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Haydn: 6 Sonatinas: Piano Book

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Haydn: 6 Sonatinas Cover Image

Haydn: 6 Sonatinas: Piano Book

By Franz Joseph Haydn / ed. Willard A. Palmer

Level: Intermediate / Late Intermediate

Item: 00-618

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Description
These early keyboard works by Haydn were originally called Divertimentos or Sonatas, but because of their form and brevity were later renamed. Containing two to four movements each, they include much that is the essence of the Haydn style. The "Sonatina in G Major," Hob. XVI/8 is perhaps the best known of the set, yet all are worthy of study as preparation for Mozart and Haydn sonatas.

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Additional Details
Series: Alfred Masterwork Edition
Publisher: Alfred Music
Page Count: 48
ISBN10: 0-7390-0855-2
ISBN13: 978-0-7390-0855-3
UPC: 038081032597
SKU: 00-618

More about this title

About the Composer: Franz Joseph Haydn

Franz Joseph Haydn (1732–1809) spent most of his career as Kapellmeister to the Esterházy family in rural Hungary, where he developed the symphonic and sonata forms that would define the Classical era. His prolific output across every genre established the structural and harmonic language that Mozart and Beethoven would inherit and transform; his keyboard works in particular bridge the galant style of the mid-eighteenth century and the dramatic possibilities of the fully mature Classical idiom.

For pianists and teachers, Haydn's sonatinas represent an ideal laboratory. They contain sophisticated harmonic thinking and structural clarity without the virtuosic demands of his later sonatas. Students encounter genuine compositional craft: thematic development, modulation, and formal architecture all rendered at a human scale.

Why we love this

These sonatinas occupy a sweet spot in the piano repertoire: they demand attention to voice leading and phrasing without requiring the technical stamina of larger sonatas, making them ideal for intermediate students ready to move beyond simplified arrangements. Haydn's wit and formal clarity shine through here; the Sonatina in G Major alone justifies the collection, but the set as a whole gives teachers a cohesive unit for exploring how a master architect constructs multi-movement works.

What to expect

These sonatinas balance elegance with directness. Themes are memorable and often dance-like, yet harmony shifts with subtle intelligence; what sounds simple unfolds with gentle surprises. There is play here, an almost conversational quality, tempered by the structural rigor that made Haydn the architect of the symphony.

Who it's for

Intermediate to late intermediate pianists who have completed elementary sonata repertoire and are ready to engage with genuine Classical architecture. Teachers seeking bridging literature between Burgmüller and full three-movement Haydn or Mozart sonatas will find these six works invaluable for building understanding of form and style.

How to get the most out of it

  • Shape phrases around harmonic arrival points rather than bar lines; Haydn's symmetrical periods reward breath and gesture that illuminate underlying tonal motion.
  • Distinguish Haydn's minuet-like movements from actual minuets by attending to tempo relationships and character between fast and slow sections; the form is sonatina, not dance suite.
  • Voice the left hand thoughtfully in slower movements, especially when multiple lines compete; Haydn wrote for fortepiano, which favors a transparent texture over thick chordal block.
  • Reserve dramatic intensity for development and retransition passages; much of Haydn's charm lies in conversational simplicity balanced against clever harmonic surprise.

How to use it

Program individual sonatinas in student recitals alongside works by Mozart or Beethoven to show the continuity of Classical language. Alternatively, assign the collection as a semester-long study, working through contrasting sonatinas in rotation to deepen understanding of how the form accommodates different characters and movement combinations.

Skills your students will build

  • Understanding sonata form and sonatina structure (exposition, development, recapitulation)
  • Harmonic analysis and recognition of Classical modulation patterns
  • Phrasing and articulation appropriate to Classical style
  • Voice independence in multi-line textures
  • Interpretation of period-appropriate ornamentation and embellishment

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