The Sonata n° 20, with its pathos and drama, has already been discussed. It is a remarkable work on many levels — in its extended development sections, its daring modulations ; its original use of counterpoint. To quote Karl Geiringer: “The beginning of the development exhibits Haydn's art as constituting a link between the music of Bach and that of Beethoven... The finale of the C minor Sonata is no longer a carefree affair, destined solely to dismiss the listener in a gay mood; it becomes the climax of the work and is imbued with dramatic tension.” The Sonata n° 21 which followed two years later, in 1773, shows Haydn pulling back somewhat from the emotional depths he had explored in the C minor. It is dedicated to Prince Esterhazy who was, conceivably, less than enthusiastic about Haydn's departure from established traditions, and, in any event, it fails to strike out in new harmonic directions. On the other hand, the C major Sonata decidedly evinces Haydn's move towards a consolidation of sonata form ; the first movement is a case in point, with both the primary and subsidiary themes derived from the same syncopated motive. The "Adagio" is less intense than many of Haydn's slow movements, being brightened by episodes of the most lyrical bent, while the finale is a "Presto" in the master's most gracious manner. The Sonatas n° 32 and 33 both date from the late 1770's, and mark a sort of half-way point between the profundity of the C minor Sonata n° 20 and the gracious sparkle of the C major, n° 21. N° 32 is especially notable for the unusual contrapuntal development of the staccato theme in the Finale, and indeed for the whimsical humor of the entire "Presto" movement. As for the Sonata n° 33, it must certainly be numbered among the most agreeable of all Haydn's works in the form. Its opening theme is a marvelously catchy little thing, and the movement which emanates from it fully maintains the promise of wit and vitality. The "Adagio" is reflective, without, however, any pretentions to profundity, and an engaging set of variations whisks the Sonata to its close. An interesting feature of the "Finale" is Haydn's technique of varying alternately one theme in major and one in minor.
Robert Sherman (from the original Liner Notes)Sophie Svirsky
Plays
Joseph Haydn
vol. 3
(1732-1809)
Tracks
Sonata in C major, Hob.XVI-21 (36)
1 I. Allegro moderato 6:07
2 II. Adagio 5:07
3 III. Finale (Presto) 2:52
Sonata in D major, Hob.XVI-33 (34)
4 I. Allegro 4:36
5 II. Adagio - Tempo di Menuetto 6:06
Sonata in C minor, Hob.XVI-20 (33)
6 I. Moderato (Allegro moderato) 6:33
7 II. Andante con moto 4:31
8 III. Finale (Allegro) 3:50
Sonata in B minor, Hob.XVI-32 (47)
9 I. Allegro moderato 3:39
10 II. Menuetto e Trio 3:02
11 III. Finale (Presto) 3:07
*
Sophie Svirsky - p
Recorded ca 1965/66