In the late eighteenth century when music publishers were proliferating and producing vast amounts of music for amateurs to play, Ignace Pleyel "revived" (as the publisher Jean André put it) three of Mozart's sonatas in versions for string quartet. Pleyel had already written a number of quartets of his own, and these arrangements of the Mozart are not that different from Pleyel's writing. The original sonatas were for violin and piano, with the Sonata in B flat major, K. 570, being itself an arrangement of what was originally a solo piano sonata. It is easy to hear how Pleyel did most of his transcribing. The original sonatas, K. 526 and K. 481, are examples of those where Mozart gave equal time to both instruments, rather than subordinating the violin more of an accompaniment to the piano. This would seem to translate to more of a duet between the two violins, with accompaniment by the viola and cello, but more often than not, the first violin has the sound of a soloist, while the other instruments pick up the piano part. Listeners who are intimately familiar with the original sonatas will notice a few liberties Pleyel did take to create textures and structure that suited the string quartet better. Even if the writing is less satisfying than Mozart's or Haydn's quartets, where the instruments are better balanced, the Quartetto Luigi Tomasini gives these an elegant and refined performance, just what is expected for Mozart's own string quartets.