“The key of the third divertimento (WUE Sonata No. 25) is E minor and the first two bars are originally Haydn’s.
The ensuing work has again been created in the so-called Empfindsamer Stil (sensitive style) guided by studying the C.P.E. Bach’s Sonaten für Kenner und Liebhaber and the Haydn’s Sonatas from 1760 to ca.1785. I put myself in the position of a young, serious, imaginary student of Haydn in the mid 1780s assigned to create a three movement work based on a theme provided by the maestro himself with the instruction to create an intense first movement, balanced by a more lyrical second movement and an exciting, joyful third movement to bring the work to an upbeat finish.
The first movement thus created is a passionate statement full of suspense and drama that recalls C.P.E. Bach’s sonatas in the minor key, and Haydn’s own E minor sonata No.53, Hob.XVI/34. I took full advantage of the melodic, rhythmic and harmonic devices that both maestros employed at the time to musically define Empfindsamkeit. A gracious second movement in the parallel key of E major takes the tension down a bit but nonetheless reveals a decidedly serious undertone, while the last movement, also in E major, offers relief at last from the serious two prior movements. It features quasi-Hungarian twists and turns that were popular in their day and displays the type of exciting musical and instrumental licks and tricks on the keyboard that both C.P.E. Bach and Haydn were fully capable of.” – Sebastian Huydts, Chicago, July 2020.
“You enter a dark cave in the Appalachian region. In the distance you can hear the droplets of water falling off of Stalactites. You venture deeper within.” – Jonathan Hannau, March 2021