It wasn’t until Beethoven that the piano sonata became a vehicle for the display of virtuosity and public display. The many sonatas composed by Haydn and Mozart, as well as other 18th century composers, were usually intended as instructional material for their pupils. However, this was not always the case. In 1780, Haydn composed the Sonata in D major for the Auenbrugger sisters, Caterina and Marianna. Both were exceptional pianists, which Haydn thought ranked among Europe’s finest.
The opening movement, a cheery Allegro con brio, begins with a lighthearted tune in the key of D major. The following second theme in the dominant key is no less jocular and the whole of the movement abounds in good-humored fun. Even when it seems that a more serious tone may take over, such as towards the end of the exposition with a turn towards A minor or during the more contrapuntal texture of the development, it is easy to imagine that Haydn is only indulging in a harmless joke.
A serious tone is adopted during the Largo middle movement. Moving to the key of the tonic minor, it opens with an ominous full-voiced D minor chord. A lyrical fantasia-like melody then unfolds over a contrapuntal landscape. Encompassed on both sides by two lively movements, one can wonder if in this briefly tragic movement Haydn, like Beethoven on so many occasions, was either “seriously joking” or “jokingly serious.”
Closing softly on the dominant chord, the Largo passes directly into the Presto finale. Taut and trim, it is hardly possible to find a more perfect example of the Classical rondo. Two episodes separate the statements of the rondo’s principal melody. The first returns to the key of D minor but there is no mistake that here all is unabashed fun. The second episode, sticking to the major mode, becomes even livelier with the added frills of brilliant sixteenth note figures. A final statement of the rondo theme, this time greatly embellished, closes the movement and brings the sonata to an exciting end. Joseph DuBose
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Sonata in D Major Hob. XVI:37 Franz Joseph Haydn
Allegro con brio Largo e sostenuto Finale. Presto ma non troppo
Classical Music | Piano Music
Franz Joseph Haydn
Sonata in D Major Hob. XVI:37 Play
Recorded on 01/01/2007, uploaded on 09/10/2010
Musician's or Publisher's Notes
It wasn’t until Beethoven that the piano sonata became a vehicle for the display of virtuosity and public display. The many sonatas composed by Haydn and Mozart, as well as other 18th century composers, were usually intended as instructional material for their pupils. However, this was not always the case. In 1780, Haydn composed the Sonata in D major for the Auenbrugger sisters, Caterina and Marianna. Both were exceptional pianists, which Haydn thought ranked among Europe’s finest.
The opening movement, a cheery Allegro con brio, begins with a lighthearted tune in the key of D major. The following second theme in the dominant key is no less jocular and the whole of the movement abounds in good-humored fun. Even when it seems that a more serious tone may take over, such as towards the end of the exposition with a turn towards A minor or during the more contrapuntal texture of the development, it is easy to imagine that Haydn is only indulging in a harmless joke.
A serious tone is adopted during the Largo middle movement. Moving to the key of the tonic minor, it opens with an ominous full-voiced D minor chord. A lyrical fantasia-like melody then unfolds over a contrapuntal landscape. Encompassed on both sides by two lively movements, one can wonder if in this briefly tragic movement Haydn, like Beethoven on so many occasions, was either “seriously joking” or “jokingly serious.”
Closing softly on the dominant chord, the Largo passes directly into the Presto finale. Taut and trim, it is hardly possible to find a more perfect example of the Classical rondo. Two episodes separate the statements of the rondo’s principal melody. The first returns to the key of D minor but there is no mistake that here all is unabashed fun. The second episode, sticking to the major mode, becomes even livelier with the added frills of brilliant sixteenth note figures. A final statement of the rondo theme, this time greatly embellished, closes the movement and brings the sonata to an exciting end. Joseph DuBose
________________________________________________
Sonata in D Major Hob. XVI:37 Franz Joseph Haydn
Allegro con brio
Largo e sostenuto
Finale. Presto ma non troppo
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Sonata in A-flat Major, Hob XVI: 46
Sonata in A Major Hob. XVI:30
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