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Haydn: Sonata in D (Hob - XVI: 37) "Allegro Con Brio"

This sonata was written by Haydn around 1778-1779 and was dedicated to two acclaimed Viennese pianists, Katerina and Mariana von Auenbrugger, who seem to have influenced the piece. The sonata is in sonata form and consists of an exposition introducing the first theme in D Major, a development section featuring the theme in the left hand, and a recapitulation repeating the exposition. This piece shows Haydn moving away from the "Sturm und Drang" style influenced by C.P.E. Bach toward a more original style as he spent more time separated from the musical establishment in Vienna while employed by the Esterhazy family.

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CHRISTIAN HALFPENNY
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266 views2 pages

Haydn: Sonata in D (Hob - XVI: 37) "Allegro Con Brio"

This sonata was written by Haydn around 1778-1779 and was dedicated to two acclaimed Viennese pianists, Katerina and Mariana von Auenbrugger, who seem to have influenced the piece. The sonata is in sonata form and consists of an exposition introducing the first theme in D Major, a development section featuring the theme in the left hand, and a recapitulation repeating the exposition. This piece shows Haydn moving away from the "Sturm und Drang" style influenced by C.P.E. Bach toward a more original style as he spent more time separated from the musical establishment in Vienna while employed by the Esterhazy family.

Uploaded by

CHRISTIAN HALFPENNY
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Haydn: Sonata in D (Hob.

XVI: 37) Allegro con brio

This sonata is arguably one of Haydns better-known keyboard sonatas


and he began writing it around 1778 1779. When published by the
Viennese company Artaria in April of 1780 it was dedicated to two
acclaimed Viennese pianists Katerina and Mariana von Auenbrugger.
Interestingly it seems as though these sisters would have had some
influence over the piece, as in a letter between Haydn and Artaria (25 th of
February 1780) regarding the return of the corrected proofs, he wrote:
[their] approval is most important to me, for their way of playing and
genuine insight into music equals those of the greatest masters. The fact
that these sonatas are dedicated to already talented pianists shows a
difference in purpose for these pieces, as they were usually intended to
teach. This also illustrates the symbiotic relationship between the 18 th
century composer and the performer.

The piece is in sonata form, and therefore consists of an; Exposition,


which introduces the first episode in D Major, before then restating it in
the dominant key. The use of Alberti bass figures in this section shows a
move away from C.P.E Bachs style, which Haydn had tirelessly studied.
As the piece then moves into the development section, we see an
introduction of the theme in the left hand, which is followed by a
virtuosic section of semi-quavers. Finally, in the recapitulation we see
almost an exact repeat of the initial exposition, which is common in lots
of Haydns music.

Furthermore, this piece shows a change in his compositions when


compared to his earlier style of Sturm und Drang. Literally meaning
Storm and stress this movement occurred across the arts from the late
1760s to early 1780s, it dealt with subjectivity, emotion and free
expression and was seen as a reaction to rationalism and what is called
The Enlightenment. A chief exponent of the Sturm and Drang style of
composition was C.P.E Bach, especially in his keyboards works, which
Haydn studied. This change of style may be attributed to the fact that the
Esterhazy family, (The family that employed Haydn for much of his life)
moved their family home from Eisenstadt to their new palace at
Esterhza in Fertd Hungary some 40km away. As Haydn spent ever
more time separated from the musical establishment in Vienna, his style
was forced to evolve due to the lack of outside influence. Haydn himself
said that he was forced to become original.

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