The Opus 76 Quartet: Classical Series 6

Mozart’s Quartet no. 16 in E flat Major is the third of a series of six quartets dedicated to eminent composer and teacher of Mozart, Franz Josef Haydn. Mozart wrote this set of Quartets around the same time Haydn had written his op.30, and the comparison is remarkable. In fact, Mozart said to Haydn in dedicating these
works to him that he had composed them with great care and attention:
“They are, it is true, the fruit of a long and laborious endeavour… May it therefore please you to receive them kindly and to be their Father, Guide and Friend!”
The remainder of the dedication is rather charming in its expressed admiration and deference to Haydn, who upon receipt of the dedication wrote to Mozart’s father, Leopold:
“Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name.”
The quartet itself is filled with charm and elan, and Mozart displays trademark skill in growing an entire piece from very humble musical beginnings – all the instruments play the same notes at the beginning. The Andante is a sweet movement, a charming walk in the gardens of a benevolent estate – with a few shadows
here and there. The Menuetto is a clear example of Mozart’s admiration for Haydn, and is quite a touching tribute. The Allegro vivace also possesses elements of Haydn in it – via it’s cheeky opening theme. It is certainly a Mozart work however, complete with eloquent flourishes, tasteful accompaniments and the exquisite beauty which established this composer’s reputation for posterity. Beethoven’s 15th Quartet, op.132 starts with the same spooky feel as his op.131 – but that is frankly where any similarities end. This Late Quartet has much less of what some may describe as “eccentricity” to it. It is just filled with far more lengthy passages of romantic sorrow than was normal for the time. There is one unusual and deeply moving factor – the third movement, also called “the Song of Thanksgiving.” Beethoven wrote this renaissance style movement after recovering from a life threatening illness, which lasted an entire Winter from 1824-25. It movingly creates an atmosphere of the noble simplicity of the old Roman Rite – simulating renaissance polyphony and giving the impression of being surrounded by something greater than oneself. Beethoven can be best described as a liberal Catholic. He was a religious man, who expressed support for a little more personal spiritual autonomy than the Catholic Church provided at the time – without desiring to break from it. In fact, one of Beethoven’s greatest patrons (and students) was Cardinal Archbishop Rudolph of Austria.