The Sonata of Classicism

During the Eighteenth Century a notable change took place in the construction of the Allemande, which was frequently developed to a considerable length and published separately under the title of Sonata. Very fine Sonatas answering more or less closely to this description have been bequeathed to us by Carl Philipp Emanuel Bach and Domenico Scarlatti, whose well-known Sonata in A would probably become one of the most popular pianoforte pieces, which almost insuperable difficulty deters even highly accomplished Virtuosi from attempting to play it. In Emanuel Bach's Sonatas the Allegro is generally followed by a short Adagio and this by a Rondo. Many other writers have left us Sonatas in two or three distinct movements. But for the perfect ideal of the so-called "Sonata-Form" we are indebted to the genius of Haydn, the originality of whose invention has justly earned for him the title of "The Father of Modern Instrumental Music".



Haydn’s role in the design and the developing of classical Sonata and influence of his principles is widely recognized.

In its complete form, Haydn's ideal design comprised four distinct movements. The first of these was a well-developed Allegro – sometimes prefaced, especially in Orchestral Compositions, by an introductory Adagio, or Largo. In its main features, this Allegro was constructed very much upon the principle of the old Allemande; but with one important difference. After modulating to the Key of the Dominant, the first part of the movement, instead of proceeding at once to a Perfect Cadence, introduced a Second Subject in the new key, which Second Subject re-appeared near the close of the second part, transposed to the key in which the movement originally started. The Allegro was followed by a Slow Movement – either Andante, or Adagio – the form of which was less rigidly defined.

The third movement was a Minuet consisting of two Strains, followed by a Trio consisting of two more, after which the Minuet was repeated, in the manner of a Da Capo, The Finale was a Rondo, generally of lighter and more playful character than the Allegro, and differing from it also in that after each of its clauses, the original Subject was repeated in full in the original key.

A work composed upon this regular and now generally received plan, for one or two Solo Instruments, is called par excellence, a Sonata. When the resources of a full Orchestra are called into play, the composition is entitled a Symphony. When a Solo Instrument is accompanied by the full Orchestra, it is called a Concerto. When the first Movement only is employed, it is called an Overture, and in that form is used as the Instrumental Prelude to an Opera, an Oratorio, or other grand choral work. Not only do we trace the influence of the Sonata-Form in all the great instrumental works produced by Haydn himself, but we find it openly adopted by every one of his successors, and forming the basis of every Overture, Quartett, Sonata, Symphony, or other similar composition that has ever been given to the world.

Not that the really great writers have slavishly followed the lead even of Haydn. They have not indeed disdained to learn from him: but each has added to his teaching some good thing of his own. Mozart, in his Jupiter Symphony substituted for the Rondo a magnificent Orchestral Fugue. Beethoven enriched the Allegro with a well-developed Coda; and quickened the Tempo of the Minuet to so great an extent, that its old name being no longer applicable, he thought it necessary to call it a Scherzo. But the main outlines of the design have been followed by all composers of Classicism.

Joseph Haydn

Franz Joseph Haydn was born at Rohrau in Austria on the night of the 31st of March 1732, and received his first instruction in Music from a distant relative named Frankh, to whose care his father committed him, when he was only six years old. Frankh lived at Hamburg, where two years later the clear treble voice accidentally attracted the attention of Georg von Reutter, the then Kapellmeister of St. Stephen's Cathedral in Vienna, who at once admitted him into the Cathedral Choir, and retained him there until the year 1748, when his voice having lost its youthful freshness, he was left to shift for himself as best he could.


Haydn's portrait by Ludwig Guttenbrunn


Though thrown by this misfortune entirely on his own resources, and compelled to starve, in a miserable garret in the Kohlmarkt, he continued his studies with unvarying assiduity; and after receiving the best instruction he could get for nothing (including some lessons from Porpora) obtained a few pupils, made some kind friends, and patiently awaited better times. These came at last. In 1759 he was appointed Musikdirektor to Count Morzin, and in 1701 he obtained a similar, though far more important and influential post in the establishment of Prinz Paul Anton Esterhazy.

Haydn was now well provided for, and devoted the whole of his time to the production of the delightful works which have made his name so deservedly famous. After the death of his kind patron, he remained in the service of his brother, Prinz Nikolaus, whose celebrated diamond suit obtained for him the title of "the Magnificent".



Prinz Nikolaus was a still more liberal patron of art than his brother; and to him Haydn owed the pleasantest of lives, with innumerable opportunities for bringing out his talents to the greatest possible advantage. The Prince died in 1700; and in the following year Haydn visited London for the first time and composed the first six of his Grand Symphonies for Salomon's Concerts. On the 8th of July 1791 the University of Oxford conferred upon him the Degree of Doctor of Music.


In 1704 he came a second time to London; and during that and the following year he produced six new Symphonies to complete his engagement with Salomon. He returned to Vienna in August 1705 and again re-constituted the Esterhazy Orchestra for Prinz Anton, the successor of Prinz Nikolaus. He composed his greatest work The Creation in 1708; and The Seasons in the following year.

This was his last great effort. During the latter years of his life, the infirmities of age increased upon him rapidly. On the 26th of May 1800 he was carried to his pianoforte, and solemnly sang the "Emperor's Hymn" three times with the best voice he could command; and at one o'clock on the morning of the 31st his spirit passed away.

Haydn's life was, on the whole, an exceptionally happy one; though its brightness was marred by the evil tempers of a heartless and unsympathetic wife. The fact, that of Symphonies alone he left behind him no less than a hundred and twenty-five, will serve to give some idea of the fecundity of his genius.