This quartet is one of Haydn’s most original, important and seminal works containing unique innovations as well as bold explorations of new harmonic practices. The quartet opens with a virtuosic violin part, soaring to unexpected high points in its range, most probably with the famous Johann Tost in mind. In 1783, Tost was hired to lead the Esterházy orchestra’s second violin section. He became an entrepreneur, dealing profitably in handwritten copies of unpublished music, most thought to be Haydn’s from the Esterházy library. While such a practice in a pre-copyright era was not illegal, Haydn was unhappy with Tost’s unethical commerce; but eventually the two made peace.

In 1788, Tost journeyed to Paris with two of Haydn’s symphonies and six string quartets, of which this was one. Haydn entrusted the pieces to him, with the expectation that they would both profit from any deal Tost made. However, Tost had difficulty because most works were only marketable in multiples of three. He thus added a symphony by Adalbert Gyrowetz (1763-1850), to which he attached Haydn’s name. He then sold the publishing rights to these and the six quartets to Sieber, a French publishing house. The six string quartets (Opp. 54 and 55) were published in 1789 and dedicated to "dem grosshandler Tost." Haydn, however, had trouble collecting his profits. These and the next six (Op. 64), also dedicated to Tost, are now known as the Tost Quartets.

The first movement Vivace, in sonata form, opens with the violin and ends with a measure of silence, making a forceful statement. The second theme is much lighter. The hauntingly beautiful slow movement, Adagio, is unusual for Haydn. A passacaglia, with a solo violin part containing rubatos delaying the melodic line enough to produce startling cross-harmonic dissonant effects, is in a Hungarian gypsy style. The light, graceful minuet, Allegretto, follows without a pause. This delightful minuet became a special favorite of the Esterházy court, and the Prince requested that its melody be used for a mechanical clock instead of a chime. Haydn uses the minuet’s trio section as an occasion to explore harsh dissonant harmonies within a contrapuntal framework. The most inventive movement is, however, the finale, which instead of following the typical and expected structure of an Allegro, has a slow tempo. It is an extended Adagio, with a very fast middle section, Presto.

-- Kendall Briggs