The Piano Quartet in E-flat Major, K. 493, begins with a strong statement like a miniature orchestra, a bright and genial opening that establishes the tone of the entire work. Shortly, the texture separates into a pair of self-sufficient sub-ensembles: piano and string trio.
Much of the music throughout the quartet features an echoing, call and response partitioning along these lines with the cool, sparkling and precise opacity of the piano juxtaposed with the warmth of the vibrato-infused strings. Whether singing antiphonally or commingling in a myriad of combined textures, the composite sonority is like wood and water or perhaps clouds and starlight.
Noteworthy throughout is the comparative delicacy of the piano part with a strong emphasis on single note melody lines in the treble and a subdued, left hand bass. A true sense of classical poise and collegiality distinguishes Mozart’s quartets from many of his successors who, as the Romantic 19th century progressed in tandem with refinements to the physical instrument, would create much heavier textures with more florid piano parts.
At many times in this work, there are new solos, duets and full contrapuntal alliances that form and dissolve including some brief passages for two-part counterpoint on the keyboard alone.
I have recently “discovered” my delight with Chiara Opalio’s playing. Here is the Mozart Piano Quartet as performed by Ms. Opalio and friends:
