txtCommentary1=In Mozart\'92s early {\uldb quartets}{\v 154839}, the {\uldb second violin}{\v 140221} either slavishly followed the {\uldb first violin}{\v 126742} or played a strictly {\uldb accompanimental}{\v 16698} role. In Mozart\'92s {\uldb \'93Haydn\'94 Quartets}{\v 136342} the second violin emerges as an equal partner. The close of the {\uldb transition}{\v 101441} in the first {\uldb movement}{\v 151907} of {\uldb K.}{\v 137211} 465 provides a good example.
txtCommentary2=\par\par\par\par If you focus simply on the first violin, you could argue that it carries the {\uldb melody}{\v 86956} throughout the {\uldb passage}{\v 90954}. But if you listen more closely, you hear that the other {\uldb instruments}{\v 84565} respond with an independence that goes beyond mere accompaniment.{\fs24\uldb \'80}{\v next}