the cello not over-aggressively. This is growing on me.

*King of the Night-time World

Melos* - oh how lovingly the Melos phrase that minuet and finale. Nothing ever feels forced, just vital and engaging.
*Kuijken* - there's a deeply poignant feeling to the Kuijken playing. An ensemble wonderfully attuned to each other and they take some small interpretive choices that work excellently.
*ABQ (Teldec)* - definitely the stronger of their two accounts. This could be even higher at another time. Splendid.
*Italiano (1972)* - dynamics and intonation are spot on in this superb account but the minuet could have been a little quicker no matter how beautifully they play it. Their 1952 recording is also an invigorating, excellent reading but in obviously inferior sound.
*Dover* - from their Tribute album this is a lighter performance but the balance of playing and recording is just right. Dynamics are graded really intelligently and you have the feeling throughout that the quartet love this work.
*American String Quartet* - I hear things in this fine performance that I don't in others. Crystal clear intonation and wonderfully complementary playing. Everyone steps up to the plate on this one.

*Ace of Spades

Armida* - storming account full of personality and with an expressive earnestness I've cone to expect from this ensemble's Mozart. Yes.
*Mosaiques* - they certainly know how to bring out those drones and there's an authority that leaks out of the pores of this singing and delightful account.
*Hagen (2013)* - nuanced and clever the Hagen's later recording picks up where the 80s one left off. The slow movement is perfectly paced and strong.
*Engegard* - yet again, the elegant, slightly clipped but spritely reading impresses from the off. Such a classy account very much in the style of the Dover Quartet but with even more individuality and in a crystalline acoustic.

*Top of the Pack

Alexander* - at the moment this is a slight first choice. It has everything, the hairpin dynamics, great recording, perfect intonation, deep cello but balanced sensibly, power, small interpretive choices that are perfect and, finally, vitality. Simply irresistible.


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