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Mozart, Wolfgang Amadeus. (1756–1791). Partitions des cinq principaux Quintetti pour deux Violons, deux Altos et Violoncelle, composés par W. A. Mozart. No. 3" [K. 516]. Offenbach am Main: Chez Jean André. [ca. 1824]. 8vo.  35 pp.  [PN] 4793.  Lithograph score for Mozart's String Quintet No. 4 in G minor, K. 516.  A superb copy of the reissue of the 1800 edition.  RISM MM 5982a.  Very fine condition in original blue wrappers.

"The contrast between the two quintets of spring 1787 prefigures that between the G minor and ‘Jupiter’ symphonies: the C major spacious and affirmative, its successor, the String Quintet in G minor K516, shocking in its intense pathos and chromatic disquiet, at least until the finale’s apparent ‘happy ending’.  Commentators have linked the G minor quintet’s despairing tone to Count von Hatzfeld’s death and Leopold Mozart’s last illness (he died on 28 May, twelve days after Wolfgang entered the work in his thematic catalogue).  Yet as always with the composer, the music transcends emotional autobiography." (Richard Wigmore, Hyperion Records)

Mozart, Wolfgang Amadeus. (1756–1791) Partitions des cinq principaux Quintetti pour deux Violons, deux Altos et Violoncelle, composés par W. A. Mozart. No. 3" [K. 516]

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Mozart, Wolfgang Amadeus. (1756–1791). Partitions des cinq principaux Quintetti pour deux Violons, deux Altos et Violoncelle, composés par W. A. Mozart. No. 3" [K. 516]. Offenbach am Main: Chez Jean André. [ca. 1824]. 8vo.  35 pp.  [PN] 4793.  Lithograph score for Mozart's String Quintet No. 4 in G minor, K. 516.  A superb copy of the reissue of the 1800 edition.  RISM MM 5982a.  Very fine condition in original blue wrappers.

"The contrast between the two quintets of spring 1787 prefigures that between the G minor and ‘Jupiter’ symphonies: the C major spacious and affirmative, its successor, the String Quintet in G minor K516, shocking in its intense pathos and chromatic disquiet, at least until the finale’s apparent ‘happy ending’.  Commentators have linked the G minor quintet’s despairing tone to Count von Hatzfeld’s death and Leopold Mozart’s last illness (he died on 28 May, twelve days after Wolfgang entered the work in his thematic catalogue).  Yet as always with the composer, the music transcends emotional autobiography." (Richard Wigmore, Hyperion Records)