When Mozart encountered a newly published set of Pleyel’s string quartets in 1784 he commended them enthusiastically to his father, writing: ‘You will find them worth the trouble. They are very well written and most pleasing to listen to. You will also see at once who was his master. Well, it will be a lucky day for music if later on Pleyel should be able to replace Haydn.’ Mozart might have been writing of the Op. 2 Quartets, which were also published that year, with a dedication to Haydn, for they are remarkable works, rich in melodic invention and unfailingly ingenious in their technical resourcefulness.