List of Haydn's string quartets

Joseph Haydn wrote a total of 68 quartets. Usually six quartets are combined to form an opus number . Today Haydn's string quartets are counted according to Section III of the Hoboken Directory . This count is based on the so-called “Haydn Directory” from 1805, a list of works (with note incipit ) that Haydn had a copyist made, but which inadvertently also included spurious works; it also includes the arrangements of the Seven Last Words of Our Savior on the Cross (hence the total number 83).

Opus 1

As with Opus 2, the composition of a group of six does not come from Haydn, but from publishers. No. 5 is a strange arrangement of a symphony by Haydn.

Quartet in B flat major, op. 1, No. 1 , Hob.III: 1
1. Presto
2. Menuet
3. adagio
4. Menuet
5. Finale: Presto
Quartet in E flat major, op. 1, No. 2 , Hob.III: 2
1. Allegro molto
2. Menuet
3. adagio
4. Menuet
5. Finale: Presto
Quartet in D major, Op. 1, No. 3 , Hob.III: 3
1. adagio
2. Menuet
3. Scherzo: Presto
4. Menuet
5. Finale: Presto
Quartet in G major, Op. 1, No. 4 , Hob.III: 4
1. Presto
2. Menuet
3. Adagio ma non tanto
4. Menuet
5. Finale: Presto
Quartet in E flat major, op. 1, No. 5 , Hob.III: 5 (foreign arrangement of the symphony Hob. I: 107)
1. Presto
2. Menuet
3. adagio
4. Menuet
5. Finale: Presto
Quartet in C major, Op. 1, No. 6 , Hob.III: 6
1. Presto assai
2. Menuet
3. adagio
4. Menuet
5. Finale: Allegro

Opus 2

Compilation into a group of six not by the composer. Two of the works are strange arrangements of divertimenti with horns.

Quartet in D major, Op. 2, No. 1 , Hob.III: 7
1. Allegro
2. Menuet
3. adagio
4. Menuet
5. Finale: Allegro molto
Quartet in E major, Op. 2, No. 2 , Hob.III: 8
1. Allegro molto
2. Menuet
3. adagio
4. Menuet
5. Finale: Presto
Quartet in E flat major, Op. 2, No. 3 (arrangement of the Divertimentos Hob. II: 21), Hob. III: 9
Quartet No. 9 in F major, op.2, No. 4 , Hob.III: 10
1. Presto
2. Menuet
3. adagio
4. Menuet: Allegretto
5. Finale: Allegro
Quartet in D major, Op. 2, No. 5 (arrangement of the Divertimentos Hob. II: 22), Hob. III: 11
Quartet No. 10 in B flat major, op.2, No. 6 , Hob.III: 12
1. adagio
2. Menuet
3. Scherzo: Presto
4. Menuet
5. Finale: Presto

In addition, there is the early quartet Hob. II: 6 (sometimes referred to in research as “op. 1 no. 0”).

Opus 3 (so-called "Hofstetter Quartets")

The six string quartets op. 3 are now considered works by Roman Hofstetter . They were printed as Haydn's works by the publisher Bailleux in Paris in 1777, and after 1800 Ignaz Pleyel included them in his complete edition of Haydn's string quartets. This in turn served Haydn's copyist Johann Elßler in 1805 as a template for the quartet list in the “Haydn Directory”. So the quartets were apparently authorized by Haydn. Based on tradition (the entire tradition is based on the printing of Bailleux, while there are numerous independent copies of the real early quartets), Jens Peter Larsen (Die Haydn-Tradition, Copenhagen 1939) expressed doubts about the authenticity. In 1964 Alan Tyson and HC Robbins questioned Landon Haydn's authorship: they found that the parts of the first two quartets in Bailleux's print showed that the name Hofstetter had been deleted from them. Landon and Tyson concluded that Hofstetter was probably the author of all six works and that Bailleux had sold them under the name of the better-known Haydn for reasons of sales. Most of the Haydn researchers later agreed with this thesis, and today the quartets are considered spurious. An essay by Günther Zuntz , published in 1986 , which assumed serious philological errors by Tyson and Landon and advocated retaining the attribution to Haydn, was largely ignored. The fifth quartet in particular (“Serenade Quartet”) was extremely popular as long as it was still considered a work of Haydn.

Quartet in E major, op.3, No. 1, Hob.III: 13
Quartet in C major, op. 3, No. 2, Hob.III: 14
Quartet in G major, op. 3, No. 3, Hob.III: 15
Quartet in B flat major, op. 3, No. 4, Hob.III: 16
Quartet in F major, op. 3, No. 5 ("Serenade Quartet"), Hob. III: 17
Quartet in A major, op.3, no.6, Hob.III: 18

Opus 9 (1769)

Quartet in D minor, op.9 , no.4, Hob.III: 22
1. Moderato
2. Menuet
3. Adagio: Cantabile
4. Finale: Presto
Quartet in C major, Op. 9, No. 1 , Hob.III: 19
1. Moderato
2. Menuet: Un poco allegretto
3. adagio
4. Finale: Presto
Quartet in G major, Op. 9, No. 3 , Hob.III: 21
1. Moderato
2. Menuet: Allegretto
3. largo
4. Finale: Presto
Quartet in E flat major, Op. 9, No. 2 , Hob.III: 20
1. Moderato
2. Menuet
3. Adagio: Cantabile
4. Finale: Allegro di molto
Quartet in B flat major, Op. 9, No. 5 , Hob.III: 23
1. Poco adagio
2. Menuet: Allegretto
3. Largo: Cantabile
4. Finale: Presto
Quartet in A major, op.9 , no.6, Hob.III: 24
1. Presto
2. Menuet
3. adagio
4. Finale: Presto

Opus 17 (1771)

Quartet in F major, op.17 , no.2, Hob.III: 26
1. Moderato
  ${\ relative c '' {\ key f \ major \ time 4/4 c2. \ f f4 | \ appoggiatura {e32 fg} f8 (e) e2 c16 (c'8.) | c16 (bes ag) f (edc) c8 [(cis d8.) bes16] | \ appoggiatura bes16 a8 (g16 f) f4 r2}}$
2. Menuetto: Allegretto
  ${\ relative a '{\ key f \ major \ time 3/4 a2 (\ f bes4) | g2 (a4) | f2 (g4) | c, 4 (de) | f2. | g2. | a4- (d-) b-. | c4 (e) b-. | c4 (g ') b, -. | c4 (c ') b, -. | c4 c8 (bcb) | c4 (d bes!) \ bar ": |." }}$
3. adagio
  ${\ relative f '' {\ key bes \ major \ time 2/2 f2. _ \ markup {\ italic "mv dolce"} es16 (dc bes) | f'8 (es) es4 ~ es8 es (\ trill fg) | g8 (c,) c4 ~ c8 c (\ trill d es) | \ appoggiatura {d16 es f} \ tuplet 3/2 {es8 (d es)} d4 ~ d8 ff (\ trill bes) | bes8 (c,) c4 ~ c8 c (\ trill d es) | \ appoggiatura es16 d8 (c16 bes) bes4 r2}}$
4. Finale: Allegro di molto
  ${\ relative c '{\ key f \ major \ time 2/4 \ partial 8 c8 \ p | <fa,> 2 (| <eg,> 8) rrc | <g 'bes,> 2 (| <fa,> 8) rr c' ~ | c8 a4 f'8 ~ | f8 d4 d, 16 (d ') | \ appoggiatura d8 c8 (bes16 a) \ appoggiatura a8 g8 (a16 bes) | bes4 (a8)}}$

Quartet in E major, op.17 , no.1, Hob.III: 25
1. Moderato
  ${\ relative e '{\ key e \ major \ time 4/4 \ partial 8 e8-. \ f | g sharp8 (b) a-. fis-. e4 r8 g sharp-. | a8 (b cis) e, -. dis4 r8 b-. | fis'8 (a) gis-. e-. cis'-. cis4 dis16 (e) | b8-. dis16 (e) b8-. dis16 (e) b8 b \ acciaccatura cis8 b (a16 gis) | fis8-. \ <fis4 fis8 \! f sharp8. [(g sharp16 a8) g sharp.] | fis8 fis4 a16 (gis) e4 r8}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
2. Menuetto: Allegretto
  ${\ relative e '{\ key e \ major \ time 3/4 e4 (\ f b') b-. | b2 g sharp8. (e16) | cis4 (cis') cis-. | c sharp2 a8. (f sharp16) | \ appoggiatura e4 dis2 b'4 | a2 (g sharp4) | e4 (g sharp ') g sharp-. | g sharp2 e8. (c sharp16) | ais4 (fis') fis-. | eis8 (\ p fis gis fis) fis4-. }}$
3. adagio
  ${\ relative e '' {\ key e \ minor \ time 6/8 e4. _ \ markup {\ italic "dolce"} b4 (a32 g f # e) | dis8. e16 dis8 dis rr | fis'4. b ,, 4 (\ acciaccatura b'8 a16 (g32 f sharp) | g8. a16 b8 b8. (c16 b8) | e4. ~ e8. dis16 e8 | dis8. (e16 f sharp8) b, 4.}}$
4. Finale: Presto
  ${\ relative b '{\ key e \ major \ time 2/4 \ partial 8 b8-. \ p | g sharp8 -. [a-. b-. cis-.] | dis8 -. [e-. fis-. gis-.] | a-. r g sharp. r | f sharp8. (\ trill e32 f sharp) e8-. r | <cis' a,> -. \ fr <be,> -. r}}$

Quartet in C minor, op.17 , no.4, Hob.III: 28
1. Moderato
2. Menuetto: Allegretto
3. Adagio cantabile
4. Finale: Allegro
Quartet in D major, op.17 , no.6, Hob.III: 30
1. Presto
2. Menuetto
3. largo
4. Presto
Quartet in E flat major, op.17 , no.3, Hob.III: 27
1. Andante grazioso
2. Menuetto: Allegretto
3. adagio
4. Allegro molto
Quartet in G major, op.17 , no.5, Hob.III: 29
1. Moderato
2. Menuetto
3. adagio
4. Presto

Opus 20, the "Sun Quartets" (1772)

The nickname goes back to the representation of a sun on the cover of a later edition.

Quartet in F minor, op.20 , no.5, Hob.III: 35
1. Moderato
  ${\ relative f '{\ key f \ minor \ time 4/4 f2 ~ \ p f8 as (ef) | g2 ~ g8 bes (des, c) | as'2 ~ as8 c (e, f) | r8 g (bes des) des16 (c bes as) as (gfe)}}$
2. Menuet
  ${\ relative c '' {\ key f \ minor \ time 3/4 c2. ~ \ f | c4 (bes) g | f4 (f ') f | f2 e4 | c2 \ p \ acciaccatura es! 8 des8 (c) | c4 -. (c-. c-.) | c2 \ acciaccatura es8 des8 (c) | f4 (bes,) as ~ | as4 g (f) | es2 (\ f d4) | es4 (d es)}}$
3. adagio
  ${\ relative c '' {\ key f \ major \ time 6/8 c8. (_ \ markup {\ italic "mezza voce"} d16 c8) c8 (da) | bes8. (c16) bes8) bes4 r8 | bes8. (c16 bes8) bes8 (dg,) | a8. (bes16 a8) a4 r8 | f'8. (g16 f8) g (a bes) | e, 8. (f16 e8) f4 r8 | d8. (cis16 d8) d (c bes) | a8. (bes16 g8) f4 r8}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 2/8)}}$
4. Finale: Fuga a due soggetti
  ${\ relative c '' {\ key f \ minor \ time 2/2 c1 ^ "Vl. 2" _ \ markup {\ italic "semper sotto voce"} | f, 2 des' | e, 1 | f2. g8 (as | bes4) c des2 ~ | des4 c8 bes as4 g | as2 r}}$

Quartet in A major, op.20 , no.6, Hob.III: 36
1. Allegro di molto e scherzando
  ${\ relative a '{\ key a \ major \ time 6/8 a4. \ f cis16 (ae 'cis ae) | cis8-. a-. b (\ turn cis) a-. r | <b 'e,> 8 rr <cis a> rr | << \ new Voice = "first" {\ stemUp \ slurDown \ acciaccatura e8 \ stemUp \ slurUp d8 ^. d16 (cis) d8 ^. } \ new Voice = "second" {\ stemDown e, 8 ee} >> <cis' e,> 8 rr}}$
2. adagio
  ${\ relative b '{\ key e \ major \ time 2/2 b2. (_ \ markup {\ italic "mezza voce"} dis4) | e8 (b) b2 (dc4) | e16 ([dis fis e] gis [fis e dis] cis [ba gis] fis [e dis e]) | cis'4-. b-. r2 | a2 ~ a8 a (\ turn cis fis,) | g sharp2 ~ g sharp8 g sharp (\ turn e 'g sharp,) | f sharp4. (g sharp16 a) c sharp, 4 (dis) | dis8 (e) r4 r2}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
3. Menuet
  ${\ relative a '{\ key a \ major \ time 3/4 a2. \ f | g sharp8 (aba cis c sharp,) | e2 (d4 \ trill) | cis4 r fis'16 (ede | fis4) d-. cis-. | cis8 (ba gis) a4 | g sharp8 (e 'b'4-.) b-. | b4-. rr \ bar ": |." }}$
4. Fuga con tre soggetti
  ${\ relative e '' {\ key a \ major \ time 4/4 << \ new Voice = "first" {\ voiceOne r8 e-. e-. e-. d16 (cis b cis) a8-. cis-. | b8 b'4 g sharp16 (e) a8-. a, -. ra | g sharp8 g sharp'4 e16 (c sharp) f sharp8-. f sharp, -. r f # | e8 e'4 cis16 (a) d8 (e16 fis e8 d-.) | cis4} \ new Voice = "second" \ relative a '{\ voiceTwo r2 _ \ markup {\ italic "semper sotto voce"} r4 a ~ | a4 g sharp2 f sharp4 ~ | fis4 e2 d4 ~ | d4 c sharp b8 (a) g sharp4 | a8} >>}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$

Quartet in C major, op.20 , no.2, Hob.III: 32
1. Moderato
  ${\ relative g {\ key c \ major \ time 4/4 \ clef "bass" \ partial 8 g8 _ \ markup {\ musicglyph # "m" \ hspace # -0.9 \ musicglyph # "f" \ italic "dolce" } ^ "Vc." | c2 d4. (e16 f) | e8 (g) g-. G-. g8. (e16) g (e) g (e) | g8. (e16) g (e) g (e) g (f) e4 d8 | c4 (ef) a, 8 (b) | c4 (ef) \ tuplet 3/2 {a, 16 (bc} \ tuplet 3/2 {b [cd)]} | c4}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
2. Capriccio: Adagio
  ${\ relative c '{\ key c \ minor \ time 4/4 c4 \ f es b8-. G'-. rb | c8. bes! 16 as8. (\ trill g32 as) bes8-. bes, -. r bes'-. | g8. (\ trill f32 g) as8 as, 16. as'32 f8. (\ trill es32 f) g8 g, 16. f'32 | es16. d32 c16. bes32 as8. (\ trill g32 as) g8-. G'-. r4}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
3. Menuet: Allegretto
  ${\ relative e '' {\ key c \ major \ time 3/4 << \ new Voice = "first" {\ voiceOne e2. ~ e4 (f) d ~ d (e) g ~ g (f) e ~ e (de) f2. ~ f2} \ new Voice = "second" {\ voiceTwo g, 2. ~ \ pg ~ g ~ g ~ g g4-> rr} >> \ oneVoice {\ acciaccatura g'8 f16 (\ fefg) a4 (gf) \ acciaccatura g8 f4 (e dis) dis2 .->}}}$
4. Fuga a quattro soggetti
  ${\ relative g '{\ key c \ major \ time 6/8 r8 _ \ markup {\ italic "semper sotto voce"} gg g' (f sharp f) | e8 cb a4 d8 | g, 4 c8 f, f 'f | f8 g16 (fed) e8 e, 16 (fed) | c4 r8}}$
Quartet in G minor, op.20 , no.3, Hob.III: 33
1. Allegro con spirito
  ${\ relative g '{\ key g \ minor \ time 2/4 \ partial 8 g8 \ f | d'4. es8 | d8 ([cis dc)] | bes8 -. [a-. G-. c-.] | d, 4. bes'8 | c, 8 -. [a'-. bes, -. g'-.] | a, 8 [es '' (d) f sharp, (] | g4) r8}}$
2. Menuet: Allegretto
  ${\ relative d '{\ key g \ minor \ time 3/4 \ partial 4 d4 \ f | bes'4 (a) g-. | g4 gg | c4-. c (d) | es2 es4 \ trill | d4 rd, | bes'4 (a) g-. | g4-. g (a) | bes4 (d) d-. | f2 e4 \ trill | d4 r \ bar ": |." }}$
3. Poco adagio
  ${\ relative g '{\ key g \ major \ time 3/4 g4 _ \ markup {\ italic "mezza voce"} b (d) | d8 (cac) b4 | e4 (f sharp) g8. (b, 16) | d8 (c) \ trill b4 r | a4 c (e) | d4 (c) b8 (g ') | fis16 (edc) b4 d16 (cba) | a4 (b8) r r4}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
4. Finale: Allegro di molto
  ${{\ key g \ minor \ time 4/4 \ partial 8 << \ new Voice = "first" \ relative f '' {\ voiceOne f8 \ rest | f2 \ rest f8 \ rest a, -. a (d) | d16 (cis d cis) d8-. G,-. fis_. G_. a_. bes_. } \ new Voice = "second" \ relative d '{\ voiceTwo d8 \ mf | bes'4 (a8) g-. f sharp2 | g4 c, \ rest} >> | \ oneVoice \ relative d '' {d8 (c!) a 'g, -. fis-. G-. a-. bes-. | d8 (c) c'4}}}$

Quartet in D major, op.20 , no.4, Hob.III: 34
1. Allegro di molto
  ${\ relative d '{\ key d \ major \ time 3/4 d -. (\ p d-. d-.) | d2. (| g2.) | f sharp 4 b (a) | d2 cis16 (bab) | a4 rr | d, -. (d-. d-.) | d2. (| b2.) | a4 (d f sharp) | a2 (g4) \ trill | fis4 rr}}$
2. Un poco adagio e affettuoso
  ${\ relative a '{\ key d \ minor \ time 2/4 \ partial 8 a8 _ \ markup {\ musicglyph # "p" \ italic "dolce"} | d4 e8 (f) | cis8 (d) bes4 | a8 (d16. d, 32) e8. (f32 g) | g32 (fed) d8 ra '| d4 e8 (\ (f16.) a, 32 \) | bes4. g'16. (bes, 32) | a8 (\ (bes16.) g32 -. \) f8 (e16. g64 e) | f4 r8 \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
3. Menuet alla Zingarese: Allegretto
  ${\ relative a '{\ key d \ major \ time 3/4 \ partial 4 a4 \ f | d4 e2 \ fz | fis4 ge ~ \ fz | e4 c sharp2 \ fz | a2 \ fz gis8 e | a4 a2 \ fz | gis8 e a4 gis8 e | a4 b8 (db g sharp) | a4 r \ bar ": |." }}$
4. Presto e scherzando
  ${\ relative a '' {\ key d \ major \ time 4/4 \ partial 8 a8 _ \ markup {\ italic "mezza voce"} | f sharp16 (ga f sharp) g8-. e-. d16 (cis ba) b8-. cis-. | d4 (\ <dis \> e-.) \! r8 f sharp | g16 (ab) e8-. G-. g16 (f sharp ed) c sharp 8-. d-. | e4 (\> g sharp, a-.) \! r8}}$

Quartet in E flat major, op.20 , no.1, Hob.III: 31
1. Allegro moderato
  ${\ relative bes' {\ key es \ major \ time 4/4 bes4 (\ (\ mf c8) as -. \) g4 (\ (as8) f -. \) | es4 (d8 c) bes -. (bes-. bes-. bes-.) | bes4. (c16 d) es (fg as bes cd es) | bes4 as \ trill gr | }}$
2. Menuet: Un poco allegretto
  ${\ relative es' {\ key es \ major \ time 3/4 \ partial 4 es8. (\ f g16) | bes4-. bes (es) | d4 (bes) bes8. (d16) | es4-. it (g) | as2 as ,, 4 \ p | g4 (as bes) | c4 (d es) | f2 d8. (bes16) | es4 r \ bar ": |." }}$
3. Affettuoso e sostenuto
  ${\ relative as' {\ key as \ major \ time 3/8 as4. ~ _ \ markup {\ italic "mezza voce"} | as4 des8 | c8 (des f) | es8 (des c) | \ appoggiatura c16 bes8 (as g) | as4. ~ | as4 des, 8 | \ appoggiatura c16 as'4. ~ | as4 des8 | c8 (des f) | es8 (des c) | bes8 (f 'as,) | g8 (es' d)}}$
4. Finale: Presto
  ${\ relative bes' {\ key es \ major \ time 2/4 \ partial 8 bes8-. \ p | c8 ([bes as g)] | f4. as8-. | g8 ([es') bes-. bes-.] | c8 ([bes as g)] | f4. (as16 f) | es4 r}}$

Opus 33 "Russian Quartets" (1781)

The quartets are - but only in a later issue and not at the behest of Haydn - the 1781 in Vienna was staying Grand Duke Paul of Russia dedicated, hence the nickname. Other nicknames are "Jungfernquartette" (after the portrayal of a young woman on the cover of a later edition) and "Gli Scherzi".

With them, Haydn created string quartets of a completely new type (“in a completely new, special way”, as he writes in a letter). Thus, the head sets have a conduct and follow the sonata form . The minuet has been replaced by a scherzo .

The Russian quartets caused a sensation, especially Mozart influenced them a lot. Mozart wrote six quartets based on Haydn's model from 1782 to 1785, among them the " Dissonance Quartet ", which mark the climax of Mozart's quartet work.

Quartet in B minor, op.33 , no.1, Hob.III: 37
1. Allegro moderato
  ${\ relative d '' {\ key b \ minor \ time 4/4 \ partial 8 d8-. \ p | d4 (g16 (fis ed) cis4 (b8) b | e4 (a16 g fis e) d4 (cis8)}}$
2. scherzo
  ${\ relative b {\ key b \ minor \ time 3/4 \ partial 4 b4-. \ mf | d4 (f sharp) b-. | a sharp 4 (c sharp) f sharp, -. | b4 (d) f sharp-. | fis2 fis4-. | fis4-. fis-. fis-. | fis2 << {\ voiceOne \ slurDown fis8 ^ 4 (s) | fis8 [(s) fis (s) fis] (s)} \ new Voice {\ voiceTwo s fis8 ^ 1 | s8 fis [s fis s fis]} >> \ oneVoice | f sharp2 (\ p g4) \ <| g4-. G-. G-. | <bb,> 2 (\ sf \> g4) \! | e4 (cis) a-. | d4-. r \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
3. Andante
  ${\ relative d '{\ key d \ major \ time 6/8 \ partial 8 d8-. \ p | fis8-. a-. d-. fis-. a-. d-. | a8 .. (\ sf b32) g16. (b32) e, 8-. r c sharp, -. \ p | e8_. G-. cis-. e-. G-. e '-. | g, 8 .. (\ sf a32) f sharp16. (a32) d, 8-. r}}$
4. final
  ${\ relative b {\ key b \ minor \ time 2/4 \ partial 4 b8-. \ mf b-. | b8 ([\ trill d) f sharp-. fis-.] | f sharp 4 b, 8-. b-. | b8 ([\ trill e) g-. g-.] | g4 a sharp, 8-. ais-. | ais8 ([cis) fis-. e-.] | \ acciaccatura e8 \ afterGrace d4 (\ trill {cis16 d)} cis4 | b4. d8-. | d4 (c sharp8) e-. | e4 (dis8) f sharp-. | e8. (\ trill fis16) g8-. G-. | fis8-. b, -. d16 (cis b ais) | b4}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
Quartet in E flat major, op. 33, No. 2 (“The Joke”), Hob. III: 38
1. Allegro moderato
  ${\ relative bes {\ key es \ major \ time 4/4 \ partial 8 bes16 (\ mf es) | es2 bes'4. (as16 f) | es8-. G-. bes-. es16 (bes) bes4. (b8) | c2 as4. (f16 d) | es8-. G-. bes! -. as16 (f) es4 r8}}$
2. scherzo
  ${\ relative d '' {\ key es \ major \ time 3/4 \ partial 4 d8 (\ f es) | <es, g,> 4 <es g,> d'8 (es) | <f, as,> 4 <f as,> b8 (c) | <f, bes,!> 4 <f bes,> <f bes,> | <f bes,> 2 << {\ voiceOne f4 | f4 ff} \ new Voice {\ voiceTwo ces8 \ p bes | ces8 bes ces bes ces bes} >> | \ oneVoice <f 'bes,> 2 d8 (\ ff) | as8 (bes df as c) | c8 (bes as gf es) | bes4-. c-. d-. | es4 r \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
3. Largo e sostenuto
  ${\ relative f '{\ key bes \ major \ time 3/4 \ clef "alto" f4 (^ "Vla." _ \ markup {\ italic "dolce"} g) f8. bes16 | \ appoggiatura f4 es2 \ trill d4 | c4 (es) d8. (c16) | c2 r4 | bes4 (c) es8. g16 | \ appoggiatura bes, 4 a2 \ trill bes8. bes'16 | \ appoggiatura a16 g8 f16 (es) d8 (f) a, (c) | bes4 rr}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
4. final
  ${\ relative g '' {\ key es \ major \ time 6/8 \ partial 8 g8 \ p | g4 (as8) f-. G-. as-. | bes8 (g) es-. it rf | f4 (g8) es-. d-. c-. | bes8 (a) bes-. bes rb | b4 (c8) as-. G-. f | bes! 8-. c-. d-. it-. f-. g | as4 r8 \ acciaccatura gf (es) d-. | es4 r8 r4 \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$

Quartet in C major, op. 33, No. 3 ("Vogelquartett"), Hob. III: 39
1. Allegro moderato
  ${\ relative g '' {\ key c \ major \ time 4/4 R1 | g1 \ p | \ acciaccatura fis8 g2 \ cresc \ acciaccatura fis8 g2 | \ appoggiatura {fis32 ga} g2 ~ \ f g8 e16 (g) g (fdb) | b16 (cec) g4 ~ g8 e16 (g) g (fdb) | b16 (cec) g8 r r2}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
2. Scherzo: Allegretto
  ${\ relative c '{\ key c \ major \ time 3/4 \ partial 4 c4 _ \ markup {\ italic "sotto voce"} | c2 (e8 d) | c4 (bc) | d4 (ef) | f4 (ed) | d2 (f8 e) | d4 (cis d) | e4 (\ sf g f sharp) | d4 (\ sf f! e) | e8 (\ pd c4 b) | c4 r \ bar ": |." }}$
3. Adagio ma non troppo
  ${\ relative c '' {\ key f \ major \ time 3/4 c8. (\ p d32 c) bes4 (a) | g8. (\ sf e16) f8-. G-. a-. bes-. | c8. (\ trill bes32 c) d8-. d, -. bes' (\ pg) | f4 (e8) r r4}}$
4. Finale: Rondo. Presto
  ${\ relative g '' {\ key c \ major \ time 2/4 g8 -. [\ p e-. G-. e-.] | g16-. f-. e-. f-. g8-. e-. | g16-. f-. e-. f-. G-. f-. e-. f-. | g16-. f-. e-. f-. g8-. e-. | a8 \ fa a16 (gfg) | f8 f a16 (gfg) | e8 e g16 (fed) | c4 (b8) r \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
Quartet in B flat major, op.33 , no.4, Hob.III: 40
1. Allegro moderato
  ${\ relative f '' {\ key bes \ major \ time 4/4 \ partial 2 f2 ~ \ p \ <| f8. (\ f g32 a) bes16 (f es d) c8 \ trill bes16 d c8 \ trill bes16 d | c8-. \ trill bes-. r4}}$
2. Scherzo: Allegretto
  ${\ relative d '' {\ key bes \ major \ time 3/4 d4 ~ \ mf d8. [f16 es8. g16)] | f4 (d bes) | c4 ~ c8. [es16 d8. f16)] | es4 (ca) | bes2. ~ | bes2 b4 (| c4) es8. [c16 a8. c16] | bes4 rr \ bar ": |." }}$
3. largo
  ${\ relative g '' {\ key es \ major \ time 3/4 g8. (\ trill \ p f32 g) as8-. r f-. r | bes8. (\ sf es16) es (\ pdc bes) bes (as gf) | es4 (f) as8. (bes32 c) | es, 4 (d8) r}}$
4. Finale: Presto
  ${\ relative d '{\ key bes \ major \ time 2/4 \ partial 8 d16 (\ mf f) | bes8-. bes-. bes-. es16 (d) | c8-. c-. c-. f16 (es) | d8 -. [bes' (g es)] | d4 (c8) es16 (c) | a8-. c'-. c-. a, 16 (c) | es8-. it,-. it-. d16 (f) | bes8-. d-. d16 (c bes a) | bes4 r8 \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
Quartet in G major, op. 33, No. 5 (“How are you?”), Hob. III: 41
1. Vivace assai
  ${\ relative d '{\ key g \ major \ time 2/4 d4. (\ pp e16 f sharp) | g4-. r8 \ bar ". |:" b8 _ \ markup {\ italic "poco" \ musicglyph # "f"} | \ afterGrace b4. ({d32 cb} c8) | d8 -. [d-. d-. a-.] | \ afterGrace a4. ({c32 ba} b8) | c8 -. [c-. c-. g-.] | g2 | a4. (b16 c) | d, 4th (e16 f sharp) | g4 \ ff r8}}$
2. Largo e cantabile
  ${\ relative d '' {\ key g \ minor \ time 4/4 \ partial 4 d4 _ \ markup {\ italic "dolce"} | g4 .. d16 bes'4 .. \> a32 \! g | fis8-. r a-. r r4 d, 4 | a'4 .. d, 16 c'4 .. \> bes32 \! a | g8-. r bes-. r r4}}$
3. scherzo
  ${\ relative g {\ key g \ major \ time 3/4 \ partial 4 g8 (\ fb) | d4-. b-. fis'8 (g) | d4-. ais'8 (b) g4-. | cis8 (d) b4-. fis'8 (g) | d2 \ sf d, 8 (es) | e! 8 (f f sharp g g sharp a) | b8 (ca 'f sharp dc) | b4-. G'-. fis-. | R2. | a2. (\ p | b4) r \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
4. final
  ${\ relative d '' {\ key g \ major \ time 6/8 \ partial 8 d8 \ mf | d8. c sharp16 d8 d8. cis16 d8 | e8. dis16 e8 a, 4 (c! 8) | b8. c16 d8 a8. b16 c8 | g4. (f sharp4)}}$
Quartet in D major, op.33 , no.6, Hob.III: 42
1. Vivace assai
  ${\ relative a '' {\ key d \ major \ time 6/8 \ partial 8 a8 \ mf | a8 (d) b-. a-. r-. a-. | a8 (g f sharp) e-. r-. g | g8 (f sharp e) d-. rd | e4 (f sharp8) d-. r}}$
2. Andante
  ${\ relative d '' {\ key d \ minor \ time 4/4 r8 d-. \ p ^ "Vl. 2" d-. d-. d (fed) | d4 .. (\ fz e32 d cis8) cis-. cis16 (d) d (e) | e8-. \ p e-. e-. e-. e (gfe) | e4 .. (\ fz f32 e d8) d-. d16. (f32) e16. (g32)}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/16)}}$
3. Scherzo: Allegretto
  ${\ relative a '{\ key d \ major \ time 3/4 \ partial 4 a4 \ mf | g4 (f sharp) f sharp. | f sharp2 b4-. | a4 (g sharp) g sharp. | a2 g! 4 \ fz | f sharp 4 (e) b'-. \ fz | a4 (g) e'-. \ fz | d4 (cis) cis-. | d4-. r \ bar ": |." }}$
4. Finale: Allegretto
  ${\ relative d '' {\ key d \ major \ time 2/4 \ partial 8 d8-. \ mf | d, 8. (f sharp 32 a) g8-. e-. | f sharp8 -. [g-. e-. a-.] | f sharp 8 -. [b-. a-. gis-.] | g sharp4 (a8) e'-. | a ,, 8 ~ (a32 cis eg!) fis8-. b-. \ p | e, 8. (f sharp 32 g) a8-. d-. \ f | b8 -. [e-. d-. cis-.] | cis4 (d8) \ bar ": |." }}$

Opus 42 (1785)

Quartet in D minor, op.42 , Hob.III: 43
1. Andante ed innocentemente
  
  ${\ relative f '' {\ key d \ minor \ time 2/4 d8. (\ fz a16) f'16 (\ (\> e) e (d) \) | d8 [\! a '-. (\ p a-. a-.)] | e8. (\ fz a, 16) g '(\ (\> f) f (e) \) | e8 [\! bes' -. (\ p bes-. bes-.)] | a8 ~ (\ fz a32 \> gfe) \! d8-. r | bes'8 ~ (\ fz bes32 \> agf) \! e8-. r f8 (\ p a16) r cis, 8 (e16) r | d8 r r4}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
2. Menuetto: Allegretto
  
  ${\ relative d '' {\ key d \ major \ time 3/4 d8 \ pr cis rdr | dc8 (e f sharp g g sharp a) | b8 r cis rd! r | d8 (cis ba gis a) | b2-. \ fz c8 (b) | a2-. \ fz b8 (a) | a8 (\ pg fis e dis e) | d! 2 (cis4) \ bar ": |." }}$
3. Adagio e cantabile
  
  ${\ relative d '' {\ key bes \ major \ time 4/4 d2 (\ p \ appoggiatura f8 es4 d8 c) | bes4. (c16 d es4 f) \ fz | g4. (\> a8 \ appoggiatura c8 bes4 a8 g) | \ appoggiatura f4 es2 (\ trill d) \! }}$
4. Finale: Presto
  
  ${{\ key d \ minor \ time 2/4 << \ relative a '' {\ voiceOne \ override MultiMeasureRest.staff-position = # 8 R2 * 3 | r4 a8 \ rest e8-. | f8 -. [e-. f-. e-.] | f8. [(g16 a8) bes-.] | a8 -. [g-. f-. e-.] | d'2 ^ \ markup {\ italic "marcato"} | a | f8-. f-. a16 (gfg)} \ new Voice \ relative d '' {\ voiceTwo d2 \ p _ \ markup {\ italic "marcato"} | a2 | f8-. f-. a16 (gfg) | a4 r8 c # 8-. \ f | d8-. [cis-. d-. cis-.] | d8. ([e16 f8) g-.] | f8 -. [e-. d-. cis-.] | d8 -. [d-. f-. d-.] | r8 cis -. [ea, -.] | d8 -. [d-. bes-. bes-.]} >>}}$

Opus 50 "Prussian Quartets" (1787)

The quartets dedicated to King Friedrich Wilhelm II of Prussia develop the classical music-making style found in op.33. Based on a rather simple topic, the motivic material is artfully processed, especially in the head movements, whereby each instrument is treated equally.

The first quartet in particular shows a triplet motif over a knocking bass in the first movement, which defines the whole movement.

The slow movements achieve an unprecedented cantability.

Quartet in B flat major, op.50 , no.1, Hob.III: 44
1. Allegro
  ${\ relative es '' {\ key bes \ major \ time 2/2 \ compressFullBarRests R1 * 2 | es2 ~ _ \ markup {\ italic "dolce"} es8 (f16 g f8 [es]) | d4 r r2 g2 ~ g8 (a16 bes a8 [g]) | f4 rr \ tupletUp \ times 2/3 {bes8-. \ mf c-. d-. } \ times 2/3 {c8-. bes-. a-. } bes4 r \ times 2/3 {d8-. it-. f-. } | \ times 2/3 {es8-. d-. c-. } d4}}$
2. Adagio non lento
  ${\ relative bes {\ key es \ major \ time 6/8 \ partial 8 bes8 _ \ markup {\ musicglyph # "p" \ italic "dolce"} es4 (g8) bes4 (a32 \ fz bes c bes) | bes8 (d,) d-. d8 r bes f'4 (as8) c4 (bes32 as gf) | g8 (bes) bes-. bes r es d8 (\ fz bes) es-. as, (\ fz f) g-. \ set subdivideBeams = ## t \ acciaccatura f8 c'8 bes16 as gf es8 ([d)] \ bar ": |." }}$
3. Menuetto: Poco allegretto
  ${\ relative f '{\ key bes \ major \ time 3/4 \ partial 4 f4-. \ f | bes4-. bes (d) | a4 (bes) f-. | d'4-. d (g) | e4 (f) es-. cis4 (d) c16 (bab) | c4 bes! 16 (aga) bes4-. | a4 (es') d8 (bes) | f4-. r}}$
4. Finale: Vivace
  ${\ relative f '' {\ key bes \ major \ time 2/4 f4 (\ mf d8) bes-. | f8-. bes-. bes -. [\ appoggiatura {c32 bes a} bes8 (] c8) [c-. c-. \ appoggiatura {d32 c bes} c8 (] | d16) es-. d-. c-. bes-. c-. d-. it-. f4 (d8) bes-. | f8-. bes-. bes -. [\ appoggiatura {c32 bes a} bes8 (] c8) c-. c16 (es dc) | bes4 r}}$
Quartet in C major, op.50 , no.2, Hob.III: 45
1. Vivace
  ${\ relative c '' {\ key c \ major \ time 3/4 c2. ~ _ \ markup {\ italic "sotto voce"} | c4 b-. c-. | cis d2 ~ \ fz | d4 cis-. d-. f2. \ fz | e4 (de) | \ appoggiatura {f16 g} a2 \ fz g16 (fed) | c2 (e8 d) | c4 rr}}$
2. Adagio: Cantabile
  ${\ relative c '{\ key f \ major \ time 4/4 \ partial 4 c4 \ p ^ "Vl. II" | f2. g8. (^ \ markup {"" \ musicglyph # "scripts.turn"} a16) f4 r r8 c (fa) | c2 ~ (c8 b) bes8. (^ \ markup {"" \ musicglyph # "scripts.turn"} c16) a4 r r8 f (ac) | cis8 (e16 d) d4 ~ d16 f, (bes d) f8 (d)}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)} }$
3. Menuetto: Allegretto
  ${\ relative g '{\ key c \ major \ time 3/4 \ partial 4 g4 (\ f | g'4) \ fz e (c) | g2. ~ | g2 \ afterGrace c4 (\ trill {b16 c)} | e4 (d) g, (a'4) \ fz f (d) | b2 (c4) | d4 (es) b-. | d4 (c) \ bar ": |." }}$
4. Finale: Vivace assai
  ${{\ key c \ major \ time 2/4 << \ new Voice \ relative f '' {\ partial 8 \ stemUp \ slurUp f8 \ rest | f4 \ rest f8 \ rest c ^. b16 (cdb g8) f'8 \ rest | f4 \ rest f8 \ rest g ^. | f16 (edc b8)} \ new Voice \ relative e '{\ partial 8 \ stemDown \ slurDown <e c> 16 (\ p <f d>) <g e> 8 _. [<g e> _. <g e> _. <g e> _.] | <g f> 4. <e c> 16 (<f d>) <g e> 8 _. [<g e> _. <g e> _. <g e> _.] | <g f> 4. } >>}}$

Quartet in E flat major, op.50 , no.3, Hob.III: 46
1. Allegro con brio
  ${\ relative bes {\ key es \ major \ time 6/8 \ partial 8 bes8-. \ mf | es8-. it-. f32 (es d es) f8-. r bes, -. | f'8-. f-. g32 (f es f) g8 -. [r as32 (gfg)] | as8 -. [r bes32 (as g as)] bes8-. r}}$
2. Andante più tosto Allegretto
  ${\ relative f '{\ key bes \ major \ time 2/4 \ clef "bass" \ partial 8 f8-. _ \ markup {\ italic "dolce"} ^ "Vc." | es8 ([dc) f-.] | bes, 8. (c32 d) es8-. d-. | c8-. c-. c ([\ appoggiatura {d32 c bes c} d16. bes32)] | bes4 (a8)}}$
3. Menuetto: Allegretto
  ${\ relative es' {\ key es \ major \ time 3/4 \ partial 4 es4-. \ f | es4 (g) g-. | g4 (bes) es-. | es4 (d) f-. | f4-. r bes-. \ p | bes4 (\ <f) bes-. | bes4 (e,) bes'-. | bes4 (\ fa) c-. f, 2 as! 4-. | as4 (g) bes-. | c, 4 (as') f-. | d4 (bes) <es g,> -. | <es g,> 4-. r}}$
4. Finale: Presto
  ${\ relative bes {\ key es \ major \ time 2/4 \ partial 8 bes8-. \ mf | es4. f8-. | g8 ([es) es-. e-.] | f4. g8 | as8 ([f) f-. fis-.] | g4. (bes8) | d, 4. (as'8) | g4. (bes8) | d, 4. (as'8) | g8-. r as-. r | bes8-. r c8. (d32 es) | g, 4. (as16 g) | f4 r8}}$
Quartet in F sharp minor, op.50 , no.4, Hob.III: 47
1. Allegro spirituoso
  ${\ relative cis' {\ key fis \ minor \ time 3/4 \ partial 4. cis8-. \ f cis-. cis-. | f sharp 2 c sharp 4 | a4 r8 a''8-. \ p a-. a-. | a4 (\ fz gis8) ice-. \ p ice-. ice-. | g sharp4 (\ fz f sharp8) c sharp-. \ p cis-. cis-. | e! 4 (\ fz d8) cis-. \ f b-. a-. | g sharp4 r8 b-. b-. b-. | d4 (\ fz cis8) b-. a-. gis-. | fis4}}$
2. Andante
  ${\ relative cis '' {\ key a \ major \ time 2/4 \ partial 8 cis16. ([_ \ markup {\ musicglyph # "p" \ italic "dolce"} \ appoggiatura {d32 cis b} cis32)] | e8 ([d cis b)] | b8. (\ fz cis16) a8 b16. ([\ appoggiatura {cis32 ba} b32)] | cis16-. r d-. r e-. r f sharp (g sharp32 a) | c sharp, 4 (-> b8)}}$
3. Menuetto: Poco allegretto
  ${\ relative dis '' {\ key fis \ major \ time 3/4 \ partial 4 dis16 (\ f cis to cis) | fis4 (cis) cis-. | c sharp2 b! 16 (a sharp g sharp a sharp) | b4 (dis) g sharp, -. | a sharp 4 (c sharp) g sharp 16 (f sharp ice f sharp) | g sharp 4 (b) ice, -. | f sharp 4 (a sharp) dis, -. | eis4 (g sharp) to, -. | cis4-. r \ bar ": |." }}$
4. Finale: Fuga - Allegro moderato
  ${\ relative d '{\ key fis \ minor \ time 6/8 \ clef "bass" r8 ^ "Vc." d (_ \ markup {\ italic "mv"} cis) eis, 4 gis8 | fis \ acciaccatura gis16 fis ice fis8 gis \ acciaccatura a16 gis fis gis8 | a4. ~ a8 g sharp f sharp}}$
Quartet in F major, op.50 , no.5, Hob.III: 48
1. Allegro moderato
  ${\ relative a '{\ key f \ major \ time 2/4 \ partial 8 a16 (\ p bes) | c8 -. [a-. bes-. g-.] | f8 rr e16 (f) | g8 -. [a-. bes-. g-.] | g4 r8 f-. | f4-. r 8 f-. | f4-. r 8 g-. \ f | c, 8-. c-. c (d16 e) | f8 rr}}$
2. Poco adagio
  ${\ relative f '' {\ key bes \ major \ time 3/4 f2. ~ _ \ markup {\ italic "dolce"} | f2 ~ f8. (g32 a) | bes4. (c16 d es fg es) | d8. (es32 d c8) r r4}}$
3. Menuetto: Allegretto
  ${\ relative c '' {\ key f \ major \ time 3/4 \ partial 16 * 5 c16-. \ p \ appoggiatura {d32 cb} c4 | d4 (b) c-. | bes! 4 (\ <g) e | d2. (\ f | c4) r8. c16-. \ mf \ appoggiatura {d32 cb} c4 | f4 r8. c16-. \ appoggiatura {d32 cb} c4 | g'4 r8. c, 16-. \ appoggiatura {d32 cb} c4 | a'4 d-. \ acciaccatura c8 b4-. \ trill | c4 r8. \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
4. Finale: Vivace
  
  ${\ relative f '{\ key f \ major \ time 6/8 \ partial 8 f16 (\ mf a) | c8-. c-. c-. c8.-. \ trill b16-. c8-. | c8.-. \ trill b16-. c8-. c8.-. \ trill b16-. c8-. | c4 (_ "sopra una corda" f8-.) f4 (a8-.) | a4 (c8-.) c4}}$
Quartet in D major, op. 50, No. 6 (“Frog Quartet”), Hob. III: 49
1. Allegro
  ${\ relative e '' {\ key d \ major \ time 4/4 e2 .-> \ f d16 (cis ba) | g2. \ fz fis4 | e4. (g16 b) d, 4 (cis) | d1 \ mf | c sharp8 (a ') a2 a16 (f sharp) g (e) | f sharp1 | e8 (b ') b2 a16 (f sharp) g (e) | \ set stemLeftBeamCount = # 0 fis16 [] s}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
2. Poco adagio
  ${\ relative d '{\ key d \ minor \ time 6/8 \ partial 8 d16. (_ \ markup {\ italic "mezza voce"} f32) | a8-. a-. a-. a8. (bes16 a8) | a8 [a] b16. (\ fz cis32) a8 r cis, 16. e32) | g8-. G-. G-. g8. (a16 g8) | f8 ([e)] e16. (\ fz f32) d8 r}} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/16)}}$
3. Menuetto: Allegretto
  ${\ relative a '' {\ key d \ major \ time 3/4 \ partial 4 a8. a16-. | a2 \ acciaccatura d, 8 d'4 ~ \ fz | d4 cis16 (b8.) ais16 (b8.) | a! 32 (g16.) r8 f sharp32 (e16.) r8 d32 (c sharp16.) r8 | b32 (a16.) r8 g32 (f sharp16.) r8 e32 (d16.) r8 | c2. (\ fz | b4) dis32 (\ p e16.) r8 fis32 (g16.) r8 | ais32 (b16.) r8 r4 cis, 8.-. \ p cis16-. | d4 r \ bar ": |." }} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/4)}}$
4. Finale: Allegro con spirito
  ${\ relative a '{\ key d \ major \ time 2/4 \ partial 8 << {\ voiceOne \ slurDown a16 ^ 4 (\ mf s) | a16 [(s) \ slurUp a] (s) \ slurDown a [(s) \ slurUp a] (s)} \ new Voice {\ voiceTwo s a16 ^ 0 | s16 a [sa] sa [sa]} >> \ oneVoice g4 (fis8) e-. | d8 -. [d'-. \ turn b-. gis-.] \ turn | a8-. a, -. r << {\ voiceOne \ slurDown e''16 ^ 4 (s) | e16 [(s) \ slurUp e] (s) \ slurDown e [(s) \ slurUp e] (s)} \ new Voice {\ voiceTwo s e16 ^ 0 | s16 e [se] se [se]} >> \ oneVoice d4 (cis8) b-. | a8 -. [a'-. ^ \ markup {\ column {\ line {\ hspace # 0.37 \ musicglyph # "scripts.turn"} {\ vspace # -0.45 \ fontsize # -4 \ sharp}}} g! -. cis, -.] \ turn | d8-. d, -. r}}$

Opus 51 (1787)

"The seven last words of our Savior on the Cross", op. 51 , Hob. III: 50–56 ( transcription of the work of the same name
for orchestra)
1. L'Introduzione: Maestoso ed adagio
  
  $\ relative d '{\ key d \ minor \ time 4/4 d4 \ ff d'8 .. d32 cis8-. bes'-. r4 | a ,, 4 g''8 .. g32 f8-. d'-. r4 f ,, 2 (\ p e4. fis16. g32) | g4 r8 bes16. (a32) a8-. rr bes'16. (a32) a8-. rr bes, 16. (\ fz a32) a16-. \ pr g-. r f-. r e-. } \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/8)}}$
2. Sonata I: Pater, dimitte illis, non enim sciunt, quid faciunt (Largo)
  
  $\ relative f '' {\ key bes \ major \ time 3/4 R2. | f8 .. (\ fz d32) bes8-. r r4 | bes'8 .. (\ fz g32) es8-. es -. ([\ p es-. es-.)] cis8 .. (\ fz d32) d8-. rrd \ p | c! 4 es4. \ fz a, 8 \ p | c4 (bes8-.) r r4} \ layout {\ context {\ Score \ override SpacingSpanner.common-shortest-duration = # (ly: make-moment 1/16)}}$
3. Sonata II: Amen dico tibi: hodie mecum eris in paradiso (Grave e cantabile)
  
  $\ relative c '' {\ key c \ minor \ time 4/4 c2. (\ p es4) | d8 (b) c4 r2 | g'2. (c4) | \ appoggiatura bes8 as4 (g) r2 d4 f8 (as) as4 g8 (f) | f4 (es) c'2 ~ | c4 (b8) as! -. \ appoggiatura {g16 bes} as8 g4 f8 \ appoggiatura f16 es8 (d16 c) c4-. r2}$
4. Sonata III: Mulier, ecce filius tuus, et tu, ecce mater tua! (Grave)
  
  $\ relative e '{\ key e \ major \ time 4/4 e2 \ pe | e1 \ fermata \ bar ". |:" b'4 (g sharp8-.) r r2 | a4 (f sharp 8-.) r r2 | e2 f sharp8 (g sharp a f sharp) | dc4 (e8-.) r r2 g sharp2 a8 (b c sharp a) | f sharp 4 (g sharp 8-.) r r2}$
5. Sonata IV: Eli, Eli, lama asabthani? (Largo)
  
  $\ relative f '{\ key f \ minor \ time 3/4 <f as,> 2 \ f g4 | \ acciaccatura bes8 as4 (g-.) r g2 \ f as4 | \ acciaccatura c8 bes4 (as-.) c ~ \ fz | c4 bes8 (as gf) | e8. f16) g8-. r c4 ~ \ fz c4 (b) f '~ \ fz | f8. (\> g16) as8-. \ p g-. f-. it!-. | des8-. r c-. r b-. r | c4 r}$
6. Sonata V: Sitio (Adagio)
  
  $\ layout {ragged-right = ## t} \ new PianoStaff {<< \ new Staff \ relative a {\ key a \ major \ time 4/4 \ clef "treble" \ partial 16 a16 \ ff | a1 \ fermata \ bar ". |:" << \ new Voice \ relative e '' {\ stemUp \ slurUp \ override MultiMeasureRest.staff-position = # 4 R | R | R | e1 (^ \ p | cis2) r} \ new Voice \ relative a {\ stemDown <cis a> 8 \ p ^ "pizz." <e cis> <cis a> <e cis> <cis a> <e cis> <db> <cis a> <fis d> 8 <a fis> <fis d> <a fis> <fis d> <a fis> <gis e> <fis d> <e cis> 8 <a cis,> <cis e,> <bd,> <a cis,> <e cis> <db> <cis a> <d gis,> 8 <g sharp b,> <bd,> <a c sharp,> <g sharp b,> <e g sharp,> <f sharp a,> <g sharp b,> <a c sharp,> 8 <e c sharp> <c sharp a> < e cis> <cis a> <e cis> <db> <cis a>} >>} \ new Staff \ relative a, {\ key a \ major \ time 4/4 \ clef "bass" \ partial 16 a16 \ ff | a1 \ fermata \ bar ". |:" a2 \ p ^ "pizz." r | a2 r | a2 r | e'2 r | a, 2 r} >>}$
7. Sonata VI: Consummatum est! (Lento)
  
  $\ relative g '' {\ key g \ minor \ time 4/4 g2 \ ff es | c2 d | g, \ breve * 1/2 \ fermata d'''2 (\ p bes) | f sharp2 (g) | d8 (c es d) c (bes ag) | f sharp2 (g) | d1}$
8. Sonata VII: Father! In manus tuas commendo spiritum meum (Largo)
  
  $\ relative bes {\ key es \ major \ time 3/4 \ partial 4 bes4 \ f ^ "con Sordina" | <es g,> 4. d8 (f es) | <bes 'd,> 8. (\ fz as16) g4 r8 es \ appoggiatura {as, 16 es'} c'4 (bes) es16 (d) c-. bes-. | bes8 \ appoggiatura bes32 as16 (g32 as) g4}$
9. Il terremoto (Presto e con tutta la forza)
  
  $\ layout {ragged-right = ## t} \ relative g {\ key c \ minor \ time 3/4 \ appoggiatura {g32 ab} c2. \ ff | \ appoggiatura {g32 ab} c2. | \ appoggiatura {g32 ab} c4-. ^ "staccato" b! -. c-. | des4-. c-. b-. c8 cbbcc | des8 \ fz des ccdd | es8 \ fz es ddee | f8 \ fz fee fis fis | g4}$

Opus 54/55 (1788)

"First Tost Quartets", as composed for the former Esterházy court musician and later Viennese merchant Johann Tost; Tost sold the quartets to various publishers. The six quartets appeared partly in two separate issues (therefore the different opus numbers 54 and 55 have become common for three quartets each).

Quartet in C major, op.54 , no.2, Hob.III: 57
1. Vivace
  
  $\ relative g '' {\ key c \ major \ time 4/4 g2. \ f \ appoggiatura {a32 g f sharp} g4 (c4) e, -. G-. \ appoggiatura {d32 cb} c4 (e4) g, -. c-. << \ new Voice {\ slurUp <e, g,> 8 (g | f8 gefdfeg)} \ new Voice {s4 | g, 1} >> <f 'g,> 4-. b-. \ p d-. r}$
2. adagio
  
  $\ relative c '{\ key c \ minor \ time 3/4 c4 (\ p es d) | c4 (\ afterGrace g '\ trill {f16 g} as4) d, 4 (gf) | f4 (\ afterGrace es \ trill {d16 es} d4)}$
3. Menuetto: Allegretto
  
  $\ relative e '{\ key c \ major \ time 3/4 \ partial 4 e4 \ p | e4 (c8-.) r g'4-. | g4 (e8-.) r c'4-. c2 \ sf b4-. | \ acciaccatura b8 a4 g-. bes-. | bes2 \ sf a4 \ acciaccatura a8 g4-. f-. a-. | c, 2 d8 (b) | c4-. r \ bar ": |." }$
4. Final: Adagio - Presto - Adagio
  
  $\ relative g {\ key c \ major \ time 2/4 \ partial 8 g16. (\ f g32) | c4 r | r4 r8 g '' \ p g8. (a32 f) e8 (f16. d32) | c4 (b8)}$

Quartet in G major, op.54 , no.1, Hob.III: 58
1. Allegro con brio
  
  $\ relative d '{\ key g \ major \ time 4/4 \ appoggiatura {d16 b'} g'2. \ f fis16 (gbg) d8-. _ \ markup {\ italic "staccato"} d8-. d8-. d8-. d8-. d8-. d8-. d8-. \ acciaccatura d16 d'2 ~ \ sf d16 (cis) d16 (cis) d16 (b) c16 a) g4 r8 g, -. (\ p as-. a-. bes-. b-.)}$
2. Allegretto
  
  $\ relative c '{\ key c \ major \ time 6/8 c4 \ p r8 r4 r8 g'8 \ ((_ \ markup {\ italic "dolce"} c) c-. \) \ acciaccatura d16 c8 (bc ) d8. (e16) d8-. d-. rr | cis16 (dedfe) d8 rr}$
3. Menuetto: Allegretto
  
  $\ relative d '{\ key g \ major \ time 3/4 \ partial 4 d8. (\ f g16) | b2. | a8 (d) d2 \ sf | e8 dcbag) f sharp4 (a-.) a-. | a4-. r}$
4. Finale: Presto
  
  $\ relative b '{\ key g \ major \ time 2/4 \ partial 4 b8-. \ p b-. | b4. d8-. | c8-. a-. g16 (f sharp ed) g8-. G-. a16 (g f sharp g) | a8-. r}$

Quartet in E major, op.54 , no.3, Hob.III: 59
1. Allegro
  
  $\ new StaffGroup << \ new Staff \ relative e '' {\ key e \ major \ time 2/2 \ partial 4 r4 | r2 r4 e-. \ f ^ \ markup {"Vl.1"} | dis4 (ba) fis8 (dis) e4 (dis e) a \ fz | g sharp2 (f sharp 4)} \ new Staff {\ key e \ major \ time 2/2 \ clef "bass" \ partial 4 << \ new Voice \ relative g sharp {\ stemUp \ slurUp g sharp4 ^ \ markup {"Vl.2 + Vla "} a4 (b cis b) | a1 | g sharp4 (a g sharp) f sharp '| e2 (dis4)} \ new Voice \ relative e {\ stemDown \ slurDown e4 \ f f sharp4 (g sharp a g sharp) | f sharp1 | e4 (f sharp e) c sharp '\ fz | b2. } >>} >>$
2. Largo cantabile
  
  $\ relative e '' {\ key a \ major \ time 3/4 e8 .. (\ f \> d32) \! cis16-. r b-. \ pr a-. r b-. r \ afterGrace cis8 .. ([{d32 cis b cis} d32]) e8-. r r4 a8 .. (\ f \> g sharp32) f sharp8 (ed c sharp) | cis16 (\ pd dis16. e32) b8 r4. }$
3. Menuetto: Allegretto
  
  $\ relative dis '' {\ key e \ major \ time 3/4 \ partial 4 dis16 (\ f e8.) | g sharp16 (e8.) a16 (f sharp8.) b16 (g sharp8.) | e4 (e ') e-. e4. dc8 (c sharp b) | a4-. r}$
4. Finale: Presto
  
  $\ relative g sharp '{\ key e \ major \ time 2/4 g sharp 4 _ \ markup {\ italic "mv"} \ appoggiatura b16 a8 (g sharp16 a) f sharp8 ([c sharp') c sharp-. cis-.] | f sharp, 4 \ appoggiatura a16 g sharp8 (f sharp16 g sharp) e8 ([b ') b-. b-.]}$

Quartet in A major, op.55 , no.1, Hob.III: 60
1. Allegro
  
  $\ relative a '{\ key a \ major \ time 2/2 \ slurUp \ acciaccatura a8 a'1 \ f | \ slurUp \ acciaccatura a, 8 cis'1 \ slurUp \ acciaccatura a, 8 e''2. \ times 2/3 {d8 (b g sharp)} | a4 r r2 f sharp4. (\ fz d16 b g sharp8-.) r r4 | e'4 e2-. \ fz d8 (b) | a4 a2-. \ fz b8 (g sharp) | a4 (cis)}$
2. Adagio cantabile
  
  $\ relative a '{\ key d \ major \ time 2/4 a4 _ \ markup {\ musicglyph # "p" \ italic "dolce"} b8. (cis32 d) d16 (a) a8 ~ a16 b32 (ag [fis ed)] c sharp16. (a32) d16. (a32) g'8 \ acciaccatura g8 f sharp32 (e f sharp g) f sharp4 (e16) f sharp (g g sharp)}$
3. Menuetto
  
  $\ relative cis '' {\ key a \ major \ time 3/4 \ partial 4 cis8. \ trill \ p d16 | e4-. \ <e-. e-. | e8 (\ f d ') d (b) b (g sharp) e8 (c sharp') c sharp (b) b (a) | a8 (\> g sharp f sharp) e-. fis-. gis-. a8-. \ pr a-. r a-. r | ais8-. \ <r ais-. r ais-. r b2 \ f b16 (a! g sharp f sharp) | e4-. }$
4. Finale: Vivace
  
  $\ relative b '' {\ key a \ major \ time 2/2 \ partial 4 b8 (\ pa) | g sharp (a) f sharp (g sharp) e (f sharp) d (e) c sharp 4-. cis -. (\ <cis-. cis-.) | e4 (\ f dis d cis) \ acciaccatura cis8 b (from cis) b4}$

Quartet in F minor, op. 55, No. 2 (" Razor Quartet "), Hob. III: 61
1. Andante o più tosto allegretto
  
  $\ relative c '' {\ key f \ minor \ time 2/4 c4 (\ f f8 as) | g8. ([f16) e8-. f-.] \ p | c8-. c-. c-. f16 (b,) b4 (c8) b | bes! 4 \ ((\ f g8) des' -. \) | c8. ([bes16) as8-. bes-.] \ p es, 8-. it-. it-. f16. (g32) | g4 (as8) r \ bar ": |." }$
2. Allegro
  
  $\ relative f '' {\ key f \ minor \ time 2/2 f1 \ p | c'2. \ appoggiatura {des32 cb} c4 des4 (b) r \ appoggiatura {c32 ba} b4 c4 (g) r \ appoggiatura {as! 32 gf} g4 bes! 2 ~ \ <bes8. as16 (g8.) f16 (e8.) \ f des16 (c8.) bes16 (as8.) g16 (f8.) e16 (f4-.) des-. c-. b-. | c4-. c'-. r2}$
3. Menuetto: Allegretto
  
  $\ relative c '{\ key f \ major \ time 3/4 \ clef "alto" \ partial 4 c4-. \ p ^ "Vla." | a4 (f) e8 (f) | bes4 (a) e8 (f) d'4. e8 (fg) | c, 4. d8 (ef) | bes, 2 b4 | c2}$
4. Finale: Presto
  
  $\ relative g sharp '{\ key f \ major \ time 6/8 \ partial 8 g sharp8 (\ p | a8-.) a-. b-. c-. c-. cis (d8-.) d16 (cis d bes!) g! 8 [r fis] (g8-.) g-. a (bes-.) bes-. b (c! 8-.) c16 (bca) f! 8 r}$

Quartet in B flat major, op.55 , no.3, Hob.III: 62
1. Vivace assai
  
  $\ relative bes {\ key bes \ major \ time 3/4 bes2 (\ p a4) | es'2 (d4) | g2 (f4) | e4 rr \ appoggiatura {a, 16 f '} es'! 2 (\ f d4) | \ afterGrace c4 (\ trill {b16 c} d4 bes) a4 (bes b) | c4 rr}$
2. Adagio ma non troppo
  
  $\ relative bes' {\ key es \ major \ time 2/4 \ partial 8 bes8 \ f | es4 (d16.) es32 es16. (\ trill d64 es) | f8 -. \ p f-. r bes, \ f g'4 (f16.) g32 g16. (\ trill f64 g) | as8 -. \ p as-. r}$
3. Menuetto
  
  $\ relative bes {\ key bes \ major \ time 3/4 \ partial 16 * 5 bes16 [\ f d8. f16] | bes4 r8. f16 [bes8. d16] | f4 ff f4 (e8.) [g16 a8. bes16] | bes4 (a) \ appoggiatura {g32 fe} f8. (\ p g16) f4 (es!) es-. | es4 (d)}$
4. Finale: Presto
  
  $\ relative bes '' {\ key bes \ major \ time 6/8 \ partial 8 bes16 \ fa | g (f) es-. d-. g (f) es (d) c-. bes-. it (d) c-. bes-. a-. G-. f-. it-. df es gfa | g bes ac bes dcd es cd bes}$

Opus 64 (1790)

"Second Tost Quartets", as the previous series was written for marketing by Tost. Dedicated to Tost in an early edition (not arranged by Haydn).

Quartet in C major, op.64 , no.1, Hob.III: 65
1. Allegro moderato
  
  $\ relative g {\ key c \ major \ time 2/2 \ partial 4 g4 \ p | c2 e8. ([c16)] g'8. (e16) g4 .. (\ fz e16) \ p c8 r e16 (dcd) e8-. _ \ markup {\ italic "cresc."} r f-. r g-. r a-. r | b4 (\ mf c8) r r4}$
2. Menuetto: Allegretto ma non troppo
  
  $\ relative g, {\ key c \ major \ time 3/4 \ clef "bass" \ partial 4 g4 \ f ^ "Vc." | c4 (e) g-. | c4 (e) d16 (cba) | g4-. g (g sharp) g sharp4 (a) f, -. | a4 (c sharp d) | f4 (g! a) | g2. | c, 4-. c'-. \ bar ": |." }$
3. Allegretto scherzando
  
  $\ relative c '{\ key f \ major \ time 2/4 \ partial 8 c8 _ \ markup {\ italic "dol."} | f8 (c16) r a'8 (f16) r g8 ([c) c-. c-.] | a8 (d) d c32 (bab) | b4 (c8) cis-. | d8 (f, 16) r c '! 8 (f, 16) r e8 ([bes'!) bes-. a-.] | f8 ([\ grace {g16 fe} f16. g32)] a8-. b-. | b4 (c8) \ bar ": |." }$
4. Finale: Presto
  
  $\ relative c '' {\ key c \ major \ time 6/8 \ partial 8 c8-. \ p | c8 -. [r c-.] c -. [r c16-. c-.] | c8-. b-. a-. g -. [r f-.] f4 (e8) d (fa) | c, 4. (b8) r}$

Quartet in B minor, op.64 , no.2, Hob.III: 68
1. Allegro spiritoso
  
  $\ relative d '' {\ key b \ minor \ time 4/4 d4. \ p e32 (d cis d) fis8 ([cis d)] g-. | fis8 ([cis d)] b'-. a-. G-. fis-. e-. \ f e2 (d8) a sharp (b \ appoggiatura d16 c sharp8) | b2 (ais4-.) r}$
2. Adagio ma non troppo
  
  $\ relative f sharp '' {\ key b \ major \ time 3/4 f sharp2. (_ \ markup {\ italic "mezza voce"} | g sharp2.) | ais, 2. | b2 r4 f sharp'2. (| eis2 f sharp4) | dc4 (cis4. ice, 8) | fis4 rr}$
3. Menuetto: Allegretto
  
  $\ relative f sharp '{\ key b \ minor \ time 3/4 \ partial 4 f sharp 4-. \ p | b4-. cis-. d-. \ acciaccatura d8 c # 4-. \ fz cis8-. b-. cis4-. \ acciaccatura d8 c # 4-. \ fz cis8-. b-. cis4-. \ acciaccatura cis8 fis4-. \ f f # 8-. e-. d-. cis-. | b4-. r}$
4. Finale: Presto
  
  $\ relative f sharp '{\ key b \ minor \ time 2/4 \ partial 4 f sharp8-. \ mf f sharp-. | b8. (cis16) d8-. d-. d8-. r \ acciaccatura eis16 fis8 \ acciaccatura eis16 fis8 cis8. (d16) cis8-. cis-. | cis8-. r a'16 (g) a-. G-. fis16 (e) d-. cis b (ais) cis-. e-. | d8 (b)}$

Quartet in B flat major, op.64 , no.3, Hob.III: 67
1. Vivace assai
  
  $\ relative d '' {\ key bes \ major \ time 3/4 \ partial 4. d8-. \ f es-. d-. | d8 (c bes -.) [f '(\ pef)] c16 (bcd) c8 -. [d-. \ f it! -. f_] f sharp8 (\ acciaccatura agf [) d '(\ pa bes)] f sharp8 ([g) c, (es)] d16 (c bes a) | bes8 -. [f-. d-.]}$
2. adagio
  
  $\ relative bes' {\ key es \ major \ time 2/4 bes2 ~ _ \ markup {\ italic "mezza voce"} | bes16. (es32 g16. es32) bes8 (c32 bes as g) f8 (es) as (g16. \ turn as32) | g4 (f16) g (as a)}$
3. Menuetto: Allegretto
  
  $\ relative a '' {\ key bes \ major \ time 3/4 \ partial 4 a8 (\ f bes) | f4-. r a8 (bes) f8 (d 'c bes ag) | f4-. f8 (d) es (g) | f4-. ra, 8 (\ mf bes) f4 d '(b) | c8 (\ <b) d (c) es (d) f8 (es) \! \ once \ override Hairpin.extra-offset = # '(0. -0.8) g4 -. \> g-. | g4-. \! r}$
4. Finale: Allegro con spirito
  
  $\ relative es '' {\ key bes \ major \ time 2/4 \ partial 8 es16 (\ mf a,) | bes8-. f'16 (a,) bes8-. g'16 (a,) bes8-. a'16 (f) bes8-. f ~ | f8 [e (es d)] | c16 (bes cd) c8-. }$

Quartet in G major, op.64 , no.4, Hob.III: 66
1. Allegro con brio
  
  $\ relative b {\ key g \ major \ time 4/4 \ partial 8 b16 (\ fd) | g4. b8 d4. g8 g4 \ ((\ sf fis16) ge fis \) d8-. rr c-. \ appoggiatura {b16 d} c4 (\ sf b8 a) g-. G-. a-. a-. d, 8-. r e-. \ p e16 (f sharp) d8-. rr}$
2. Menuetto: Allegretto
  
  $\ relative d '' {\ key g \ major \ time 3/4 \ partial 4 d8 (\ fb) | f sharp8 (g) d4-. b''8 (g) | f sharp8 (a) c, 4 a8 (c) c16 (b) r8 d16 (c) r8 e16 (c) r8 | a2 d, 4 \ p g2 (b8 g sharp) | b8 (a) c4-. c8 (b) | \ appoggiatura b16 a4 a8 (gad,) g4 r \ bar ": |." }$
3. Adagio: Cantabile e sostenuto
  
  $\ relative g '{\ key c \ major \ time 2/4 \ partial 8 g8 _ \ markup {\ italic "dol." } | c8. (d32 c) b8 (c) d8 (g) \ sf e (c) | d8 (e) \ appoggiatura g16 f8 (e) d8 (\ acciaccatura f8 e16. d32) d8-. }$
4. Finale: Presto
  
  $\ relative d '{\ key g \ major \ time 6/8 \ partial 8 d8-. \ f | \ acciaccatura a'8 g-. fis-. G-. a4 (d8) \ acciaccatura a8 g-. fis-. G-. a4 (d8) \ acciaccatura a8 g-. fis-. G-. c4 (e8) d8-. fis-. G-. b-. r}$
Quartet in D major, op. 64, No. 5 (“Lark Quartet”), Hob. III: 63
1. Allegro moderato
  
  $\ new StaffGroup << \ new Staff \ relative fis' {\ key d \ major \ time 2/2 fis8-. \ p ^ \ markup {\ italic "staccato"} r g-. r fis-. r e-. r | d4 r r2 g8-. r a-. r g-. r fis-. r | e4 r r2} \ new Staff \ relative d '{\ key d \ major \ time 2/2 \ clef "alto" d8-. \ p ^ \ markup {\ italic "staccato"} r e-. r d-. r a-. r | fis4 r r2 e'8-. r fis-. r e-. r d-. r | a4 r r2} >>$
2. Adagio cantabile
  
  $\ relative cis '' {\ key a \ major \ time 3/4 cis8. (_ \ markup {\ italic "dolce"} d32 cis) b4 (a) | a4 (g sharp8) a (b c sharp) d8. (e32 d) c sharp4 (\ sf b) | fis'8 (e) r4}$
3. Menuetto: Allegretto
  
  $\ relative cis' {\ key d \ major \ time 3/4 \ partial 4 \ acciaccatura cis8 d4 \ f | f sharp4 (a) \ acciaccatura a sharp, 8 b4 e4 (g) c sharp, 8 (d) | e8 (f sharp gave c sharp) d4-. d-. cis8 (d) | e8 (f sharp) g (a) b (c sharp) d4-. d-. dis (\ sf | e4) e <g sharp, b,> -. | <aa,> 4-. r \ bar ": |." }$
4. Finale: Vivace
  
  $\ relative fis' {\ key d \ major \ time 2/4 \ partial 8 fis16 _ \ markup {\ musicglyph # "p" \ italic "e semper staccato"} ga fis gave cis dbad fis ed cis baga fis ge fis de cis db cis ae 'fis g}$
Quartet in E flat major, op.64 , no.6, Hob.III: 64
1. Allegretto
  
  $\ relative es' {\ key es \ major \ time 4/4 \ stemUp es2 (\ pf) | d4 (bes' g es) c4 (es) bes (es) | f8. (g16) as8. (g16) f4-. r}$
2. Andante
  
  $\ relative bes {\ key bes \ major \ time 3/4 bes8-. \ pd (f bes df) | f2 es8 (d) | d2 c8 (bes) | bes4 a8 (gf es)}$
3. Menuetto: Allegretto
  
  $\ relative c '' {\ key es \ major \ time 3/4 \ partial 4 \ appoggiatura {c32 bes a} bes4-. \ f es4-. it-. it-. it-. it-. it-. << \ new Voice {b2. (| c2) c4} \ new Voice {s4 \ sf \> ss | s4 s \! s} >> es, 8 (\ mf d) es (d) c '(bes) | as8 ([gf es)]}$
4. Finale: Presto
  
  $\ relative g '{\ key es \ major \ time 2/4 \ partial 8 g16 (\ p as) | bes8-. bes-. bes-. as16 (bes) c8-. c-. c-. d16 (es) | f8-. f16 (g) as8-. g16 (as) bes16 (as gf) es8-. }$

Opus 71/74 "Apponyi Quartets" (1793)

Written on order by Anton Georg Graf Apponyi and dedicated to him in the original edition. The six quartets appeared in two separate issues (therefore the different opus numbers 71 and 74 have become commonplace for three quartets each).

Quartet in B flat major, op.71 , no.1, Hob.III: 69
1. Allegro
  
  $\ relative f '' {\ key bes \ major \ time 4/4 <f bes, d,> 8-. \ ff r <es g,> -. r <df,> -. r <a es c> -. r <bes d, bes> 4-. r r2 \ bar ". |:" f'2 (_ \ markup {\ italic "mv"} d4) bes bes'4. (d16 bes) f4-. r8 d-. c4 (bca) bes! 8-. r d-. r f4-. r8 d-. c4 (bca) <bes! d,> 4 \ f}$
2. adagio
  
  $\ relative f '' {\ key f \ major \ time 6/8 f2. ~ \ p \ <f8) (\ fz \> e16.) d32 c8-. c8. \ ((\! a16) c8 -. \) f, 4. f sharp8 \ ((g) g -. \) g4. g sharp8 \ ((a) a -. \)}$
3. Menuetto: Allegretto
  
  $\ relative bes {\ key bes \ major \ time 3/4 \ partial 4 bes8 (\ fc) d2. es2 (g4) f2 (es4) \ turn d4 r g'4 \ p f2 (es4) \ turn d4 r}$
4. (Finale): Vivace
  
  $\ relative f '{\ key bes \ major \ time 2/4 \ partial 8 f8-. \ mf bes4 d16 (c bes c) bes4. c8 d4 f16 (es d es) f4. }$
Quartet in D major, op.71 , no.2, Hob.III: 70
1. Adagio - Allegro
  
  $\ relative d '' {\ key d \ major \ time 4/4 <d fis,> 8 \ fd, ([\ pe fis)] g2 \ fermata _ \ markup {\ italic "ten." } <e 'g, a,> 8 \ fe, ([\ p fis g)] a4. d8 (cis8) b4 ag fis8 ~ fis16 (e dis e) fis (gab) d, 4 (\ acciaccatura fis8 e8) \ fermata \ bar "||" r8 ^ "Allegro" r2 r 8 d'-. \ fd, -. fis'-. fis4 (\ fz e8) d-. cis4 (d8) a'-. }$
2. Adagio (cantabile)
  
  $\ relative e '{\ key a \ major \ time 3/4 e4 (\ pa cis) f sharp, 4 (bd) g sharp, e'4. (\ fz f sharp16 d) c sharp8-. b-. a-. r}$
3. Menuetto: Allegretto
  
  $\ relative a '{\ key d \ major \ time 3/4 R2. | a4-. \ f d-. fis-. a4. (f sharp16 d) a8 r | a'4. (g16 e) a, 8 r fis'4 (ge) | d4-. fis-. a-. d4. (a16 f sharp) d8-. r}$
4. Finale: Allegretto
  
  $\ relative a '{\ key d \ major \ time 6/8 \ partial 4 a8-. _ \ markup {\ italic "mezza voce"} g-. \ acciaccatura g8 f sharp-. e-. fis \ acciaccatura a g-. fis-. G-. \ acciaccatura fis8 e-. d-. e-. fis-. d'-. cis-. r8 b-. a-. r g-. fis-. a4 (f sharp8) e-. }$
Quartet in E flat major, op.71 , no.3, Hob.III: 71
1. Vivace
  
  $\ relative g '' {\ key es \ major \ time 2/4 <g bes, es, g,> 4 r | r1 * 1/2 \ fermata \ bar ". |:" bes, 2 (| g4) c | f, 8-. bes-. a16 (bes ca) | bes8-. bes-. bes-. r f8-. \ p f-. f-. r | bes, 8-. bes-. bes-. r}$
2. Andante con moto
  
  $\ relative f '{\ key bes \ major \ time 2/4 \ partial 8 f8 | bes8 ([d) c (a)] \ appoggiatura {c16 bes a} bes8 (d16 bes) f8 bes16. ([d32)] f8 -> ([d) g -> (e)] | f4. \ fz}$
3. Menuetto
  
  $\ relative bes' {\ key es \ major \ time 3/4 \ partial 4 bes8 (a) | c8 (bes) as! (g) f (es) d4-. d-. bes'8 (d,) | es4-. it-. es'8 (a,) | bes4-. bes-. }$
4. Finale: Vivace
  
  $\ relative as' {\ key es \ major \ time 6/8 \ partial 8 as8-. | g4 (es8) d-. r as'-. | g4 (es8) d-. r bes'-. es8 (as, gcf, es) | d8 (as' g) f-. r}$

Quartet in C major, op.74 , no.1, Hob.III: 72
1. Allegro (moderato)
  
  $\ relative b '{\ key c \ major \ time 4/4 <bd,> 1 \ f \ fermata | <ce, g,> 4 r r2 \ fermata \ bar ". |:" c2 (\ pd) | b2 (c4 cis) | d2 (es4 e) g4 (f \ trill \ grace {e16 f)} e4-. }$
2. Andantino (grazioso)
  
  $\ relative d '{\ key g \ major \ time 3/8 r8 d (\ pb) | g8-. b '(g) \ appoggiatura {fis32 ga} g8 (fis-.) fis-. fis8-. rr | c8-. rr | r8 e '(c) | ais8 (b) b-. | b8-. rr}$
3. Menuetto: Allegro
  
  $\ relative g {\ key c \ major \ time 3/4 \ appoggiatura {g16 c} e2. \ fz \ appoggiatura {g, 16 d '} f2. \ fz \ appoggiatura {g, 16 e '} g2 \ fz c8 (a) g4-. c-. c-. | c2. ~ | c4 cis-. d ~ | d4 f-. b, -. | c! 2. }$
4. Finale: Vivace
  
  $\ relative c '' {\ key c \ major \ time 2/4 \ partial8 c8-. \ mf | b8 ([cd) f-.] | e8 ([dc) g'-.] f8 ([edc)] | b8 ([ed)]}$
Quartet in F major, op.74 , no.2, Hob.III: 73
1. Allegro spiritoso
  
  $\ relative f '{\ key f \ major \ time 4/4 f2-. \ f a-. | c4 (a) f-. a-. | c8 (a) c-. a-. f4-. c'-. f4-. c-. a-. f-. | c8 (bcb) c (e) g-. e-. | c8 (bcb) c (e) g-. e-. }$
2. Andante grazioso
  
  $\ relative f '' {\ key bes \ major \ time 2/4 f8 .. (_ \ markup {\ italic "mv"} es32) d8-. d-. | d8 (es) c4 bes8 (b) c16. d32 es16. g32 | d4 (c16) d (es e)}$
3. Menuetto
  
  $\ relative c '{\ key f \ major \ time 3/4 \ partial 4 c4 \ f | a4 (c) f e32 (f g8.) g32 (a bes8.) g8 (e) f4 (a) c-. | c sharp2 \ fz a4-. d4 (f) a-. b, 32 (c d8.) d32 (e f8.) f8 (e) e8 (d) d (c) c (b) | c4 r \ bar ": |." }$
4. Finale: Presto
  
  $\ relative a '' {\ key f \ major \ time 2/4 \ partial 8 a8 (\ mf | f -.) [c-. d-. e-.] | f8 -. [g-. a-. f-.] c'8 -. [c-. c-. c-.] | a16 (bes ag) | f8-. }$
Quartet in G minor, op. 74, No. 3 ("Reiterquartett"), Hob. III: 74
1. Allegro
  
  $\ relative g {\ key g \ minor \ time 3/4 g4-. \ f \ acciaccatura fis'8 g4-. \ acciaccatura fis8 g4-. bes, 4-. \ acciaccatura a'8 bes4-. \ acciaccatura a8 bes4-. d, 4-. \ acciaccatura cis'8 d4-. \ acciaccatura cis8 d4-. it, 4-. \ acciaccatura d'8 es4-. \ acciaccatura d8 es4-. c sharp, 4-. G''-. G-. | cis ,, 4-. bes '' -. G-. d'4-. << \ new Voice {\ stemUp d ,, -. d-. d-. } \ new Voice {\ stemDown ddd} >> rr}$
2. Largo assai
  
  $\ relative g sharp '{\ key e \ major \ time 4/4 g sharp2 (_ \ markup {\ italic "mezza voce"} f sharp8) r e-. r a2. ^ \ markup {\ italic "ten." } r4 g sharp2 (f sharp8) r e-. r cis'2. ^ \ markup {\ italic "ten." } r4 b2 (ais4 b) | e2. (\ cresc dis4) \! | g sharp2 f sharp sharp4 (g sharp) | <bb,> 2. \ ff}$
3. Menuetto: (Allegretto)
  
  $\ relative e '' {\ key g \ major \ time 3/4 \ partial 4 e4-. \ mf | d4 (cb) | a4 (g f sharp) g8-. d-. a'-. d, -. b'-. d, -. | c'4 rr r4 r e-. | d4 (\ cresc cis d) \! | e8-. \ f b'-. d, -. a'-. a, -. cis-. | d4 r \ bar ": |." }$
4. Finale: Allegro con brio
  
  $\ relative g {\ key g \ minor \ time 4/4 \ partial 8 g16 (\ f bes) | d8-. d-. r d-. \ pr d-. r d-. d16 (\ f es d cis) d8-. d-. r d-. \ pr d-. d8 (\ f bes') bes2 a8 (g) | fis16 g fis e fis de fis}$

Opus 76 "Erdődy Quartets" (1797)

They were commissioned by Count Joseph Erdődy and dedicated to him in the first edition published in 1799 (hence the nickname “Erdődy-Quartets”). As in the previous group, these quartets are no longer written for a small audience, but for the concert hall. The group includes one of Haydn's best-known string quartets, the “Kaiserquartett” with the variations on “Gott preserve Franz, the Kaiser”, the Austrian imperial anthem and the later Deutschlandlied .

Quartet in G major, op.76 , no.1, Hob.III: 75
1. Allegro con spirito
  
  $\ relative g '' {\ key g \ major \ time 2/2 <gb, d,> 4-. \ fr <ad, d,> -. r <bd, d,> 4-. rr \ bar ". |:" \ clef "bass" d ,, -. \ p b4 (g) c (a) f sharp4 (a8) f sharp-. d4 e8-. fis-. g4-. e-. b-. cis-. d2 (d'4)}$
2. Adagio sostenuto
  
  $\ relative e '{\ key c \ major \ time 2/4 e4 (_ \ markup {\ italic "a mezza voce"} d) c8. (cis16 d8 e) f8 ([agf)] f8 ([e d8. dis16)] e4 (d!) c4 (d8 e) \ override TupletBracket.bracket-visibility = ## f f8 (\ times 2/3 {a16 fd)} c8 (\ times 2/3 {b16 dg)} f4 ( e8) r}$
3. Menuet: Presto
  
  $\ relative d '{\ key g \ major \ time 3/4 \ partial 4 d-. \ p g4-. G-. e-. a-. a-. d, -. c'-. c-. ais-. b-. b-. }$
4. Final. Allegro ma non troppo
  
  $\ relative g '{\ key g \ minor \ time 2/2 \ override TupletBracket.bracket-visibility = ## f \ partial 4 \ times 2/3 {g8 (\ f fis g)} bes4-. G-. d-. \ times 2/3 {c'8 (dc)} es4-. c-. f sharp, -. \ times 2/3 {d'8 (es c)} bes4-. \ times 2/3 {bes8 (ca)} g4-. d-. es4 (\ trill d8) r es4 (\ trill d8) r \ acciaccatura d8 \ afterGrace es1 (\ trill {d16 es)} d4-. d'-. r2}$
Quartet in D minor, op. 76, No. 2 (“Quintenquartett”), Hob. III: 76
1. Allegro
  
  $\ relative a '{\ key d \ minor \ time 4/4 a2 \ fd, e2 a, d8 (cis de) g ([f] e) a <dd,> 4 c! 16 (bes a gis) a4 r }$
2. Andante o più tosto allegretto
  $\ relative a '{\ key d \ major \ time 6/8 \ partial 8 a8 (_ \ markup {\ italic "mezza voce"} f sharp -.) [f sharp-.] a32 (g f sharp g) a4 ^ \ markup {\ italic "ten." } b8 \ f e, 4 e32 (d cis b) a4}$
3. Menuetto. Allegro ma non troppo
  
  $\ relative d '' {\ key d \ minor \ time 3/4 \ partial 4 d8 (\ fe) f4-. f8 (gfe) d4-. d8 (efg) a4-. a-. d-. cis8 (e) a, 4-. }$
4. Final. Vivace assai
  
  $\ relative a '{\ key d \ minor \ time 2/4 \ partial 8 a8 \ p d8-. d4-> e16 (c sharp) d8 ([f g sharp a)] d, 8-. d4 e16 (c sharp) d8 ([f g sharp a)] g sharp 8-. gis-. g sharp16 (from g sharp) a4 (a, 8) a'-. g sharp8-. gis-. g sharp16 (from g sharp) a4 \ fermata e'8 \ fermata}$
Quartet in C major op. 76, No. 3 ("Kaiserquartett"), Hob. III: 77
1. Allegro
  
  $\ relative g '' {\ key c \ major \ time 4/4 \ partial 8 g8 \ f e4 (f8-.) d-. c4-. r8 g-. \ p e8-. a-. G-. fis-. g4 r8 d 'e8 g4 f! e16 \ trill d e8-. c'-. \ f d ,, 8-. r <gg,> -. r <e c> 4 r}$
2. Poco adagio. Cantabile - Variations I – IV
  
  $\ relative g '{\ key g \ major \ time 2/2 \ partial 2 g4. (_ \ markup {\ musicglyph # "p" \ italic "dolce"} a8 b4 acb) a8 (f sharp g4) e' (d c4 b) a (- \ tweak X-offset # 2.8 \ turn b8 g) d2}$
3. Menuetto
  
  $\ relative c '' {\ key c \ major \ time 3/4 \ partial 4 c4 \ f b4 (c) e g, 2 (c4) d, 2 (a'4) g, 4. }$
4. Final. Presto
  
  $\ relative g '' {\ key c \ minor \ time 2/2 <gc, es,> 4-. \ fr <as b, d,> -. r <gc, es,> 4 rrc \ p b2 (c4) d es2 (d4-.) r}$
Quartet in B flat major, op. 76, No. 4 (“Sunrise”), Hob. III: 78
1. Allegro con spirito
  
  $\ relative e '{\ key bes \ major \ time 4/4 r2 r4 e (\ p f4. a8 \ acciaccatura c8 bes a bes d) f4. (a, 8 bes dfa) bes4. (a8 gf es d (c4 -. r d-. r es4-. r r2}$
2. adagio
  
  $\ relative es' {\ key es \ major \ time 3/4 es4 (d es) f4 g2 \ espressivo \ fermata f4 (ef) g4 as2 \ espressivo \ fermata c4 (bc) g4 as ~ as16 (bes! 32 c bes as gf) es4. (d8 as' d,) es8 (g bes d es g)}$
3. Menuet. Allegro
  
  $\ relative a '{\ key bes \ major \ time 3/4 \ partial 4 a8 (\ f bes) a8 (bes) a8 (bes) d (bes) f'4-. f-. a, 8 (bes) a8 (bes) a8 (bes) d (bes) f'4-. f-. a, 8 (bes) a8 (bes) a8 (bes) g '(bes,) bes'8 (bes,) bes' (bes,) bes' (bes,) bes'8 (g) e (c) bes (g) f4 r}$
4. Final. Allegro ma non troppo
  
  $\ relative f '' {\ key bes \ major \ time 2/2 \ partial 4 f8 (_ \ markup {\ italic "mezza voce"} es) d4 (es) c-. d8 (c) bes4 (c) \ appoggiatura {g32 fe} f4 g8 (a) bes4-. c-. d-. \ appoggiatura {es16 f} g4 \ fz \ acciaccatura d8 c8 (bes cd) c4-. }$
Quartet in D major, op.76 , no.5, Hob.III: 79
1. Allegretto - Allegro
  
  $\ relative a '{\ key d \ major \ time 6/8 \ partial 8 a8 \ mf d8. (cis16 d8) e (cis a) d8 (e fis) g4 (\ fz fis8) e8. (fis16 e8) b '(ge) d16 (cis) e (cis) d (b) a8 (b cis)}$
2. Largo cantabile e mesto
  
  $\ relative cis' {\ key fis \ major \ time 2/2 \ partial 4 cis ^ \ markup {\ italic "tenuto"} \ <fis4 (ais) cis (ais8. fis16) fis'4 (\ f dis8. b16 ) cis4 (ais8. fis16) eis4 (\> fis b ais) gis4. (\ p b16 ais) gis8-. r}$
3. Menuetto
  
  $\ relative a {\ key d \ major \ time 3/4 \ partial 4 a4 \ f d4 (fis a) a4 (g fis) \ acciaccatura fis8 e4 (de) e8 (fis) d4-. d'-. \ acciaccatura cis8 b4 (ais b) gis8 (a!) d, 4 fis' \ fz \ acciaccatura a, 8 gis4 (fis gis) gis8 (a) a, 4 \ bar ": |." }$
4. Final. Presto
  
  $\ relative cis' '' {\ key d \ major \ time 2/4 \ partial 8 cis8-! \ f d4-! r r4 r8 cis8-! d4-! r r4 r8 cis8-! d8 -! [cis-! d8-! cis-!] d4 r}$
Quartet in E flat major, op.76 , no.6, Hob.III: 80
1. Allegretto - Allegro
  
  $\ relative bes' {\ key es \ major \ time 2/4 \ partial 16 bes16 \ f g4 (as) | bes8 r r8. c16 \ p f, 4 (g) | as8 r r8. bes16 \ f es, 4 (f) | g8 r r8. es16 \ p as4 (a) | bes8 r r8. \ bar ": |." }$
2. Fantasia. adagio
  
  $\ relative b '{\ key c \ major \ time 3/4 b4 (\ p ais b) cis8. (dis16 e4 dis) dis4 (cis b) b4 (ais8) r r4}$
3. Menuetto
  
  $\ relative es '' {\ key es \ major \ time 3/4 \ partial 4 es4-. \ f d8 (es f es) g4-. | es4-. r bes'-. | it,-. r it'-. | it,-. r g'-. es, 2 -> (\ mf d4) | c2 -> (bes4) | a8 (bes a bes ca) | bes4-. r}$
4. Final. Allegro spirituoso
  
  $\ relative bes' {\ key es \ major \ time 3/4 \ partial 4. bes8-. \ f as-. G-. f8-. it-. r-. it'-. d-. c-. bes8-. as-. r as-. G-. f-. es8-. d-. r c'-. bes-. as-. fis8-. G-. r}$

Opus 77 "Lobkowitz Quartets" (1799)

Made on behalf of Prince Joseph Maximilian Lobkowitz and dedicated to him in the first edition. Lobkowitz had commissioned a group of six quartets, of which Haydn was only able to complete two due to age reasons.

Quartet in G major, op. 77, No. 1 (“Complimenting Quartet
”), Hob. III: 81
1. Allegro moderato
  $\ relative g '{\ key g \ major \ time 4/4 <gg,> 4 \ frr d'8. (\ p b16) g4 rr g'8. (_ \ markup {\ italic "mezza voce"} fis16 ) e8 r \ acciaccatura fis8 e8. (dis16) e8 r \ acciaccatura fis8 e8. (dis16) e4 r r2}$
2. adagio
  $\ relative es '' {\ key es \ major \ time 4/4 es2 (\ fg, 4 c) as4 .. (\> f16) \! d8-. r r8. d16-. \ p es8-. r f-. r g-. r bes as g2 (\ sf f8) r r4}$
3. Menuetto: Presto
  $\ relative g {\ key g \ major \ time 3/4 g8 (\ fabc) d-. b-. g4 g'2-> f sharp4 d'2-> \ grace {e32 (d c sharp} d4) gb f sharp8 (gab) c-. a-. b4 e2-> c sharp8 (de f sharp) g-. e-. f sharp4 a2->}$
4. Finale: Presto
  $\ relative d '' {\ key g \ major \ time 2/4 \ partial 8 d8-. \ p cis8 ([d) a (b)] e, 4. (fis16 g) a8 [\ sf d, -. e-. f sharp-.] g16 (f sharp ga) b8-. d-. c sharp8 ([d) a (b)] e, 4. (f sharp16 g) a8 [\ sf d, -. e-. f sharp.] g4 g, 8}$

Quartet in F major, op.77 , no.2, Hob.III: 82

Allegro moderato
$\ relative f '{\ key f \ major \ time 4/4 \ grace {f32 (a} f'4 ..) (\ f g32 f) e4 (d) c4 .. (a16) c8-. r f8. (\ pa, 16) bes4 .. (c32 bes) a4 (g) f4 .. (c16) a'8-. r r4}$
Menuet: Presto
$\ relative c '' {\ key f \ major \ time 3/4 \ partial 4 c8 \ fa f4-. f'8 (e) f4-. g4-. c, -. G'-. c, 4-. G'-. c, -. \ grace {f16 (g} a4-.) f-. r}$
Andante
$\ relative fis' {\ key d \ major \ time 2/4 fis4 (_ \ markup {\ italic "mezza voce"} e8) [\ grace {fis32 (ed} e16.) (fis32)] d8 b16. ([ cis32)] d8-. e-. fis4 (e8) [\ grace {fis32 (ed} e16.) (fis32)] d8 b16. ([cis32)] d8-. e-. }$
Finale: Vivace assai
$\ relative f '{\ key f \ major \ time 3/4 <fa,> 2 \ f \ fermata r8 \ fermata c'16 (\ sf bes) a8-. G-. f-. e-. f-. G-. a8 -. [f-.] bes-. rr d16 (\ sf c) bes8-. a-. G-. fis-. G-. a-. bes8 -. [g-.] c8 r}$

Opus 103 (1803)

Quartet in D minor, op. 103 , Hob. III: 83 (incomplete, only movements 2 & 3). Should originally belong to the six quartets for Lobkowitz. The fragment was published in 1806 with a dedication to Count Moritz Fries.
1. Andante grazioso
  ${\ relative d '' {\ key bes \ major \ time 2/4 d4. (\ p c8) c4 (bes8-.) b-. c8 (d) \ appoggiatura f16 es8 (d16 c) bes! 4 (a8) r}}$
2. Menuetto ma non troppo presto
  ${\ relative d '' {\ key d \ minor \ time 3/4 << \ new Voice {\ stemUp \ slurDown d4 (\ f \ grace {e32 d cis} \ stemDown d8.) f16-. a4} \ new Voice {d ,, 4} >> a'2 f sharp4 \ fz g4 (\ grace {a32 g f sharp} g8.) bes16-. d4 e, 2 f! 4 dc4 (e cis) d! 4 (\ grace {e32 d cis} d8.) e16-. f4 e4 a gis a4 rr}}$

Individual evidence

^ Alan Tyson , HC Robbins Landon : Who composed Haydn's Op 3? In: The Musical Times , Volume 105, No. 1457, July 1964, pp. 506-507, doi: 10.2307 / 949842 .
^ Günther Zuntz : The String Quartets op. 3 by Joseph Haydn. In: Die Musikforschung , Volume 39, No. 3, July / September 1986, pp. 217-239, JSTOR 41119911 .

[1] Alan Tyson , HC Robbins Landon : Who composed Haydn's Op 3? In: The Musical Times , Volume 105, No. 1457, July 1964, pp. 506-507, doi: 10.2307 / 949842 .

[2] Günther Zuntz : The String Quartets op. 3 by Joseph Haydn. In: Die Musikforschung , Volume 39, No. 3, July / September 1986, pp. 217-239, JSTOR 41119911 .