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The two piano quartets, written in 1785 and 1786, are all-encompassing – the appeal of a piano concerto in miniature on the one hand, and the mystery and intimacy of the most heavenly chamber music on the other. Mozart created this genre practically from scratch. Indeed, his treatment of these four instruments as equal partners was unheard of in his day. The silence, both empty silence and full silence, I experience in the slow movement of the second piano quartet, is like a balm, while the intense power of expression of both opening movements leaves me speechless.