Ioannis
Fulias, “The question of form of
the final movement in the keyboard sonatas by Joseph Haydn in the 1770s”,
Musicología 20, Athens
2011, p. 88-143.
The 21 keyboard sonatas that Haydn composed from 1771 to 1780 demonstrate his
special interest for this genre during this particular period. Apart from the
variety of sonata types with three or only two movements and their specific
order, in this repertory a clear tendency is also observed towards the gradual
replacement of sonata and minuet forms by other structural choices for the final
movements. Therefore, in the present study the structural characteristics of
each separate final movement are exhaustively examined in the frame of ternary
sonata form (Hob. XVI: 18, 20, 21, 23, 32 and 39 / WU 20, 33, 36, 38, 47 and
52), minuet form with or without trio (Hob. XVI: 36 and 38 / WU 49 and 51, Hob.
XVI: 25-26 / WU 40-41), experimental “hybrid” forms (Hob. XVI: 24 and
29 / WU 39 and 44), “simple” or “strophic” variations form (Hob. XVI:
27-28 and 30-31 / WU 42-43 and 45-46), “double” or “alternating”
variations form (Hob. XVI: 22, 33 and 44 / WU
37, 34 and 32), as well as rondo form (Hob. XVI: 35 and 37 / WU 48 and
50), and finally the question of form in general – regarding the final
movement in Haydn’s keyboard sonatas of the 1770s – is considered in its
historical perspective.
© Ioannis
Fulias