The way artists influence each other and how important role models are for the development of an entire genre is demonstrated by the Quatuor Mosaïques with Wolfgang Amadeus Mozart's String Quartet in A Major K. 464, Ludwig van Beethoven's String Quartet in A Major op. 18/5, and not least Robert Schumann's String Quartet in A Major op. 41/3.
Haydn is considered the father of the classical string quartet, and the six Haydn quartets are dedicated to him, of which K. 464 is one. For Mozart, they are the fruit of a long, arduous effort. Beethoven regarded this quartet as a template for his own op. 18 No. 5. He said: This is a work! At that moment, Mozart told the world: Look at what I could do if the time had come for you! Op. 18 No. 5 is a direct and conscious homage to Mozart. Schumann, the youngest, intensively studied the quartets of Haydn, Mozart, and Beethoven in the spring of 1842 before he sketched, worked on, and dedicated op. 41 to his friend Felix Mendelssohn-Bartholdy in deep admiration over six weeks. They were to remain his only string quartets.
There are probably no better interpreters for this music than the Quatuor Mosaïques. Founded in 1985 from the environment of Nikolaus Harnoncourt's Concentus Musicus Wien, it has belonged to the most significant interpreters of historical performance practice for four decades.
Quatuor Mosaïques
Erich Höbarth – Violin
Andrea Bischof – Violin
Anita Mitterer – Viola
Christophe Coin – Cello
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