OK people, here's the first analysis. Feel free to disagree w/ me (as always, at your own peril). Piano Sonata no. 52 (Haydn at his oldest and wackiest):
As with almost all piano sonata first movements, this one is clearly sonata form. Theme I starts right off the bat in E-flat major (m. 1) and lasts until the PAC in m9. We then have a transition lasting from mm. 9-17 that modulates from E-flat to B-flat major. So far so good? Theme II begins in m. 17 (B-flat Major) and lasts until the PAC in m. 33 and includes a little modal switch to b-flat minor in m. 29. Haydn then includes a closing theme that lasts from mm. 33-40 and then a codetta from mm. 40-43.
The development lasts from mm. 44-78 and goes through keys C major, F major, g minor, c minor, A-flat major, back to c minor. There's a truly jarring modulation to E major in m. 68, and finally the retransition in meausre 77 that leads to the recap in m. 79.
The recap is really pretty straight-forward. Theme II begins in mm. 93, and the closing theme begins in m. 104.., and there's a codetta from mm. 112 (middle of the measure) to the end. The entire recap is in E-flat major, of course.
So, that's what I want you all to do this semester. It doesn't have to be polished, really, but please give the form concisely with key areas and measure numbers.
Subscribe to:
Post Comments (Atom)
17 comments:
Why is measure 29 Bb minor? I did a harmonic analysis of measures 28 and 29 and there wasn't a Bb minor chord. In measure 30 on beat 3 I can see a transition into Bb minor. This was my harmonic analysis for measures 30 & 31: V V7 i v6 / i V6 iii i iv ii. And then does it modulate back into Bb Major in measure 32? Now that I look at the score I printed from sheetmusicarchive.net, I don't think my score may be the same as yours. Some of the measures seem off!
I also do not see the b-flat minor chord in m. 29. According to my score the development would begin in m. 47 not 44. Then the recapitulation beginning in m. 81 with Theme group II starting in m. 95. The closing theme beginning in m. 107.
I also feel like the measures are off. I listened to the score and it was the correct one so I will have to see it in person tomorrow. I have written down what I can.
The Bb minor i feel extends past m 29 and goes into m. 30 as well. It is evident in the Db in the 16th note runs.
in the development i feel that it jumps to F# minor (49-53), before it goes into F Major and continues to modulate from there as Dr. King stated.
The measures are accurate from what she stated. Sometimes its easier to not listen to the recordings cause there is a chance that we all listened to different interpretations. Thats all. See ya'll tomorrow
My version shows that the development does start in measure 44….the recording seems to reinforce that. The Bb minor modulation is halfway through the measure with a Bb Db minor third moving to an F in the left hand implying a chord, and this actually continues to the end of measure 31. I feel like the codetta might actually start in measure 38, the measure after the tied half notes. Thoughts?
Yeah, I didn't catch that Bb minor. And I am with Ryan about the codetta starting in measure 38.
I definitely see the Bb minor switch half way through m. 29 through m. 31. The codetta does begin at m. 40 because m. 39 clearly ends with a dominant 7th chord in the key of Bb Major which is where the exposition comes to rest at the end of m. 43.
I think the trouble with the measure numbers is that the score from sheetmusicarchive.net cuts some of the measures in half. For example, m. 40 is split between the first and second lines of the third page, but m. 35 is missing its barline.
Definitely see Theme II coming in at m. 17 in Bb Major. The Bb minor is clearly presented in m. 29 with the accidentals being Db. It seems to last through m. 31. I agree with Sarah on that. I agree with Ryan, that the codetta may begin in m. 38. Seems as though my measures are off as well beginning at the development.
I would agree with Dr. King on the switch to b-flat measure 29. The accidentals of Db and Gb definitely indicate that he is playing around with Bb minor. The baseline in m. 30 looks very harmonic minor to me.
After reviewing the aforementioned comments, and post from Dr. King, I can honestly say I have nothing to add, but that everything looked correct to me in he analysis. See you in class!
Everything LOOKS good to me... i did not by the music from itunes, and for me would have been very helpful. From what I can see, I agree with you Dr. King. Honestly, i think i have alot of learning to do:) I dont undersatnd why the first transition is so long. It's longer then the first theme! see you in class.
being as i didn't post over the weekend, i'll post now. while in class ^_^ i have nothing to add to this because it would be foolish to argue this issue with you (hint)
As I stated during Class #1, NEVER POST DURING CLASS. It annoys me to death. Never ever, ever, ever, Michael Janz!
Hi guys!
I just found your blog...I know it's years after, but does somebody acutally has the full analysis?
I'm trying to find some help online, but obviously noone did Haydn No 52 before...
Would be reaaaally awesome! :)
Thanks! :)
Hi guys!
I just found your blog...I know it's years after, but does somebody acutally has the full analysis?
I'm trying to find some help online, but obviously noone did Haydn No 52 before...
Would be reaaaally awesome! :)
Thanks! :)
you will have a terrific blog here! would you wish to make some invite posts on my weblog? mgm online casino
Post a Comment