txtCommentary1={\uldb Scoring}{\v 157258} traditionally refers to the assigning of {\uldb instruments}{\v 84565} to particular {\uldb voices}{\v 105907}. In {\uldb quartets}{\v 154839}, however, the greater issue is how these voices (and their {\uldb harmonies}{\v 84040}) are laid out. A particularly powerful example occurs near the end of the {\uldb exposition}{\v 81751} in the first {\uldb movement}{\v 151907}, where all four voices are coordinated in the drive toward a powerful {\uldb cadence}{\v 21968}. Listen first to the {\uldb passage}{\v 90954} with the {\uldb notes}{\v 89586} all
txtCommentary2=spaced closely together\'97just as a mediocre composer might have done. Then listen to the manner in which Mozart expands our field of hearing by spacing the notes (especially in {\uldb first violin}{\v 126742} and {\uldb cello}{\v 76489}) wide apart. The passage instantly goes from a semi-gloss to a high-gloss finish.{\fs24\uldb \'80}{\v next}
