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10 GREAT PIANO SONATAS from THE COMPLETE PIANO SONATAS

ARTUR BALSAM, piano

Notes by Edwin S. Bergamini

Sonata No. 20 in B Flat Major, Hob. XVI:18 1. Allegro moderato 2. Moderato A jaunty theme opens Sonata Number 20 in B-Flat Major. The development section is made up of elements from the first and second themes, each theme being dealt with in turn. This two-movement sonata closes with a Moderato which is actuallly a kind of Menuet-insonata form. It is possible that despite the busyness of the first movement, this second movement has more musical substance.

Sonata No. 32 in G Minor, Hob. XVI:44 1. Moderato 2. Allegretto The wistful half-dozen measures opening Sonata Number 32, in G Minor, are a deception, for good humor is not far behind. A varied sequence of moods, wiht a strain of quiet seriousness without sadness permeates the entire movement. Here there is elegance, there quiet strutting, everywhere absolute sureness of construction. The Allegretto finale is based on a short motif which introduces each of the couplets (constrasting sections) of this movement.

Sonata No. 34 in D Major, Hob. XVI.33 1. Allegro 2. Adagio 3. Tempo di Menuet Sonata No. 34, in D Major, is considerably lighter and more carefree than its predecessor, number 33 in C Minor. Only in th eopening of the Adagio do we hear an echo of the earlier work. The finale is a charming set of variations, a “Tempo di Menuet” in which a theme in D Major, another in D Minor, are each varied in turn, until Haydn lets the whole affair float off on a rising sequence of sixteenth-notes -bell-tones vanishing in the air.

Sonata No. 37 in E Major, Hob. XVI.22 1. Allegro moderato 2. Andante 3. Finale: Tempo di Menuet Second in the set of sonatas (Nos. 36-41) Haydn dedicated to his employer, Prince Esterhazy, the Sonata No. 37 in E Major, has an attractive harmonic coloring which suffuses the bustling quality of its opening Allegro moderato. The mood of the Andante (3/8 time) is disturbing and wistful. The feeling of uneasiness is increased by the abjupt end of the very first phrase. As the movement progresses, the restlessness increases to the point of near-agitation. There is no peace in this movement, it may reflect, but it cannot rest. The Tempo di Menuet fanale alternates variations on two themes, one in the major, the other in the minor. Haydn reserves a final touch of tendernesss for the eight measure coda.

Sonata No. 40 in E Flat Major, Hob. XVI.25 1. Moderato 2. Tempo di Menuet Accomplished keyboard writing is the special quality of Sonata Number 40, in E-Flat Major. Despite the overall masculine quality of the first movement, there is also a trace of wistfulness. The development section of the first movement is a vigorous and tightly written affair, offering occasional winsome turns along the way. The closing Tempo di Menuet is a delightful canon at the octave, with the right hand taking the lead in the first section, and the left taking the lead in the second.

Sonata No. 48 in C Major, Hob. XVI.35 1. Allegro con brio 2. Adagio 3. Finale: Allegro Sonata No. 48, in C Major, is the first of a set of sonatas (numbers 4852 and the C Minor Sonata, Number 33, composed in 1771) dedicated to Franziska and Marianne von Auenbrugger, expert amateur pianists and members of the Viennese musical society in which Haydn moved. In 1780 the composer wrote to his publisher, Artaria, noting that the ladies’ approval of these sonatas was important to him because “teir way of playing and genuine insight into music equal those of the greatest masters.” The opening Allegro con brio is formally impeccable, and completely in an idio reflecting the charm and good humor of the style galant. The Mozartean Adagio is most expressive with its gentle coloristic surprises. In the Allegro finale, the happy chatter is broken into by a pugent section in the minor which yields ever so quickly to the more cheerful opening measures.

Sonata No. 49 in C-Sharp Minor, Hob. XVI:36 1. Moderato 2. Scherzando: Allegro con brio 3. Menuet: Moderato The first movement of Sonata Number 49, in C-Sharp Minor, like some of the first movements of Haydn’s last symphonies, has no first and second “theme”, rather the whole movement is based on three mofits occurring in the first, second and fifth measures. To paraphrase the well known saying about acorns and oaks, out of these melodic fragments a whole movement grows. What at first sounds like a second theme turns out to be nothing more than the opening motif in a major key, its primary function being to establish the major tonality, or, as composers call it, to serve as a “varied repetition”. The development section, like the exporistion, is based on the three opening motifs which are played in ever-changing harmonic contexts. The theme of the Scherzando, Allegro con brio, is similar to that of the first movement of Sonata Number 52. In order to forestall criticism by his enemires, Haydn suggested to his publisher that the following

notice be included wiht the sonatas: “Among these 6 sonatas there are two single movements in which the same subject occurs through several bars: the author has done this intentionally, to show different methods of treatment.” The present version is in variation-rondo form, based on two themes, that in the major key being varied twice, that in the minor key, once. The mild plaint of the closing Menuet is answered reassuringly by a trio of great composure, with the somewhat scarifying key signature of seven sharps.

Sonata No. 50 in D Major, Hob. XVI: 37 1. Allegro con brio 2. Largo e sostenuto - Finale: Presto ma non troppo The sparkling, dance-like quality of the Allegro con brio opening of Sonata No. 50 in D Major, is suitable, one would think, for the ballet. What, with all the activity and busyness, one scarcely notices the short and rather intense development section. The following Largo e

sostenuto in D Minor is serious almost to sternness, and harks back to the sarabandes of J.S. Bach. The last movement, Presto ma non troppo, is a rondo, plain and simple - no rondo-variations or sonatarondo, this. The structure of this rondo is easy to follow: A (theme), B (couplet), A, C (Couplet), A.

Sonata No. 51 in E-Flat Major, Hob. XVI.38 1. Allegro moderato 2. Adagio - Finale: Allegro The opening movement of Sonata No. 51 in E-Flat Major, prances effortlessly from beginning to end. The C Minor Adagio speaks somberly, and perhaps with a bit of nostalgia, of great things sadly past. Though not so indicated, the last movement, Allegro is really a Menuet and Trio.

Sonata No. 52 in G Major, Hob. XVI:39 1. Allegro con brio 2. Adagio 3. Prestissimo Here is the “other treatment” of the theme introduced by Haydn in Sonata Number 49. In the opening movement of the present sonata, No. 52, in G major, Haydn sets forth a version more frivolous and lighter than its predecessor, even if a variation in G Minor provides a momentary touch of sobriety. The theme and variations form of this movement is suddenly interrupted by a new theme which is only rhythmically related to the original, following whihc the variations resume and proceed merrily on their way to the end. The spontaneity of the grandly free flowing Adagio gives one the impression of its having been written down all of a piece. An irresistible madcap sprite of a Prestissimo finale ends the sonata with the abandon of a blown thistledown.

A Musical Heritage Society recording made under the direction of Dr. Michael Naida.

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