One difference between the quintet version and the piano quartet arrangement is that whereas the leisurely cantabile themes of the Allegro ma non troppo were originally presented as keyboard solos, now the strings join in discreetly midway through. Where Mozart rounds off his first movement with a tiny tailpiece, Beethoven, characteristically, balances his substantial development with a seventy-bar coda. The Andante cantabile is a simple rondo design in which increasingly florid appearances of the main theme enfold two contrasting episodes in G minor and B flat minor.
As in the first movement, a melody that had originally been a piano solo now acquires string accompaniment halfway through. The first episode opens as a plangent duet for violin and cello, their lines more elaborately ornamented than in the wind original, while in similar fashion the B flat minor episode recasts what was originally a noble horn solo as a more florid melody for viola. There are hints of Beethovenian truculence in the central episode, where the rondo theme suddenly erupts in E flat minor.
But otherwise the mood is one of unbridled exuberance, right down to the teasing coda, where a tiny snatch of the main theme in the keyboard repeatedly provokes overlapping echoes in the violin—a charming detail that Beethoven added for the piano quartet version. Beide Versionen wurden zusammen als op.
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Piano Quartet in E-flat major, Op. 16
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Quintet in E-flat major for Piano and Winds, Op. 16
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