Hyperion Records

Piano Sonata in D major, Hob XVI:37
composer
published by Artaria in Vienna in 1780

Recordings
'Haydn: Piano Sonatas, Vol. 1' (CDA67554)
Haydn: Piano Sonatas, Vol. 1
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 CDA67554  2CDs for the price of 1  
'A Matthay Miscellany – Rare and unissued recordings by Tobias Matthay and his pupils' (APR6014)
A Matthay Miscellany – Rare and unissued recordings by Tobias Matthay and his pupils
MP3 £7.99FLAC £7.99ALAC £7.99 APR6014  for the price of 1 — Download only  
'Myra Hess – The complete solo and concerto studio recordings' (APR7504)
Myra Hess – The complete solo and concerto studio recordings
MP3 £16.49FLAC £16.49ALAC £16.49 APR7504  Download only  
Details
Movement 1: Allegro con brio
Track 13 on CDA67554 CD2 [5'27] 2CDs for the price of 1
Track 10 on APR7504 CD2 [4'24] Download only
Track 13 on APR6014 CD2 [2'48] for the price of 1 — Download only
Movement 2: Largo e sostenuto
Track 14 on CDA67554 CD2 [3'03] 2CDs for the price of 1
Movement 3: Finale: Presto ma non troppo
Track 15 on CDA67554 CD2 [3'08] 2CDs for the price of 1

Piano Sonata in D major, Hob XVI:37
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One of Haydn’s few pre-London sonatas to have entered the popular repertoire is the D major, No 37, from the set of six published by the Viennese firm of Artaria in 1780. The sonatas were dedicated to the talented sisters Franziska and Maria Katherina von Auenbrugger, whose playing in aristocratic salons drew the admiration of both Leopold Mozart—never one to dish out compliments lightly—and Haydn himself. The D major’s popularity is easy to understand. The first movement, with its irrepressible, chirruping main theme, evokes the spirit of Domenico Scarlatti at his most dashing within the dynamic of the Classical sonata style. At the centre of the development Haydn offsets the prevailing mood of jocularity with a powerful sequence of suspensions. The Largo e sostenuto, in D minor, is especially striking: a grave, sonorously scored sarabande, archaic in flavour, with a suggestion of a Baroque French overture in its dotted rhythms and imitative contrapuntal textures. Like the slow movement of No 24, it leads without a break into the finale, a guileless rondo marked innocentemente and built around a fetching tune that could have been whistled on any Viennese street corner.

from notes by Richard Wigmore © 2007

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