The So-Called Violin Sonatas of Haydn

Abstract

As ALL BIOGRAPHERS of Haydn point out, the piano sonatas, violin sonatas, piano sonatas with violin, divertimenti, trios, etc. are closely linked. What then are the eight sonatas for piano and violin which nowadays pass for Haydn's proved and approved output in that form, and why do we speak of eight? Geiringer briefly describes them thus: Out of Haydn's eight violin sonatas, four (Nos. 2-5 of the Peters Edition) were also published as ordinary piano sonatas, by elimination of the violin parts (Nos. 24-26 and No. 43 of the Collected Edition). Three others are only simple arrangements of successful ensemble compositions. No. 6 is the transcription of the allegro, minuet, and theme with variations from the divertimento for two violins, flute, oboe, violoncello, and bass (No. ix of Haydn's catalogue), a work probably written in the sixties. It exists also in a version for piano solo as No. I5 of the Coll. Ed. of the piano sonatas.... The violin sonatas Nos. 7 and 8 are arrangements of the string quartets, Op. 77, Nos. I and 2, eliminating in each case the minuet and trio of the original composition.... The only original composition among the violin sonatas is therefore No. I of the Peters Edition which was first published as Op. 70 in 1794. This is confirmed by the Danish scholar J. P. Larsen, when he says (in 1939): Only the op. 70, published by Artaria and Bossler in 1794, is to be regarded as a violin sonata. Why has our insisted that it is better than its brothers by naming itself a real violin sonata for a century and a half? Is it likely, is it possible that Master Haydn in his 77 years should have written but one for piano and violin? All we know about Haydn's production would contradict such an assumption; yet what proof have we