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Discussion On The Unusual Form Of the Finale Of Haydns Op54 no2 The three String Quartets that make up Haydns Op54 were probably written for the virtuoso violonist Johann Tost and are therefore widely known as the Tost Quartets A feature common to all three of the quartets is the difficult writing of the first violin part A specific debate of concern arises when we look at the finale of the C Major Quartet No 2 of Op54 It appears to be unusual in all senses it closes and opens with an adagio which still can be heard as an introduction at the beginning has a very curious key change scheme and leads the listener through a hard-to-predict series of events metrically as well as key-wise scattered grand pauses and fermatas appear as connectors in the sub-movements However it still serves in its unique way of formal construction towards a successful or a satisfying conclusion of the quartet Or does it The purpose of the discussion in this paper is to 1 shed a light on the relationship between the first second and third movements and the finale through a formal examination of the movement and explain how relevant a closer it is for the whole quartet 2 give an objective account of the typical finales we have encountered in the course so far and compare and contrast the expectations from a Haydn finale with what we are presented with in Op54 3 provide a subjective view of how this atypical conclusion cancannot work from a modern listeners perspective General Form and Characteristics Relating to Finale Specifically as the third of the seven great Quartets that Haydn wrote in the key of C this quartet follows a quite unique route following a regular sonata form first movement it has a slow second movement an adagio-fantasy in C minor with improvisatory allusions and passages which connects directly to the
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