Some of Mozart’s most “shocking” music occurs in his late
chamber music, including the String Quartet #23 in F, K. 590. Modern and dissonant in all its elegance.
Richard Atkinson analyzes the fugue-like and almost
monochromatic exposition of the lively 2/4 finale, with its inversions and
perturbations. In the development, the
existential dissonance that results, however comical, becomes almost
Schoenbergian.
The comical finale ends quietly and simply.
The Minuet of this quartet is remarkable, too, as I
recall.
The slow movement of the D Major Quintet also has a bizarre
passage that is almost dodecaphonic.
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