The six string quartets that Mozart composed between 1782 and 1785 in Vienna, which were printed in September of 1785, were from the outset planned as an integrated group of works. They are dedicated to Haydn.

 The "Dissonant' quartet is perhaps the best known of all of the Haydn quartets.  The opening bars are some of the most astonishing in the quartet literature and unprecedented in the form and style. Although slow introductions were common in many musical forms the way in which Mozart treats this introduction is radically different.

 The opening Adagio is a stunning example of contrapuntal technique and harmonic development. The cello begins with single notes which define the key immediately as C.  However, there is an immediate shift in the feeling of this lone cello note as the other instruments enter, changing its function and meaning. Dissonances abound as each instrument enters and moves slowly and independently of each other.  These changes create extraordinary dissonances which last only briefly but are emotionally electrifying at times. There is a continual sense of wonderment at the direction of the harmony.

The beginning of the Allegro proper, which introduces the first theme, is a wonderful moment which resolves the dissonance in the opening introductory Adagio.  The seriousness of the Adagio quickly disappears and it seems as if Mozart has played a joke on us.  The first movement continues with its sparkling character in standard sonata form.  The following movements are typical in Mozartean splendor and grace.

The second movement is typical Mozart. Its simple three-part form provides for plenty of contrasting material as well as balance of form and character.

The third movement Menuetto provides contrast through dynamic extremes; typical of the Mannheim school, which Mozart was so fond.  It is a typical da capo Menuet, which after the contrasting Trio, repeats the opening Menuet with no repeats.

The Finale concludes the quartet with a lighthearted and warm Rondo, typical of the style and period.  At this point the darkness of the opening introduction of the quartet is long forgotten and the quartet leaves us wondering just what such an introduction was all about.