Op1四重奏的五个动作已经在下面解释。 Presto在四重奏初期是E flat专业。有Fux音乐的影响。在早期弦乐四重奏中发现了一个没有阴影的奏鸣曲形式。这是因为海顿有关音乐构成的参考数量有限。在后来的作品中观察到导致B扁平主要的通道的变化。有下降的尺度段作为第二个主观。有一条桥回到E平台。这是早期强势四重奏的完美象征。在菜单中，音乐的形式是使用大调或小调的做法，而使用旧套房的做法则由此而来。在作品1中，慢板是B平的主要。但后来的作品却不一样。在早期的强势四重奏中，有单纯的奏鸣曲形式的表现。在这个Menuetto是E扁平主要¾。第二个Menuet有粗体的旋律线。最后的结局是2/4的E平台。在这些资料中可以看到海顿未来作品内容的主题材料。有一个过渡到F大调通道和一个对比的主题，作为第二主题（罗森111）的主要重点。这在海顿早期的四重奏中是非常重要的。
The Op1 quartet’s five movements have been explained in the following. The Presto was E flat major in the early quartets. There was the influence of the Fux Music. There was an unhatched sonata form that was found in the early string quartet. This was because of the limited number of reference that Haydn had with regard to the composition of the music. A change in the passage that leads to the B flat major was observed in the later works. There were the descending scale passages that served as a second subjective. There is a bridge passage that returns to the E flat major. This was a perfect symbolization of the earlier strong quartet. In the menuetto form of the music there is the practice of using the major or the minor tonality and the practice of using the old suites was cast of. In the Op 1 the Adagio was the B flat major. This was however different in the later works. There is the expression of the sonata form in the simplistic kind in the earlier strong quartet. The Menuetto in this was the E Flat major ¾. The second Menuet had the bold melodic lines. The finale was the presto E flat major with 2/4. The thematic material in the content for the future works of Haydn was seen in these materials. There is the transition towards the passage F major and some contrasting subject that serves as the major focus on the second subject (Rosen 111). This was significant in the early quartet of Haydn.