Analysis of the pieces which Haydn explicitly called “rondos” immediately reveals some interesting features. In the first place, he used the term for only a very few compositions, and in most of these the features most often associated with a rondo are not clearly distinguishable. On the contrary, one encounters some quite uncharacteristic features, such as the recurrence of unvaried melodic configurations and the use of procedural harmonic structures. Although the former feature clashes with the idea of a rondo based on contrasting themes, it can at least be identified with a familiar compositional approach, whereas the second is much more problematic. At first sight it appears to be totally original, without any historical precedent, but on closer consideration it actually relates Haydn’s rondos to others by composers working in the Italian tradition such as Giustini, Rutini and Paisiello.