Hyperion Records

Piano Sonata in E flat major, Hob XVI:49
composer
1789/90; written for Maria Anna von Genzinger; dedicated to Maria Anna Jerlischeck; No 59

Recordings
'Haydn: The London Sonatas' (CKD464)
Haydn: The London Sonatas
MP3 £8.00FLAC £10.00ALAC £10.00 CKD464  Download only NEW  
'Hyperion monthly sampler – July 2014' (HYP201407)
Hyperion monthly sampler – July 2014
MP3 £0.00FLAC £0.00ALAC £0.00 FREE DOWNLOAD HYP201407  Download-only monthly sampler NEW  
'Haydn: Piano Sonatas, Vol. 2' (CDA67710)
Haydn: Piano Sonatas, Vol. 2
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 CDA67710  2CDs for the price of 1  
Details
Movement 1: Allegro
Track 10 on CKD464 [7'18] Download only NEW
Track 10 on HYP201407 [7'18] Download-only monthly sampler NEW
Track 2 on CDA67710 CD2 [6'51] 2CDs for the price of 1
Movement 2: Adagio e cantabile
Track 11 on CKD464 [7'09] Download only NEW
Track 3 on CDA67710 CD2 [8'57] 2CDs for the price of 1
Movement 3: Finale: Tempo di menuet
Track 12 on CKD464 [4'21] Download only NEW
Track 4 on CDA67710 CD2 [4'33] 2CDs for the price of 1

Piano Sonata in E flat major, Hob XVI:49
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In 1789, Haydn composed an Allegro and minuet for keyboard, perhaps intending them to stand as another two-movement sonata. The following spring he added an Adagio e cantabile to create a three-movement work, No 49. Although the autograph carries a dedication to Maria Anna (‘Nanette’) Jerlischeck, Esterházy housekeeper and future wife of violinist-entrepreneur Johann Tost, Haydn intended the sonata for his close friend and confidante Maria Anna von Genzinger. ‘This sonata is in E flat, entirely new and forever meant only for Your Grace’, he wrote to her, adding that the Adagio was ‘somewhat difficult, but full of feeling’. Though delighted with the sonata, she did indeed find the Adagio ‘somewhat difficult’, asking Haydn to simplify a passage involving crossed hands in the rolling, romantically impassioned B flat minor central episode. (Whether or not he obliged is unknown.) If Haydn was in love with Maria Anna—and we can guess that he was—his feelings might be divined from this extraordinarily sensitive, intimate music.

Despite its nonchalant opening, the sonata’s initial Allegro is a dramatic, closely wrought movement that evolves virtually all its ideas from the main theme. The far-reaching development culminates in a tense modulating passage on a four-note ‘drum’ rhythm, with extreme contrasts of register. Remarkable, too, is the expansive coda, musing first on the gentle cadential theme and then on a lyrical ‘transitional’ idea that had immediately followed the opening. The minuet finale, a free rondo with two episodes (the second in E flat minor), relaxes the tension after two such highly charged movements—though it is surely no coincidence that its first episode recalls the opening movement’s cadential theme.

from notes by Richard Wigmore © 2009

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