txtCommentary1=A {\uldb fugue}{\v 136089} imposes a kind of rigid, uniform order that is ultimately undemocratic. Indeed, the predominant {\uldb texture}{\v 99020} in the early {\uldb string quartet}{\v 154839}\'97{\uldb theme-and- accompaniment}{\v 34453}\'97reserved the {\uldb theme}{\v 99088} for the {\uldb first violin}{\v 126742} while assigning largely subsidiary roles to the three lower {\uldb instruments}{\v 84565}. In the opening of the first and last {\uldb movements}{\v 151907} of the C-{\uldb major}{\v 86320} Quartet, {\uldb K.}{\v 137211} 157 (composed by Mozart when he was 16),
txtCommentary2=\par\par {\uldb viola}{\v 105422} and {\uldb cello}{\v 76489} stick to their {\uldb accompanimental}{\v 16698} roles. Although the {\uldb second violin}{\v 140221} plays in parallel {\uldb thirds}{\v 99537} with the first violin (a sonority borrowed from {\uldb operatic}{\v 133191} duets), the {\uldb themes}{\v 99088} \'93belong\'94 to the first violin.{\fs24\uldb \'80}{\v next}
