The initial Andante con espressione movement of this sonata seems to derive much of its tongue-in-cheek character from the finale of the G- major sonata, Hob.16/40, with which it was published. The movement begins with a measure of dignity, and of course it is much slower than the earlier sonata's Presto finale, but there are enough unexpected pauses and small eruptions of notes that one can't take the music entirely seriously. The music calls to mind C.P.E. Bach's mercurial fantasies and sonatas, except that Haydn's musical emotions don't vacillate as readily as those of Bach's most wayward son. Indeed, Haydn subjects his theme to a string of mild variations, only that in D minor really wrenching the melody into a different, darker world. Following this substantial movement is a miniature, a Vivace assai that spins like a top through ever-thickening near-contrapuntal textures before abruptly losing momentum and coming to rest with a couple of gentle, satisfied chords.



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