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Wednesday, April 27, 2005

Haydn, Piano Sonata in e minor, H. 34 I

w00t for Sonata form.

The piece starts right in with group 1, which is only 8 measures long. After a half cadence in e minor, Haydn begins to restate the main theme from Gr. 1 but it soon begins to move to the relative major, G, with an IAC in that key in measure 14. This section, from measures 9-28, is a transition to Group two. It ends with a PAC in D major, which is the dominant of G major, so, after a fermata, when Group 2 begins in G major, it makes tonal sense.

Group 2 is very similar to Group 1, in that the main theme is short (six measures long). Again, Haydn states it, ending with a PAC in G major, then pausing and beginning a restatement of the theme. This time, however, it does not modulate, which keeps this piece true to sonata form, ending with a PAC in G major in measure 42. The cadence is extended until measure 45.

The development begins with material from Group 1, though now it's in a minor. This lasts for 5 measures, and then the piece pauses before continuning on to develop the material from the first transition (between Groups 1 and 2). In measure 71, Haydn begins to redevelop the theme from Group 1. However, it's inverted - the right hand begins each call-and-response. This section ends in measure 78 with a half cadence in e minor, bringing us back to a strong sense of tonic for the recapitulation.

Group 1 comes back in measure 79, though this time it's not completely restated. Instead, Haydn begins a transition which lasts until measure 94, ending with a pause on a PAC in B major, preparing the listener for e minor in the recap of Group 2 material, which begins in measure 95.

Group two, modified, is recapitulated from m. 95 to 100, ending with a PAC in e minor and pausing before Haydn develops the material that had previously been the transition between group 2 and the development. This concludes with a PAC in e minor in measure 109, which begins a long terminative section. One could argue that the terminative section doesn't begin until later, perhaps measure 118, but I hear it as beggining in measure 108 because the long harmonic progression that follows is just leading back to e minor - nothing new comes of it.


Ed Geyer said...

I did the same one as you. I wasn't sure about this one at first, but it looks like most of are thoughts match up pretty well. The only real place that I'm in disagreement is that I'm inclined to see the B section in E major rather than a minor only because it's more typical, but with such a short phrase it's hard to say for sure.

Kaberle said...

I agree with Ed as well...that the group 2 starts in E major...either are still amazing...later matt..

Mr. Luxury Yacht said...

You did a good job with lots of descriptions of specific movements.

MeatPopsicle said...

I like the "call and response" comment. I will use that in future analysis. I agree with your analysis of the strong tonic feeling in the recapitulation

lane arndt said...

the distinguishing feature between the notions of the development being in E Major or A minor would be the appearance of a C natural (and, of course, a D natural) and the way in which the two chords (E and A min) relate to one another). I am just listening to this piece for the first time so I don't know intimately the passage in question, but I would say that if the E major tonality gives way to an A minor tonality then what we are hearing is a passage that is essentially a prolonged perfect cadence in A minor. Of course the real indicator would be the D natural, enforcing the E Tonality as essentially Dominant, and therefore ruling A min as the parent key of the section.
Just some points to help the V-i vs I-iv debate; )