Keyboard Sonata in D major,
Hob.XVI:37 - Franz Joseph Haydn
Haydn – (1732-1809)
Haydn was employed by the powerful Austrian Esterházy family
beginning in the year, and continued to serve them (in different capacities)
for the rest of his life. In 1779, his contract with Esterházys
was re-negotiated, allowing him to write & sell his compositions works to
others outside the family. After this time, he began publishing some of his
works through a Viennese publisher, Artaria. This sonata was published in a set
of 6 piano sonatas in 1780.
A)
This piece was dedicated to the Viennese
pianists, Katerina and Marianna von Auenbrugger, and the publication was
eventually widespread in Germany. Piano sonatas during this time were not
widely popular for “displaying virtuoso” in performance, however, and were thus
performed privately.
B)
During the Classical period, sonatas were
typically 3-4 movements long. The harpsichord was replaced by the piano during
this period, and sonatas for this and other solo instruments were written
mainly for private amateurs. In three movement sonatas like this one, the first
movement was typically fast and in sonata form, the second slow, and the third fast.
Haydn’s piano sonata follows this model: the first movement is allegro con brio, the second largo e sostenuto, and the third presto
ma non troppo.
C)
Movement I of this sonata is in typical sonata
form, Theme 1 beginning in D, modulating to A in the bridge, and repeating the
A section (almost verbatim) in D in the recapitulation. Movement II is in the
parallel minor, d, and is extremely short. Second movements were commonly in
variation form, and Haydn employs this technique to contrast the lyrical second
movement with the lively final movement. This final movement is in classic
rondo form (A B A C A), beginning and ending back in D Major, with a brief
modulation to G in the middle. Haydn’s sonata perfectly follows the standard
forms of the Classical period.
D)
Aside from its Classical form, the sonata also
follows the Classical style. Throughout this sonata, the melody remains simple,
clear, and easy to follow. The melody is complimented with slow moving and
transparent harmonies with balanced phrases and a number of cadences. The brief lyrical contrast of the second
movement even reflects the intellectual Enlightenment ideas, where the
emotional expression is conveyed in a brief and controlled manner. The lively
and comedic themes of the first and third movements also reflect the opera buffa “humor” that dominated the
operatic style of this time.
Sources:
Out of Time: Music and the Making of Modernity by
Julian Johnson
This is such a nice little piece! I like how you found the connection to opera buffa in it; I don't think I would have thought about that.
ReplyDeleteI love your analysis of this piece and how each bit can be pinpointed to relevant parts of the classical genre. If I recall correctly youve preformed this piece... Do you think the detailed research helped in the understanding and musical interpretation of this piece?
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