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Haydn Sonata in Eminor by Ross Hamilton
Haydn Sonata in Eminor by Ross Hamilton
Haydn Sonata in Eminor by Ross Hamilton
(1732-1809)
Musical Style
Haydn was one of the founders of the Classical style, which emphasised elegance and clarity,
formal design and thematic development. His early compositions show a fusion of the Baroque
style with the popular Viennese homophonic (galant) tradition. He transformed the Symphony
from a type of light entertainment to a strong, serious, and intellectually rigourous art form,
although his characteristic wit and good humour is almost always evident. The String Quartet
and Piano Sonata also underwent a rebirth as Haydns compositional style developed.
His compositions during the 1760s tended to be more passionate and brooding than his earlier
works, often in minor keys, and this period is known as Sturm und Drang (storm and
stress). In his later works he experimented with more unusual forms and key relationships
and increased chromaticism.
Contemporaries
Austrian: Johann Albrechtsberger, Wolfgang Amadeus Mozart.
Other: Johann Christian Bach, Ludwig van Beethoven, Luigi Boccherini,
Muzio Clementi, Antonio Salieri.
Compositions
For piano: More than 50 Sonatas, several Piano Concertos, Variations, Fantasias.
Numerous other shorter works, including Minuets and other dances.
A sonata (from the Italian to sound) is a composition for one or two instruments in several
contrasting movements. Haydns sonatas usually contain three movements, in a fast-slow-fast
format. The Sonata in E minor (Hob XVI: 34) was probably written for harpsichord, and was
first published in 1784. (The Hob. number refers to the catalogue of Haydns works made by
Anthony van Hoboken; group XVI contains the piano sonatas).
Recapitulation (b.32-49) - a partial return of the themes, mostly in the tonic key.
The opening melody returns for the first six bars, in G major. The modulation to the
dominant is now confined to bars 37-38, after which the tonic key returns. There is an
interrupted cadence in bars 44-45, after which it moves to E minor, ending on the dominant
chord of E minor in preparation for the next movement.
Theme A1 (b.1-18) In two parts, each repeated. The first moves from E minor to G
major (relative major), and the second from G major to E minor.
There is an alberti bass throughout.
Theme B1 (19-40) Also in two parts. The first moves from E major to B major
(dominant), and the second is all in E major.
Theme A2 (41-76) The first part returns as before, with slight rhythmic changes (e.g.
b.47), without the repeat. The second part is heard once as
before, and then in a varied form from bar 59, with added
semiquavers and ornaments, and an extension of the melody
which remains in G major. The first part returns in bar 69, with
more small rhythmic changes (e.g. b.71).
Theme B2 (77-100) The harmonic scheme is basically the same, but there is some
melodic variation, and an alberti bass accompaniment. There is a
dominant pedal from b.85-92.
Theme A3 (101-136) First part returns once as before, then with rhythmic and melodic
variations from bar 109. Second part heard twice, with melodic
and rhythmic variations, from bar 117.
Ornaments used are trills (e.g. b.4), appoggiaturas (e.g. b.7), and turns (e.g. b.24).