Mozart, Wolfgang Amadeus – String Quintet No. 3 in C major, K. 515

I. Allegro II. Andante III. Menuetto. Allegretto IV. Allegro

By 1787 Mozart was at the height of his mature period. Following on the success of The Marriage of Figaro that debuted the year before, he started work on another opera, Don Giovanni, but before its completion he composed in just a few months a pair of string quintets, K. 515 in C Major and K. 516 in G minor. Within a year of Don Giovanni and the quintets, Mozart also composed his three final symphonies, his greatest works in that form.

Mozart's string quintets are composed for a combination of two violins, two violas, and cello. This instrumental combination varies from the more customary quintet that calls for one viola and two cellos – the ensemble used, for example, by Boccherini and Schubert. Mozart's choice of two violas undoubtedly reflects his great love for the instrument, and its use profoundly affects the colour and structure of all his string quintets. There seems to be little doubt that Mozart planned the C major quintet and its successor, the Quintet in G minor K.516 as a contrasting pair, in much the same manner as the Symphonies Nos. 40 and 41, which interestingly are also in G minor and C major, respectively. Indeed, the C major quintet has the same elevated character, breadth and scope as that of the ‘Jupiter’ Symphony and is regarded as one of the greatest of Mozart’s chamber music masterpieces.

The large-scale first movement Allegro is in an expansive sonata form. A wealth of melodic material is first introduced by the cello with an upward broken C-major triad extending over two octaves and leading to a poignant response by the first violin, all over pulsating middle strings. The music comes to an abrupt halt with a short silence then the two instruments reverse their roles, now in the minor key. After some transitional material, the theme returns a third time in still another key. The second theme consists of three elements. The first is a whispering strain stated by the first violin and repeated by the violas with a violin counter-melody. The second is a syncopated motive led by the first violin. The third is a wavering phrase reminiscent of the Overture to The Marriage of Figaro. The development section blends all these melodic elements to achieve a high level of intensity. Having started simple and for the most part homophonic, with one instrument accompanied by the others, Mozart then draws on the flexibility of the quintet ensemble to develop a gradually thickening texture. At times he has five independent voices imitating one another, and at other times he works with pairs of voices or challenging antiphonal quartets offering contrasting activity. In this deep exploration of the polyphonic possibilities of his material Mozart makes this movement exceptionally rich and diverse. The slow movement Andante takes the form of a tender duet between the first violin and first viola. It recalls the magic that Mozart created for this combination in his two unsurpassed duo sonatas and the Sinfonia Concertante. All the elements of opera aria are present – beautiful melodic contour, richly adorned with ornaments and arabesques. As soon as one instrument pauses for breath, the line is taken up by the other in songful continuity. Here there is little concern with development as the simplicity of form serves to emphasise the lyrical beauty of the music.

The third movement Menuetto is both gracious and playful and highlights the unique antiphonal call and response between violas and violins as the cello sings deeply underneath them. Mozart employs lots of dynamic surprises throughout the movement, with crescendos rising to a sudden piano and then repeated to arrive at a forte. The trio unusually shifts to a key beyond the parallel major or minor. The main theme is a hesitating two-note motif rather than a flowing melody.

The Allegro finale, effervescent and humorous in mood, is a blending of rondo and sonata forms – a favourite hybrid of Mozart's. As in a rondo, the main theme returns five times as a refrain, but as in sonata form, the theme itself is developed at some length and in its third return broken into smaller pieces and passed from instrument to instrument contrapuntally. The idea used in the first movement of an advancing momentum brought to a sudden stop is again explored. Yet humour and surprise do not take from the grandeur of the work as Mozart explores the full sonorous resources of the quintet. A forte unison brings the work to an exuberant end.

Elizabeth Dalton, 2016