Seven of the Most Popular String Quartet Videos on YouTube

 by Emily E. Hogstad  April 13th, 2026

Have you ever wondered what the most popular string quartets are?

There’s no easy objective way to answer that question, but one way to try is by looking at which YouTube videos of string quartet performances have garnered the most views over the past twenty years of YouTube’s existence.

We searched for string quartets, sorted by most viewed, and here’s what we found.

But first, a few caveats…

• If a video only consisted of audio with a static image or a score, we didn’t count it. We wanted to focus on video performances today, not audio.
• We didn’t count electric violin repertoire; we stuck with acoustic instruments.
• We also didn’t count pop music rearranged for string quartet. The arrangements of pop songs that are played on Bridgerton are great fun, but today we wanted to focus on traditional repertoire.

So with all that said, here in reverse countdown order are seven of the most popular string quartet videos on YouTube, as of early 2026.

We promise you, there are some surprises.

7. Ravel String Quartet  

Ravel was just 28 years old when he wrote his impeccably crafted string quartet.

The second movement is a fiery scherzo featuring bursts of pizzicato fireworks. (That’s the movement featured in this particular video.)

Maurice Ravel in 1925

Its fascinating colour and texture also foreshadow how Ravel’s genius for orchestration would develop over the course of his career.

The quartet was not an immediate success at its premiere. Critics were lukewarm, noting the debt it owed to Claude Debussy’s string quartet from ten years earlier, and fretting about its “vagueness of significance, incoherence, and weird harmonic eccentricities.”

However, it kept being programmed and played, and today it is widely considered one of the great string quartets of the twentieth century.

According to the YouTube heat map, the most popular part of this video is the first few seconds. That’s understandable, since the opening contains that unforgettable plucky theme.

6. Schubert String Quartet No. 14   

In 1824, Franz Schubert was 27 years old and staring down the barrel of his own mortality. Two years earlier, he had contracted syphilis, and the illness was haunting his thoughts and music.

One of the pieces born out of his anxiety was “Death and the Maiden” quartet, one of the most searing works in the entire chamber repertoire.

Franz Schubert

The quartet’s dramatic nickname comes from the second movement, where Schubert transforms the melody of his earlier song “Der Tod und das Mädchen” (Death and the Maiden) into a set of variations.

The outer movements rage with a stormy intensity, while the slow movement contains one of the most moving meditations on death in all of classical music.

The quartet was put away for two years after it was written. Its premiere was at a private home in 1826. It wasn’t published until after Schubert died. It wasn’t composed for money or fame; it was composed simply because Schubert had to express himself.

Today, it resonates with listeners for its blend of despair and defiance.

5. Stockhausen “Helicopter String Quartet”   

Yes, this is exactly what it sounds like: a piece written for string quartet being played in four helicopters.

Karlheinz Stockhausen was one of the most polarising composers of the twentieth century, and works like his Helicopter String Quartet are why.

Karlheinz Stockhausen

Conceived in 1993 as part of his epic seven-opera cycle Licht, the piece consists of four string quartet members performing in four separate helicopters. They listen to each other via headphones, and the piece is mixed for the audience, who watch live from an auditorium.

Stockhausen dreamed of making the tremolo sounds resemble the whirring of the blades.

As you can imagine, the piece is incredibly expensive to mount. It is also objectively unhinged.

However, that quality clearly makes it perfect for a YouTube video. It really is one of those things that you have to see to believe.

4. Glass String Quartet No. 3, “Mishima”  

Philip Glass is one of the most famous living composers. His calling card is his propulsive minimalist style.

His third string quartet began life as music for Paul Schrader’s 1985 film Mishima: A Life in Four Chapters, a biopic of the Japanese author Yukio Mishima.

Philip Glass

Glass arranged six movements from the film score into a quartet, each movement brief and tightly structured.

The music alternates between shimmering stillness and driving pulse.

Although the music is (by design) repetitive, it’s also deeply, strangely touching.

Interestingly, according to the YouTube heat map of where people have rewound to, there is no spike anywhere. Listeners take the movement in as a whole.

3. Beethoven String Quartet Op. 59, No.1, “Razumovsky”   

When Count Andrey Razumovsky, the Russian ambassador to Vienna, commissioned Beethoven to write a set of string quartets in 1806, he couldn’t have begun to imagine the impact the works would have on the history of chamber music.

Beethoven’s three Razumovsky quartets pushed the boundaries of the genteel attitude toward quartets set by Haydn and Mozart, paving the way for the Romantic Era by creating music that was symphonic in both scale and emotional impact.

Christian Honeman: Ludwig van Beethoven, 1803 (Beethovenhaus Bonn)

The first of the set, Op. 59 No. 1, is a massive emotional journey. Like the others in the set, it is so large and so complicated that it takes professional musicians to play (or very talented, devoted amateurs with lots and lots of rehearsal time).

Early audiences were baffled by what they heard. Violinist Ignaz Schuppanzigh’s quartet, who premiered the quartets, reportedly struggled to get the works under their fingers.

According to legend, when he heard about Schuppanzigh’s complaints, Beethoven reportedly said, “Does he really believe that I think about his silly fiddle when the muse strikes me to compose?”

That defiant spirit clearly still speaks to modern audiences.

2. Haydn String Quartet No. 62; Op. 76, No. 3, “Emperor”   

Joseph Haydn is called the “father of the string quartet” for a reason: he wrote some of the first string quartets, and over the course of his career, composed nearly seventy of them.

The Op. 76, No. 3 in C major, nicknamed the “Emperor”, is number 62. It contains one of the most famous examples of theme and variations in classical music history.

Thomas Hardy: Franz Joseph Haydn, ca. 1791 (London: Royal College of Music Museum of Instruments)

The second movement presents a noble hymnlike melody, with each instrument taking turns “singing” the theme.

Haydn originally wrote it as an anthem in tribute to the Austrian Emperor Francis II. It later became the German national anthem, Deutschlandlied.

The music’s cultural impact, as well as its sheer beauty and importance in the history of the development of the genre, helps explain why it’s at number two on this list.

However, only one work can top the list, and if you’re a classical musician, you knew in your bones this was coming…

1. Pachelbel Canon   

The runaway champion of “the most popular string quartet” on YouTube is Johann Pachelbel’s Canon in D.

That said, we acknowledge we’re stretching the definition of string quartet here a bit, since the Pachelbel was written for three violins and basso continuo instead of the modern instrumentation of two violins, viola, and cello.

So if you’re one of the classical musicians who break out in hives when listening to Pachelbel’s Canon, feel free to pretend that Haydn won the countdown!

Johann Pachelbel

The story of this work is wild. It was written in the late seventeenth century, then languished in obscurity for over two hundred years.

It was rediscovered in the early twentieth century and published in 1919, but it only became a staple of the repertoire after a couple of recordings went viral in the late 1960s. People heard it on the radio and lined up outside record shops to buy copies.

The Canon quickly became a staple at weddings and on soundtracks, and although many classical musicians feel it’s overplayed, its popularity simply cannot be denied.

Conclusion

From Pachelbel’s Baroque ground bass to Stockhausen’s midair experiments, the string quartet has proven itself to be endlessly adaptable over centuries.

Taken together, these pieces, written over the course of three hundred years, have attracted millions and millions of YouTube views.

Despite all the handwringing about the future of classical music, the popularity of these performances proves that there will always be something special about what happens when a string quartet sits down to play.

Haydn: Symphony No. 94 in G major “Surprise”

Wake up! It's the symphony “with the kettledrum stroke”. Joseph Haydn’s Symphony No. 94 in G major “Surprise” is probably his most famous symphony. Here, it is performed by the Lucerne Festival Orchestra under the direction of Andris Nelsons. The concert took place on 19 August 2015 at the Lucerne Culture and Congress Centre. (00:00) I. Adagio cantabile – Vivace assai (08:55) II. Andante (15:32) III. Menuetto: Allegro molto (20:30) IV. Finale: Allegro molto Joseph Haydn (1732 - 1809) composed the Symphony No. 94 in G major, Hob. I:94 “Surprise” in 1791 during his first visit to London. The premiere took place on March 23, 1792, in the Hanover Square Rooms and was an enormous success. Haydn himself conducted, leading the orchestra from the fortepiano. The “Surprise Symphony” is the second of Haydn’s twelve London Symphonies and a model of the classical four-movement symphony. Its nickname derives from the famous moment at the beginning of the second movement (09:31), when, after 15 measures of a gentle melody, a sudden fortissimo chord with timpani stroke bursts forth. Legend has it that Haydn wanted to wake up dozing London concertgoers with this jolt. More likely, however, he had another aim in mind. As he told his biographer Georg August Griesinger: “I was interested in surprising the public with something new.” The English gave the work the nickname “Surprise,” which captures the effect of this fortissimo chord more vividly than the German title “Symphonie mit dem Paukenschlag” (Symphony with the kettledrum stroke). The shock in the second movement can easily overshadow the other qualities of the symphony, yet all four movements are masterfully crafted. The first movement, with its dance-like character, shifts gracefully between forte and piano and develops its two themes with elegance. The second movement delights with contrasting variations on a childlike tune. The third movement is deliberately simple—almost rustic—reminiscent of an Alpine Ländler. The finale recaptures the playfulness and drive of the opening movement and brings the work to a brilliant conclusion. Born in Austria, Joseph Haydn played a decisive role in the history of the symphony. He wrote his first for Count Morzin of Bohemia, though he served him only briefly. In 1761 he became Kapellmeister to the Esterházy court in Hungary, where he composed numerous symphonies for its small orchestra. By the end of the 1760s Haydn had already written more than 40 symphonies, with another 25 following in the 1770s. By the 1780s he had reached full artistic maturity, and his works were performed throughout Europe—and even, by 1782, in America. In his final creative period, encompassing the twelve so-called London Symphonies, Haydn’s mastery is most evident. He traveled to England for the first time in 1791 and enjoyed great success with his Symphonies Nos. 93–98. London boasted one of the finest orchestras of the day, offering Haydn—long accustomed to the modest resources of the Esterházy court—new possibilities that deeply influenced his writing. He composed the second set of London Symphonies (Nos. 99–104) during his second visit (1794–95). Even today, Symphony No. 94 conveys the poise, elegance, and spirit of invention that characterize Haydn’s late style.

Joseph Haydn: 10 Most Ingenious String Quartets

 by Hermione Lai

 

The 68 string quartets by Joseph Haydn revolutionised chamber music and earned him the title “Father of the String Quartet.” Haydn transformed the genre from polite parlour tunes into a dynamic conversation among four instruments.

Joseph Haydn

Written primarily between the 1750s and 1790s, these works showcase his ingenuity, featuring sparkling melodies, intricate counterpoint and really clever structural surprises.

Drawing from Haydn’s extensive catalogue is no easy task, but we’ve selected 10 of Haydn’s most ingenious string quartets. That selection is based on their musical inventiveness, historical significance, and influence on subsequent generations of composers.

So let’s get started with his Op. 20 set of string quartets, representing Haydn’s early experiments that defined the conversational nature of the genre.

String Quartet in D Major, Op. 20, No. 4, Hob. III:34 (1772)

The six “Sun” quartets of 1772 shook up the classical music world in 1772. Haydn was in his late 30s and working for the Esterházy family. The Op. 20 quartets came at a time when Haydn was pushing boundaries, blending the elegance of the gallant style with the emotional depth of the “Sturm und Drang” literary movement.

Op. 20 No. 4 was written for four skilled players, so Haydn could be adventurous. He treated all four instruments, two violins, viola, and cello, like equal partners. This was pretty radical as the first violin would normally hog the spotlight.

This quartet is not a solo act, but a conversation. It’s funny, tender, and clever all at once. It’s like friends jamming together, trading ideas and laughs. This quartet is the perfect entry point in the wonderful and human world of Joseph Haydn.  

String Quartet in F Minor, Op. 20, No. 5, Hob. III:35 (1772)

Compared to the sunny D-Major quartet, the Op. 20 No. 5 in F minor has a darker and more introspective character. It reflects the “storm and stress” trend at the time, putting a premium on dramatic and emotional intensity.

The opening movement is especially intense, unfolding from a brooding theme through a number of intricate motivic developments. There is plenty of lyrical melancholy in the slow movement, and just listen to the double fugue in the finale. After all, Haydn was a master of counterpoint.

This timeless gem is so emotionally rich. It is a musical journey through tension, calm, and eventual revolution. And you certainly need expert musicians to bring out the raw energy and nuance, mixing depth and accessibility. 

String Quartet in E-flat Major, Op. 33, No. 2, Hob. III:38, “Joke” (1781)

The Opus 20 quartets turned Haydn into a superstar in the musical world. One decade later, he further refined the genre with more polish and playfulness in his Op. 33 set. As Haydn himself said, these works were written in “a new and special way.”

The Op. 33 are often called the “Russian” quartets, because they are dedicated to the Grand Duke Paul of Russia. Some scholars theorise that these quartets might have been the inspiration for the six Mozart string quartets dedicated to Haydn.

The most famous of the set earned the nickname “Joke” because of the mischievous ending of the Finale. However, the entire quartet is packed with Haydn’s trademark humour and surprises. It is light-hearted yet sophisticated, showcasing the composer’s ability to make complex music feel effortless. Just goes to show that classical music does not have to be deadly serious.   

String Quartet in G Major, Op. 33, No. 5, Hob. III:41 (1781)

Another gem from the Op. 33 set is the quartet No. 5 in G Major. It sometimes carries the nickname “How Do You Do?” for its quirky and conversational opening. This quartet presents a perfect blend of elegance, wit, and warmth.

Haydn called the Op. 33 “new and special,” likely because of their polished structure, lyrical themes, and the equal roles for all four instruments. Each movement has its own character, from the musical handshake of the opening to the warm and lyrical slow movement. The Scherzo is a lively dance with a rustic edge, and the Finale is a set of variations on a simple and catchy tune with folk-song character.

Op. 33 No. 5 is a crowd pleaser because of its sunny glow, catchy themes, and some subtle humour. It’s a perfect blend of sophistication and fun, full of infectious energy and momentum.  

String Quartet in D Major, Op. 64, No. 5, Hob. III:63, “The Lark” (1790)

Nicknamed “The Lark” for its soaring and birdlike melody in the opening movement, the string quartet Op. 64, No. 5 represents a polished example of Haydn’s ability to blend the emotional depth of his earlier works with a polished and accessible style that greatly appealed to audiences.

This quartet is less experimental than his Op. 20 but more refined than Op. 33, showcasing Haydn’s mastery of balance. We find catchy tunes, a tight structure, and it’s a performer’s delight and a listener’s joy.

Each movement has its own personality, from the chatting bird in the opening to a slow movement of pure warmth. The minuet has a playful spin, and the high-energy Finale is like a musical game of hot potato. It certainly sparkles with clarity and charm.     

String Quartet in D Minor, Op. 76, No. 2, Hob. III:76, “Fifths” (1797)

The six quartets of Op. 76 are ambitious late works with advanced forms and thematic unity. Composed in 1797, they are among Haydn’s final and most celebrated contributions to the genre.

At the age of 65, Haydn was a global superstar, having returned from his triumphant tours to London. This trip had given him new ideas, and he now blended technical brilliance, emotional depth, and a highly polished style that appealed to both players and audiences. And the Op. 76 No. 2 is a masterpiece, bold, emotional, and packed with Haydn’s wit and wisdom.

Nicknamed “Fifths” for the stark and descending fifth motif in the opening movement, the work opens with a tense and conversational energy. The warm D Major in the slow movement provides a lyrical and playful breather, but the Menuetto is back in the minor key. Sometimes it is nicknamed the “Witches Minuet.” The Finale is a whirlwind based on a fiery, folk-inspired theme.

String Quartet in C Major, Op. 76, No. 3, Hob. III:77, “Emperor” (1797)

Nicknamed “Emperor” for its majestic second movement, Op. 76 No. 3 is one of Haydn’s finest works in the genre. It is a masterpiece of balance, juggling grand, lyrical and humorous elements in a clear and approachable style.

The “Emperor” nickname comes from the second movement, a set of variations on Haydn’s anthem “God Save Emperor Francis,” composed in 1797 as a patriotic response to Napoleon’s rise. The simple and noble melody undergoes four variations that transform the theme while keeping its dignity completely intact.

The opening movement is a burst of energy, sounding a bold and fanfare-like theme in the first violin. And just listen to the sudden pauses, harmonic twists, and playful interplay between all four instruments. The minuet has a rustic edge while the Finale is once more a high-octane affair. 

String Quartet in B-flat Major, Op. 76, No. 4, Hob. III:78, “Sunrise” (1797)

Another gem in the Op. 76 set is the string quartet in B-flat Major, No. 4. It earned the nickname “Sunrise” from the opening of the first movement. A soaring violin melody rises over a gentle accompaniment, resembling the sun peeking over the horizon.

It is a magical moment that sets a joyful tone. The mood quickly turns playful with a bouncy second theme and lively interplay between the four instruments. The slow movement, in turn, is a soulful gem, with a tender and hymn-like melody that is almost orchestral in texture. Intimate and heartfelt, it provides a moment of quiet reflection.

The minuet is again a rustic dance with Haydn adding quirky offbeat accents and dynamic shifts to keep it cheeky. What a charming mix of elegance and earthiness. And then there is the infectious rhythm of the rollicking Finale. Op. 76 No. 4 is a work of sheer beauty and charm, blending accessibility with sophistication.   

String Quartet in D Major, Op. 76, No. 5, Hob. III:79 (1797)

Op. 76, No. 5 in D Major is a radiant and lyrical work that is often considered among Haydn’s finest string quartets. Known for its serene and songlike qualities, this quartet does not have a catchy nickname, but its warmth and elegance make it a standout.

It is a gem for its lyrical and balanced structure, and certainly more introspective and serene. The sunny D Major feels like a warm embrace, and Haydn once again blends sophistication with charm and vibrant energy.

The heart of this quartet is the deeply expressive slow movement scored in the unusual key of F-sharp Major. Sounding a unique and glowing warmth, the melody is soulful and expansive, with a touch of melancholy. It’s like a private confession, both tender and profound. On account of this movement, some commentators have called it the “Graveyard Quartet.”   

String Quartet in G Major, Op. 77, No. 1, Hob. III:81 (1799)

Haydn playing a string quartet

Let us conclude this blog on the 10 most ingenious string quartets by Joseph Haydn by featuring his Op. 77, No. 1. It represents a vibrant and polished work that sounds the culmination of Haydn’s quartet writing.

This work was among his final contributions to the genre he helped to perfect. This quartet is the culmination of his craft, blending the emotional depth of his late style, the polish of his London visits, and his lifelong love of surprise and interplay.

The opening movement presents a flowing theme in the first violin contrasted by a dance-like second theme. The slow movement is a lyrical gem, and the minuet is full of musical mischief. The folk-inspired theme of the Finale is passed among the quartet like a musical relay, and the high-spirited finish simply makes us smile.

Joseph Haydn mastered the string quartet genre by transforming it into a dynamic and conversational form where all four instruments share equal roles. From the Op. 20 to the Op. 77, he blends structural brilliance with emotional depth and incredible humour. Haydn set the standard for the quartets of Mozart, Beethoven, and beyond.

"Una joya del piano clásico" - Haydn Piano Concerto No. 11 | Andrea Bayo...

Entrada. 00:00 I. Vivace 00:45 II. Un poco adagio 09:05 III. Allegro Assai 16:10

Impressing London: Haydn’s Symphony No. 100

by Maureen Buja, Interlude

Joseph Haydn (1732–1809), largely released from duties with the Esterhazy family after the death of Prince Nikolaus in 1790, was free to make his second visit to London in 1794.

Thomas Hardy: Haydn, 1791 (London: Royal College of Music)

He had been commissioned by Johann Peter Salomon to write 6 new symphonies for the start of Salomon’s new subscription season. Haydn had met Salomon when the impresario met him in Vienna and succeeded in getting him to travel to England, first in 1791—1792 and then in 1794–1795. The acquaintance suited both – Haydn needed the exposure, and Salomon needed material for his concerts. For Salomon and London, Haydn wrote 12 symphonies (Nos. 93 to 104), first known as the Salomon Symphonies and now as the London Symphonies.

Thomas Hardy: Johann Peter Salomon, ca 792 (London: Royal College of Music)

Symphony No. 100 in G major was played on 31 March 1794 in the Hanover Square Rooms, i.e., in the heart of fashionable London. The original title for the work was the Grand Military Overture, due to the use of kettledrums and other percussion in the second movement. The end of the last movement sees the reappearance of the kettledrums and military percussion, tying the work together.

The final movement is a rondo, and the recurring main theme became widely popular in England, where it would appear as a dance theme in ballrooms around the country, anxious to reflect what was happening in London.

This recording was made in 1960, with Bernhard Paumgartner leading the Camerata Academica of the Salzburg Mozarteum.

Bernhard Paumgartner

Bernhard Paumgartner (1887–1971) was a leading Austrian composer, conductor, and musicologist. He taught at the Mozarteum in Salzburg, where he was Herbert von Karajan’s composition teacher and brought out his conducting skills. He was an important musical focus for the city, being one of the founders of the Salzburg Festival.

The Mozarteum Orchestra Salzburg has a very direct connection with the Mozart family – it was founded in 1841 with the help of Wolfgang’s widow Constanze and his sons, Franz Xaver and Karl Thomas, as part of the Cathedral Music Association and Mozarteum that Constanze was promoting. The orchestra was named the Mozarteum Orchestra in 1908.

Performed by

Bernhard Paumgartner
Camerata Academica du Mozarteum de Salzbourg

Recorded in 1960

Official Website

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F.J. Haydn: Symphony nº 101, "The Clock" - Egarr - Sinfónica de Galicia

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He composed 104 symphonies, as well as an oratorio which chronicles the creation of the entire world! This is the life and works of Franz Joseph Haydn, including his early, middle, and late symphonies as well as a dive into his Creation Oratorio. 🎁 FREE Accelerate your ear training, sight reading, and musicianship skills with this free mini-course: https://www.insidethescore.com/fast-t... Your journey towards musical mastery begins here... 🛤️ 🎻 Where to Start with Classical Music? - https://www.insidethescore.com/14-pieces 🎼 The Training Ground for Next-Level Musicianship - https://www.insidethescore.com/musica... 🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - https://www.insidethescore.com/composer 💖 Support this Channel - https://www.patreon.com/insidethescore 💬 Join the Discord - https://discord.gg/HSZYJXD5Cj Script by Ricardo Santos Narrated by Oscar Osicki

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2,917,784 views Jun 12, 2012

Franz Joseph Haydn (1732-1809) Symphony No. 45 in F-sharp minor "Farewell", Hob. I:45 (1772) 00:00 - Allegro assai 07:08 - Adagio 21:36 - Menuet: Allegretto; Trio 26:22 - Finale: Presto; Adagio Performed by Charles Mackerras and the Orchestra of St. Luke's (Telarc: 1989).