The String Quartet, 1750–1797

The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices. Yet this progression was neither as smooth nor as linear as previously thought, as Mara Parker illustrates in her examination of the string quartet during this period. Looking at a wide variety of string quartets by composers such as Pleyel, Distler and Filtz, in a