From April 1787 to April 1791 Mozart wrote four string quintets, probably intending to dedicate them to the King as soon as he had complete a set of six. In April, 1788, poverty forced him to offer on a subscription basis the three quintets that were completed - those in C major and g minor, and the transcription in c minor.
The quintet begins Allegro, but in a modest and unassuming fashion. As with all Mozart's great work there is an expansive and marked development of ideas and expansive and dramatic treatment of the musical material. Each of the themes is made of the simplest of musical ideas.
The Menuetto follows, Allegretto. It is unusual for the scherzo to follow the opening movement. Usually the slow movement appears second, but Mozart was dear to indicate that the scherzo was to follow. And this is confirmed in the perfect balance of the musical characters as each movement flows from one to another. There is a graceful charm in the trio, even a song-like nature of the musical ideas.
The slow and lyrical Andante engages in soulful conversation with the viola and violin. Einstein's biography goes so far as to call it "a dialogue between lovers." The music is serene, wistfully tender, with the flowing, highly ornamented interplay between instruments.
The finale, marked Allegro, is reminiscent of the opening movement giving the work a cyclic feeling. The material is deceptively simple but Mozart conceals it in an array of harmonic and thematic developments. The work ends gallantly and with a sense of pure Mozartian grace.
-- Kendall Durelle Briggs
