When the French critic Bernard Germain Lacépède identified minor harmony with inner pain, restlessness and torment (La poétique de la musique, 1785), he was recognizing what had evolved as a lopsided dichotomy within the tonal system: rather than viewing major and minor as equivalent, mutually defining opposites, later eighteenth-century musicians often viewed the latter as a site of disturbing associations and thus potentially problematic as the foundation for large-scale instrumental compositions. Against this backdrop, it is notable that Haydn ended most of his later minor-key works in major, and in the finales of his quartets Op. 76 Nos 1–3 he exploits modal reversal as a special theme by having each begin in minor before undergoing an artfully contrived switch to major. Because the tonality of two of these quartets was major to begin with, Nos 1 in G and 3 in C, this entailed a double reversal: from major to minor as the finale began, from minor to major at a crucial moment prior to the end. The finale of Op. 76 No.1 surpasses the others of this group in tonal range, intricate play of symmetries and palpable connections to its preceding movements. Crowning it is a coda that turns the movement’s stark opening unison into a cheerful rustic tune. Thus opening theme and coda, although diametrically opposed in topic and imagery, are heard to share the same underlying identity. The result may be read as a vividly evoked musical subject whose vicissitudes trace a path from darkness to light, from turmoil and confusion to a state of pastoral joy and contentment.