美国论文网：海顿后期作品的风格变化
海顿后期作品的风格也发生了变化。在海顿作品的最后一个乐章62号交响曲中有一个错误的开头，这是音乐的特点。这在早期弦乐四重奏中是看不到的。海顿的作品中有更多的自由和稳定。在巴赫早期的作品中，有一段关于假键的讨论，在听众的脑海中引起了共鸣。但海顿作品的D大调(Rosen 117)更具有稳定性和调性。在后来的作品中，海顿有一个错误的调性开场值得特别提及。D大调转向B小调的作品的逻辑在海顿的作品中更加引人注目。海顿的“伪调性”开场在后来的作品中值得特别提及。
美国论文网：海顿后期作品的风格变化
海顿后期作品的非典型性音乐创作具有层次性。在后来的作品中，音乐元素被发现是完全不同的。在Haydn (Rosen 119)的作品中观察到一种集中强化。海顿的作品有一个更戏剧性的焦点，人们发现在后来的四重奏中，这是为了颂扬这位作曲家的怪癖。作品之间存在着一种动态的能量形式。海顿简洁的基本思想在作品中得到了进一步的强化。
美国论文网：海顿后期作品的风格变化
There is also the change in the style that has been used by Haydn the later works. In the last movement of the Haydn works in Symphony number 62 there is a false opening that is characterized in the music. This was not seen in the early string quartet. There is more freedom and stability that has been observed in the works of Haydn. In the earlier works of Bach there is discussion of the false key that resonates in the minds of the audience. But there is more stability and tonality that is observed in the D major tonal of the works of Haydn (Rosen 117). Towards the later works there is a false tonal opening of Haydn that deserves a special mention. The logic of the works where the D major shifts towards the B minor is more compelling in the works of Haydn. The “false tonal” opening of Haydn deserves a special mention in the later works.
美国论文网：海顿后期作品的风格变化
There were layers to the atypical musical composition of Haydn in the later works. The musical elements were found to be radically different in the later works.There is a concentrated intensified that has been observed in the works of Haydn (Rosen 119). The works of Haydn had a more dramatic focus that was found to celebrate the eccentricity of the composer in the later quartet. There was a dynamic form of energy that existed between the works. The terse fundamental ideas of Haydn are more intensified in the works.
