2nd 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.1-24 - themes introduced in tonic and relative major keys.

Bars 1-8

First subject theme, D minor, with imperfect cadences in b.4 and b.7-8.

The main motive contains dotted rhythms, short slurs and frequent rests. Bars 5-8 begin as an embellished repeat of b.1-4, an octave lower.

A German augmented 6th chord (Bb-D-F-G#) is used in b.7, and the final note is decorated with a suspension (the G# in b.8).

Bars 9-24

Second subject thematic group, beginning immediately in F major (the relative major key), with perfect cadences in b.17-18, b.20-21 and b.23-24.

The rhythm contains many sextuplets, and has a more flowing feel than the first subject, with fewer rests in the right hand part.

A secondary dominant 7th chord in b.12 gives a brief hint of Bb major, and there are several chromatic unessential notes (e.g. Bn in b.15, F# in b.20, etc.), but there is no further modulation.

Bars 16-24 contain repetitions of the same 3-bar motive, with small variations.

Development

b.25-32 - themes reworked in various keys.

Bars 25-26

Motives from the first subject theme (from b.1 and b.5-6) in F major, coming to rest on a diminished 7th chord (F#-A-C-Eb).

Bars 27-32

Sextuplet rhythms reminiscent of the second subject, beginning in F major and returning to D minor in b.31, with an imperfect cadence in b.31-32.

Bars 37-48

Second subject thematic group, now somewhat altered and in D minor. There is a brief modulation to G minor in b.42-45.

Bars 41 and 47 contain a similar cadential motive to bars 17, 20 and 21, but in both cases the cadence (i.e. b.41-42 and b.47-48) is now interrupted.

Bars 33-36

First subject theme, first phrase only, slightly embellished (using sextuplets).

Bars 48-52

Codetta. All in D minor, with a German augmented 6th chord in b.48 and a diminished 7th chord in b.50. Comes to rest on the dominant chord in b.51-52, then proceeds directly to the third movement.

Adagio

Adagio means slowly and leisurely.

Wedge

The wedge sign (e.g. b.1) was used in Haydn's day to indicate staccato, rather than a dot.