One author has called this passage the most astonishing example of polyphony in the entire classical period! There are so many dissonances with these passing notes and suspentions!

@@NidusFormicarum it is so captivating, beautifully made and also so modern. Breathtaking

Such infinite melancholy... Sheer beauty.... Reminds me of Venice....

I would say this and the 6th in e flat major, that has a very distinct character

Yes, those two. The one mentioned in E flat is pehaps even more artful. However, it's not my favourite. The one in g minor is more beloved by many and for good reasons (it's so expressive and screams of despare!). But my personal favourite is the one in C, not despite the more conventional material and more cliché like frases, but because of them! It's how he treats this material that gives me goosebumps!

​@@NidusFormicarum agree absolutely... by the way all Quintets are amazing. But K.515 and K.593 retain a special place in my ❤

@@NidusFormicarumThe contrapuntal passages in K. 515 are sublime

I love the (faux) ending of the first movement!

It is so closed to the the 2nd mov. Of Sym.41

@@sayedattia113 True.

yes

I don't understand 89% of the words that you just said but I can tell your a professional.

Yes, the how every instrument plays a part in this fantastical piece is absolutely mind blowing. Wolfgang Amadeus Mozart was truly a genius

In the light of what you have just said, sophistication does not prevent emotion when it is a sensitive person who composes. On the other hand, sophistication without art becomes mechanical. Put pigs in a castle, they won't become lords, but the castle will soon become a pigsty.

26:07 five voice fugato. Exceptional! 27:00 double fugue counterpoint. Exceptional! All the quintet is divinely conceived!

24:22 four bars are identical, then repeated afterwards.

Was wondering the same thing

What you hear is as written in Mozart’s autograph, with the descending chromatic six-note phrase - this is correct. The score you see on the screen shows a mistake that was copied widely and made its way into published editions - and is wrong.

Would this cou t as a rare wonder?

And some insane contrapunct, too.

@@xbqchm and it’s a tour de-force in Mozartian articulation! The play between Dolce, Grazioso, and Resoluto

27:33 divine modulation to b flat major....

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It's audible - just get a better pair of headphones.

Did you also remember Shostakovich's Piano Quintet in connection with this passage or something else?

Who is that?

The version played here is the authentic one in Mozart's autograph, before a foreign hand changed it to what you see in this score; the Neue Mozart-Ausgabe restores the autograph reading. This clarifies the passage just after 27:46 as a development of the theme.

Of course! This quintet's structure is really unique compared to others so you'll have to wear with me hehe. It open with a pretty typical slow introduction with four-is parts: a heraldic call to attention, then a lyrical rejoinder (these two are repeated a few times), then a section that searches its way to the dominant, and finally, a lock on the dominant at measure 16. This leads to the beginning of the exposition, the primary key area, which has a rather complex primary theme. The primary theme is stated in whole once and is followed by a little codetta-like tag. Then, the primary theme is repeated again at measure 34, but takes a different course (notice the different harmony at measure 41) and dissolves into a transition that gets its momentum by developing the dotted codetta-like tag material. A lock on V/V is reached at measure 54 which eventual leads to the medial caesura at measure 63. Here, we expect a unique secondary theme in the dominant, but instead we are treated with a transformation of the primary theme (very reminiscent of Haydn!) but some new material is introduced at measure 71 in place of the triplet figure from the primary theme. Even more new thematic material is introduced and leads to a perfect authentic cadence in V at measure 89, marking the essential expositional closure. A subdued closing theme (expect a coda!) follows and a re-transition begins that leads either to the beginning of the exposition if the repeat is taken, or the development. The development occurs in roughly three stages: a pre-core that develops the syncopated, limping (alla zoppa) part of the primary theme from measures 102-122, the core of the development that develops both the triplet figure and hammer-stroke cadential figure of the primary theme while sequencing through the circle of fifths form meaures 123-137, and finally, a re-transition that fades away into the recapitulation from measures 138-143. The recapitulation begins on measure 143 and has some tweaks: first, the primary theme is not repeated, rather, it goes straight into the transition. Second, the transition is extended greatly, in very typical Mozartian fashion. The crux point is reached at measure 179 (I believe) and the recapitulation follows the course of the exposition practically measure for measure. At the end of the recapitulation, the grand pause makes us expect a coda, but surprise! the sow introduction return as a coda. However, only the first seven measures of it are followed and it leads a different path to the dominant. Another grand pause follows the dominant chord and... the primary theme, with it's overly-determined establishment of tonic and cadence, comes to close the movement. A joke worthy of Haydn :)

@@shuhengazhang Thank you

@@barney6888 happy to help!

grimeaux had very high sharps and in general has a much less sustained sound that I miss in a lot of the long notes, esp in the 2nd mvt.

I also prefer the "unauthentic" version, but, for me, it is just a detail. Now, is it impossible that the changes were made according to indications from Mozart ?

@@jeanpaulchoppart6818 I don't have any more precise information on this than the mention written on the vinyl record by Quatuor Amadeus, Cecil Aronowitz 2nd alto, with the two versions in a row: « Final, von fremderHand veränderte spätere Fassung ». It would be good to ask the question to people who are specialists in classical music, even Mozart: know where and when the alternative version was found. Can we challenge ourselves to find a better answer, and come back to share it here?

@@mizuqatsi "where and when the alternative version was found" : good question, indeed. But I have no idea who I could ask this question to or in what book or article I could find the answer. If you find something, please share it. Thanks for your reply.

@@jeanpaulchoppart6818 Perhaps on the web, forums on music/Mozart ? I look for my side

nope nope.. i prefer the descending chromatics.. he contrasts those with ascending chromatics throughout the piece. Kinda goes against the musical structure he intended if you change it to what this score has

Poetic or artistic license?