In his late piano sonatas Hob. XVI:40–42 (1784) and Hob. XVI:48–52 (1788–1795) Haydn gradually cast off all restraint with regard to technical demands. The pianistic skills and the adequate musical literacy of his dedicatees and addressees enabled him to freely develop his compositional ideas. The composer was particularly fascinated by the manifold possibilities the new “Hammerklavier“ offered with respect to sound, touch and articulation. He vehemently recommended Maria Anna von Genzinger, the addressee of the famous Sonata in E-flat major Hob. XVI:49, to buy one: “It is a shame that Your Grace does not have a fortepiano by Schantz. Your Grace would be able to draw double so many effects from it.”
在创作晚期钢琴奏鸣曲 Hob. XVI:40–42 (1784) 和 Hob. XVI:48–52 的过程中(1788–1795)，海顿逐渐摆脱了技法要求上的束缚。 由于他作品的委托人大多具备娴熟的钢琴技巧和充分的音乐素养，这使他可以自由的发挥他的创作思路。作曲家尤其沉醉于这种新题材“奏鸣曲”可能表现出的各种不同的声乐，触觉和清晰度上。他极力推荐这部作品给Maria Anna von Genzinger，著名的E-flat major Hob. XVI:49奏鸣曲的购买人。“很遗憾大人不能拥有Schantz的古钢琴，但拥有这部作品会产生双倍的轰动效果”
Ultimately the last three “London sonatas“ may have pointed the way forward for the young Beethoven who dedicated to his former teacher his op. 2, his first fully developed sonatas, the earliest sketches of which probably date back to the time when he took lessons with Haydn.
A special highlight of this new Bärenreiter Urtext edition, alongside an easy to read engraving with practical page turns, are exhaustive notes on period performance practice revealing important information on the difference between Viennese and London pianofortes and playing techniques as well as on the use of the pedal, touch, articulation and embellishments, generously illustrated by many music examples.