Mozart: String Quartets, K. 172-173 And K. 575, 'prussian No. 1'

Eder 4Te

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Cat No: 8550545

Release Date: 12 January 1999

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 730099554527

Genres: Classical

Composer/Series: MOZART

Description
Wolfgang Amadeus Mozart (1756 - 1791) String Quartets Vol. 6 Quartet No.12 in B Flat Major, K. 172 Quartet No.13 in D Minor, K. 173 Quartet No.21 in D Major, K. 575 (Prussian Quartet No.1) Wolfgang Amadeus Mozart was born in Salzburg in 1756, the son of a court musician who, in the year of his youngest child's birth, published an influential book on violin-playing. Leopold Mozart rose to occupy the position of Vice-Kapellmeister to the Archbishop of Salzburg, but sacrificed his own creative career to that of his son, in whom he detected early signs of precocious genius. With the indulgence of his patron, he was able to undertake extended concert tours of Europe in which his son and his elder daughter Nannerl were able to astonish audiences. The boy played both the keyboard and the violin and could improvise and soon write down his own compositions. Childhood that had brought Mozart signal success was followed by a less satisfactory period of adolescence largely in Salzburg, under the patronage of a new and less sympathetic Archbishop. Like his father, Mozart found opportunities far too limited at home, while chances of travel were now restricted. In 1777, when leave of absence was not granted, he gave up employment in Salzburg to seek a future elsewhere, but neither Mannheim nor Paris, both musical centres of some importance, had anything for him. His Mannheim connections, however, brought a commission for an opera in Munich in 1781, and after its successful staging he was summoned by his patron to Vienna. There Mozart's dissatisfaction with his position resulted in a quarrel with the Archbishop and dismissal from his service. The last ten years of Mozart's life were spent in Vienna in precarious independence of both patron and immediate paternal advice, a situation aggravated by an imprudent marriage. Initial success in the opera-house and as a performer was followed, as the decade went on, by increasing financial difficulties. By the time of his death in December 1791, however, his fortunes seemed about to change for the better, with the success of the German opera The Magic Flute, and the possibility of increased patronage. The string quartet developed as a form in the second half of the eighteenth century, coming to assume the greatest importance for composers. Stendhal's account of the matter, in his Lettres sur J. Haydn, is well known. He recalls the description given by a woman of intelligence who found the quartet similar to the conversation of four friends, the first violin, a middle-aged man and a good speaker, leading the discourse, supported by his friend, the second violin, who would seek to allow the first to shine, the viola would be a knowledgeable man of sound opinions, occasionally adding his own laconic but truthful comments, while the cello was a woman who had nothing very important to say, and yet always sought to take part in the conversation, adding an element of gracefulness and sometimes allowing the others time to draw b
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