Mozart's first quartet, in G major (80 K.), was composed on the first journey to Italy, at Lodi, on March 15, 1770, at seven o'clock in the evening--a circumstance of which he preserved the memory long afterwards. The concluding rondo is written in a later hand on different paper; and perhaps the whole consisted originally of only three movements--adagio, allegro and minuet.[45] A clear insight into the essential conditions of quartet style, freedom and independence of all the parts, a concentration of the whole work into a well-defined form, together with a perfection of thematic elaboration, are all plainly discernible in this first attempt, which, unimportant and wanting in originality as it may be, yet gives the impression of a well-rounded piece of workmanship. The second violin is worked out independently, with special care, in which the tenor participates; less success has attended the effort for a free movement for the bass. Attempts in counterpoint--as, for instance, at the beginning of the second part--are, as might be expected, learner-like, but they show that he knew what he was about. The last movement betrays a firmer hand from the very beginning. Three short divermenti follow, in D, B flat, and F major (136-138, K.), each having three movements, composed at Salzburg in 1772, precise and fresh in treatment, but evidently only meant for exercises. On the journey to Milan at the end of October, 1772, Wolfgang beguiled the tedium of the way by composing a "quattro"; and in Milan he was again (February 6, 1773) busy with a quartet under his father's directions. This no doubt belongs to a succession of six quartets in D, G, C, F, B flat, and E flat major (155-160, K.), which, judging from style and handwriting, fall within this period. They consist each of three movements, two closing with the minuet (156, 158, K.), while the presto, 3-8, with which the first begins has quite the form of a closing movement. The adagio {QUARTETS, 1772.} (311) which follows it is unusually serious--a simple melody with a uniform accompaniment in rich harmonies. This is erased and another substituted, which is longer and more elaborate, with a freer movement of the parts and a lighter expression. In other cases the andante begins (as in 137 K.), and is followed by the allegro. These quartets are not of wide scope, nor are the different movements actually elaborated, but greater practice in composition is evident throughout. The different motifs are better adapted for elaboration, and there is a remarkable increase of skill in dealing with the smaller divisions of each part, on the working out of which depend the life and unity of the whole conception. The opening phrases, repetitions, &c., are freer and better fitted in; two-part imitation is sometimes neatly introduced and fluently and gracefully carried out.