Classical Music | Piano Music

Franz Joseph Haydn

Sonata in G Major Hob. XVI:6 Play Play

Piano

Recorded on 01/01/2007, uploaded on 09/08/2010

Musician's or Publisher's Notes

Dating from 1766, the Piano Sonata No. 13 in G major (which also bears the alternate title of “Divertimento”) consists of four movements. The first movement, a lively Allegro, occupies a middle point between the old sonata form common during the Baroque period, particularly in the works of Domenico Scarlatti, and the modern sonata from which grew out of it and Haydn, as well as other composers, pioneered in the early Classical era. The exposition is regular enough—presenting two distinct themes in the keys of the tonic and dominant, respectively. Haydn’s writing here, as well as throughout the entire piece, is highly ornamental. Following the close of the exposition, the first theme recommences in the key of the dominant—the defining characteristic of the old sonata form. However, after its first statement, the theme is differently treated. Though not uncommon in the old sonata form, the treatment of the theme shows the advances toward the full-fledged development section of the modern sonata. At the conclusion of this quasi-development, the second theme is recapitulated in the tonic key.

Though utilizing the four-movement pattern that would become the standard among sonatas and symphonies both, the first movement is followed by a charming Menuetto instead of the usual slow movement. The melody of the Menuetto is graceful and carries on at an unhurried pace. The succeeding Trio, however, changes to the key of G minor and is highly ornamental. Its many trills and emphasis on halfsteps give it an eerie and suspenseful tone.

Following the Menuetto, the Adagio third movement is a fine example of the Sturm und Drang (Storm and Stress) movement that predominated both music and literature during the 1760s and 1770s. The flowing melodic line that begins the movement is emotionally charged and creates a great amount of tension. Even when the music moves from the dark tones of G minor to those of B flat major, no relief is felt and the repeated note figures serve only to push the music onward.

Returning to the bright tonic key of G major, the Allegro molto finale is radiant and good-humored. Of the four movements, it is actually the finale that conforms to the tenets of the Classical sonata form. Unlike the first movement, a genuine development section follows the close of the exposition while the first theme receives its recapitulation some measures later in shortened form. All in all, the Piano Sonata in G major is an interesting example of the evolutionary development of the Classical sonata. Joseph DuBose

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