\version "2.16.0" celloThirdMov = \relative c, { \clef bass \override TupletBracket #'bracket-visibility = ##f r4 | c8[(\f c') c\p c c c] | c,8[(\f c') c\p c c c] | c,8[(\f c') c\p c- \markup{\italic "cresc."} c c] | g'4(\f c,) r | f(\p c) r | g( c) r | g(\pp c,8)[ c'(-. c-. c)-.] | c[(\p fis,)] fis2 | g2( c,4) % 10 | f!4. f'16.[(- \markup{\italic "cresc."} e32] d8[ c)] | b4( f'2) | e4(\f a g) | f8\p r g r g, r | \times 4/6 { c,16[ e f] g[ a b] } c8 r r4 | \times 4/6 { c16[-.\f e-. f-.] g[-. a-. b-.] } \override TupletNumber #'stencil = ##f \times 8/12 { c[( b c)] g[( fis g)] e[( d e)] c[( b c)] } | \times 12/18 { b[-. d-. e-.] fis[-. g-. a-.] b[( a b)] g[( fis g)] d[( c d)] b[( a b)] } | \times 12/18 { a[-. c-. e-.] a[-. c-. b-.] a[( b) g-.] fis[( g) e-.] d[ a' g] fis[ e d] } | \times 12/18 { g,[-. b-. c-.] d[-. e-. fis-.] g[( fis g)] d[( c d)] b[( a b)] g[( fis g)] } | c8 r r4 c8\p r % 20 | b r r4 b'8 r | a r d r d, r | r g,[(\sf g') g-.\p g-. g-.] | r es,[(\sf es') es-.\p es-. es-.] | c8 r r4 d8 r | g,4 r r | fis'2( g4) | d2. | d, \revert TupletNumber #'stencil | \times 4/6 { d''16[(\f cis a d cis a] d[ c a d c a] bes[ d c bes a g)] } % 30 | cis8.[(\trill d16)] d,4 r | r8 b![\p b b b b] | r c![ c c c c] | r c[ c c a a] | r d,[( d') d(- \markup{\italic "cresc."} c) c] | r b\p r a r g | fis2.\fp | r8 b'[(\p a16)] r a8[( g16)] r g8( | fis16) r r8 r4 r | g8[(-. g-. c,-. c-. bes-. bes)-.] % 40 | a[(-. a-. dis-. dis-. e-. e)-.] | r c r d! r d | g[-. d-.] g,-. r r d'16.[( e64 fis] | g8)[ f!( e) e d d] | c[ c a a g g] | c r d r d r | \times 4/6 { g,16[ b c] d[ e fis] } g8-. r r d,16.[( e64 fis] | g8) r \override TupletNumber #'stencil = ##f \times 4/6 { r16 b[ c] d[ e fis] } \revert TupletNumber #'stencil \times 2/3 { g[ a b } c8(] % In the Breitkopf & Haertel edition, the following three bars % end with a `r16. x16' rythm, which is obviously wrong. I chose % the `r16. x32' rythm over the `r16 x16' because it seems me more % suitable to the context. Also, this is the solution chosen by % the Quartetto Italiano in the Philips 8-CD set `Mozart String % Quartets'. | b) r g,\p r r r16. g'32 | f!8 r f, r r r16. f'32 % 50 | es8 r es, r r r16. es'32 | d8 r g, r r4 | c,8[(\f c') c\p c c c] | c,8[(\f c') c\p c c c] | c,8[(\f c') c\p c- \markup{\italic "cresc."} c c] | g'4(\f c,) r | f(\p c) r | g( c) r | g(\pp c,8)[ c'(-. c-. c)-.] | c[(\p fis,)] fis4 r % 60 | r r8 bes[(-.- \markup{\italic "cresc."} bes-. bes)-.] | bes[(\p e,)] e4 r | r r8 as[(-.- \markup{\italic "cresc."} as-. as)-.] | as[(\p des,)] des2 | c4( c'2) | des4( des,2) | c4( c'2) | ces4( ces'2) | bes4( bes,2) | as4(- \markup{\italic "cresc."} as'2) % 70 \override TupletNumber #'stencil = ##f | \times 12/18 { g,16[\f b! d] g[ b! a!] g[( fis g)] d[( c d)] b[( a b)] g[( fis g)] } | \times 12/18 { c[ es g] c[ es d] c[( b c)] g[( fis g)] es[( d es)] c[( b c)] } | \times 12/18 { g[ b d] g[ b a] g[( fis g)] d[( c d)] b[( a b)] g[( fis g)] } | \times 12/18 { c[ es g] c[ es d] c[( b c)] g[( fis g)] es[( d es)] c[( b c)] } | g4 r b'\p | cis( d c) | b( c b) | a( b g) | r8 c,[(\sf c') c(-.\p c-. c)-.] % Here it is a `forte' instead of a `sforzato', unlike the % previous bar and bar 23. | r8 as,[(\f as') as(-.\p as-. as)-.] % 80 | f8 r r4 g8\p r | c,4 r r | b2( c4) | g2. ~ | g4 r8 g'[(-.\f g-. g)-.] \revert TupletNumber #'stencil | \times 4/6 { g16[( fis d g fis d] g[ f d g f d] es[ g f es d c)] } | fis8.[(\trill g16)] g,4 r | r8 e[\p e e e e] | r f[ f f f f] | r f[(-. f-. f-. d-. d)-.] % 90 | r g[- \markup{\italic "cresc."} g g] f[( f')] | r e\p r d r c | b2.\sf | r8 e'8[(\p d16)] r d8[( c16)] r c8( | b16) r r8 r4 r | c,8[-.( c)-. f(-. f-. es-. es)-.] | d[(-. d-. gis,-. gis-. a-. a)-.] | r f' r g r g | c[-. g-.] c, r r g16.[( a64 b] | c8)[ c( b) b( bes) bes(] % 100 | a)[ a'( g) g(- \markup{\italic "cresc."}] f) r | f r g r g, r | \times 2/3 { c,16[\f e f] } \times 2/3 { g[ a b] } c8 r r g16.[( a64 b] \override TupletNumber #'stencil = ##f | \times 8/12 { c16)[ e f] g[ a b] c[ e d] c[ b a] } g8[-. g,] | c,4 r g''(\p | c8) r r4 g4\pp | c,( c,8) r r4 }