1st Mvmt Sonata in D Major Hob XVI:33 by Haydn

Sonata

A sonata (from the Italian "to sound) is a composition for one or two instruments in several contrasting movements. Haydn's sonatas usually contain three movements, in a fast-slow-fast format. The Sonata in D major (Hob XVI: 33) was probably written for harpsichord, no later than 1778, making it one of Haydn's earlier sonatas. (The Hob. number refers to the catalogue of Haydn's works made by Anthony van Hoboken; group XVI contains the piano sonatas).

Sonata Characteristics

The classical characteristics of this piece include:

• light, elegant style.
• short, balanced phrases, often based on scales or broken chords.
• simple chordal or broken chord accompaniments.
• ornamentation and embellishment, especially at cadences
• modulations to closely related keys.
• emphasis on formal structure and thematic development.

Exposition

b. 1-68 - themes introduced in tonic and dominant keys

Bars 1-12

First subject theme, D major, with a tonic pedal in the bass b.1-3, and perfect cadences in b.7-8 (decorated with a suspension) and 11-12.

The main motive contains 4-note demisemiquaver arpeggio figures. Secondary dominant 7ths in b.5-8 create brief hints of G major (the subdominant key).

Bars 13-24

Transition, remaining in D major, ending with an imperfect cadence. The rhythm consists mostly of semiquavers. Occasional chromatic unessential notes are used (e.g. G# in b.14, D# in b.15, etc.), but there is no modulation yet.

Bars 25-27

Second subject theme, A major (the dominant key). Begins with the same demisemiquaver motive as the first subject in b.25-26, then predominantly in semiquavers from b.27.

Bars 27-30

A sequence in b.27-30 passes briefly through D major (b.27-28) and E major (b.29-30). The remainder is in A major, leading to perfect cadences in b.47-48 and b.57-58.

Bars 48-51

Bars 48-51 are a repeat of b.43-46, with the cadence delayed by a quasi-improvisatory embellishment in b.52-54.

Bars 31, 33, and 45

Chromatic unessential notes continue to be used (e.g. D# in b.40, A# in b.45, etc.), and there are some diminished 7th chords (D#-F#-A-Cn) in b.31 and b.33.

Bars 58-68

Codetta, all in A major, with perfect cadences in b.61-62, b.65-66 and b.67-68.

Development

b. 69-116 - themes reworked in various keys

Bars 69-72

B minor (the relative minor key), with a dominant pedal in b.69-71.

Bars 73-78

The first subject theme returns in b.73-78

Bars 79-87

Based on a motive from the second subject theme (originally heard in b.28, with the last two notes now altered). Moves in a sequential fashion through G major (b.79-80) and E minor (b.81-82) then returns to B minor. Ends with an imperfect cadence in b.85-86, using a German augmented 6th chord (G-B-D-E#) in b.85.

Bars 88-91

Based on the transition theme, beginning with an exact transposition of b.13-16 up a 6th to B minor.

Bars 92-102

The motive is extended from b.92, with constant semiquaver rhythm, returning to D major. There are brief hints of E minor (b.92) and G major (b.97), and the passage ends on the dominant 7th chord in b.101-102.

Bars 103-116

103-116 All in D major, with some chromatic unessential notes, and a dominant pedal in
b.111-115. Ends with a dominant 7th flourish in demisemiquavers.

Recapitulation

b.117-193 - themes restated, now all in the tonic key.

Bars 117-128

First Subject theme exactly as above

Bars 129-140

Transition, exactly as before

Bars 141-165

Second subject. Now in D major. The initial demisemiquaver flourishes now arpeggiate the dominant 7th chord.

Bars 145-165 are an exact transposition of b.27-47 up a 4th.

Bars 183-193

Codetta. A transposition of b.58-68 down a 5th to D major.

Bars 166-183

Bars 166-172 begin with a new sequence based on b.161-162.

Bars 173-183 are mostly a transposition of b.48-58 down a 5th

Allegro

Allegro means fast and lively

Adagio

Adagio means slowly