Joseph Haydn - Piano Sonatas Nos. 29 & 33-35

 

"Haydn wrote his 'Sonata No. 29 in E-flat major, Hob. XVI:45', in 1766, an important year in his life. To his relief, the old Kapellmeister Gregor Werner died in March, a few months after he had complained bitterly and unjustifiably of Haydn's neglect of his duties. His death brought Haydn the undisputed succession and allowed him now to buy a house in Eisenstadt, still the principal residence of the Esterhazy family. The sonata, described in its title as a Divertimento, was intended for the harpsichord, the likely choice of instrument for all the earlier sonatas. The first movement opens with a characteristic melody, marked by a rising third. There is a contrasting second subject, accompanied by the broken chords of an Alberti bass, before the end of the exposition, which is then repeated. The central development very properly makes opening reference to the first subject, in a minor key, and this returns in due form to start the recapitulation, separated from the second subject by a brief element of drama. The A-flat major Andante, leading to a secondary theme in the key of E-flat, completes the first section of the movement, which is then repeated. The second section opens with the first theme, now in E-flat major, introducing a development of the material, which is finally heard again in recapitulation. The last movement follows the same formal pattern, its secondary theme offering a chance for modest display in its pattern of repeated notes. Again the first section is repeated, followed by a central development that begins with a reference to the first subject. The movement continues with a recapitulation of the material, suggesting at times the textures and harmonies familiar from the work of Domenico Scarlatti. 

 

"The dynamic directions in 'Sonata No. 33 in C minor, Hob. XVI:20', make it clear that it was designed for the Hammerklavier, the fortepiano, an instrument capable of making quick dynamic changes. The sonata was written in 1771 and its key of C minor is bound to remind a listener of the use that Mozart made of the same key in writing for the keyboard. It was one of a set of six keyboard sonatas by Haydn published in 1780 by Artaria with a dedication to Caterina and Marianna von Auenbrugger, pianists whose performance Haydn greatly admired. Leopold Mozart too wrote favourably of their talents during the course of a visit to Vienna in 1773, but his son, ten years later, was scathing about the achievement of their father, whom he refers to as Doctor Auernszucker, in a German opera libretto. Between the first subject and the E flat major second subject is a relatively extended passage that includes an element of rhetorical recitative, suggesting the influence of Carl Philipp Emanuel Bach, second son of Johann Sebastian, with whose earlier keyboard sonatas and writing on the subject Haydn had been familiar from his days in Vienna, after leaving the choir-school. In the central development, in which much initial use is made of the first subject, there is room for Sturm and Drang, before the return of the material, rhetorical recitative and all, in recapitulation. The opening theme is characterized by the repetition of the opening note of the melody. The repeated first section duly modulates from A-flat to E-flat major, before the central development, with its shifts of tonality, and the abridged recapitulation, in a movement great tenderness. There is inevitable drama in the last movement, broadly in the same formal pattern but allowing for purposeful technical display allied to strong feeling in a prophetic vein, a foretaste of the path the keyboard sonata was later to take. 

 

"Haydn's 'Sonata No. 34 in D major, Hob. XVI:33', has been conjecturally dated to the early 1770s, between 1771 and 1773. It was published in London by Beardmore & Birchall in 1783. The first movement, in an overtly cheerful mood, offers a repeated exposition, duly contrasting the tonic and dominant keys and finding room for an element of surprise, as it approaches its coda. The material is developed in a central section that again introduces moments of hesitation, a delay of expectation, before the recapitulation. The slow movement is in D minor, the opening soon lightened by a shift to F major for the secondary theme of a repeated exposition. The same key opens the development, but the original key soon returns to complete the movement in a recapitulation. The last movement starts with scarcely a pause. In the style of a minuet, this follows the principal theme with a D minor section. The major and minor themes are varied, with the D major returning finally in its original form, to undergo a further, concluding transformation. 

 

"The 'Sonata in A-flat major, Hob. XVI:43', was also published as one of the same set of three in London in 1783. It is thought to have been written between 1771 and 1773. The second subject of the repeated exposition at first suggests a transposition of the first theme, but soon moves into other territory in a display of triplet figuration. This rhythm, whether in accompaniment or in melodic contour, has a leading part to play in the central development, at the end of which a rhetorical pause leads to a recapitulation. The slow movement takes the form of a minuet and trio, both in the tonic key and suggesting the scherzo rather than the formal dance. The sonata ends with a Rondo, its first episode closely related to the sprightly first theme. A minor key episode introduces an element of dramatic tension, quickly dispelled by the return of the principal theme. When it finally returns, after a further excursion into more dramatic territory, it is subject to subtle changes in outline, wide leaps in the right hand to test the accuracy of the performer, before the sonata comes to an end." (Keith Anderson. From the liner notes.)

 

Performer: Jenő Jandó

1. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: I. Moderato

2. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: II. Andante

3. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: III. Finale: Allegro Di Molto

4. Piano Sonata No. 33 In C Minor, Hob. XVI:20: I. Moderato

5. Piano Sonata No. 33 In C Minor, Hob. XVI:20: II. Andante Con Moto

6. Piano Sonata No. 33 In C Minor, Hob. XVI:20: III. Finale: Allegro

7. Piano Sonata No. 34 In D Major, Hob. XVI:33: I. Allegro

8. Piano Sonata No. 34 In D Major, Hob. XVI:33: II. Adagio

9. Piano Sonata No. 34 In D Major, Hob. XVI:33: III. Tempo Di Menuet

10. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: I. Moderato

11. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: II. Menuetto

12. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: III. Rondo: Presto

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Joseph Haydn - Piano Sonatas Nos. 20 & 30-32

 

"'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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Joseph Haydn - Piano Sonatas Nos. 48-52

 

"The first of the set, the 'Sonata in C major, Hob. XVI:35', is among the better known. It opens with a cheerful first subject, allowing the conventional announcement of a second subject, an opportunity for some display in the development and a varied return of the thematic material in the recapitulation. The F major Adagio opens in stately mood, its first theme repeated in an embellished form and returning transposed and varied to form a central section, before the return of secondary thematic material, now in the tonic key. The last movement is dominated by its principal theme, with a contrasted passage in C minor before its final, triumphant return. 

 

"The second sonata is in the key of C-sharp minor and opens ominously enough before moving to E major, where the same theme now has a contrapuntal accompaniment in descending scales. The development, based on this material, gives a chance for dramatic display, before the return of the opening motif and key and the subsequent recapitulation. The second movement, Scherzando, offers a lightening of mood. There is an opening section in A major, followed by a contrasting section in A minor. These are then presented in variation followed by the return of the opening A major theme, a varied episode in the same key, before the final appearance of the principal subject. The sonata ends with a Menuet in C sharp minor, framing a C sharp major. 

 

"The 'Sonata in D major, Hob. XVI: 37', again gives scope for modest brilliance in its opening theme and the following transition, as well as in its contrasted second subject, all of which offers material for development before the return of the first subject and key in recapitulation. The slow movement, a D minor Largo e sostenuto, is very short, almost in the manner of a Baroque movement that serves to introduce a rapid finale. The last movement here, marked Presto ma non troppo, also bears the instruction innocentemente, an apt indication of the character of the principal theme. It serves to punctuate a D minor and a G major episode, before re-appearing in a final ebullient section.

 

"The Auenbrugger sonatas continue with a 'Sonata in E-flat major, Hob. XVI:38'. The monothematic first movement duly explores foreign keys in its central development and provides a chance for virtuosity in the transitional material that links first and second subject of the recapitulation. A C minor Adagio has moments of distinct drama, leading, without a break, to a final movement in which the principal theme is repeated after a central episode in A flat major. 

 

"The 'Sonata in G major, Hob. XVI:39', like the second movement of the C-sharp minor Sonata, which it closely resembles, follows the major first subject with an excursion into the tonic minor. A variation of the first section follows, with an E minor section preceding the final return of the first key and theme. The slow movement, a C major Adagio, has almost the stature of a concerto movement, as it unfolds. It is followed by a lively final movement in which the first theme provides much of the substance of the second. There is further harmonic exploration in the development, before the recapitulation, now reaching a lower register of the keyboard." (Keith Anderson. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 48 In C Major, Hob. XVI:35: I. Allegro Con Brio

2. Piano Sonata No. 48 In C Major, Hob. XVI:35: II. Adagio

3. Piano Sonata No. 48 In C Major, Hob. XVI:35: III. Finale: Allegro

4. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: I. Moderato

5. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: II. Scherzando: Allegro Con Brio

6. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: III. Menuet: Moderato

7. Piano Sonata No. 50 In D Major, Hob. XVI:37: I. Allegro Con Brio

8. Piano Sonata No. 50 In D Major, Hob. XVI:37: II. Largo E Sostenuto

9. Piano Sonata No. 50 In D Major, Hob. XVI:37: III. Finale: Presto Ma Non Troppo

10. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: I. Allegro Moderato

11. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: II. Adagio

12. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: III. Finale: Allegro

13. Piano Sonata No. 52 In G Major, Hob. XVI:39: I. Allegro Con Brio

14. Piano Sonata No. 52 In G Major, Hob. XVI:39: II. Adagio

15. Piano Sonata No. 52 In G Major, Hob. XVI:39: III. Prestissimo

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Joseph Haydn - Piano Sonatas Nos. 53-56 & 58; Un Piccolo Divertimento

"Haydn's 'Sonata in E minor, Hob. XVI:34', is of uncertain date, but was published in London in 1784 as one of a group of three keyboard sonatas. It seems that all three were derived from an earlier source. The sonata opens with a fast movement in 6/8, the ascending arpeggio in the left hand answered immediately by the right. It has a G major second subject and the central development starts in E major, making much of the opening figure before the final recapitulation. The following 'Adagio' in G major has elaborate figuration for the right hand and is linked by means of an unexpected cadence into E minor to the final 'Vivace' molto in that key, marked innocentemente and with contrasting melodies in the major and minor keys. 

"The three sonatas Hob. XVI:40 - 42 appeared in 1784 and were dedicated to Princess Marie Esterházy, who had married the grandson of Haydn's patron Prince Nicolaus in the early autumn of 1783. It has been suggested that the set was in the nature of a wedding present to the wife of Haydn's future patron, the younger Prince Nicolaus. Each of the sonatas is in two movements. The first of the sonatas, in G major, is marked 'Allegretto e innocente', a suggestion of the feminine grace expected of their performer. The principal theme, each of its two sections repeated, is followed the two sections of a dramatic theme in G minor. A varied version of the G major theme returns, to be followed by a more elaborate version of the G minor material, leading to a more decorated re-appearance of the first theme. The second movement, marked 'Presto', is again in two repeated sections, the first of which returns after a brief interlude of drama, to end now in the tonic key. A section in E minor is followed by a more elaborate version of the principal theme. The second sonata, in B-flat major, has a principal theme in dotted rhythm, while a triplet accompaniment predominates in the subsidiary theme. Interesting twists of harmony, even in the second bar, are carried further in the central development, which opens in D-flat major. Much use is made of answering figures between right and left hands in the lively second movement. Again the two sections of the principal theme are each repeated, before a B-flat minor version of the material, leading to a more decorated version of the first theme in the tonic major key. The set ends with a Sonata in D major. The first movement is marked 'Andante con espressione' and the two sections of the principal theme are again each repeated before returning in varied guise, with changes of ornamentation and mode, the final version being one of some intricacy. The main theme of the lively second movement is one of the clearest possible texture in its first appearance and forms the substance of the movement. 

"The 'Sonata in C major, Hob. XVI:48', first appeared in 1789 in the first number of the 'Musikalischer Pot-Pourri' published by Christoph Gottlob Breitkopf in Leipzig. It opens with a slow movement, marked 'Andante con espressione', and shows an attention to the dynamics of the new fortepiano that heralds the work of Beethoven. The two repeated sections of the principal theme are followed by a more complex excursion into C minor, before the return of the first theme in C major in embellished form, followed by a second version of the C minor episode. A wider range of the keyboard and its possible sonorities is explored in the final section, based on the main theme. The final 'Rondo' opens with a spritely main theme but goes on to exploit more grandiose keyboard effects in thicker lower register chords and octaves and a C minor section, after which the main theme returns, in its final guise using sonorities that Haydn had not used before in his sonatas and hence in notable contrast to the group of delicate sonatas for Princess Marie Hermenegild. Haydn's 'Variations in F minor, Hob. XVII:6', with the added title 'Sonata, Un piccolo Divertimento', were written in Vienna in 1793 for Barbara von Ployer, a pupil of Mozart and daughter of the Salzburg Court Agent in Vienna. The work was published in Vienna only in 1799, when it was dedicated to Baroness von Braun, wife of the director of the Vienna Court Theatres. These double variations start with the F minor theme, followed by a second theme in F major, the first of these then varied by syncopation, and the second with added trills. A rapid demisemiquaver version of the F minor theme follows with an F major variation of equal intricacy. The return of the F minor theme leads on to an extended section calling for some virtuosity, with considerable dynamic variety and a whispered ending in F major, spanning a wide range of the keyboard." (Frédéric Castello. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 53 In E Minor, Hob. XVI:34: I. Presto

2. Piano Sonata No. 53 In E Minor, Hob. XVI:34: II. Adagio

3. Piano Sonata No. 53 In E Minor, Hob. XVI:34: III. Vivace Molto

4. Piano Sonata No. 54 In G Major, Hob. XVI:40: I. Allegretto E Innocente

5. Piano Sonata No. 54 In G Major, Hob. XVI:40: II. Presto

6. Piano Sonata No. 55 In B-flat Major, Hob. XVI:41: I. Allegro

7. Piano Sonata No. 55 In B-flat Major, Hob. XVI:41: II. Allegro Di Molto

8. Piano Sonata No. 56 In D Major, Hob. XVI:42: I. Andante Con Espressione

9. Piano Sonata No. 56 In D Major, Hob. XVI:42: II. Vivace Assai

10. Piano Sonata No. 58 In C Major, Hob. XVI:48: I. Andante Con Espressione

11. Piano Sonata No. 58 In C Major, Hob. XVI:48: II. Rondo. Presto

12. Variations In F Minor, Hob. XVII:6 'Un Piccolo Divertimento'

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Joseph Haydn - Piano Sonatas Nos. 59-62

"The 'Sonata in E flat major, XVI:49' in the Hoboken listing of Haydn's works, was dedicated to Anna von Gerlischek, a housekeeper in the service of the Esterházys, who later married the Esterháza violinist Johann Tost, a man whose later business dealings with Haydn have raised various questions. The sonata was in fact intended for Maria Anna von Genzinger, wife of the ennobled physician to Prince Nikolaus and a gifted player, with whom Haydn carried on a playfully teasing correspondence. In a letter dated 20th June 1790 he tells her he has sent her his brand new E-flat Sonata, although it is not entirely new; in fact only the Adagio is new, and he expresses a wish to play the sonata to her himself, something that would make his absence from Vienna more tolerable. Mademoiselle Nanette, Anna von Gerlischek, is not to know that the work she has commissioned for Frau von Genzinger was already half completed. In a letter written a week later Haydn tells Frau von Genzinger that he has played the sonata at Mademoiselle Nanette's in the presence of the Prince and was rewarded by her giving him the present of a gold tobacco-box. Later problems arose over a pirated edition of the sonata, attributed by Haydn to the activities of an unscrupulous copyist. The opening figure of the first movement assumes importance as the work progresses, with a four note figure near the end of the exposition leading, in the central development section, to a brief cadenza before the final recapitulation. The B-flat 'Adagio' is a movement of particular beauty. The final 'Tempo di Minuet' includes a version of the principal theme in the key of E-flat minor, before the re-establishment of the original key brings the sonata to an end. 

"The three sonatas listed as Hoboken XVI: 50-52 were written in 1794 or 1795 for Therese Jansen, a pupil of Clementi, who enjoyed particular success in London as a teacher and performer. In 1795 she married the London art-dealer Gaetano Bartolozzi and later moved with him to Vienna and then to Venice, before returning to London in 1800, after losses incurred in the Napoleonic Wars. Problems arose over the publication of these last of Haydn's piano sonatas, the rights to which, the property of Therese Jansen, seem to have been partly infringed by the composer. 

"The first of the Jansen sonatas, the 'Sonata in C major', known sometimes as the 'English Sonata', was written in part with the possibilities of the instrument available to Therese Jansen in London in mind, including a passage in the first movement marked 'sopra una corda', on one string, impossible on the pianos then available in Vienna. The extended first movement contains a wide range of dynamic effects, even in the statement of the first subject, while the last movement uses an upper range of the keyboard not then found on continental instruments. The F major 'Adagio', apparently written earlier in Vienna, before Haydn's second journey to England, allows lyrical embellishment of the melody. It is followed by a final rondo that has its surprises, as the principal theme is momentarily interrupted, a recurrent feature.

"The two-movement 'Sonata in D major, Hob. XVI: 51', is firmly based on its opening theme, which appears at the start of each of the three sections of the movement, the second containing a passage in the key of D minor. The second movement, marked 'Presto', is marked by off-beat dynamic accents and carries many of the features of a scherzo, its opening figure later recalled by Beethoven. The sonata leads to the last of Haydn's compositions in this form, the 'Sonata in E flat major, Hob. XVI: 52'. The first movement of this sonata opens impressively with arpeggiated chords, introducing a movement that makes demands on a performer in the elaboration of its central development section and the brilliance of its conclusion. The 'Adagio' shifts to the unexpected key of E major, again exploiting the dynamic and timbre possibilities of the available English piano. The original key is restored in the last movement, which makes its own not unconsiderable demands on a performer. This final sonata was not published in London until 1799, when it appeared with its dedication to Therese Jansen. In December 1798 Artaria had published the sonata in Vienna with a dedication to Madeleine von Kurzböck, also a pupil of Clementi and of Haydn himself. The work received wide acclaim, to become not only the summary of Haydn's own achievement in the keyboard sonata, but to exercise very considerable influence on later composers." (Frédéric Castello. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 59 In E-Flat Major, Hob XVI:49: I. Allegro

2. Piano Sonata No. 59 In E-Flat Major, Hob XVI:49: II. Adagio E Cantabile

3. Piano Sonata No. 59 In E-Flat Major, Hob XVI:49: III. Finale: Tempo Di Minuet

4. Piano Sonata No. 60 In C Major, Hob XVI:50: I. Allegro

5. Piano Sonata No. 60 In C Major, Hob XVI:50: II. Adagio

6. Piano Sonata No. 60 In C Major, Hob XVI:50: III. Allegro Molto

7. Piano Sonata No. 61 In D Major, Hob XVI:51: I. Andante

8. Piano Sonata No. 61 In D Major, Hob XVI:51: II. Finale: Presto

9. Piano Sonata No. 62 In E-Flat Major, Hob XVI:52: I. Allegro

10. Piano Sonata No. 62 In E-Flat Major, Hob XVI:52: II. Adagio

11. Piano Sonata No. 62 In E-Flat Major, Hob XVI:52: III. Finale: Presto

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Joseph Haydn - Piano Sonatas Nos. 1-10

"Haydn's keyboard music was at first written for the harpsichord, with later works clearly intended for the pianoforte, as dynamic markings show. His career coincided with changes in the standard keyboard instrument, as the fortepiano and then the pianoforte, with their hammer action and dynamic possibilities gradually replaced the harpsichord and clavichord. At the same time there was a parallel change in instrumental forms, as the structure that has come to be known, among other titles, as sonata-allegro form, developed. Of the 47 keyboard sonatas listed by Georg Feder in The New Grove Dictionary of Music and Musicians of 1980, the first thirty were intended for the harpsichord. In addition to this, fourteen early harpsichord sonatas that have been attributed to Haydn are listed. Nine of the ten sonatas here included belong to this last group. The early twentieth century edition of the sonatas by Karl Päsler includes 52 surviving sonatas, in addition to this there remain eight sonatas apparently lost. Of these Christa Landon, in her Wiener Urtext edition on which numbering the present series of recordings is based, discounts three.

"In the absence of autograph copies of Haydn's early sonatas, authenticity may sometimes be a matter of speculation, while stylistic dating is difficult without sure criteria from compositions certainly written before 1766, the terminus post quem taken in the Wiener Urtext edition. Of the present sonatas the doubtful Sonata No. 8 was advertised by Breitkopf in 1763, Sonatas Nos. 1, 2, 3 and 7 in the Breitkopf catalogue of 1766 and Sonatas Nos. 5 and 6, among others, in the catalogue for 1767. Christa Landon forbears to speculate on exact dating apart from suggesting a date before 1766 for all the sonatas here included, taking as a standard example of a maturer style Sonata No. 29 in E-flat major, Hob. XVI:45, for which the date of 1766 is known. These early sonatas generally bear the title Partita or Divertimento." (Keith Anderson. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 1 In G Major, Hob. XVI:8: I. Allegro
2. Piano Sonata No. 1 In G Major, Hob. XVI:8: II. Menuet
3. Piano Sonata No. 1 In G Major, Hob. XVI:8: III. Andante
4. Piano Sonata No. 1 In G Major, Hob. XVI:8: IV. Allegro
5. Piano Sonata No. 2 In C Major, Hob. XVI:7: I. Allegro Moderato
6. Piano Sonata No. 2 In C Major, Hob. XVI:7: II. Menuet
7. Piano Sonata No. 2 In C Major, Hob. XVI:7: III. Finale: Allegro
8. Piano Sonata No. 3 In F Major, Hob. XVI:9: I. Allegro
9. Piano Sonata No. 3 In F Major, Hob. XVI:9: II. Menuet
10. Piano Sonata No. 3 In F Major, Hob. XVI:9: III. Scherzo
11. Piano Sonata No. 4 In G Major, Hob. XVI:G1: I. Allegro
12. Piano Sonata No. 4 In G Major, Hob. XVI:G1: II. Menuetto
13. Piano Sonata No. 4 In G Major, Hob. XVI:G1: III. Finale: Presto
14. Piano Sonata No. 5 In G Major, Hob. XVI:11: I. Presto
15. Piano Sonata No. 5 In G Major, Hob. XVI:11: II. Andante
16. Piano Sonata No. 5 In G Major, Hob. XVI:11: III. Menuet
17. Piano Sonata No. 6 In C Major, Hob. XVI:10: I. Moderato
18. Piano Sonata No. 6 In C Major, Hob. XVI:10: II. Menuet
19. Piano Sonata No. 6 In C Major, Hob. XVI:10: III. Finale: Presto
20. Piano Sonata No. 7 In D Major, Hob. XVI:D1: I. Tema (Moderato) With Variations
21. Piano Sonata No. 7 In D Major, Hob. XVI:D1: II. Menuet
22. Piano Sonata No. 7 In D Major, Hob. XVI:D1: III. Finale: (Allegro)
23. Piano Sonata No. 8 In A Major, Hob. XVI:5: I. Allegro
24. Piano Sonata No. 8 In A Major, Hob. XVI:5: II. Menuet
25. Piano Sonata No. 8 In A Major, Hob. XVI:5: III. Presto
26. Piano Sonata No. 9 In D Major, Hob. XVI:4: I. (Moderato)
27. Piano Sonata No. 9 In D Major, Hob. XVI:4: II. Menuet
28. Piano Sonata No. 10 In C Major, Hob. XVI:1: I. Allegro
29. Piano Sonata No. 10 In C Major, Hob. XVI:1: II. Adagio
30. Piano Sonata No. 10 In C Major, Hob. XVI:1: III. Menuet

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Joseph Haydn - Piano Sonatas Nos. 11-16 & 18

"The classical keyboard sonata developed during the eighteenth century, the changes in its form and content taking place during Haydn's life-time. This formal development took place during a period when keyboard instruments themselves were changing, with the harpsichord and clavichord gradually replaced by the new hammer-action fortepiano. There are some fourteen early harpsichord sonatas attributed to Haydn. Of his 47 later keyboard sonatas, dating from about 1765, the first thirty were designed for harpsichord and the next nine for harpsichord or piano. The remaining eight sonatas include seven specifically intended for piano and one for piano or harpsichord. The principal musical difference between music for harpsichord and that for the piano lies in the possibilities for gradual dynamic change, indications of which appear in Haydn's later sonatas.

"The sonatas included in the present volume have all been dated to a period before 1766. The order in which they are played follows that of the Wiener Urtext Edition of Christa Landon but does not necessarily  correspond to the order of composition, which must remain conjectural, in the general absence of autograph copies or external evidence." (Keith Anderson. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 11 In B-Flat Major, Hob. XVI:2: I. Moderato
2. Piano Sonata No. 11 In B-Flat Major, Hob. XVI:2: II. Largo
3. Piano Sonata No. 11 In B-Flat Major, Hob. XVI:2: III. Menuet
4. Piano Sonata No. 12 In A Major, Hob. XVI:12: I. Andante
5. Piano Sonata No. 12 In A Major, Hob. XVI:12: II. Menuet
6. Piano Sonata No. 12 In A Major, Hob. XVI:12: III. Finale: Allegro
7. Piano Sonata No. 13 In G Major, Hob. XVI:6: I. Allegro
8. Piano Sonata No. 13 In G Major, Hob. XVI:6: II. Minuet
9. Piano Sonata No. 13 In G Major, Hob. XVI:6: III. Adagio
10. Piano Sonata No. 13 In G Major, Hob. XVI:6: IV. Finale: Allegro Molto
11. Piano Sonata No. 14 In C Major, Hob. XVI:3: I. Allegretto
12. Piano Sonata No. 14 In C Major, Hob. XVI:3: II. Andante
13. Piano Sonata No. 14 In C Major, Hob. XVI:3: III. Menuet
14. Piano Sonata No. 15 In E Major, Hob. XVI:13: I. Moderato
15. Piano Sonata No. 15 In E Major, Hob. XVI:13: II. Menuet
16. Piano Sonata No. 15 In E Major, Hob. XVI:13: III. Finale: Presto
17. Piano Sonata No. 16 In D Major, Hob. XVI:14: I. Allegro Moderato
18. Piano Sonata No. 16 In D Major, Hob. XVI:14: II. Menuet
19. Piano Sonata No. 16 In D Major, Hob. XVI:14: III. Finale: Allegro
20. Piano Sonata No. 18 In E-Flat Major, Hob. XVI:deest: I. Allegro
21. Piano Sonata No. 18 In E-Flat Major, Hob. XVI:deest: II. Menuetto

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