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Funny, I feel that Mozart's modulations are only rarely striking

Really, I think he was far outdone in this respect by Schubert, not to mention by composers in the later nineteenth and early twentieth centuries, as disparate as Dvorak (beginning of the slow movement of the New World Symphony) and Rachmaninoff (beginning of the slow movement of the Second Piano Concerto). Those are examples of extraordinary modulations IMHO. Mozart, not so much.

I of course agree with you about the slow intro to the "Dissonant" String Quartet, less so about the late piano concertos. In fact, the finale of the D-minor Piano Concerto in particular always grates on me, as Mozart loses his nerve and is unable to resist bringing in that trite little D-major theme at the end. Ugh! If he's going to write a concerto in a minor key, it's better for him to do what he does in the C-minor Concerto and keep his nerve up (in the minor key) through to the end.

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