Form

Sonata

Principle Theme (D minor)

Secondary Motive/Theme (F major)

Notes

Sontas in the minor mode often present a very clear structure due to the fact that the second theme or key area is obvious through the contrast of major and minor (See Mozart Kv. 421 (also in D minor) and Beethoveen, Op. 18 no. 4). In addition, the recapiculation usually (not always) recasts the second theme in the minor tonic, again, providing a vivd constrast from its first hearing. In the minor mode, the secondary theme becomes more final, more subsumed by the minor modality of the 1st theme. As Paul Griffiths notes, this first great quartet in a minor key demonstrates the "essentially tragic" nature of the sonata form in a minor key. The most remarkable thing about this sonata is indeed its development and confirmation of an ultimately tragic conclusion.. The development section transitions to the secondary material where it first apears in its new minor cast. The tension is raised to a new level. There is a feint to the major, as though its original nature will return. But fades, incomplete. The recapitulation is the interesting part. It is quite varied from the exposition: it is far darker, more agitated, and it quickly passes through the first theme in order to dwell, ultimately on the second theme, extended and complete saturated with its undeniably tragic essense.

Many of Haydn's sonatas are considered "monothematic" because, although his expositions use the typical two different key areas, the thematic materal remains essentially the same, albeit transposed to the secondary key. This sonata is considered by many to be monothematic. Looking at the two key areas and their contents in this sonata, one can agree that the first theme is a distinct melody supported by harmonic changes whereas the second theme is but an extended cadence with a bit of flourish in the soprano. But the second key area (F-major) brings music of an entirely new nature. Its chief identity lies in the its trimuphant leaps, trills and most importantly, the shift in pulse from quartet notes to triplet 16th notes. Thematically, there is a high degree of contrast and the impression of significant change. Finally, the imporance that the secondard material assumes in articulating and ultimately sealing the darker minor nature of the sonata strains the notion of monothematicism in this case. There are clearer examples of monothematic sonatas in Haydn's work. [fix] One of them is the finale from this quartet.