Stylistic features of the performance of Haydn's keyboard sonatas. Haydn's piano sonatas

How to perform Haydn

How to Perform Haydn (2009)

This collection, dedicated to Haydn’s clavier work, plays the role of a kind of encyclopedia in which particular aspects of performance are immersed in a broad historical and cultural context.

Articles by the greatest pianists and teachers of the 20th century cover a huge range of problems: from general issues style and interpretation to the principles of ornamentation, from the analysis of various editions and urtext to the details of fingering, phrasing and pedalization.

Practical advice and comments are addressed to pianists, including teachers and students of children's music schools, in whose practice Haydn's repertoire occupies a prominent place.

“Like Haydn, everything is fresh and modern!” A. Merkulov

GENERAL ISSUES OF STYLE AND INTERPRETATION Anton Rubinstein

“Grandfather Haydn - kind, warm-hearted, cheerful...”

Maria Barinova Performing Haydn and Mozart in gallant style

Boris Asafiev Harmony of Haydn's worldview

Pablo Casals “Many do not understand Haydn - the knowledge of his depth is just beginning.”

Wanda Landowska “Haydn is fire itself; he knew how to awaken passion!”

Yuliy Kremlev Brief notes about Haydn's keyboard sonatas

Yakov Milshtein Stylistic features performances of Haydn's works

Paul Badura-Skoda On the question of Haydn's ornamentation

Alexander Merkulov Keyboard works by J. Haydn: for clavichord, harpsichord or piano?

PRACTICE OF WORKING ON CLAVIER WORKS Alexander Goldenweiser Piano Concerto in D major (Hob. XVIII/11), Sonata cis-moll (Hob. XVI/36)

Vladimir Sofronitsky Sonata in Es major (Hob. XVI/49).

Leonid Roizman Piano works of J. Haydn

Carl Adolf Martinsen Preface to the edition of the keyboard sonatas of J. Haydn.

Hermann Zilcher Preface to the edition of the keyboard sonatas of J. Haydn

Friedrich Wührer Sonata in C minor (Hob. XVI/20)

Andante with variations in f minor (Hob. XVII/6)

Sonata in Es major (Hob. XVI/52)

Paul Badura-Skoda Interpretation of Haydn. Performer's commentary

Directions for ornamentation

Partita G-Dur (Hob. XVI/6, Landon 13)

Sonata As-dur (Hob. XV1/46, Landon 31)

Sonata c minor (Hob.XVI/20, Landon 33)

Sonata in F major (Hob. XVI/23, Landon 38)

Evgeniy Teregulov What can confuse us in the urtext. Performance analysis sonatas

Es-dur (Hob. XV1/49), part I

Sonata in Es major (Hob. XVI/49), part I

Alexander Merkulov Editions of keyboard works by Haydn and Mozart and problems of interpretation style

Alexander Merkulov “Viennese Urtext” of Haydn’s keyboard sonatas in the work of a pianist-teacher.

Many performers constantly turn to Haydn’s works: these are students of children’s music schools, music schools and conservatories, as well as concert artists. To correctly read the composer’s music, it is important not only to understand the specifics of the figurative content of his works, but also to understand issues related to the field of performing technology. In this work, the problems of style and interpretation of Haydn's works will be examined using the example of his keyboard sonatas.

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Municipal budgetary educational institution

Additional education

Children's Art School No. 1 of Murmansk

Methodical work

teacher Semenkova A.V.

“Execution Features

Keyboard works

Joseph Haydn"

Murmansk

2017

Introduction……………………………………….…………..….….3
Keyboard sonatas………………………………………….……3
General problems of interpretation:

Dynamics……………………………………………………………....……5

Articulation…………………………………………………………….….…….6

Tempo………………………………………………………...……..6

Ornamentation……………………………………………………..….………8

Editions of sonatas…………………………………………...…………9
Conclusion…………………………………………………………….……......12
Used literature….……………….……………………….13

Introduction

Keyboard works occupy one of the most important places in the works of Joseph Haydn. central places and include sonatas, concertos for piano and orchestra, variation cycles, as well as works of small form. Turning to the issues of performing the composer's music, one cannot fail to mention the contribution that Haydn made to the development of world musical culture.

First of all, he became one of the founders of the Viennese classical school. His name is associated with the development of the genres of symphony, quartet, and sonata.

Haydn's creative legacy is enormous. He created 104 symphonies, 83 string quartets, more than 50 sonatas, a large number of concerts and chamber ensembles of various compositions, as well as vocal and symphonic works.

Many performers constantly turn to Haydn’s works: students of children’s music schools, students of music schools and conservatories, as well as concert artists. To correctly read the composer’s music, it is important not only to understand the specifics of the figurative content of his works, but also to understand issues related to the field of performing technology.

In this work, the problems of style and interpretation of Haydn's works will be examined using the example of his keyboard sonatas.

Keyboard sonatas

To this genre instrumental music the composer addressed throughout creative path. The term “sonata” first appeared in relation to a sonata in C minor, written in 1771.

Of the more than fifty works of this genre recorded in the catalog of A. van Hoboken, only five were written in minor: c-moll (Hob. XVI/20), h-moll (Hob. XVI/32), e-moll (Hob. XVI/34), cis-moll (Hob. XVI/36), g-moll (Hob. XVI/44).

The first sonatas, called “partitas” or “divertimentos for clavier,” are still quite modest in size and often have a harpsichord character. In style they are close to the works of Carl Philipp Emanuel Bach, from whom Haydn learned the techniques of thematic variation, ornamentation and innovative textural techniques.

It is not known for certain which of the sonatas were written for harpsichord or clavichord, and which for piano. The autograph of the C minor sonata already contains dynamic indications forte, piano, sforzato, but there are no crescendo or diminuendo indications indicating a piano orientation.

True, the crescendo, which could indicate a hammer piano, appears in the first original edition of the sonata, which appeared in 1780 from Artarius in Vienna, but since this designation is not in the autograph, the possibility is not excluded that it was added later.

In sonatas published after 1780, more differentiated dynamic shades appear, and in title pages appears Per il Clavicembalo o Fianoforte, proving that in performing practice the piano began to play no less a role than the harpsichord.

Thus, Haydn's keyboard style gradually changed and was fully completed in the last sonatas.

Closely related to the composer’s instrumental preferences are other stylistic features of the interpretation of his works, relating to dynamics, articulation, tempo and ornamentation.

Dynamics

As is known, the piano of Haydn’s time had a light and clear upper register, which made it possible to play melodiously and in a variety of colors, and a unique lower register, which had sufficient sound fullness, which was noticeably different from the deep, “viscous” sound of modern pianos.

Therefore, when playing certain works of the composer, there is no need to exaggerate the strength of the sound, force the sound, that is, the forte cannot be the same as when performing the music of Liszt or Prokofiev.

As for the change of forte and piano, not softened by the author’s instructions for a gradual transition from one shade to another, here the performer should take as a model not the contrast of sonorities of the harpsichord manuals, but the orchestral technique of alternating the sonority of the entire orchestra with the cues of individual orchestral groups.

According to the existing tradition, Haydn most often limited himself to only hints at dynamics rather than precise and clear instructions, so it is important that the dynamic shades took place in accordance with the meaning of the work, according to its stylistic features and patterns and, in no case, did not exceed the permitted limit.

Characteristic of the composer are the sforzato instructions, which have a wide variety of functional meanings. Undoubtedly, they indicate emphasis in Haydn, but at the same time it is necessary to understand and distinguish at what dynamic level the sforzato in the text should be performed. With the general dynamics of forte, the accent should be quite strong and catchy, with piano dynamics it should be weaker, sometimes even barely audible.

Unlike Mozart, Haydn, as a rule, did not use the notation forte and piano on the same note. He rarely used the so-called “echo dynamics”, which involves changing sonority when repeating individual phrases.

Articulation

Issues related to the relationship between legato and staccato, understanding the meaning of the varieties of staccato - dots and vertical lines, and most importantly - the ability to apply them in different contexts, should also be important for the performer of Haydn's works.

So, for example, a wedge above a note does not always indicate that this sound should be played abruptly, staccato. A similar designation is often found at the end of phrases, and in such cases the wedges indicate a short and soft ending to the phrase, and not at all a sharp accent. Instead of treating the wedge as a short, accented staccato, it should be understood as recording a shorter and almost always quieter note than the one above which the dot appears.

The next point is the execution of the point under the league. Haydn used this touch less often. Its traditional performance is to shorten the note by approximately 2 times. In the case where the ends of the leagues are not equipped with shortening signs, they need to be performed more softly, which is a reflection of the legato technique borrowed from string instruments.

Pace

Considerable difficulties arise for the performer when determining the tempo of Haydn's works. First of all, it is necessary to take into account the nature of the music: the sparkling finales of the sonatas require the most dynamic tempo, the parts marked Largo require a slow one. You also need to take into account the peculiarities of writing a musical text: in particular, the short notes that make up certain passages should restrain the speed of movement. Finally, articulatory marks, as well as ornamentation, are essential in determining tempo.

In order to confidently resolve all the difficulties, it is necessary to know which tempo instructions the composer resorted to most often and what they meant to him. We can propose the following scheme of tempo notations found in Haydn’s keyboard sonatas:

Prestissimo - fastest tempo.

Presto – performed extremely (but not extremely) quickly. Found mostly in finals. The tempos of Allegro molto and Allegro assai are close to it in speed.

Vivace - means busy traffic, but less fast than Presto.

Allegro – enough fast pace, but not excessive.

Allegretto – moderately fast tempo and graceful performance. In terms of speed, it is closer to the Andante than to the Allegro.

moderato moderate pace.

Andante – presents some difficulties for performance. In some sonatas the designation Andante con moto or Andante con espressione is found, indicating a more agile tempo or, conversely, a calmer nature of the movement.

Largetto is a faster tempo than Largo and, most importantly, faster than Adagio.

Adagio – in some cases with the addition of e cantabile indicates a slow tempo and drawn-out nature of the performance.

Largo – the slowest tempo.

It must be emphasized that in Haydn's time tempos such as Andante and Adagio did not represent an excessively slow movement, such as they acquired in the practice of musicians of the 19th century. There is also no need to be afraid of fast tempos in the finales of sonatas. But it is important to understand that the clarity and rhythmic precision of the music should not suffer due to the fast tempo.

For the interpretation of Haydn's works, rhythmically accurate playing and stability of tempo are of particular and very significant importance. This does not mean that within one part or even one separate episode there cannot be deviations from the main tempo. However, frequent changes in tempo within one part, and especially within one episode, are excluded. It is also important that the tempo and character of the accompaniment remain the same, despite any slight acceleration or deceleration in the melody.

Ornamentation

The execution of ornamental decorations is not subject to Haydn strict scheme, but follows from the specific features of each individual episode: its character, the movement of the melody, the tempo. The composer's music is so diverse that it makes no sense to reduce the decoding of decorations to a common denominator: melismas can have different interpretations.

Forshlags , written in eighth or sixteenth notes, can be long or short, stressed or unstressed. Their duration is not always clearly defined by the notation. Grace notes notated in quarter notes or half notes usually correspond to the duration of those notes.

Trills can begin with either the main sound or an auxiliary sound. In most cases they should be played with a nachschlag, regardless of whether it is notated.

Uncrossed mordent (pre-thriller)Haydn consists of three notes and, unlike a long trill, begins with the main sound. The frequently encountered four-note rendition, beginning with an auxiliary sound, is incorrect.

To indicate mordent Haydn used the crossed out groupetto sign. The mordent is usually used in ascending sequences of sounds or at the beginning of a phrase above a long note, and always begins with the root note.

To indicate a gruppetto Haydn uses his universal sign of the crossed gruppetto, as well as a grace note of three small notes. Most often, this sign stands above the note and is performed from the beat, and not on the downbeat. It can also be between two notes.

Combination uncrossed mordent and groupettobegins with the main note and consists of four sounds.

In general, we can say that Haydn is characterized by the interchangeability of melismas, which allows the performer to decide for himself which decoration to choose in a given case.

Editions of sonatas

Until the early seventies of the 18th century, Haydn's piano sonatas existed only in manuscripts. In 1774, a Viennese publisher J. Kurzböck published six sonatas by the composer for the first time. In 1778 the publisher I. Yu. Gummel published six more sonatas, known in manuscript already in 1776.

A year later, in the Paris edition of Haydn's student I. Pleyel The first of twelve notebooks of Haydn's clavier works was published.

The complete edition was carried out by the firm of Breitkopf and Hertel in Leipzig (1800-1806). Also, between 1780 and 1790, individual sonatas by the composer were published in England and France.

Other editions of Haydn's piano works include the French edition of 1840, edited by A. Dörfel (1850-1855) and edition A. Lemoine (1863).

During the period from the second half of the 19th century century to the first third of the 20th century under the influence of the romantic musical art Many editions and interpretations have appeared that do not correspond to the style of the era in which the work was created.

In them, changes to the original text most affected the author's ligature and articulation: small bar-by-bar lines were replaced by longer, phrasing ones, which was dictated by the desire for melodiousness and breadth of breathing. An example of the use of such a ligature is the edition of Haydn's sonatas G. Riemann (1895).

Also, to enhance the cantilence of the music, preference was given to playing legato. In the musical text, this was noted either by leagues or by verbal instructions, which applied both to small notes in the melody or accompaniment, and to passages in the fast movements of sonatas. Another means of creating broader melodic lines was generous pedaling. In particular, it is found in the editorial office M. Presman , completed in 1919.

Concluding the conversation about “romanticized” editions, we cannot help but say about the edition of Haydn’s keyboard sonatas B. Bartok (1912), since it focused on many characteristic stylistic signs of the time. The Hungarian musician significantly enriches the dynamics of the sonatas, using the notations of both fortissimo and pianissimo, while accompanying them with the indications molto espressivo, pesante, tranquillo, agitato.

In addition, Bartok details the process of dynamic changes itself: in his edition one can find the designations crescendo and diminuendo, crescendo molto and diminuendo molto. Sometimes an increase in sonority corresponds to an acceleration of movement and, conversely, a decrease in sound - a slowdown.

Also, with the help of adding individual voices and calms, Bartok transforms the hidden vocal performance with accompaniment into a more obvious, prominent one.

In addition, Bartók's version is characterized by great tempo and agogic freedom, which is reflected in many of the stage directions.

In the 20-30s of the 20th century, “romanticizing” editions began to be increasingly replaced by editions of urtexts. The process of clearing the author's text from accumulated editorial layers was not easy and took more than one decade.

In 1920, the publishing house Breitkopf and Hertel published three volumes of Haydn's keyboard sonatas, edited by K. Pasler . This publication, based on the composer’s autographs, was subsequently used in their work by many editors of Haydn’s urtexts.

Since the late 1920s, editions have appeared that can be called “semi-urtexts.” In them, the author and editor designations are printed in different fonts. This is the editorial office G. Tsilhera (Edition Breitkopf, 1932, in four volumes, 42 sonatas) and a very common edition of Haydn's sonatas edited by K. Martinsen (Edition Peters, 1937, in four volumes, 43 sonatas).

In 1960-1966, the Muzyka publishing house published three volumes of selected sonatas edited by L. I. Roizman . Around the same time, publications of Haydn's keyboard urtexts were carried out in the USA (1959), Hungary (1961), Austria (1964-1966) and Germany (1963-1965). All of them have been reprinted several times.

Among the numerous editorial works, the Vienna Urtext certainly stands out. K. Landon . It includes 62 sonatas, while other common editions have much fewer. One of the important advantages of this edition is the chronological order in the arrangement of the sonatas. Another important feature lies in the very attitude to the musical text, which is based primarily on the composer’s autographs and handwritten copies, and not on printed editions, even during his lifetime.

As a result of this approach, which is in many ways fundamentally new to existing editorial practice, the text of the sonatas in the Vienna Urtext has become significantly clearer. The phrasing leagues that arose in the romantic era have disappeared, there are fewer dynamic instructions, only in rare cases small print An approximate description of the decorations is given. But numerous small touches that are important in interpreting the music of that era have become much more prominent. There are also no pedal indications at all.

When working with an urtext edition, it is important not only to have a certain amount of historical knowledge, but also to understand the basic expressive meaning of the composer’s instructions, then the individual performing edition created on the basis of the urtext will be competent.

Conclusion

Of course, an in-depth theoretical consideration of the problems of stylistically correct interpretation does not yet lead to performing creativity, but is only the foundation for it. Only with creative “contemplation” will a piece of music “live”, that is, influence listeners.

An illustration of what has been said can be the words of the outstanding Soviet pianist Maria Grinberg: “Previously, I had the task of finding within myself an understanding of the thoughts, ideas and feelings that were contemporary with the composer; Now it seems to me that this is impossible, because we cannot understand and fully enter into the experience of a person from a distant time, when our own life became completely different. Yes, this is hardly necessary. If we want to continue to “live” a work, we must learn to experience it as if it were written in our time.”

Literature used

Badura-Skoda P. On the question of Haydn’s ornamentation. / How to perform Haydn. Compiled by Merkulov A. – M., “Classics-XXI”, 2009.
Kremlev Yu. Joseph Haydn. Essay on life and creativity. – M., “Music”, 1972.
Merkulov A. Keyboard works by J. Haydn: for clavichord, harpsichord or piano? / How to perform Haydn. Compiled by Merkulov A. – M., “Classics-XXI”, 2009.
Merkulov A. Editions of keyboard works by Haydn and Mozart and problems of interpretation style. / How to perform Haydn. Compiled by Merkulov A. – M., “Classics-XXI”, 2009.
Merkulov A. “Vienna Urtext” of Haydn’s keyboard sonatas in the work of a pianist-teacher. / How to perform Haydn. Compiled by Merkulov A. – M., “Classics-XXI”, 2009.
Milshtein Ya. Stylistic features of the performance of Haydn’s works. / How to perform Haydn. Compiled by Merkulov A. – M., “Classics-XXI”, 2009.
Musical encyclopedia. Editor Keldysh Yu. – M., “ Soviet encyclopedia", 1973.
Roizman L. Introductory article / Haydn J. Selected sonatas for piano. – M., “Music”, 1960.
Teregulov E. How to read piano music by J. Haydn. – M., “Bioinformservice”, 1996.
Landon C. Vorwort / J. Haydn. Samtliche Klaviersonaten. – Wien, Wiener Urtext Edition, 1966.
Martienssen C. A. Vorwort / J. Haydn. Sonaten fur Klavier zu zwei Handen. – Leipzig, Edition Peters, 1937.

Yulia Gennadievna Tyugasheva
Methodological development “Stylistical features of the performance of Haydn’s works”

Stylistic features of the performance of Haydn's works.

Stylistic originality of Haydn's music, including the keyboard, has been studied relatively little.

What first of all you need to know and remember in general - aesthetically, starting to study and interpret the keyboard, and any other music Haydn?

1. Haydn were undoubtedly close to those aesthetic views, according to which music is designed to embody mathematical relationships in sounds, and awaken feelings "capture hearts", "to excite or calm passions".

2. What Haydn as a person and an artist he was formed surrounded, so to speak, by the folk music of Vienna.

Dynamic shades.

With regard to dynamics, one should remember, first of all, two circumstances that are very significant in the era Haydn.

First of all, forte Haydn does not at all correspond to our idea of forte. Compared to the past, we undoubtedly think about sonority differently, in higher gradations. Our forte, for example, is much stronger and more voluminous than the forte accepted in the times Haydn. Of course, we should not at all return to the forte that was familiar and desirable Haydn: Our ears are too accustomed to acoustically stronger sound. But we also shouldn't play this or that Haydn's works, exaggerate the strength of forte, force the sound.

Secondly, according to existing tradition, Haydn most often he was content with only hints of dynamics rather than with precise and clear instructions. Therefore, to the meager scale of dynamic notations Haydn, one way or another, I have to add something of my own.

At the same time, observing this rule, it should be taken into account that the replenishment of dynamic shades must take place in strict accordance with the meaning of the work, in accordance with its style features and laws and in no case exceed the permitted limit. You can't go too far in your additions. The abundance of dynamic nuances is no less harmful than their absence: it shouldn't destroy, split up the melodic line.

Over the years Haydn began to record his performance requirements. And among his later there are such works, which allow us to more accurately judge the nature of its dynamics. An excellent example regarding the differentiation of dynamic shades is his Sonata in D major, dating back to 1782-1784, and the Sonata in Es major, created in 1974. Here we mean not only the designations forte and piano, but also the designations fortissimo and pianissimo, and also, perhaps most importantly, the indications crescendo or similar to it f- piu f-ff these sonatas, as well as some others essays related to that period can be use to study Haydn's style, in particular, style of its dynamics.

Especially give a lot for knowledge stylistic laws of keyboard music Haydn instructions sforzato, which are extremely characteristic of the composer. They have a wide variety of functional meanings.

First of all, the indications sforzato undoubtedly mean Haydn accentuation. During times Haydn They had not yet used special signs that were common in the 19th century and so familiar to us, like >,^,< >. Instead, the designation sforzato was most often used. Therefore, it is immediately necessary to distinguish and accurately determine at what dynamic level there should be fulfilled placed in the text sforzato. It’s one thing if sforzato is placed on the general dynamic level of forte. It is completely different if it is listed at the general dynamic level of piano. In the first case, the accent should be quite strong and catchy; in the second - weaker, sometimes even barely audible.

Next, it is necessary to distinguish: Does sforzato mean syncopated stress on the downbeat of the bar, or does it only emphasize the melodic peak of the phrase? Intonation (phrasing) accents are very typical Haydn, and without the correct sensation of them and, of course, without the correct proportionate dosage, good performance of Haydn's keyboard works is simply impossible.

To the designation of forte and piano (f p) on one note (meaning sforzando) Haydn, as a rule, did not resort. In this respect, he is decisively different from Mozart, who loved this sign and often put it in those places essays, where it was necessary to first take the sound quite sharply, and then suddenly weaken it.

I rarely resorted to Haydn to the so-called"echo dynamics". But he was still not completely alien to this effect, which involves a change in sonority (weaker sonority) when repeating individual measures. It should only be taken into account that when applying this effect when performance of Haydn's works, it is necessary to exercise a certain amount of caution and be economical. There is nothing easier than, through the excessive use of the echo-dynamics effect, to fragment the single line of development of musical material and thereby significantly worsen execution. The fact that Haydn This effect is rare and should be cautioned performer from any excesses in this area.

At all, Haydn, judging by the few confessions that have survived, was an opponent of all kinds of exaggerations. And the dynamic side execution is no exception here. Sonority when interpreting works of Haydn should not be rude, harsh, overly protruding and, most importantly, should not come at the expense of nobility and simplicity of expression.

Considerable difficulties arise before performer and when determining the tempo works of Haydn. Knowledge is also needed here Haydn's style of music, and known experience. And proper critical sense. You shouldn't be afraid when performance of Haydn at fast tempos. Haydn he undoubtedly did not shy away from them and, one might say, even loved: Many of the finales of his sonatas eloquently prove this.

During times Haydn tempos such as the Andante and Adagio did not represent an excessively slow movement; these tempos were much more fluid than those of Beethoven and the Romantics. Sonata movements Haydn marked with these symbols cannot be perform too slowly, with an unusual pathetic: it's coming contrary to stylistic laws of music Haydn. And we must always remember this.

Haydn did not leave us any mathematical calculations of tempo, no metronomic notations. Therefore, when precise definition the pace has to be adjusted to a number of circumstances. First of all, it is necessary to take into account the very nature music: sparkling finales of sonatas Haydn, naturally, require the most dynamic tempo, the parts marked Largo require the slowest tempo. It is also necessary to take into account peculiarities writing a musical text, in particular, the shortest notes in terms of duration that make up certain passages: these notes seem to limit the speed of the tempo, the speed of movement. Next, you can’t ignore the rhythmic pattern music: The clarity and rhythmic precision of the music should not be compromised by the fast tempo. Speed should not be replaced by haste, which is not at all in the spirit Haydn, as, indeed, many other composers. Finally, when determining the tempo of works, they are essential Haydn and articulatory markings, as well as ornamentation. The bad thing is the pace at which you can’t fulfill decorations properly indicated in the musical text and identify certain articulatory subtleties. Often according to articulatory instructions Haydn, by the way, very stingy, one can judge the correct character and pace, the correct speed of movement.

To confidently resolve all difficulties, arising when determining tempos in works Haydn, it is necessary to know and understand the character itself well Haydn's tempo notation; it is necessary to know exactly which tempo instructions he resorted to most often and what they meant to him.

We can propose the following scheme of tempo notations found in keyboard sonatas Haydn, from which much will become clear to us.

The fastest tempo recorded in keyboard sonatas Haydn, is the Prestissimo tempo. True, it appears only once - in the Sonata in G major, dating back to 1780. Prestissimo Haydn means the fastest pace and should be fulfilled accordingly - extremely quickly. Let us emphasize once again that there is no need to be afraid of the fast pace of Haydn, especially in his cheerful finals: they should be played easily and quickly, they are so conceived, they testify to a certain graceful manner of his writing, alien to any heaviness.

Second fastest pace Haydn is Presto. This tempo appears 20 times in his keyboard sonatas. (mainly in finals) and should execute extremely quickly(but not to the limit). You should strive to ensure that all the notes, decorations and articulatory strokes sound clear and distinct, so that there are no sound roughness or errors.

To the Presto tempo Haydn The tempos of Allegro molto and Allegro assai are approaching in speed. Both tempos are not often found in his keyboard sonatas. (Allegro molto -5 times, Allegro assai - just once).

Somewhat slower should be fulfilled Vivace molto and Vivace assai, found respectively in the sonata in e minor and in the sonata in D major and denoting a very lively movement, but still less fast than Presto.

Frequently used Haydn in keyboard sonatas, the tempo designation Allegro indicates a fairly fast tempo, but by no means excessive. IN "pure" form it occurs 24 times in sonatas; with various additions indicating desire Haydn either slightly increase the speed of movement, or, conversely, reduce it slightly.

No less often found in keyboard sonatas Haydn notation Menuett, Tempo di menuetto. At performance this tempo it should be taken into account that the minuets Haydn, in contrast to the minuets of earlier times, were relatively calm dances in movement, although perhaps less calm than the classical balanced minuets of Mozart. That's why minuets Haydn You can't play too fast. It is also important that in any minuet Haydn There are always 3 rhythmic beats per bar. And not one blow on the downbeat.

Relatively rare in keyboard sonatas Haydn Allegretto designation (4 times in total, indicating a moderately fast and at the same time graceful character execution. Perhaps it is closer to Andante than to Allegro.

There are known difficulties in Haydn's performance of Andante tempo, found 12 times in the keyboard sonatas, of which once with the addition of Con moto, 2 times – Con espressione. These additions indicate that Haydn on individual occasions, unfortunately, few in number, tried to help to the performer in specifying the speed of movement of the Andante: the words Con moto indicate desire Haydn perform Andante in a more active tempo, the words Con espressione – in response to his desire to play the Andante more calmly (sonata G major). In all other cases to the performer you have to decide for yourself how to perform this or that Andante: whether to play it more dynamically or more calmly.

Often found in keyboards Haydn's works Moderato designation (20 times) also delivers the performer has a lot to worry about. One moderate pace here is not always equal to another. A lot depends on the nature of the music, on texture, dynamics, rhythm and other components of the musical fabric.

Adagio, stamped Haydn in keyboard sonatas more than 15 times, should not execute excessively slowly. Where Haydn wanted to strongly emphasize its drawn-out character, he also adds to it the designation e cantabile (as he did in the Es major Sonata).

At the slowest pace Haydn is Largo, appears twice in his keyboard sonatas. Moreover, in one case, sostenuto was added to it, as if emphasizing the extremely slow nature of the movement. Lento notation in keyboard sonatas Haydn does not occur at all.

Also worthy of mention is what appears in the text of the keyboard sonatas: Haydn designation Larghetto - the tempo is faster than Largo, and that especially important, faster than Adagio. About this performer of Haydn's works must never be forgotten.

For interpretation Haydn's works special Rhythmically accurate playing is very important. Tact for Haydn- not just a formative unit, but true soul music. Exact observance of it, rhythmic uniformity, stability, firmness of tempo - special conditions for good performance.

However, this does not mean that Haydn's works must be performed mechanically, soullessly, formally, beating every quarter and downbeat like the conducting of a clumsy bandmaster. Moreover, this does not mean that within one part or even one separate episode, Haydn There are no deviations from the main tempo at all. Of course, frequent changes in tempo Haydn within one part are excluded. They are absolutely out of character with him style and can only ruin the performance. But there are exceptions here too; especially this refers to his relatively late essays.

Agogy, correctly understood and used in moderation, undoubtedly helps the natural execution of transitions, relationships between individual episodes. If not always, then in many cases, tempo freedom here seems necessary to us.

And in general, is any good musical conceivable? execution without agogic digressions? After all, it is possible to play a piece quite plastically and flexibly only by resorting to agogic means!

Haydn here are exceptions to general rule. You just need, we repeat, to be able to use agogics in moderation, and not to go beyond what is permitted. border style. However, these boundaries turn out to be very relative. Taste here, as in everything else, plays a decisive role.

Rubato is also absolutely necessary when performance of Haydn's works. But even in more moderate doses than agogic retreats. In this sense stylistic features of Haydn's music differ significantly from style features his great contemporaries, say, Mozart, who has completely clear and unambiguous indications of performance by Rubato, and even gives a comprehensive explanation of the game Rubato: “so that the left hand doesn’t know anything about it”, to “the left hand was not willing to make concessions”. U Haydn We will not find such self-confession. And there's more to come

complicates an already complex problem performance by Rubato.

What exactly performs Rubato and how to perform Rubato? In what character?

In what style? It is difficult, sometimes even impossible, to answer these questions.

One thing is certain: the pace and nature of the accompaniment should remain at Haydn even more unchanged, unaffected in any way by the slight accelerations and decelerations in the melody, which should always be the focus performer. You can't, for example, good fulfill, as noted above, the slow movements of the sonatas Haydn, without resorting to elaborate Rubato. It is this that communicates to the performer liveliness and expressiveness. Of course, Rubato hardly affects performance of fast movements in Haydn's works: here it is like death.

Were they characteristic Haydn some features of rhythmic notation, which took place among his predecessors, in particular among his predecessors, in particular among Bach and Handel? In short, is it necessary in certain cases perform the notes are rhythmically different. How are they written in the text? Probably sometimes it is necessary ( especially when performing a dotted rhythm, but only sometimes and very carefully, without crossing the line of artistic taste. The purpose and justification for such changes is to achieve an active rhythm as opposed to a sluggish, lazy and diffuse one. execution. However, one should never forget that Haydn was a man quite clear and definite in his intentions. He tended to write down notes the way he wanted them to be played. Changes in rhythm execution for him are the exception to the rule rather than the rule.

Ornamentation.

Ornamentation Haydn is, one might say, halfway between C.F.E. Bach and Mozart. Although Haydn and once called Carl Philipp Emmanuel Bach his great teacher, this should be understood in a broadly generalized sense, but not in the sense that he literally adopted the rules of ornamentation from his predecessor. Despite some similarities with the North German composer, even outwardly it is noticeable that the decorations Haydn have a completely independent notation. After all, your basic education Haydn received in Vienna, not in Berlin.

Forschlags.

Forshlags Haydn, notated with small notes, can be long or short, stressed or unstressed. Their duration is not always clearly predetermined by the notation, but, unlike later composers, long accented grace notes predominate, especially if the small note of the grace note forms a harmonic dissonance. Despite their writing, such dissonant detentions are usually played "to the beat", simultaneously with the bass note or voice note. Grace notes notated with quarter notes or half notes usually correspond to the duration of those notes; grace notes, written in eighths or sixteenths, can be either short or long. Consequently, a grace note notated as an eighth note may well have the length of a half note, as for example in the G major Sonata, Menuett, Measure 28.

If the note of the grace note itself forms a consonance, as, for example, with grace notes going up a sixth or octave, then the grace note is usually played briefly and unaccented Sonata Es-dur No. 49, part 2, vol. 17.

There are also grace notes that should be played in a modern way - upbeat and easy, as, for example, in Sonata No. 37, D major in 1 movement, bars 17-19.

The unconditional rule, which knows no exceptions, should be considered the league between the grace note and the subsequent main tone. Due to the fact that this rule was taken for granted for musicians of the 18th century, in ancient manuscripts and, accordingly, in modern publications, grace notes sometimes lack leagues. Their absence has caused confusion among modern musicians and led to many misinterpretations. Not only grace notes notated in small notes, but also written out dissonant detentions should always be tied to permission, which should be played softly, as for example in Sonata No. 35 C major (part 2, measure 4).

Trills and uncrossed mordents.

Trills Haydn, like most 18th-century trills, usually begins on a non-chord note. For performances of Haydn's trills, the Italian-inspired instructions of Quantz are more suitable than the recommendations of C. F. Bach, because the teacher Haydn The composition was by the Italian Porpora.

Trills, like almost all 18th-century jewelry in general, should always sound quickly and easily, and not be an indifferent strum. In contrast to Bach's trill, in Quantz's trills the main sound is emphasized somewhat more strongly than the upper auxiliary note.

Let's compare performing transcript of one place from part 1 Haydn's G-dur "Noah Sonata No. 6 after Quantz and Bach.

Not only with descending, but also with ascending chains of trills, for a good melodic connection, it is preferable to start with the main sound, as, for example, in the f-minor Variations, bars 82 onwards.

Sometimes trills relate not only to the duration of the note over which they stand, but specifically to a stop at approximately half the note duration, as, for example, in the 2nd movement of the F major Sonata No. 23 (bars 7-8).

An uncrossed mordent consists of Haydn of three notes and, unlike the usual long trill, begins with the main sound.

About what exactly it is the performance was intended by Haydn, can be concluded based on many examples from his essays, where the uncrossed mordent is written in small or large notes, as, for example, in the 1st movement of G major Sonata No. 39, bar 18.

Instead of the accepted mordent designation Haydn uses the ~ sign.

That's why to the performer need to understand how perform it is a universal sign as a mordent, as a gruppetto, or as an uncrossed mordent. Knowing that mordents were only used in ascending sequences of sounds or at the beginning of a phrase above a longer note, choosing the right decoration is not difficult. At the beginning of the minor Sonata No. 32 Haydn I wrote out the mordent in notes, and then immediately the abbreviated designation.

Mordent always begins with a reference sound. It is necessary to strictly monitor the correct play and not start it off the beat.

Gruppetto.

For this decoration Haydn uses three types notation: yours "universal sign"~, the accepted designation ~, as well as a grace note of three small notes.

The gruppetto primarily serves to give some shine to notes that are more significant rhythmically or melodically.

Recording in the form of a grace note often serves to "explanations" execution at the beginning of the work.

As can be seen from the selected examples, the gruppetto begins above the note, sometimes on a beat (Sonatas No. 29 and 48), sometimes before it (Variations C-dur).

Gruppetto between two punctuated notes is often performed at the beginning of the G major Sonata No. 27 (Ex. 15).However, often, by analogy with the third of the above examples, the dotted rhythm here "escalates". Compare the different notations in the 1st movement of Sonata No. 48 in G major, t. 13 and 83.

Arpeggio.

Just like Mozart Haydn indicated the arpeggio either by a slash approximately in the middle of the chord, or by using small notes. Therefore, the slash implied Haydn is not acciaccaturu, that is, mixing harmonically alien tones to sharpen the sound, but only a simple ascending decomposition of the chord. Acchakkatura itself is found in Haydn relatively rare and is specifically indicated using notes, as in the 1st movement of the cis-moll Sonata No. 35.

Haydn specially noted the arpeggio only when he wanted to guarantee the decomposition playing chords. In many cases, arpeggiation is left to your choice performer. In the piano texture of arpeggios right hand should almost always be played "to the beat", with a distinct emphasis on the highest note.

Full house, train and other ornaments.

Less common decorations Haydn mostly notated in small notes, for example (Ex. 20).

These decorations, according to 18th century theory, should also be played "to the beat" and softly, that is, emphasizing the subsequent note of the melody. One should be careful about a common mistake when performed from the beat.

In the music of that time, some decorations could be replaced by others on occasion. To the performer you often have to decide for yourself whether to play a gruppetto, an uncrossed mordent, or a longer trill here. Sometimes, when a sentence is repeated, the ornamentation becomes richer. But you shouldn’t add too much more decorations obscure the calm and clear vision of the melodic line.

Let's turn to grace notes: even their duration cannot be determined unambiguously, and the composer himself often did not intend them to be of the same type execution. Along with the usual rhythmic durations with performance of grace notes Of course they can notes to be played, which make up approximately a third or a fifth of the musical duration, and therefore cannot be accurately written down. In addition, a long grace note not only means a certain height and duration of the sound, but also emphasizes the note and its connection legato with an unaccented note. resolution. Therefore, a return to older ones is desirable "explaining" publications, however, with the difference that "text" And "explanations" clearly distinguished graphically.

Preview:

Methodical work

Sonata form in the piano work of J. Haydn.

Sonata C major Hob/35.

Prepared by:

Sokolova Nelya Vasilievna, piano teacher.

Place of work:

MBOU DOD DSHI them. G. Kukuevitsky, Khanty-Mansi Autonomous Okrug-Yugra, Surgut, st. Leningradskaya, 12

2014

Introduction…………………………………………………………………………………... 3
Basic distinctive features sonata form by J. Haydn...3
Sonata C - dur Hob/35 I movement……………………………..……………. 5
Conclusion……………………………………………………………………... 8
References……………………………………………………..9

Introduction

J. Haydn's piano work is quite extensive; The composer created over fifty sonatas, several concertos for piano and orchestra, variations, rondos and other small pieces.

The composer lived a long life (1732-1809), he was a contemporary of J. S. Bach, D. Scarlatti, G. F. Handel, W. A. Mozart, L. Beethoven. And, despite the fact that many years of service with Prince Esterhazy chained him to one place, he was always aware of the musical achievements of his fellow artists.

J. Haydn had a bright creative personality; his music, full of sincere cheerfulness and optimism, is close to the song and dance origins of Austrian folk melodies. A joyful, cheerful attitude, courageous energy, humor full of fire, pathetic improvisation and, on the other hand, soft lyricism, light sadness, calm reflection - this is an approximate circle musical images, constituting the content of J. Haydn's piano music.

The main distinctive features of J. Haydn's sonata form

A characteristic feature of Haydn’s style is the “orchestrality” of his piano works: in the slow parts of the sonatas one can hear either a cello cantilena or a melody played by a violin or oboe; at every step there are such orchestral effects as pizzicato of the bass voice, contrasting the compact sonority of tutti with the sound of individual groups of instruments, etc. This feature, as well as the presence of a heroic and courageous principle in a number of sonatas of the late period, makes the work of J. Haydn similar to the style piano works L. Beethoven.

J. Haydn composed his piano sonatas throughout his life - from early youth to old age. In his first sonatas, he continued the line of the Austrian national keyboard school (J. Haydn’s model was the “Partitas” and “Divertimentos” of the Viennese composer G. K. Wagenseil). In more mature sonatas (as in the sonata D major Hob.XVI/19), contemporaries saw features close to the style of F. E. Bach. J. Haydn adopted a lot from W. Mozart, especially with regard to the enrichment of melody and perfection of form. This is clearly noticeable, for example, in the sonatas cis-moll (Hob.XVI/36), G-dur (Hob.XVI/40) and Es-dur (Hob.XVI/49).

Haydn, having developed sonata form and, having surpassed even Mozart in its construction, retains the character of a gallant style. Haydn's music is transparent, graceful, fresh, sometimes childishly naive and playful.

The sound when performing Haydn should not be too deep: even melodiousness in a legato performance does not require excessive richness. Technical passages and embellishments should be performed with a light, transparent sound, sometimes in the finest leggiero.

No rhythmic deviations that introduce a pathetic character into the recitation are acceptable for the gallant style. All expressiveness is based on the finest modulations of dynamics, without the participation of agogic emphases of recitation. Childlike simplicity combined with elegance and grace, sometimes with a certain pretentiousness, are so difficult to convey the style that few pianists dare to perform works of this era.

The music of the gallant style is so subtle that any sharp accentuation, harsh highlights and excesses in the forte destroy the subtlety of its charm. The same caution is also necessary in the area of rhythmic deviations, the formation of which can introduce an excess of expressiveness, i.e. affectivity. Pedaling remains within the same limits as in Haydn's predecessors.

Should be paid special attention on the quality of Haydn’s themes and methods of their development. The connection between the figurative structure of thematics and genre and form becomes organic and necessary. The interdependence of composition and theme is established: the theme responds to the composition and the composition will necessarily require the inclusion of certain qualities in the theme. Such a functional dependence of thematicity on composition and form is the main feature of the classical style. And it is clear in the music of J. Haydn. In the first movements of Haydn's sonatas, the themes are in most cases structurally designed and completed. The rhythmic beginning is always individualized in them.

In the structure of themes, Haydn gravitates towards complete thought - towards periods different types: to the periodic repetition of sentences with varying cadence or the entire texture during repetition (Sonata No. 7 in D-major, Martinsen, Sonata No. 4 in g-moll). To themes-periods, in structure indivisible into sentences (Sonata No. 6 cis-moll, Sonata No. 24 C-dur); to open or modulating periods (Sonatas No. 1 Es-dur, No. 2 e-moll); developed with extensively stated second sentences (Sonatas No. 26 E-dur, No. 42 C-dur); periods divided into three sentences (Sonatas No. 3 Es-dur, No. 8 As-dur); To difficult periods(Sonata No. 9 in D major). The themes individualize not only the basic means of expression - melody, harmony, rhythm - but also meter, structure, texture, registers, timbres. In the structure of themes, Haydn loves unexpected shifts, turns, asymmetry, violation of regularity and periodicity. Hence the peculiar curve of the dynamics of his themes, the individuality of the structure; hence - capriciousness and whimsicality, enclosed within strict boundaries classical period. Hence the surprisingly healthy humor in those shifts of form that deliberately “break” the form. Similar violations can be found in meter, rhythm, structure, harmony and texture. They are original, unexpected and brief. After them, musical thought easily recovers and returns to “normal,” but all these surprises give the form amazing flexibility, lightness, plasticity and wit. An even more important quality of Haydn’s thematicism is the clinginess of the elements of the theme, their strong conjugation, logical interconnection, and the precise logic of successive elements. In this interaction main role harmony plays.

The emergence of the themes “thesis-antithesis”, “question-answer”, “grain-development”, “grain-development-result”, “thesis-antithesis-synthesis” must be associated with the name of Haydn. In its themes one can find a contrasting opposition of thematically different elements, and the derivation of the opposite principle from a single one through harmonic displacements, comparisons (such as T-D D-T), and the contrast of thematic elements with their synthesis in the final section of the entire structure.

Haydn's sonata form acquired classically complete outlines: vivid thematicism, which contains the possibility of further intensive transformation, effective methods of thematic development, meaningful composition, logical saturation and comprehension of all components of the form.

Haydn's music is soft light, clarity of contours and lightness of designs, and psychologically - a naive feeling and unpretentious humor.

Sonata C-dur Hob/35 I movement

This sonata is one of the best and most typical examples of Haydn's work. She is full of light, spiritual cheerfulness, subtle humor. Listening to her, it’s as if you are in contact with an inexhaustible source of youth, health and optimism. Sometimes the music becomes sad, thoughtful or dramatic, but all these are just short-term shades of the overall bright color. The composer gives them in passing, as if reminding the listener that his “hero” is no stranger to more serious and profound experiences.

The main idea of the work is clearly and succinctly contained in main party- its initial eight-beat. Typically a classical period, two mutually balancing sentences: “question-answer”, a light melody-song with extremely simple accompaniment. Before us appears a completely finished image, full of subtle stylistic details, from which the composer’s creative style is immediately noticeable (the grace note in the first bar - what an expressive touch! There is so much Haydnian humor and enthusiasm in it!). There are no significant contrasts in the exhibition; the development is more contrasting. At the very beginning, when deviating in parallel minor the music takes on a tone of seriousness and reflection. This lasts only a few moments and the former joyful mood reappears. In the cadenza, the character of the music changes: an increase in energy leads to a dramatic climax, emphasized by a slower tempo (adagio) and a non-chord, unusual for that time.

The reprise is also marked by dramatization of the music - it carries out the theme in a minor key and culminates on a diminished seventh chord. At the end of the first movement, the bright, cheerful character dominant in the sonata is established.

The stylistic features of Haydn's music are clearly manifested already in the main part of the sonata. Here the vigorous, cheerful character of the music and the harmonic balance of the form are clearly felt. The musical texture is clear and transparent, like the sound of a string quartet. All chords are played and released strictly simultaneously (the author places staccato signs in the upper voice, but they should also be played on the chords in the left hand part). The pedal is not necessary in this formation, although it can be taken very briefly to emphasize the strong beats of the bar and quarter notes with a grace note.

Particular attention should be paid to the metro - the rhythmic side of the performance, because The need for a clear sense of downbeats in classical sonatas arises already in the first bar. Trying to highlight the fourth quarter with a grace note, students sometimes do not feel its off-beat nature. As a result, instead of bringing out the emphasis, they distort the metrical basis of the sonata. There is confusion regarding the meter in which the sonata was written.

The next eight-bar of the main part differs from the previous one in the appearance of a triplet accompaniment, which enhances the rapidity of development and cheerfulness of the music. In other similar places in the sonata, the accompaniment should in no case burden the sonority. Therefore, the first triplets in the eighth measure should be somewhat marked to emphasize the character of the new construction, but then, when the melody appears, the sonority of the triplets should be softened. The clarity and distinctness required in triplet accompaniment requires an almost pedalless sonority.

In the connecting part, abundant and difficult embellishments appear in the melody. Their expressive role consists in further intensifying development: it is noteworthy that all gruppettos are written on the weak beats of the bar; Thus, they contribute to a more energetic rush of melodic notes towards strong beats. It is necessary to perform decorations not only easily, but also without burdening the melodic line, to feel the attraction to the strong beat of the bar.

The end of the connecting part must be played very energetically, with a full sound, in order to more clearly reveal the line between it and the secondary part. It is important to emphasize this contrast, because both parties are similar in character, and if you do not draw attention to their differences, the exhibition may seem monotonous.

Compared to the connecting party, the side party is softer and more feminine in nature. A different function is performed by the gruppetto. They are designed to emphasize its grace and reveal elements of dance plasticity. Therefore, they must be performed differently than in the connecting part - melodiously, smoothly, like graceful squats in a dance.

Particular attention should be paid to the most melodious place in the exposition (42-44 bars). Here it is necessary to achieve maximum melodiousness in the melody, “violin-like” softness and richness of the sound. A pedal can help achieve the integrity of the melodic line in octaves. In addition, it is important to finely calculate the strength of the sound: after the melodious second octave mi you need to take the next ones very gently G sharp and A in order to better bind them and make them more prominent crescendo.

The further construction of the exhibition does not contain any fundamentally new tasks. In development, the contrast of music is enhanced, and it is necessary to draw the student’s attention to its identification. Already in the first four-bar, you need to slow down and then again, with the same energy, perform the theme of the main part in F major. It is especially important to convincingly play the climax - the Adagio and the dynamic rise that precedes it, otherwise the dramatic elements present in the sonata will be unrevealed.

The dramatic nature of the music and the rich texture require a thick pedal in this section, which should be changed with each new harmony.

In a reprise, due to some differences from the exposition, it is necessary to use other colors here and there, for example, in the first construction of the main part or when conducting it in a minor key.

Conclusion

The intrinsic value of Haydn's sonatas is always given by the inexhaustible wealth of ideas and the desire to improve the form. Thanks to the wealth of ideas, Haydn comes to bold and unexpected turns in texture, to sharp changes in high and low registers, to sudden contrasts in sound, which, in contrast to the more refined Mozartian piano texture, often give his sonatas a more independent, free, capricious and changeable character .

Haydn's sonatas represent an indispensable art material for student pianists of varying degrees of preparedness.

“Haydn’s strength lies in his fantastic inventiveness, and therefore his music constantly amazes with its unexpectedness” Pablo Casals.

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