Piano Sonata in D major, Hob. XVI/37
by Joseph Haydn
I. Allegro con brio
II. Largo e sostenuto
III. Presto ma non troppo

This particular sonata comes from the set of six sonatas (sechs sonaten, Hob. 35 - 39, 20), which published in 1780 by Artaria, titled [1st edition]: 'Sei sonate per il Clavicembalo o Forte Piano'. The works should have been composed long before, but published as a collection by the publisher. Artaria & company was one the important publishing companies during the 18th and 19th century of Vienna. Founded by Carlo Artaria in 18th century, this company also responsible in publishing works by Mozart and early works of Beethoven.

This collection was dedicated to the Auenbrugger sisters: namely Caterina and Marianna Auenbrugger, daughters of Leopold von Auenbrugger, a physician and scholar, probably friend of Haydn. Both Haydn and Antonio Salieri had been teachers to these sisters. In Haydn's own words: The sisters possessed 'genuine insight into music equal to that of the great masters.' In fact Marianna herself was an accomplished composer and highly regarded pianist in then Vienna. When she passed away in 1782, Salieri, at his own expenses, published some of her keyboard works.

Despite this fact, the sonatas vary enormously in technical and interpretative demands. For example, Hob. 35 in C is considered rather easy and has been a favourite among students; Hob. 36, 37, 38, & 20 are considered much more demanding; whilst Hob. 39 in G appears to be composed in a rush, perhaps Haydn just wanted to make it a complete six in this collection. There are two in minor keys, Hob. 36 in c# and Hob. 20 in c. With their in-depth musical sense, both boast a significant place among Haydn piano sonatas.

This sonata starts with Allegro con brio (fast with spirit). It is in ternary form (ABA). Boasting exuberant vigour, the first movement perpetually throwing musical exhilaration to its listener, unwilling to stop until the very end of the movement.

But the second movement (Largo e sostenuto - slow and sustaining), which is in D minor (parellel minor), instantly change the mood into a darker and more serious realm. Written in binary form. Though relatively short and concise, it is perhaps the composer wanted to set the audience on their edge. With some standard harmony progression, which includes a Neapolitan sixth (it is a favourite in Haydn's minor-key music during the 1760's and 1770's), the music keeps the listener interested with some contrapuntal texture, almost like dialogues between upper voice versus lower voice.  It 'ends' with an imperfect cadence, which actually gives an unsettled feel, tricking the listener to yearn for more.

In fact the music should instantly continue with third movement, which is back to D major. With this, the music swing back to its initial playfulness, hence gives the listener some relieve. This habit of instant continuation among the movements had been inherited til Beethoven's time. In fact, Beethoven had written a lot his works which had no intention to stop in between movements, hence give the listener a 'whole' experience.

The third movement is in Rondo form (ABACA), and it is in Presto ma non troppo (fast, but not too fast). This movement also bears the instruction innocentemente, an apt indication of the principal theme.Section A in tonic key; section B modulates to D minor (again!) but it is much different from the second movement; and section C in subdominant key of G major. Whilst the writing is challenging, it is clourful and sunstantive to the listener. In another words: simply delightful!