Lockdown Listening #3 - Mozart: String Quintet No. 4 in G minor

Hello again! This week we have a (slightly obscure) piece by Mozart - I hope you enjoy it!

Bronze

  1. Which do you think is the most energetic movement? Which things in the music are there to show energy?

  2. Can you name some ‘string’ instruments? Are you able to hear them playing in this piece?

  3. How would you describe the mood in the first movement?

  4. Write a short story that the fourth movement might be telling.

  5. Can you spot which instrument has the tune most often? Why do you think this might be?

Silver

  1. What era of music does this piece come from? What clues are in the music itself?

  2. How does Mozart use dynamics to add to the music? Pick an example from each movement that you think is particularly effective.

  3. Listen to your favourite movement and try to follow the part on the video score for the 1st Violin (top line). Now try again with one of the viola parts.

  4. There are a number of moments in the 1st movement where ideas are passed around between instruments, which is particularly noticeable when looking at the score. Have a go at composing a piece for 2 or more instruments that involves passing small ideas between the players.

  5. Is the strong beat usually clear in the 2nd movement? Why/why not?

Gold

  1. Draw a diagram on an A4 piece of paper detailing the structure of the first movement. Firstly, what’s the structure - secondly, where do ideas return - and thirdly, can you identify the ‘key areas’ (areas in different keys)?

  2. How does this piece benefit from having an extra viola part?

  3. Find 3 examples of symmetry in the music by listening and looking at the video score (e.g. contrary motion or repeated ideas/retrograde). Write a few sentences about each in terms of how they are effective and what they add to the music.

  4. How far do you agree that the four movements could essentially be taken as four separate pieces, and do not need to be played together? Or do you think that the movements should always be played together? Why? Is there an argument for both?

  5. How would you describe the harmony in this piece? Is anything altered by the frequent minor tonalities?


Benjamin JacksonComment