| 21. | The Preludio demands advanced bowing technique and consists almost entirely of semiquavers ( i . e . sixteenth notes ).
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| 22. | Although the head-motif in the fugue subject is unaltered, the semiquaver counter-subject is freely modified.
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| 23. | The second movement is a short and violent scherzo with syncopated rhythms and endlessly furious semiquaver ( sixteenth note ) passages.
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| 24. | The music proceeds with considerable violence, with relentlessly clashing dissonances in the woodwind and a plethora of racing string semiquavers.
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| 25. | The recorder ritornello is written in concertante style, with constantly flowing semiquaver figures, unhurried with no hint of virtuosity.
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| 26. | There is then a section where the left hand plays a sequence, followed by a right hand playing three semiquavers.
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| 27. | In the second section it is played against quavers; and in parts of the last, against running semiquaver passagework.
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| 28. | This arioso is accompanied by an ostinato movement in the continuo in " a semiquaver, quasi-Alberti figuration ".
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| 29. | The first movement is notable among Haydn's works for the use of tremolo notation as a shortcut for repeated semiquavers.
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| 30. | The animated semiquaver figure of the opening bars is played in imitation or in parallel thirds as a kind of moto perpetuo.
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