Hob 16:7 Sonata #2 in D for Keyboard
Hob 16:8 Sonata #1 in G for Keyboard
Hob 16:9 Sonata #3 in F for Keyboard
Hob 16:10 Sonata #6 in C for Keyboard
Hob 16:D1 Sonata #7 in D for Keyboard
In keeping with Haydn’s job as Kapellmeister (music teacher as well as music master) to the Morzin family, we note an interesting phenomenon in this year’s crop of sonatas; all four authenticated works are of the type that have been classified as ‘teaching aids’ by Georg Feder (see page “Chronologies; Sorting out the Keyboard Music”).
In what was likely to have been his first full year of employment for the Morzin’s, Haydn has covered a lot of ground in terms of musical output. From the divertimentos which he has by now mastered as a form, to the next installment of the symphonies saga, some string quartets, and now back to the rudiments of solo keyboard playing. I find it interesting that the lessons learned from Mattheson's Der vollkommene Kapellmeister (The Perfect Music Master) have paid such dividends so early in his career. The rarely mentioned but retrospectively clear concept that he had a plan from the start towards which he was working seems obvious at this point. It will also be noted that by the time we arrive in the 1770’s, this humble beginning will have flowered to include Italian opera as well as all other forms of musical duty; composition, performance, instruction, instrument acquisition and maintenance, politics even. In short, Der vollkommene Kapellmeister!
The works themselves are typical of what he was writing for teaching purposes at the time. Mainly conservative in key (two sharps is the most radical), all with a sonata form first movement, all with a minuet, all with a finale. No grand fantasias ala C.P.E. Bach, just good solid part writing which (presumably) the lady of the house could use to develop a solid and well-grounded technique in the style then popular. It was expected of her to become competent and able to provide entertainment for friends and family and herself. So what does this mean in terms of musical quality for these works? Perhaps they are dull scale exercises or basic modulations? Well, I can tell you without doubt they are far from that! They are entertaining, interestingly devised, rather short works (averaging 6 minutes each). There are opportunities for ornamentation in both hands, various tempo changes, non-symmetric phrase lengths and a nice combination of melody and harmony. The degree of difficulty ranges from easy to moderate, but unless he was living for virtuosity in his music experience (there is no Sonata Appassionata here!) it would be hard to see any complaint coming from the Boss.
We are blessed these days with a full range of recordings, even of these earliest works. In keeping with my own taste, and my belief that the instrument type for which it was written is the correct one to play it on, I tend towards avoiding even the fortepiano for these and get the most enjoyment out of the clavichord or the harpsichord. This was the golden age of the harpsichord, by this time it was at its peak of perfection. I can scarcely picture the lovely young Countess Wilhelmine Morzin playing anything short of a ‘grand’ cembalo like this Viennese masterpiece from 1755 (albeit not in this venue!);
In addition, one can hardly overlook the reserved beauty of the clavichord, at least for performances for oneself. Haydn composed at the clavichord even right through The Creation, and there is little doubt nearly every composition of his, well beyond the keyboard ones, was composed on his clavichord. Here again, we are gifted with enough fine recordings even on the clavichord to have the full gamut of works. If you are unfamiliar with the clavichord, but wish to be adventurous enough to give it a try, I will offer this advice; this is a very quiet instrument, in no way resembling a pianoforte or even a fortepiano. You must get used to listening to it at a lower volume level than you normally would do. If you increase volume to the point of matching the Bösendorfer, it will sound pretty terrible due to the mechanical noise of its working parts. Instead, find a nice, lower volume where the mechanics don't intrude and have a go. The sound will definitely grow on you!
Here are a few choices for early keyboard recordings. All of them are excellent, some of them are indispensable!
Thanks for reading!
The indispensable box to have. An education all on its own, although be forewarned; centuries of accumulated keyboard style are stripped away. Which in itself is a blessing!
Wataya plays both clavichord and cembalo in these early works. This is an outstanding pair of disks which delight me every time I play them.