Norman Lebrecht on shifting sound worlds
From the same source on Youtube, a piece of Haydn that we cannot quite place.
It has a very interesting Hoboken number – all the Haydn piano sonatas come under Hob XVI, with other miscellaneous piano works in Hob XVII. Hoboken numbers stop at XXXI, so there is no such thing as Hob LVII, the number claimed in the video caption.
Furthermore, it’s definitely not one of the Haydn sonatas listed by Hoboken. Robbins Landon lists two other Haydn keyboard sonatas in E flat, which don’t have Hoboken numbers, but I don’t know these (and they may not in fact be extant, since he lists sonatas known to have been composed but which are now lost).
My view is that this is also a clever pastiche (albeit not quite as successful as the Mozart effort).
Agreed. It goes “wrong” after the second forte-chord, with the run ending on the same note as the bass octave, and going further in the same direction. Doesn’t sound like something Haydn would have done.
Tons of these kinds of pastiches are written by music students all over the world every day, although few “dare” publishing them under the name of the composer they’re emulating.
Quite right – hadn’t spotted this – it’s a dirty great doubled leading note, followed by parallel octaves. Definitely not allowed.
Also the harmonically unsupported d1-d2 octave at :25 is wrong.
I’m loving the analysis.
Aside from the multiple harmonic irregularities, melodically it’s not like any Haydn keyboard sonata I know of. The melodic content in his (the REAL Haydn’s) early sonatas is throughout quite florid with ornamental figures all over the place, unlike the 2nd subject of the first movement here, with its extremely bare texture that would sound just atrocious on a harpsichord. The fist movement also lacks the rhythmic propulsion of later Haydn sonatas, the kind of push that Beethoven was to carry to even greater extremes. The trio of the 2nd movement minuet is fake Beethoven (8th Sym), including the lack of a repeat and an un-Haydn direct melodic link into the Minuet da capo. The last movement Rondo is the most Haydn-like, except for its brevity. Haydn did write short last movements too, but only in the earlier sonatas. . .
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