Opus 33 No. 2
This quartet in
E major, nicknamed "The Joke" is numbered in variously as No. 30, Hob. III:38 and FHE No. 71. \partial 4 d8( \f es) | 4 d'8( es) | 4 b8( c) | 4 | 2 > | \oneVoice 2 d8( \f f) | as8( bes d f as c) | c8( bes as g f es) | bes4-. c-. d-. | es4 r \bar ":|." }} \layout { \context {\Score \override SpacingSpanner.common-shortest-duration = #(ly:make-moment 1/4) }} f4( ^"Vla." _\markup { \italic "dolce" } g) f8. bes16 | \appoggiatura f4 es2 \trill d4 | c4( es) d8.( c16) | c2 r4 | bes4( c) es8. g16 | \appoggiatura bes,4 a2 \trill bes8. bes'16 | \appoggiatura a16 g8 f16( es) d8( f) a,( c) | bes4 r r }} \layout { \context {\Score \override SpacingSpanner.common-shortest-duration = #(ly:make-moment 1/8) }} \partial 8 g8 \p | g4( as8) f-. g-. as-. | bes8( g) es-. es r f | f4( g8) es-. d-. c-. | bes8( a) bes-. bes r b | b4( c8) as-. g-. f | bes!8-. c-. d-. es-. f-. g | as4 r8 \acciaccatura g f( es) d-. | es4 r8 r4 \bar ":|." }} \layout { \context {\Score \override SpacingSpanner.common-shortest-duration = #(ly:make-moment 1/4) }} }}
Fourth movement The fourth movement implemented a lighter character, originating from Haydn's first shift from the
minuet to the
scherzo. It also portrayed some new features in Haydn's compositions, for example, the
Rondo form, which satisfied audiences since the form was becoming enormously popular at this time. In a letter to Artaria, Haydn boasted about his pieces by saying, they are "a new and entirely special kind". The rondo form of the final movement remains true to its definition by always returning to the tonic in the refrain.
Form The "Rondo" results in an ABACA form. Chronologically, the first
refrain (A) (mm. 1–35) beginning in E major, repeats each section, (a) and (ba), forming (). In the first episode (B) (mm. 36–71) beginning in A major, moves to F minor and finally resolves to E major at the beginning of the second refrain (A) (mm. 72–106), which is almost an exact repetition of the first refrain (aba) with the only change being the omission of the repeats. The second refrain is not only the arrival point of the
tonic, but is also the final point of
modulation for the remainder of the piece. The piece then progresses to new thematic material in the second episode (C) (mm. 107–140), but, again, does not modulate to a new key. After the new material, the final refrain (A) (mm. 141–147), should be considered A' due to the refrain material being condensed. The 'joke' referred to in the nickname is to be found at the conclusion of this movement. It begins with a
grand pause that makes the audience wonder if the piece is over. This is followed by a sudden forte sixteenth note in the beginning of the
adagio that shocks the audience. After this, the first violin plays the A
theme of the opening phrase with rests interrupting the music every two bars. The rests get progressively longer, giving the impression that the piece is over many times in a row, after which the music ends abruptly with a soft repeat of half of the movement's opening phrase, leaving the work hanging in mid-air. ==Opus 33 No. 3==