Quatuor Mosaïques Es Incomplete—Most Famously, the “Unfinished” a Motive from the Opening

Cal Performances Presents Program Notes Wednesday, April 22, 2009, 8pm Franz Schubert (1797–1828) The dramatic opening phrase introduces an in- First Congregational Church String Quartet in C minor, D. 703, tensity and rhythmic drive that remains through- “Quartettsatz” (1820) out the movement, and it also provides musical material that is used and re-used throughout the Between 1818 and 1822, Schubert left several piec- piece. The ironic first theme in C minor is based on Quatuor Mosaïques es incomplete—most famously, the “Unfinished” a motive from the opening. It soon gives way to an Symphony No. 8 in B minor, but also three other expansive theme in A-flat major, the relative major Erich Höbarth, violin symphonies, an unfinished oratorio, and three un- of the tonic key. This theme, the first of the second Andrea Bischof, violin finished piano sonatas. The so-called “Quartettsatz” group, uses registral changes to great advantage Anita Mitterer, viola (quartet movement), written in December 1820, in the first violin and cello, while the inner voices was another such work. What remains of this provide an insistent motor rhythm. After a transi- Christophe Coin, cello string quartet is not only the first movement tion marked by repeated runs in the high range of Allegro, but also 41 measures of an Andante. Like the first violin, the final theme of the second group many details of Schubert’s life, the reasons for its closes in the exposition in the dominant key of lack of completion remain unclear. He might have G major. After a tumultuous development based PROGRAM been distracted by upheaval in his living situation. primarily on the C minor theme, the recapitula- After living in a small apartment for two years with tion brings back the second group first, taking a his friend Johann Mayrhofer, a poet of notoriously harmonic detour before returning to the tonic key. difficult and melancholy character, for about two The opening figure finally resurfaces in its com- Franz Schubert (1797–1828) String Quartet in C minor, D. 703, years, the increasing strain in their relationship fi- plete version to close out the movement. “Quartettsatz” (1820) nally persuaded Schubert to move out in January 1821. However, given the sheer number of works he left unfinished over his career, the reason might Wolfgang Amadeus Mozart (1756–1791) Wolfgang Amadeus Mozart (1756–1791) String Quartet in C major, K. 465, lie outside any specific event. Schubert may have String Quartet in C major, K. 465, “Dissonance” (1785) simply stopped working on a piece when he did not “Dissonance” (1785) like direction he was going with it, finding it more Adagio; Allegro useful to move on to something else entirely. “Before God, and as an honest man I tell you that Andante cantabile Whatever the circumstances that kept him your son is the greatest composer known to me from finishing the piece, the “Quartettsatz” is either in person or by name. He has taste, and, Menuetto: Allegro an important work in Schubert’s development as what is more, the most profound knowledge of Allegro a composer, particularly of string quartets. He composition.” This, according to a letter written wrote more than 20 quartets in his lifetime, four by Leopold Mozart to his daughter, was Joseph of which have disappeared and five that exist only Haydn’s pronouncement upon hearing the string INTERMISSION in a fragmentary or incomplete state. Ten of the quartets K. 458, K. 464 and K. 465, the final three completed quartets were composed before the age in the set that Mozart would eventually dedicate of 20, but these early essays in the genre are un- to the older composer. Haydn had already listened even in quality. The first known quartet is from with approval to the first three, K. 387, K. 421 and Schubert String Quartet in D minor, D. 810, 1811, the String Quartet in mixed keys D. 18, a K. 428, at a private performance a month earlier “Der Tod und das Mädchen” (1824) five-movement work with an unconventional key in January 1785. Haydn’s judgment—of both the structure across the movements. Schubert contin- composer and the quartets—would be upheld by Allegro ued to write at least one quartet a year until 1816, later generations. The so-called Haydn quartets Andante con moto when his production of chamber works dropped have remained central to the quartet repertory, Scherzo: Allegro molto off significantly. In the four years that passed be- especially the “Hunt” Quartet, K. 458, and the Presto tween quartets, Schubert had gained valuable ex- “Dissonance” Quartet, K. 465. perience writing piano and symphonic works. The According to Mozart’s own handwritten C minor Allegro brings a new maturity, displaying catalogue of his works and supporting evidence, a sureness of musical language previously unheard the quartets were written over the course of Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. in his quartets. about two years, albeit with a significant break 30 CAL PERFORMANCES CAL PERFORMANCES 31 Program Notes Program Notes in middle. He probably composed the first three which urges me to commend them to you In fact, the harmony of the opening is not that The movement also features shifts to unexpected between December 1782 and July 1783. The dates and encourages me to hope that they will outrageous for the late 18th century. There are tonalities, included three false recapitulations on for K. 421 and K. 428 are uncertain, however; not seem to you altogether unworthy of some striking clashes, between the A and A-flat in E. To compensate, the coda is extended and deci- the best evidence for the former is provided by your favor. May it therefore please you to measure two for instance, and the unfolding of the sively affirms the C major tonic. his wife Costanze, who told friends in 1829 that receive them kindly and to be their Father, chords fails to establish a key at the outset of the Mozart had been working on the piece while she Guide and Friend! From this moment I re- piece. Yet by the end of the introduction, G major was in labor with their first child (born June 17, sign to you all my rights in them, begging is clearly established as the dominant key, leading Schubert 1783)—providing not only a possible date of com- you however to look indulgently upon the directly into the C major Allegro. From that point, String Quartet in D minor, D. 810, position, but also an interesting glimpse into the defects which the partiality of a Father’s the quartet’s moniker is almost a misnomer, for the “Der Tod und das Mädchen” (1824) domestic life of the Mozarts. The final three quar- eye may have concealed from me, and in harmony in the remainder of the movement is as tets of the set were entered into the handwritten spite of them to continue in your generous sunny and clear and as the introduction is hazy and In a letter of March 31, 1824, to his friend Leopold catalogue between November 1784 and January Friendship for him who so greatly values mysterious. This movement is mostly easily under- Kupelweiser, Schubert wrote of his great despair at 1785. The entire set was published, to some fanfare, it, in expectation of which I am, with all stood as a type of sonata-allegro form, introduc- his continuing battle with syphilis: in September 1785. of my Heart, my dearest Friend, your most ing two thematic groups in contrasting keys in the In a word, I feel myself to be the most un- Mozart’s decision to dedicate these quartets to Sincere Friend, exposition, working through some of that musical happy and wretched creature in the world. Haydn might have been as much financially moti- material in the development, and returning to the —W. A. Mozart Imagine a man whose health will never be vated as out of admiration and appreciation. While thematic groups in the recapitulation, but this time right again, and who in sheer despair over a dedication to a member of the nobility might have The youngest of these “children,” the Quartet remaining in the tonic key. The deceptively simple this ever makes things worse and worse, paid well directly, the presence of Haydn’s name on in C major, K. 465, takes its nickname from the first theme is really the central theme of the move- instead of better; imagine a man, I say, the score provided a different type of monetary re- Adagio introduction to the first movement. Much ment, and it appears in many different guises— whose most brilliant hopes have perished, ward. After all, Haydn was the pre-eminent com- ink has been spilled over these 22 measures in cen- with a contrapuntal treatment, as a closing theme to whom the felicity of love and friendship poser of the day, and dedicating a work to him was turies since their composition, not all of it com- to the exposition, as a bass line, and syncopated have nothing to offer but pain, at best, very shrewd marketing—and the publishing house plimentary. Italian composer Giuseppe Sarti, a in the coda. The second group is less remarkable whom enthusiasm (at least of the stimulat- Artaria was quick to emphasize the connection be- contemporary of Mozart’s whose aesthetic outrage and serves primarily as a foil, though the jaunty, ing kind) for all things beautiful threatens tween Haydn and Mozart in their newspaper an- might have been mixed with a touch of profession- syncopated triplets of the subsidiary theme provide to forsake, and I ask you, is he not a miser- nouncement of the new works.

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