I know you weren't. But there just so happens to be a really fabulous treatise that you will enjoy. Rosen devotes an entire chapter in his section on Mozart to the viola quintets, mainly discussing the G minor and C major ones. But even more important than that, imho, is the first section of his book, "Introduction" (after a lengthy 'new preface' where he responds to some criticism of the first edition and expands on some of his ideas) with three chapters: The Musical Language of the Late Eighteenth Century, Theories of Form, and The Origins of the Style. He wrote those precisely because he is not, to use Prof. Kennick's words, "corrupted by aesthetics." He knows he has to acknowledge the premises and historical context behind the music before critiquing specific pieces as "great" works of art. Even then, he carefully writes, "By general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas." Do you suppose he's read David Hume?I obviously wasn't asking you for a treatise on the Mozart G minor quintet in detail.