Complete String Quintets

While the string quartet underwent its well-known development from the 1760s onwards, the string quintet – perhaps created by Michael Haydn in 1773 – remained somewhat marginal. The young Wolfgang Amadeus, then seventeen, discovered the genre on his return from Italy. This was enough to inspire the teenager, who loved playing the viola part when performing quartets. After Mozart’s six quintets with two violas, this scoring remained uncommon – Boc­cherini composed over a hundred quintets, but with two cellos, as did Schubert – perhaps because the genre struggled to distinguish itself from entertain­ment music. Michael Haydn entitled his first quintet Notturno, while Mozart wrote his first quintet in the style of a divertimento.

The first Quintet K. 174, in B-flat major, was a product of the creative explosion of 1773, an extremely fertile year, alongside Mozart’s piano concerto in D major, three symphonies, and six quartets dedicated to Joseph Haydn. After a first version composed in the spring, the piece underwent extensive revisions during December. The Allegro, in sonata form, features a dialogue between the first violin and first viola; the ensuing development discloses a dramatic mood that contrasts with the recapitulation. Mutes give the Adagio its nocturnal feel, in a sonata form virtually devoid of development, which is reduced to a few bars. The Minuetto is a joyful and straightforward movement that revives the dialogue between the first violin and first viola. The Finale occupies almost half the duration of the whole work; this disproportionate movement is nevertheless “one of the most ambitious and elaborate sonata forms conceived by the young Mozart” (H. Halbreich). The exposition presents a first theme in repeated quavers, to which the cello responds with a semiquaver motif that is also woven into the development. This leads first to a “false recapitulation” of the kind Haydn favoured in his quartets. After a highly modulating passage, the true recapitulation finally comes forth. Despite his youth, the 17-year-old Mozart is already a master of the genre.

Following this initial quintet, the next two were composed only fourteen years later. They were written in 1787, after the success of The Marriage of Figaro in Prague and before the premiere of Don Giovanni. These two extensive works – composed respectively in a solemn and serene C major and an anguished G minor – are remarkable masterpieces from the composer’s mature period. Their creation has been linked to a letter Mozart wrote to his father, who was then seriously ill and would die less than two weeks later.

“As death (strictly considered ) is the true ultimate destination of our life, I have therefore, over the past few years, made myself so familiar with this true, best friend of man that its image not only no longer holds anything terrifying for me, but has also a great deal that calms and comforts! And I thank my God that He has granted me the good fortune to create the opportunity (you understand me) to come to know it as the key to our true blessedness. I never lay myself down to sleep without recollecting that perhaps (young though I may be) I may no longer exist the next day – and surely none of all those who know me will be able to say that I am sullen or sad in my comportment – and for this blessedness I thank my creator every day and wish the same to all my fellow men.”

The Quintet in C major (K. 515) begins with an expansive dialogue between the cello and first violin, which occupies most of the extensive exposition, and moves towards bold keys such as D-flat major before a second theme emerges in the dominant key. The highly modulating development displays the composer’s complete mastery. The melancholic Andante is reminiscent of song and opera, contrasting with the “graceful nonchalance” of the Minuetto (Henri Ghéon), which nonetheless retains some of the nostalgia of the previous movement in its trio. Finally, the vast Rondo concludes the work in a mood of serenity and peace.

This serenity contrasts with the anguished atmo­sphere in the Quintet in G minor (K. 516), written in a key the composer rarely used and invariably associ­ated with tragedy. The opening theme establishes an intense emotion whose “agitation betrays an irrepressible anxiety, which only intensifies after each vain attempt to escape the fateful G minor” (H. Hal­breich). Cast in sonata form, the Allegro engages in a new development episode in the recapitulation. “The originality of the first movement – in its approach, its colour, its expressive value, its sobbing – is such that it exhausts our emotion, our admiration and our surprise”, wrote Henri Ghéon. Such an emotion persists in the Menuetto, with its jagged, syncopated rhythm, and whose trio finally reveals a glimmer of light in a G major key of overwhelming simplicity. The American musicologist Alfred Einstein described the wonderful Adagio, played with mutes, as an ineffable “prayer of an isolated soul surrounded by abysses”, so peacefully does its theme rise in a profoundly religious E-flat major, soon engulfed by the anxious calls of the viola. Then comes, quite unexpectedly, a new Adagio, this time without mutes, in which the first violin sings a long lament. The final Allegro then suddenly bursts forth in G major and a 6/8 time signature. This movement was much criticised in Mozart’s time, but this overlooks the fact that one can experience the most intense suffering and still yearn to emerge from it and seek a little joy.

The exact date of composition of the Quintet in C minor (K. 406) is uncertain. It is a transcription of Mozart’s Serenade for Wind Octet, composed in 1782. According to the biographers Brigitte and Jean Massin, Mozart transcribed his serenade for strings out of financial necessity; this would have then inspired the quintets of 1787 and thereafter. The Allegro opens with a unison arpeggio, which soon gives way to a somewhat rhythmic aggressiveness, contrasting with the Andante in the relative major key; this peaceful 3/8 movement displays Mozart’s richly inventive melodic gift. The astonishing Minuetto is a canon between the first violin and the cello, with a mirror canon in the trio! It is followed by a martial and energetic Finale comprising a theme and a set of seven variations.

The conciseness of this quintet brings it closer to the last two, composed just a few months apart. When Mozart wrote his Quintet in D major (K. 593), in 1790, he had composed virtually nothing for several months, following a disastrous journey to Frankfurt and an ever-worsening financial situation, which was further compounded by a political campaign against Freemasonry. This work was probably commissioned by the Freemason and amateur violinist Johann Tost, who had already commissioned several quartets from Haydn. Its slow introduction – a somewhat unusual practice in Mozart’s chamber music production – returns unexpect­edly at the end of the movement. The exposition is built on a single theme, whose contrapuntal richness is then developed throughout the dialogue with the first viola. The Adagio in G major continues to win the admiration of music lovers: “It is unbelievable that such a wealth of musical and human richness can be condensed into barely a hundred bars!” praised Harry Halbreich. But in Mozart’s output, the most sublime beauty is combined with simplicity. The Menuetto is evocative of rural life, particularly in its central Ländler. Finally, the theme of the Finale is a descending chromatic scale, according to a study of the manuscript – a foreign hand having altered several notes in the most commonly used version. This highlights the chromatic audacity of the piece and the assets of its development, which includes a fugato and numerous contrapuntal audacities: how can one still doubt that after the sterility of 1790, Mozart’s energy had not returned? This Quintet was followed by several works, including the composer’s final Piano Concerto and The Magic Flute, which was written at the same time as the last quintet.

Equally commissioned by Johann Tost, like its prede­cessor, the Quintet K. 614 declares its Masonic intent through its E-flat major key signature. Whereas the previous work was contrapuntal, this one draws on popular inspiration and genuine optimism. “Is this a spiritual enlightenment [...] or [...] the dawn of a new era hailed by all the European great minds steeped in Enlightenment philosophy?” wonder B. and J. Massin. The ternary Allegro di molto evokes a rural landscape, a hunt, with its themes marked by carefreeness – or is it wisdom? This dual atmosphere reappears in the theme and variations of the Andante, which is at once transparent, simple and poignantly serene. This is followed by a thoroughly Haydnesque Menuetto. The final Allegro seems to synthesise the sonata and rondo forms through the frequent return of its theme, before a contrapuntal development that modulates into very remote and rarely used keys. Mozart once again demonstrates in this quartet his unique gift for “transfiguring the ordinary” (H. Ghéon).

Translation: Michelle Bulloch – Musitext

Sources

Ghéon, Henri, Promenades avec Mozart, Desclées de Brouwer, Bruges, 1957, 484 pages.

Halbreich, Harry, « Wolfgang Amadeus Mozart », in Guide de la musique de chambre, F.-R. Tranchefort éd., Fayard, Paris, 1989, p. 653-665.

Massin, Brigitte, Massin, Jean, Wolfgang Amadeus Mozart, Fayard, Paris, 1970, 1270 p.

Oleg Kaskiv

Oleg Kaskiv is a distinguished Ukrainian violinist and pedagogue, serving as the Artistic Director and Violin Professor at the Menuhin Academy in Switzerland. His career seamlessly blends outstanding performances on the world’s most prestigious stages with a profound dedication to mentoring the next generation of violinists. Born in 1978 in Kremenets, Ukraine, Oleg Kaskiv began his musical education at the Lviv Specialized Music School named after Solomiya Krushelnytska (1985-1995). He continued his studies at the Lviv National Music Academy, where he was mentored by Tetiana Syrotiuk and Bohdan Kaskiv (1996-2001). In 1996, he joined the International Menuhin Music Academy (IMMA) in Switzerland, where he trained under Professor Alberto Lysy.

Oleg Kaskiv is a laureate of numerous international violin competitions, including the Queen Elisabeth Competition in Brussels, the Montreal International Violin Competition, the Louis Spohr Competition in Weimar, and the David Oistrakh Competition in Odesa. As a soloist, Oleg Kaskiv has performed with leading orchestras worldwide, including:

Camerata Lysy Gstaad, Camerata de Lausanne, Zurich Symphony Orchestra, National Orchestra of Belgium, Montreal Symphony Orchestra, Baden-Baden Symphony Orchestra, Gstaad Festival Orchestra

His performances are celebrated for their depth of interpretation and technical mastery, captivating audiences across the globe. Since 2002, Oleg Kaskiv has been an integral part of the Menuhin Academy, initially joining as an assistant professor. Over time, he assumed greater responsibility within the institution and eventually took on the mission and legacy of leading the violin faculty. As the principal violin professor, he has continued to uphold and enrich the Academy’s pedagogical tradition, nurturing a generation of violinists who have gone on to achieve international acclaim.

His students have distinguished themselves in many of the world’s most prestigious international competitions — including the Long-Thibaud, Nielsen, Kreisler, Spohr, Carl Flesch, and others — earning recognition for their artistry and technical excellence. The majority of his students have become distinguished figures in the professional music world — both as soloists on international stages and as members of some of the world’s most renowned orchestras. Together, they carry forward the artistic legacy of the Menuhin Academy on the global stage. Oleg Kaskiv is actively engaged in a wide range of recording projects, reflecting both his work as a soloist and chamber musician. His discography includes:

F. Mendelssohn & A. Dorati – Octets – Camerata Lysy (DINEMEC)

The Colours of Antonio Stradivari – solo violin repertoire (Bach, Ysaÿe, Kreisler, Bloch) performed on the 1718 “Szigeti” Stradivarius (Claves)

J. Svendsen & M. Bruch – Octets – (Claves)

The Colours of Antonio Stradivari, Oleg Kaskiv Plays the Irish Burgundy from c. 1694. Beethoven: Concerto for Violin, Op. 61 - Violin Concerto – Gstaad Festival Orchestra (Claves)

Pierre Wissmer – Violin Concertos – Sinfonia Varsovia (Claves)

The Colours of Giuseppe Guarneri del Gesù – Six Sonatas for Solo Violin by Eugène Ysaÿe (Claves)

Complete Collection Claves: Oleg Kaskiv

His recordings have been highly praised by critics and audiences alike for their artistic excellence and profound musical insight.

Alexander Grytsayenk, violin

Born in Ukraine in 1981, Alexander Grytsayenko studied at the Kiev Conservatory with Tatiana Snijna, then at the Tibor Varga Academy of Music in Sion with Tibor Varga, Gyula Stuller and Francesco de Angelis. During his studies, he participated in masterclasses and worked with renowned teachers: Jean-Jacques Kantorow, Viktor Pikayzen and Anna Chumachenko. He obtained his concert diploma in 2005 and his soloist diploma in 2008.

He has won several international competitions, including the Pierre Lantier International Competition in Paris, the New Names of Ukraine Competition and the Bogodar Kotorovich International Violin Competition. In 2005, he won second prize at the Andrea Postacchini International Violin Competition (Italy) and in 2006, he was awarded the Migros-Kulturprozent Studienpreise Musik scholarship (Switzerland) and first prize at the Rahn-Musikpreis Competition in Zurich. In 2007, he was a prize winner at the Jmanuel und Evamaria Schenk Stiftung Foundation (Switzerland).

For chamber music, he trained with Gábor Tákacs-Nagy (founder of the Takács Quartet) and participated in masterclasses at the Seiji Ozawa Academy in Switzerland with professors Robert Mann (founder of the Juilliard Quartet), Pamela Frank, Nobuko Imai and Sadao Harada. He also attended the Zurich Opera Orchestra Academy and played in the La Scala Philharmonic Orchestra in Milan. He has also performed as a soloist with various Ukrainian orchestras, including the National Symphony Orchestra of Ukraine, the Kiev Chamber Orchestra, the Odessa Philharmonic Orchestra and the Kiev Radio Symphony Orchestra. Since 2008, he has been concertmaster of the second violins in the Lausanne Chamber Orchestra.

Eli Karanfilova, viola

Eli Karanfilova began her musical studies by learning the violin at the age of five in her hometown of Varna, Bulgaria. She was concertmaster of the New Symphony Orchestra of Sofia from 1997 to 1999, when she graduated from the Sofia Music Academy.

She then moved to Switzerland to study at the International Menuhin Music Academy under Alberto Lysy, Johannes Eskaer and Ettore Causa. She took part in masterclasses with Ruggiero Ricci, Tibor Varga and Paul Coletti and was a member of the Camerata Lysy, with whom she toured Europe, Canada and South America. In the summer of 2003, she was invited to play as a violist with the World Orchestra for Peace in Moscow and Saint Petersburg under the baton of Valery Gergiev. She then joined the Lausanne Chamber Orchestra as principal viola, while also being a member of the Modern Times Quartet chamber ensemble until 2005. She plays a viola made in 2009 by Stefan Peter Greiner.

Valentyna Pryshlyak, viola

Valentyna Pryshlyak hails from Lviv, Ukraine. She graduated from the Lviv National Music Academy of M. Lysenko with a Bachelor‘s Degree in Music under the tutelage of Professor Dmytro Komonko.

Her professional journey began in 2006 when she joined the INSO-Lviv Symphony Orchestra, where she showcased her talents as a soloist until 2011. During this time, she honed her skills and gained valuable experience performing with the orchestra.

In 2011, Valentyna became a student at the International Menuhin Music Academy, where she received guidance from esteemed musicians such as Ivan Vukcevic, Johannes Eskar, Sophia Reuter, Ettore Causa, Liviu Prunaru, and Maxim Vengerov. She was a member of the Quatuor „Lumière“, achieving notable accolades including the 1st Prize at the Gianni Bergamo Classic Award in 2012 and the 3rd Prize at the International Mozart Competition in 2014 and Jeunesses Musicales Deutschland Prize of the “ Wigmore Hall International String Quartet Competition” in 2015.

Continuing her musical education, Valentyna pursued studies at the Haute Ecole de Musique de Lausanne under the mentorship of Professor Alexander Zemtsov from 2014 to 2019. During this period, she further refined her skills and expanded her musical horizons. Since 2014, she is a guest player in L’Orchestra della Svizzera Italiana. Additionally, she undertook an academy position with Orchestra Musikkollegium Winterthur from September 2016 to 2017. In 2019, Valentyna landed a position at Opernhaus Zürich, marking a significant achievement in her musical career.

Pablo de Naverán, cello

Formed by great masters such as Yehudi Menuhin, Alberto Lysy, Radu Aldulescu and Mihai Besedovschi, Pablo de Naverán has led a long and rich musical life, playing countless concerts around the world. Renowned for his unique sensitivity, his discography has been enthusiastically acclaimed by critics and audiences alike. Deeply committed to passing on his knowledge, he teaches young talents from all over the world at the International Menuhin Music Academy.

Return to the album | Read the booklet | Composer(s): Wolfgang Amadeus Mozart | Main Artist: Oleg Kaskiv