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Innovations of Haydn’s Keyboard Sonatas during Sturm und Drang Period

Kim, Tae Jung 1

1숙명여자대학교

Candidate

ABSTRACT

Joseph Haydn rapidly changed his musical style from a light Galant style in his early period to a bold, experimental, and intense one from about 1768. Théodore de Wyzéwa, who first paid attention to the change in Haydn’s style, named it “Sturm und Drang” after the German literary movement in the 18th century. Though it is not clear whether Haydn’s Sturm und Drang style stemmed from the literary movement or from his own inner artistic motivation, this stylistic change had great differences from Haydn’s earlier style, and it also served as a base for Haydn’s mature classical style. Haydn’s works in Sturm und Drang style began to pour out from about 1768 in his instrumental music such as his symphonies, string quartets, and keyboard sonatas. According to Haydn’s complete work list by Georg Feder, composition of his Sturm und Drang style keyboard sonatas date from 1765, 3 years earlier than those of other instrumental genres. Therefore, the keyboard sonata could be the first instrumental genre in Haydn’s Sturm und Drang style. Seven Sonatas in 1765-1772 set and L.33(Hob. XVI /20, c minor) sonata which was composed in 1771 represent the characteristics of this style. In general, characteristics of Haydn’s Sturm und Drang musical style are the use of minor key, unexpected and remote key modulations, abrupt change of tempo and dynamics, and contrapuntal texture. These characteristics were conceived to express the intense and dramatic emotions 90of the composer. This thesis first researches new key relationships between sonata movements in the above eight sonatas, and then analyzes three minor sonatas which are L.19(Hob. XVI/47bis, e minor), L.32(Hob. XVI/44, g minor), and L.33(Hob. XVI/20, c minor). The inclusion of minor key sonatas is due to the fact that the use of minor key is the first characteristic that signified a change in style. Thoroughly analyzing the sonatas in detail, this thesis claims that Haydn’s Sturm und Drang style is unique and innovative, and that its great expressiveness was different from those of contemporaries such as C. W. Gluck and C. P. E. Bach, who alsofocused on expressing emotions of a composer. Although Haydn’s Sturm und Drang style was short-lived and not continued, it surely contributed to the establishment of his mature classic sonatas. Furthermore, it is believed that these unique compositional elements affected later composers such as Mozart and Beethoven, and even those of the Romantic period.

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