Continuous Exposition and Tonal Structure in Three Late Haydn Works

This study examines the interaction between voice-leading structure and formal organization in three late Haydn expositions (Symphony No. 96, I; String Quartet op. 74/3, I; and String Quartet op. 76/2, I). It suggests that these are not divided by a strong formal punctuation into two parts—the first and the second groups—of which the latter begins with the arrival of the secondary background Stufe, V or III. Rather, the works postpone the arrival of this harmony toward the end of the expositions, so that the form is better described as continuous than as two-part. Examination of works by Mozart and Beethoven shows, however, many additional subtleties that inhibit strict generalizations.