String Quintet in C minor, K. 406

for Woodwind Quintet-These two extraordinary works of late Mozart KV 594 and KV 608 were both composed to fulfill a commission for a memorial exhibit in Vienna to be played in a “mechanical clock organ.” The term “fantasy” or“fantasia” came to be affixed to these works later and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue “Ein Stüke für ein Orgelwerk in ein Uhr.” They are also variouslytitled “Adagio und Allegro in f für ein Orgelwerk” and “Allegro und Andante (Fantasie in f) für eine Orgelwaltze.”The first of these composed between the monumental String Quintet in D and the Piano Concertoin Bb KV 595 is an A-B-A form comprised of an f minor Adagio opening and closing with a contrapuntal Allegro at its heart. KV 608 is more complicated opening with an f minor section reminiscent of a French Overture followed by a fugue in fminor then an Andante aria followed by a return to the opening and then a more complex version of the fugue.Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices KV 594and 608 are remarkable works which stand at an intersection incorporating what he learned about counterpoint studying at the foot of Bach while looking ahead to the emotional and harmonic poignancy of Schubert.

Mozart's String Quintets No. 4-8 contains a set of parts for the following Quintets composed by Wolfgang Amadeus Mozart; String Quintet No. 2 in C minor K406 String Quintet No. 3 in C major K515 String Quintet No. 4 in G minor K516 String Quintet No. 5 in D major K593 String Quintet No. 6 in E flat major K614.

Par PLEYEL IGNAZ. The Quintet in G minor belongs to the first group of three quintets written by Ignaz Pleyel in 1785 and published for the first time in 1786. Of all his quintets, it was the most frequently published one and was available in various editions even during Pleyel's lifetime. The modern character of this piece shows in the 'new kind' of compositional technique and elaboration of the themes, as presented by Joseph Haydn for the first time in 1781 in his String Quartets Op. 33. As with Haydn, the modern compositional style shows in the thematic work of the development which is mainly derived from the main theme. Particularly impressive is the elaboration of the theme by imitation, sequencing, shortening, rhythmic and tonal changes as well as by inversion./ Répertoire / 2 Violons, 2 Altos et Violoncelle