Haydn discovered was filled with gold coins. Original orchestral version (1786) The original 1786 work, for full classical orchestra (instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings), is as follows: Introduzione in D minor – Maestoso ed Adagio Sonata I ("") in B-flat major – Largo Sonata II ("") in C minor, ending in C major – Grave e cantabile Sonata III ("") in E major – Grave Sonata IV ("") in F minor – Largo Sonata V ("") in A major – Adagio Sonata VI ("") in G minor, ending in G major – Lento Sonata VII ("") in E-flat major – Largo Il terremoto (Earthquake) in C minor – Presto e con tutta la forza The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play presto e con tutta la forza—and closes with the only fortississimo (triple forte) in the piece. Haydn uses an extremely wide range of tonalities for a composition of the time. Musicologist Mark Spitzer observes of this: "In its tonal freedom [it] anticipates [Haydn's] late Masses, particularly the Harmoniemesse ... The only other Classical 'multi-piece' which spreads itself across the entire tonal gamut with this architectural breadth is Beethoven's String Quartet in C♯ minor, op. 131 ... Why, then, is Beethoven given credit for experimental daring when Haydn, once again, gets there first?" String quartet version (1787) At the request of his publisher, Artaria, the composer in 1787 produced a reduced version for string quartet: Haydn's Opus 51. This is the form in which the music is most often heard today: a group of seven works (Hoboken-Verzeichnis III/50–56), with the Introduction abutting Sonata I and Sonata VII joined by the Earthquake. The first violin part includes the Latin text directly under the notes, which "speak" the words musically. This version has come under suspicion of authenticity due to an occasionally careless manner of transcription, with crucial wind passages left out and only the accompanimental figures in the strings retained. As a result, some quartets make their own adaptation, working from the orchestral original. Quartets have occasionally created performances that evoked the format of the premiere, with verse readings replacing the original words and sermons. The Brentano String Quartet,