Mozart wrote these three divertimentos when he was just turned 16, but he did not himself use this title, and because they are scored for strings alone with no minuet among the three movements some authorities, amongst them Grove, have included them among Mozart's string quartets. However, with the addition of a double-bass they sound convincing played by a string band, especially when the playing has such expertise and vigour as I Musici display and when the recording wuality has such thrilling realism. The D major is something of a curiousity because of the presumably intentional thematic links between the outside movements, though here and elsewhere you may become aware of all too many repeated quaver chords below the tunes. The most distinguished movement is that slow one in the F major; the long-held suspensions are quite lovely. The short serenade provides some variety with its quartet of solo strings contrasted with a string band supported by drums. These may be very minor works—it is hard to imagine Mozart ever giving them a thought in his maturity—but I doubt if they will ever be played or recorded better.'