Mozart's Early Quartets: Influenced by Haydn, Revolutionary in Form and Technique

In 1773, Wolfgang Amadeus Mozart, aged 17, composed a set of six string quartets now catalogued as K. 168–173, often referred to as the “Viennese Quartets.” These works were written during and shortly after his visit to Vienna in the summer of 1773 with his father, Leopold Mozart. While in Vienna, Mozart encountered recent developments in string quartet writing, particularly the Op. 20 quartets of Joseph Haydn, which emphasized contrapuntal textures, independent instrumental lines, and expanded structural development. The six quartets, K. 168 in F major, K. 169 in A major, K. 170 in C major, K. 171 in E-flat major, K. 172 in B-flat major, and K. 173 in D minor, show a departure from Mozart’s earlier divertimento-like chamber works. Each instrument assumes a more equal role, with increased use of imitation and counterpoint. The final quartet in D minor, K. 173, includes fugal writing in the last movement, reflecting Mozart’s engagement with more complex compositional techniques. These features distinguish the set from his earlier quartets composed in Milan in 1772 and early 1773. The composition of K. 168–173 followed Mozart’s exposure to Viennese musical styles during his stay from July to September 1773. After returning to Salzburg, he completed the quartets, consolidating the influence of the Vienna visit. The group therefore marks an early stage in Mozart’s development of the string quartet as a more structurally integrated genre. Why This Moment Matters The 1773 quartets K. 168–173 reflect Mozart’s adoption of more independent instrumental writing after his exposure to Viennese chamber music during the summer visit.