THE BIOGRAPHY OF A STRING QUARTET: Mozart’s String Quartet in D minor, K. 421 (417b) by Alexa Vivien Wilks A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Alexa Vivien Wilks 2015 The Biography of a String Quartet: Mozart’s String Quartet in D minor, K. 421 (417b) Alexa Vivien Wilks Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract Wolfgang Amadeus Mozart’s String Quartet K. 421 in D minor remains one of his most celebrated quartets. K. 421 is the second work in a set of six quartets dedicated to Mozart’s colleague and mentor, Joseph Haydn, and is the only ‘Haydn’ Quartet in a minor key. An overview of the historical background of K. 421, the significance of D minor in Mozart’s compositions, as well as the compositional relationship between Mozart and Haydn situates this work amongst Mozart’s other string quartet compositions and provides context for the analysis of different editions. An outline of the historical practices and roles of editors, as well as a detailed analysis and comparison of different editions against the autograph manuscript and the first edition published by Artaria in 1785 examines the numerous discrepancies between each of the different publications of K. 421. Using the information acquired from the comparative study of selected historical editions, some possibilities for future editions of K. 421 are discussed. When undertaking the study of a new quartet, performers can learn a great deal from listening to recordings. In addition to this analysis, an outline of the evolution of string quartet performance practices is provided. The individual conclusions formed from studying the historical background, different publications and selected recordings of a specific composition can be extended beyond this quartet and applied by performers to any work they choose to undertake. ii Acknowledgments Writing this paper has been a long and, at times, difficult process. I am forever indebted to the following people who have encouraged, listened, cajoled and tolerated me throughout this journey. My gratitude to my parents, Jane and George, for their constant support and endless hours spent reading and re-reading this document. I owe many thanks to my best friend, Laura, for her continuous reassurances and uplifting messages that all too often went unanswered. To my quartet colleagues Sarah, Linnea and Alex, who introduced me to this great work, I wish to express my sincere appreciation for the four wonderful years we spent together. Professors Annalee Patipatanakoon, Tim Ying, Jeremy Bell and Mary Ann Parker provided me with many thoughtful insights as well as important corrections and additions. My fiancé Kevin showed me infinite patience and compassion, from the biggest of hurdles to the smallest of requests. That you still wish to marry me after all of this perhaps remains my biggest accomplishment so far. And lastly, to my supervisor and mentor Professor Robin Elliott, whose tremendous knowledge of Mozart, string quartets and music would be incredibly intimidating in anyone less humble and kind, you have ignited in me an enthusiasm for research which I will carry with me always. iii Table of Contents List of Tables and Illustrations ...................................................................................................... x List of Appendices ........................................................................................................................ xi Introduction .................................................................................................................................... 1 CHAPTER 1: THE HISTORICAL EVOLUTION OF K. 421 The History and Genesis of K. 421 1.1 Early Quartets .............................................................................................................. 4 1.1a String Quartet in G Major “Lodi”, K. 80 [73f] ......................................... 4 1.1b ‘Divertimenti’, K. 136 – 138 ....................................................................... 5 1.1c ‘Milanese’, K. 155 – 160 .............................................................................. 6 1.1d ‘Viennese’, K. 168 – 173 ............................................................................... 7 1.2 Historical Context of K. 421 ....................................................................................... 7 1.3 Genesis and Critical Reception of K. 421 ................................................................... 8 1.4 Construction and Form of K. 421 ............................................................................. 10 1.4a I. Allegro moderato .................................................................................... 10 1.4b II. Andante ................................................................................................... 11 1.4c III. Menuetto – Trio ..................................................................................... 12 1.4d IV. Allegretto ma non troppo ....................................................................... 12 The Significance of D minor in Mozart’s Compositions 1.5 Key Characteristics in the Eighteenth Century ......................................................... 15 iv 1.6 Personal Significance of D minor .............................................................................. 15 1.7 Works in D minor ..................................................................................................... 16 1.7a La Betulia Liberata, K. 118 [74c] ............................................................... 16 1.7b String Quartet in D minor, K. 173 .............................................................. 17 1.7c Thamos, König in Ägypten, K. 345 [336a] .................................................. 18 1.7d Idomeneo, rè di Creta, K. 366 ..................................................................... 19 1.7e Fantasia No. 3, K. 397 [385g] .................................................................... 19 1.7f Piano Concerto No. 20 in D minor, K. 466 ................................................. 20 1.7g Kyrie in D minor, K. 341 ............................................................................ 21 1.7h Don Giovanni, K. 527 ................................................................................. 21 1.7i Die Zauberflöte, K. 620 ............................................................................... 23 1.7j Requiem, K. 626 ........................................................................................... 23 Introitus .................................................................................................... 24 Part III: Dies Irae, Rex Tremendae, and Lacrimosa ................................. 25 Agnus Dei ................................................................................................ 26 Haydn’s Influence 1.8 Haydn’s String Quartets in D minor ......................................................................... 26 1.8a Op. 9, No. 4 (1769) ...................................................................................... 27 1.8b Op. 42 (1786) .............................................................................................. 28 1.8c Op. 51, ‘Die sieben letzten Worte unseres Erlösers am Kreuze’ (1785) ..... 29 1.8d Op. 76, No. 2 “Quinten” (1796) ................................................................. 30 1.8e Op. 103 (1803) ............................................................................................. 32 1.9 Haydn and Mozart’s Relationship .............................................................................. 33 v 1.10 Haydn’s Influence on Mozart’s Quartet Writing .................................................... 34 1.10a Op. 9, No. 4 and K. 173 ............................................................................. 34 1.10b Op. 20, No. 4, Op. 33, No. 2 and K. 421 ................................................... 36 1.10c Op. 33 ‘Scherzi’ and K. 421 ...................................................................... 41 1.11 Haydn’s Allusion to K. 421 ..................................................................................... 43 CHAPTER 2: THE EVOLUTION OF K. 421 IN PRINT Historical Information 2.1 Overview of Editorial Discrepancies ........................................................................ 45 2.2 Mozart’s Manuscript and Personal Revisions to K. 421 ........................................... 46 2.3 First Edition and Early Printings ............................................................................... 48 2.4 Historical European Editions of K. 421 .................................................................... 49 2.5 Twentieth Century Editions of K. 421 ...................................................................... 51 2.6 Future Editions of K. 421 .......................................................................................... 53 K. 421 and the Editorial Process 2.7 Editorial Considerations ............................................................................................ 54 2.7a Source material ........................................................................................... 54 2.7b Errata in copying and Mozart’s inconsistencies ......................................... 55 2.7c Historical academic texts ............................................................................ 58 2.7d The editorial process ..................................................................................