3rd Mvmt Sonata in D Major Hob XVI:33 by Haydn

Form

This movement is a set of variations on two themes, one in a major key and the other in the tonic minor, which Haydn used in a number of pieces, such as the Variations in F minor. The resulting ABABA form is similar to rondo form, the standard form for a final movement, while also having the graceful dance character of a Minuet. Each theme is in binary form (designated ab and cd).

Tempo di Menuet

Tempo di Menuet means the speed of a Minuet (i.e. graceful and moderate).

Ornamentation

Ornaments used are turns (e.g. b.1), trills (e.g. b.16, b.31) and appoggiaturas (e.g. b.20).

Bars 1-8

A a Theme A, all in D major. Consists of two 4-bar phrases, each beginning in a similar way. The first phrase ends with an imperfect cadence in b.3-4, and the second ends with a perfect cadence in b.7-8. The rhythm e. x is frequently used.

Bars 9-16

A b Remaining in D major. Also consists of two similar phrases, with an imperfect cadence in b.11-12 and a perfect cadence in b.15-16. G#s in b.9 and b.13 create brief hints of A major, but there is no real modulation. The dotted quaver rhythm continues in almost every bar.

Bars 17-24

B c Begins in D minor, with an imperfect cadence in b.19-20. Modulates to F major (relative major of D minor) in b.21, ending with a perfect cadence in b.23-24. Dotted rhythms remain prevalent. There is a brief hint of Bb major in b.20.

Bars 25-32

B d Begins in F major, and returns via sequence (b.25-26, in G minor then F major) to D minor, with an imperfect cadence in b.27-28 and a perfect cadence in b.31-32.

Bars 33 - 40

A a Theme A, all in D major. The melodic outline and phrase structure are preserved, but the rhythm is altered (now more semiquavers, and no dotted rhythms).

Bars 41-48

A b Remaining in D major, with similar rhythmic alterations as in b.33-40. The first four bars are heard an octave lower than previously. A single dotted rhythm remains, in b.47.

Bars 49-56

B c Theme B. Begins in D minor and modulates to F major, as before. The dotted rhythms have been replaced by syncopated crotchets in b.49-51, and by constant semiquavers in b.52-55.

Bars 57-64

B d Returning to D minor, as before, with semiquavers predominating.

Bars 65-80

A a Theme A, all in D major. Bars 65-72 are identical to b.1-8, while b.73-80 are a variation, mostly in constant semiquavers. There is no repeat sign.

Bars 81-88

A b Variation of b.9-16, mostly in constant semiquaver broken chord figures.