Haydn uses a true Straussian discord in The Seasons, in order to imitate the chirping of a cricket; but the harshest realism in Gatterdammerung (the discord produced by the horns of Hagen and his churls in the mustering-scene in the second act) has a harmonic logic which would have convinced Corelli.
To Thackeray her diction recalled the sound of village bells falling sweetly and softly on the ear, and it sent a shiver through John Stuart Mill, like a symphony of Haydn or Mozart.
The pianoforte trios of Haydn are perhaps the only-works of first-rate artistic importance in which there is no doubt that the earlier stages of the new art do not admit of sufficient polyphony to give the instruments fair play.
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.
It would be impossible to add a note to Haydn's trio; the only question is how to account for the superfluity of much of the string parts and how to make the trios effective in performance.