[Hob. XVI:35-39, 20]. Sei Sonate per il Clavicembalo, o Forte Piano ... Opera XXX. Dedicate Alle Ornatissime Signore Caterina e Marianna D'Auenbrugger dalli umilismi. ed ossequiosismi, loro Servidori

Vienna: Artaria Compag. [PN 7], 1780. Oblong folio. Sewn. 1f. (recto title with elaborate engraved border incorporating floral motifs, verso blank), [i] ("Avertimento"), 2-57, [i] (blank) pp. Engraved throughout.

With French music publisher LeDuc's label to foot of title.

Title worn and soiled, with tear repaired and small tears to blank edges with minor loss; some wear, soiling, and staining, primarily to blank lower margins; corners turned; occasional light foxing; small wax stains to p. 15. First Edition. Rare. Hoboken 8, 1126 and plate 11. BUC, p. 469. Leipzig catalogue, p. 14. RISM H3886 (two copies only in the U.S.).

The Avertimento (publisher's notice) explains that the Allegro scherzando of the Sonata II [Hob. XVI:36] and the Allegro con brio of Sonata V [Hob. XVI:39] begin with very similar opening bars. The notice explains that this was, in fact, the composer's intention. In each of these movements Haydn develops what is more or less the same theme in a novel manner.

"In contrast to London, Paris, and elsewhere, where unauthorized editions of his music had been appearing steadily since 1764 (as far as is known without his participation or even knowledge), there was no music publishing industry to speak of in the Habsburg realm; most music circulated in manuscript copies. This situation changed in 1778, when Artaria & Co., hitherto primarily art dealers and mapmakers, expanded into music printing; other firms soon followed. Artaria and Haydn must have made contact in 1779 (it is not known who took the initiative); their first publication was a set of six keyboard sonatas, HXVI:35–9, 20 (delivered in winter 1779–80, published in April 1780), dedicated to the virtuoso sisters Katharina and Marianna von Auenbrugger. Dozens of Viennese publications of Haydn’s music followed over the next decade." Georg Feder, and James Webster in Grove Music Online

"Concerning Katharina (1755 or 1756-1825) and Marianna (1759-1782), Leopold Mozart remarked: 'Both of them, and in particular the elder, play extraordinarily well and are thoroughly musical.' About 1781 Artaria published a keyboard sonata by Marianna together with an ode by Salieri, with whom she studied counterpoint. She died, possibly of consumption, on 25 August 1782. At the age of ten or eleven, Katharina was mentioned in the 1766 listing of Viennese musicians in Hiller's Nachrichten. She has been described as a 'fiery beauty,' and in 1796 was still considered 'one of the foremost artists on the Fortepiano, which she played not only with accomplishment but also with taste.' " A. Peter Brown: Joseph Haydn's Keyboard Music, p. 25. (Inventory #: 40097)