While pulling out from a PDF file the score of Haydn's String Quartet op76n2, second movement, I noticed for the first time some interesting shapes in the trio of the menuet. In the first strain a pedal tonic eventually allows a frequently repeated ^1 (D5) to rise to ^5 (m. 47) and then an octave higher (A6 in m. 49), where it stays until the cadence while an inner voice moves down from ^3 (m. 49) to ^7 (m. 52 in the second violin; arrow).
These melodic shapes in the first strain set up the possibility of a rising cadence gesture in the reprise, and so it happens here, in the most direct example I've seen in the music of Haydn. Everything points to the conclusion that Haydn was just as familiar with the ländler style as were Mozart and Beethoven at around the same time.
