Bohemian composer Johann Baptist Vanhal preceded Mozart as a freelancer and was more alert than his successor to the possibilities of writing music that would sell well in printed form. These quartets for flute, violin, viola, and cello, from the early 1770s, offer good examples. They are technically simple works that are just attractive enough that they would have delighted the aristocratic amateurs who purchased them. The quartets are striking for their overall homogeneity. They seem to vary little even from movement to ...
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Bohemian composer Johann Baptist Vanhal preceded Mozart as a freelancer and was more alert than his successor to the possibilities of writing music that would sell well in printed form. These quartets for flute, violin, viola, and cello, from the early 1770s, offer good examples. They are technically simple works that are just attractive enough that they would have delighted the aristocratic amateurs who purchased them. The quartets are striking for their overall homogeneity. They seem to vary little even from movement to movement, with even the Adagio second movement of the Flute Quartet in G major, Op. 7, No. 3, having a sort of forward-plodding tune that makes the music seem faster than it really is. The outer movements have little in the way of thematic development, and in the genuine Allegros the passagework for the flute and strings is invariably put into the primary chords of the key. Despite the restricted language, there's a gentle, ingratiating quality to the music throughout. U.S.-based...
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