This is the second movement, which can be considered a string quartet. Such profound and dramatic pieces are rare in Haydn's works. Please regard it as an expression of a certain kind of sorrow.

Considering this second movement as a string quartet, you are encouraged to assign each line to an instrument.

This second movement primarily proceeds in three voices.

Therefore, try to orchestrate it yourself, considering which parts would be for cello, viola, etc.

For example, in measure 1, the E in the left hand on the off-beat of beat 1 is in a low position, so it would not be unusual for the E to continue sounding from the downbeat.

Measure 2 would be A, measure 3 would be H (B natural), and so on.

Meanwhile, one can imagine the viola playing: in measure 1, E E F# G E; in measure 2, A A H C H; in measure 3, H H C H A.

In the treble clef, it is easy to imagine the two violins playing: in measure 1, E; in measure 2, E and F#;

in measure 3, F# and D#.

Prioritizing Voices

From measure 13 onwards, the ensemble becomes heavier and more complex.

When performing such sections, it is advisable to decide which voice should be prioritized.

While all voices are important, creating a prioritized voice makes the music

easier to listen to.