"'Sonata No. 20 in B-flat major, Hob. XV1:18', among those apparently originally intended for harpsichord, has been conjecturally dated to 1766 or 1767. In March of the earlier year Gregor Werner had died, and Haydn had been appointed his successor, now finding it convenient, amid the re-organization of the Esterhazy musical establishment, to buy a house for himself in Eisenstadt. The ornamented first subject of the opening Allegro moderato, with its dotted, ascending arpeggio outline, leads, imperceptibly enough, to the now expected change of key to the dominant, F major, and to a secondary theme that involves the rhythmic variety of triplet semiquavers and syncopation. A reference to the first subject starts the central development of the material, with its changes of key and mode, before the recapitulation of the first section, with the modulation necessary for restoration of the original key. The B-flat major second movement, in triple time, follows a similar formal pattern, offering a secondary theme built on a descending sequence, a central development section and a final recapitulation.
"'Sonata No. 32 in G minor, Hob. XVI:44', has been dated, again conjecturally, to the years from 1768 to 1770, although others, as with 'Sonata No. 20', have preferred a date between 1771 and 1773, providing only 1788 as a terminus post quem, the date of publication of Sonatas Nos. 31 and 32 by Artaria. The principal subject in G minor is followed by a brighter secondary subject in B-flat major, leading to the expected development, with its excursions into other keys and use of sequential patterns before the recapitulation and closing section. The following G minor Allegretto is contrasted with a G major section, both varied in turn on repetition.
"For the 'Sonata No. 31 in A-flat major, Hob. XVI:46', the earlier dating of 1767 or 1768 is preferred. The choice of key allows for excursions into relatively unfamiliar territory as the sonata progresses. The opening subject of the first movement has all the rhythmic variety that is a feature of Haydn's melodic writing. A dramatic B-flat pedal-point precedes the second subject material, with its triplet semiquaver figuration and the development allows further varied elaboration of the pedal-point of the exposition. The following Adagio, in D-flat major, finds a place for contrapuntal writing, as the thematic material unwinds, again with contrasting secondary material in the dominant key and a varied repetition that moves to a brief cadenza before the final bars. The final movement, dominated by its principal theme, again allows infinite variety within its formal pattern.
"'Sonata No. 30 in D major, Hob. XVI:19', the fourth sonata included here, also seemingly intended originally for harpsichord, has a dated autograph of 1767. The first movement, marked Moderato has a swinging first subject in the middle register of the keyboard. The secondary material makes use of descending and then ascending patterns of thirds and sixths, against a repeated note, and the closing section makes extensive use of an accompanying triadic pattern. The central development finds a place for drama, before three arpeggiated chords bring the section to an end, to be followed by the recapitulation. The A major Andante brings a little surprise in its initial presentation of the principal theme, very briefly interrupted by a sudden break in the first three bars, before resuming its full course. There is due contrast of key and theme in the secondary material, both to form the substance of the second section of the movement. The syncopated main subject of the Finale is followed by a D minor episode, re-appearing in a more elaborate form before a second, A major episode. The main theme returns once more, to be followed by a grander restatement, at first with a return of the original syncopation, before an Alberti bass moves the sonata towards its emphatic conclusion." (Keith Anderson. From the liner notes.)
Performer: Jenő Jandó
1. Piano Sonata No. 20 In B-Flat Major, Hob. XVI:18: I. Allegro Moderato
2. Piano Sonata No. 20 In B-Flat Major, Hob. XVI:18: II. Moderato
3. Piano Sonata No. 32 In G Minor, Hob. XVI:44: I. Moderato
4. Piano Sonata No. 32 In G Minor, Hob. XVI:44: II. Allegretto
5. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: I. Allegro Moderato
6. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: II. Adagio
7. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: III. Finale - Presto
8. Piano Sonata No. 30 In D Major, Hob. XVI:19: I. Moderato
9. Piano Sonata No. 30 In D Major, Hob. XVI:19: II. Andante
10. Piano Sonata No. 30 In D Major, Hob. XVI:19: III. Finale - Allegro Assai
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