Haydn's last sonata in a minor key begins with a troubled, marcato theme in E minor, then eases into a G-major second subject that initially seems more pleasant, but soon seems to be a bit desperate in its floridness. The development slightly favors the marcato theme; in the development, the second theme returns in a minor mode and now seems more obviously unsettled than before. The Adagio has a free, fantasia-like character. The slow melody initially seems almost desolate in its simplicity, but soon it stretches luxuriously across the staff, folds briefly back onto itself, and stretches out again. The rest of the movement consists of modest variants on this material that never stray far from the original. Following almost without pause is the Vivace molto (innocentemente). It's a rondo on two themes, the first a quivering minor-mode motif, and the second a more easygoing major-mode subject that derives from the initial bars of its predecessor. The rondo nature consists not of introducing new themes, but providing contrast through differently colored harmonic treatments of the music Haydn begins with.



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