Haydn Hob.XVI:12 - Andante by Juan J. Rezzuto

First Movement – Andante
EXPOSITION
This early sonata slowly starts departing from the “partita” structure and establishes its first movement in a clear classical sonata form. The first indicator: its slightly larger proportions -compared to its even earlier counterparts-.
“A” starts in a clear homophonic texture with its main motive exposed in the treble. The motive features long trilled upper notes followed by scales that ornaments their resolutions a lower fifth below the long treble notes -focal points-. Harmonic-wise, the piece is very stable around the tonic, tending to stay close to the tonal centre through its episodes and thematic variations.
“A” is followed by a modulatory episode to E -dominant-. This arpeggiated episode firstly revolves around the I and the V degrees before deviating the attention into the secondary dominant in order to resolve through a cadence to the dominant key. Compositionally speaking it blends subtly the texture of “B” -interaction between bar 4 and 5-, a plainly accompanied arpeggiated passage -bars 5 and 6- and the homophonic texture of “A”. This mix aids a smooth transition between themes.
“B” is therefore exposed in the dominant key. Its texture is conversational -trocado-, with a scalistic and arpeggiated gesture repeatedly alternated, every two beats, between the bass and treble. It is very smooth the way in which Haydn then incorporates a double arpeggiated and scalistic passage -3rd beat bar 13- that continues to build up in intensity, climaxing at bar 16 -the increase in tension is helped by the use of octaves in the bass and two insistent trills in the treble-; all these just before the Exposition’s codetta.
The codetta features a dominant pedal note on top of which the arpeggiated design is stated clearly in the treble through the use of repeated notes. The harmonic direction heads towards establishing the dominant; attitude which contributes to establish the typical sonata harmonic plan.

DEVELOPMENT
One of this sonata’s main features is the fact that it hardly departs from the tonal centre. There are certain modulatory passages that we can easily spot, but the new keys are just touched once and left behind quickly to re-establish the tonic.
The progression at the beginning of bar 21 brings the tonal centre quickly back to A major. After that Haydn invests 2 bars alternating between tonic and dominant before heading into the subdominant on bar 26. Thematically-wise, the focus is placed on developing the chords through arpeggiated gestures. This strategy both explores the use and condensation of this feature, which in itself is strongly linked with all modulatory processes in this piece -e.g.: first modulatory episode starting on bar 4-.
Bar 25 is the beginning of a conversational passage that alternates bass and treble arpeggiated gestures once again, this time following a cadencial type sequence which brings the music back to the tonic on bar 29. At this point we arrive at what we can confidently categorize as the most expressive passage of this movement organized around a tone progression leading to the V7 at bar 33. The rhythmic material on the bass -dotted crotchet followed by quaver- is original of this section -some similarities can be drawn with bars 5, 6 and 41-43, much dryer and both modulatory processes- and maybe the most distinctive feature of the entire development section, along with the harmonic tone sequence itself.
At bar 24 we find the re-capping codetta that involves another original element: a periodic arpeggiated accompaniment. This feature collaborates with the introduction of the Perfect Authentic Cadence at bars 36 and 37 leading to the re-exposition. #ClassicalMusic