Early quartet writing used the cello and viola as solid fundamental harmonic supports, more in the role of accompanying the upper two instruments, which usually carried the main parts. But Mozart’s treatment of the lower instruments grew more and more interesting, giving viola and cello emancipated roles, weaving their darker colors into the whole texture. Mozart gave the players individual responsibilities, with a much more equal distribution of musical interest.  

This string quartet is also known as the “Second Prussian” Quartet (among three), written for Frederick William II, the King of Prussia. The influence of Haydn, “Father of the String Quartet,” shines through in the work. Like its “Prussian” companions, No. 22 gives prominence  to the cello, the king’s favorite instrument. Listen carefully to the cello’s beautiful principal theme in the slow-movement Larghetto, which is restated by the first violin. Throughout the four movements, the cello is allowed an equal share of attention, which was not the standard practice at that time. Mozart reconsidered the conventional instrumental balances so thoroughly in these quartets that they have also been called the “Solo Quartets.” –From the LA Phil archive