II. Extended analysis
A. Wolfgang Amadeus Mozart, String Quartet in D minor, K. 421, third movement (p. 157) CD 2.74
In measure 14-19 the cello holds out the same note, so it’s a pedal point. The chords above are changing but the pedal point doesn’t take part in the harmonic framework. A dominant chord is prolonged.
The motive is passed around from the first violin, second violin and the viola and cello play some harmonic stuff that isn’t fun to play. In m22-29 the second violin comes in first and then the first responds rather in m1-10 the first violin plays first and the second and viola interact after the first violin states something. The tendency is to just go down the scale with the motive. Measures 30-39 is exactly the same as the opening in measures 1-10. With the DC it gives a strong ending with an authentic cadence.
I played this before, it was pretty fun, and like the seconds and violas get to come out a more than usual and interact with the first compared to some other quartets where the first violin hogs the spotlight.