Steven Chen

Professor Levy

Mozart Seminar

6 October 2020

Joyous Similarities in Mozart’s String Quintet in C, K515

and Piano Quartet in Eb, K493

The music of Wolfgang Amadeus Mozart evokes a sense of joy and optimism. Differing from

other notable composers like Mahler, Tchaikovsky or even Beethoven, Mozart’s music is outward—he

writes music for others to consume, rather than self enjoyment or expression. Nevertheless, Mozart’s

famous crystal clear complexity of rhythmic and harmonic structures are woven throughout the String

Quintet in C (K515) and the Piano Quartet in Eb (K493). While the finales of both works exhibit displays

of different ideas and gestures, they embody technical similarities from Mozart’s artistic palette to

construct a joyous and optimistic finale.

1. String Quintet in C, K515

Like a majority of Mozart’s final movements, the finale is in Rondo form. The finale of the String

Quintet immediately embarks with an introduction of the A theme in the first violin:

Accompanying the initial statement are a set of three eighth notes in the inner voices which adds a playful

texture and gives forward motion to the theme. In M17, the A

theme begins to evolve into a variation, but still keeps the motif

of three eighth notes as the line further develops. At the end of

this small development, the first violin has a cadenza-like

passage that leads back into the A theme. At M58, the second theme arrives in thirds between the first and

second violins:
Following the second theme, the instruments explode in a frenzy of sixteenth notes that are passed

between the different instruments. This

development and passing of voices continues

until M137, where the familiar set of three

eighth notes pokes out in the second violin

voice. The playful idea and motif is passed

around until the A theme returns in M212.

Onwards, the pattern is repeated and at M293, the

arpeggio passage cleverly returns in the violins

from the first few measures of the first movement:

The rest of the movement follows the pattern consistently and enters the Coda at M493. In the last nine

bars, Mozart heavily emphasizes the three eighth notes motif in unison as the quintet reaches the final

chords:

2. Piano Quartet in Eb, K493

In Rondo form, the Piano Quartet opens with solo piano introducing the rondo theme:
The movement also resembles a concerto, with the strings serving almost as an accompanying orchestra.

The theme and variations are passed around with the solo piano and unison strings. Later, the piano plays

a flurry of triplets and the strings, again, accompany with suspended chords and quarter notes. Next, the B

theme is introduced at M72 in the strings and then embellished by the solo piano:

Following this theme, the piano part continues onto another

virtuosic display of triplets and reminds the audience of the

two quarter note motif from the first theme.

In M132, Mozart utilizes grace notes in the violin and piano

right hand - this technique adds a texture of playfulness and the conversation between the violin and piano

is almost humorous. Moving forward, the initial theme returns at M140 and follows the same structure

and pattern from the beginning of the movement. In M158, a developmental section occurs and the phrase

is passed between the piano and strings. Following this, the strings have lyrical, flowing lines above the

fast moving notes of the piano. Beginning in M225, the fragments of the two quarter note motif are now

contrasted by two slurred quarter notes. Like before, this passage is reminiscent of a concerto form as the

solo piano responds and is accompanied by the strings. In M280, the B theme returns and continues until

M322 where the quarter note motif is interjected by the solo piano and a run of eighth notes moves the

phrase forward. This transition returns to the A theme and serves as the coda in M353. The piece reaches

the end with continuous passing of the theme between the solo piano and strings.
 Both works by Mozart are characterized largely by major—or happy—traits, especially the String

Quartet in C, compared to its counterpart the String Quartet in G minor—which of course, is more somber

in nature. Besides tonality, there are several techniques employed by Mozart that emphasizes this “happy”

sound. The first is rhythm. In the Quintet, the set of three eighth notes are particularly cute and playful.

While it is heavily used in the melody, the same rhythm is used to give momentum to the accompaniment.

Likewise, the Piano Quartet has a motif of two quarter notes in its main theme. This shares the same

playful and quirky characteristics of the motif in the Quintet. While rhythm alone may not invoke a sense

of playfulness, the articulation of staccato notes definitely seals the deal.

Next, the two pieces share similar orchestration techniques. In the Quintet, the themes are often

presented in a solo instrument with the rest of the ensemble accompanying. This is especially prominent

in the Piano Quartet as it is almost like a concerto where the theme is either in the piano solo and strings

accompanying, or vice versa. While Mozart is fond of his solo passages, there are times where the theme

is played in unison to emphasize the melody. In the end of the Quintet, the ensemble heavily hammers the

eighth note motifs in the last few bars, and in the Piano Quartet, the chords from the strings work to unify

the ending of the movement.

In conclusion, there are countless techniques and styles in which Mozart employs to ensure the

satisfaction of his listeners. It is no doubt that his music is well received as he knows how to write for

people. The examples of his genius is prominent in the String Quintet in C, K515 and the Piano Quartet in

Eb, K493. The two works, while displaying completely different instrumentation, orchestration, and key,

uses similar techniques and styles to successfully demonstrate and evoke a playful and joyous sound.