Haydn tries several new musical tricks in String Quartet, Op. 20, No. 4. The first is asymmetry. In the first movement, the development leads to a state of tonally inconclusive instability. But that is not all. The ingenious first theme that Haydn supplies is not always strictly echoed; some are approximations of echoes, demi-echoes filigreed with ornamentation. In the un poco adagio e affetuoso movement, he gives the second variation—a tender solo—to the cello for the first time. The second variation is a stellar opportunity for the first violinist to try a little rubato and for the accompanists to contribute to the improvisation. Finally, while the coda's rising intensity suggests an emotional forte ending, Haydn ends it pianissimo. The polyrhythmic gypsy minuet, short as it is, is merely an implied minuet. The foreground sounds more improvisatory. Finally, the preste e scherzando finale is unique in the whole of Haydn. Its upbeat phrase consists of just two measures. Repeated several times throughout the movement, it speeds up like a horse, only to stop abruptly as if before a tall fence. Its effect is absolutely intoxicating. Throughout this quartet, Haydn is being contrary and the results are savory indeed.

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