Classical and modern chamber-music in the sonata style consists mainly of string-quartets for 2 violins, viola and violoncello; string-trios (rare, because very difficult to write sonorously); pianoforte-trios (pianoforte, violin and violoncello); pianoforte-quartets (pianoforte with string-trio); pianoforte-quintets (pianoforte with string-quartet); string-quintets (with 2 violas, very rarely with 2 violoncellos), and (in two important cases by Brahms) stringsextets.
A year or two later he learnt to play the violin and to speak French.
It is sometimes suggested that the 'cello part is best omitted and these works played as violin sonatas.
He should therefore in all such passages play extremely lightly, so as to give the violin and 'cello the function of drawing the main outline.
If the plate be small, it is sufficient, in order to bring out the simpler sand-figures, to hold the plate firmly between two fingers of the same hand placed at any point where at least two nodal lines meet, for instance the centre in (1) and (2), and to draw a violin bow downwards across the edge near the middle of a ventral segment.
Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.
Each instrument--now resembling a violin and now a horn, but better and clearer than violin or horn--played its own part, and before it had finished the melody merged with another instrument that began almost the same air, and then with a third and a fourth; and they all blended into one and again became separate and again blended, now into solemn church music, now into something dazzlingly brilliant and triumphant.
Nor did he say anything when she exchanged the guitar for a violin and paid for lessons.
In the spring of 1706 he travelled, in company with a student named Brix, through London to Oxford, where he studied for two years, gaining his livelihood by giving lessons on the violin and the flute.
In 1740, on the recommendation of the Dean of Hainburg, Haydn obtained a place in the cathedral choir of St Stephen's, Vienna, where he took the solo-part in the services and received, at the choir school, some further instruction on the violin and the harpsichord.