Haydn Sonata In C Major Xvi 35 Analysis Essay

‘One of the outstanding releases of the Haydn celebratory year’ (International Record Review)

‘A marvellously polished collection of performances … he is a model of correctness, with enough wit, exuberance and the most exquisite lightness of touches to keep the music buoyant’ (The Guardian)

‘Hamelin is most associated with virtuoso fireworks for piano, but he can also miniaturise himself exquisitely to suit Haydn's wit and elegance … the spring in his fingers is delightful’ (The Times)

‘As always, Haydn's originality astonishes and delights in his piano music as much as in his symphonies and string quartets. Hamelin revels in the tongue-in-cheek high jinks of the finale to the E minor sonata (No 34) … and is especially compelling in the great C major (No 48) … works that rank with the finest creations of the Viennese Classical period. An unmissable bargain at two-discs-for-the-price of one’ (The Sunday Times)

‘The continuous outpouring of beautiful tone; it's mesmerizing … these performances are beyond criticism’ (Fanfare, USA)

‘They sound absolutely superb, in the right hands, on the modern grand piano. And Marc-André Hamelin has the right hands, as his first two-disc set showed … playing of crisp clarity and deep feeling, superbly recorded’ (Dominion Post, New Zealand)

‘This Hyperion double set contains some of the finest performances of Haydn sonatas I have heard. Hamelin's playing overflows with ardent lyricism and I especially enjoyed his naturalness of rubato. The close sound quality from the Henry Wood Hall is impressive and the booklet essay by Richard Wigmore is helpful too’ (MusicWeb International)

Downloadable Finale Files for Use in Finding Phrase Extensions


From the Lecture Notes

From the Burkhart Anthology

  • Mozart, Piano Sonata in B-flat, K. 333, i, mm. 1-10
  • Beethoven, Piano Sonata in F minor, Op. 2, No. 1, iii, mm. 1-14
  • Beethoven, Piano Sonata in C minor, Op. 13, iii, mm. 1-17
  • Mendelssohn, Song without Words Op. 19, No. 1, mm. 1-15
  • Chopin, Prelude in B minor, Op. 28, No. 6

From Gene Biringer's Examples of Phrase Extension and Elision

    Phrase extension I (easy)
    Preliminary "extension"
    Extension in course
    Pre-cadential extension
    Post-cadential extension
    Phrase elision and overlap (easy)
    • Haydn, Piano Sonata in C major, Hob. XVI/35, II, mm. 1-5
    • Haydn, Symphony no. 104 in D major, I, mm. 1-16
    • Chorale of St. Anthony, mm. 11-29
    • Chopin, Nocturne in C-sharp minor, op. 27, no. 1, mm. 3-7
      (follows 2-bar intro; excerpt also features pre-cadential ext.)
    • Chopin, Valse in B minor, op. 69, no. 2, mm. 1-9
      (also features an extension in course)
    Phrase extension II (more difficult)
    Extension in course
    • Mozart, Aria: "Dies Bildniss ist bezaubernd schön"(Die Zauberflöte, Act I)
    • Mozart, Symphony no. 40 in G minor, K. 550, III, mm. 1-14
      (NB: three-bar phrases in antecedent)
    • Schubert, Symphony no. 9 in C major, op. posth., I, mm. 1-16
    • Mendelssohn, Song without Words in E-flat major, op. 30, no. 1
      (follows a one-bar intro)
    Pre-cadential extension
    • Chopin, Nocturne in B-flat minor, op. 9, no. 1, mm. 1-18
    • Mozart, Clarinet Quintet in A major, K. 581, II, mm. 1-20
      (NB: extension in-course in the 5-bar phrase in mm. 5-9)
    • Mendelssohn, Song without Words in E-flat major, op. 53, no. 2
      (follows 1-bar intro; also has extension in-course)
    More complex examples: extension and elision
    • Mozart, String Quintet in G minor, K. 516, II (Minuet), mm. 1-13
      (elision gives rise to phrase extension)
    • Mozart, Symphony no. 41 in C major, K. 551, II, mm. 1-11
    • Mozart, Piano Concerto in D minor, K. 466, III, mm. 1-13


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