Ludwig van Beethoven's String Quartet No. 10 in E-flat major, Op. 74, was written in 1809 and is nicknamed the "Harp" quartet. The nickname "Harp" refers to the characteristic pizzicato sections in the allegro of the first movement, where pairs of members of the quartet alternate notes in an arpeggio, reminiscent of the plucking of a harp. Like many nicknames for Beethoven's works, this was created by the publisher. Movements 1. Poco adagio – Allegro The first movement is in sonata form. Slow introduction – Poco adagio (mm. 1–24) Exposition – Allegro (mm. 25–77) 1st tonal area, E major (mm. 25–51) Pizzicati lead transition to tonal area 2 2nd tonal area, B major (mm. 52–69) Closing (mm. 70–77) Development (mm. 78–139) Recapitulation (mm. 140–205) Coda (mm. 206–262) The first movement starts with a tranquil introduction, marked Poco Adagio. This is followed by the resolute main theme, accompanied by the pizzicato motives which lend the quartet its name. The rather tightly-knit exposition is followed by a five-part development in C major, characterized by the main theme and the pizzicati, which refrains from variations. The development of the theme material is also missing in the recapitulation, although this is 12 bars longer than the exposition. The movement ends with the coda, dominated by first violin semiquavers and pizzicati, which, also without theme development, contains a virtuoso 25-bar violin cadenza and, at 59 bars, is the longest coda in Beethoven's first ten quartets. The first movement is the only movement in this quartet that is in sonata form. The only other such Beethoven quartet is the String Quartet No. 14 in C-sharp minor, Op. 131 (there in the final movement). According to musicologist Peter Schleuning, the violin solo in the coda with its broken chords is inspired by the final movement in Johann Sebastian Bach's Brandenburg Concerto No. 4. 2. Adagio ma non troppo The second movement is in rondo form, and is characterized by soft modulations and surprising chord turns. The movement contains three 23-bar sections each dealing with the main theme; these sections alternate with two interludes. A cantilena pervades the movement, which is varied three times. In the last variation, the pizzicati of the first movement resound through. 3. Presto The third movement is a scherzo. Scherzo, C minor (mm. 1–76) Trio, C major (mm. 77–169) Scherzo (mm. 170–245) Trio (mm. 246–338) Scherzo (mm. 339–467) The five-part third movement is