What editions of Haydn's sonatas exist. Haydn's keyboard sonatas
Last Sunday, two concerts of clavier music took place in different halls of the Moscow Conservatory: during the day, our wonderful clavier player and connoisseur of ancient instruments Yuri Martynov played in the Rachmaninoff Hall, performing keyboard sonatas on the harpsichord, tangentlügel and hammerklavier, and in the evening, a student of the Moscow State Conservatory, winner of the latter, played in the Small Hall competition named after Scriabin, pianist (grandson of the remarkable pianist and composer T. P. Nikolaeva), who performed works by Scriabin, Debussy and Ravel on a modern piano.
Yuri Martynov, as an interpreter, works at the junction of several performing schools: he graduated from the Moscow Conservatory as a pianist in the class of M. S. Voskresensky and as an organist in the class of A. A. Parshin. This already testified to the extraordinary knowledge and skills of the musician, but later he further expanded the scope of his musical interests by studying ancient instruments, having trained in France in the specialty of harpsichord and basso continuo at the Higher School of Music in Bobigny and at the Conservatory. K. Debussy in Paris, from which he graduated with gold medals. Throughout the world, performers who master so many instruments and styles are counted in very few, so on Sunday listeners had the opportunity to come into contact not only with a variety of instruments, but also with a widely and brilliantly educated musician who played them.
The concert took place in three sections, each of which had its own instrument: two sonatas by J. Haydn were presented on each instrument. A total of six sonatas were performed: Nos. 23, 26, 19, 20, 44 and 50 (Hob. XVI), and for obvious reasons there were no encores. Sonatas 23 and 26 were performed on the harpsichord, 19 and 20 on the tangentenflugel, and 44 and 50 on the hammerklavier.
As can be seen from the list, in each department an exclusive sound atmosphere was recreated, which was further varied due to the possibilities of restructuring the sound of the instruments implied by their design. The impression was unusual: when famous works are played on instruments designed at the time of their composition, it becomes clearly clear how much a modern piano unifies the sound of ancient things and what incredible sound skill is required to interest the listener in their playing and the music played on a modern piano. And historical instruments, by the very fact of their use, naturally recreate the sound atmosphere of antiquity, and all that remains is to professionally select them in order to successfully present the music intended for performance. As far as I understand, the instruments were chosen by Martynov for certain Haydn sonatas not by chance, but for certain musical and technical reasons, but, unfortunately, there were no public explanations, even the briefest, about this from the keyboard player, and the concert program did not contain them either.
It is known that experts are still arguing about which instruments should be used to perform which Haydn sonatas and at what moments in his life Haydn “moved” from one instrument to another and a third, or at what moments he perhaps returned to previously used ones. This question has not yet been convincingly resolved, so Yuri Martynov, apparently, solved the problem of choosing an instrument to his own taste, probably guided by some theoretical works. But it seemed to me that he made many decisions - both on the choice of instrument and on registration - on his own, relying on his own professionalism and artistic taste.
As you know, the keyboard player used in the first movement is a string keyboard instrument, which, as a rule, has two manuals and several register switches, the sound of which is formed by plucking the string with a special tongue while simultaneously raising the damper to release the string. In Haydn's sonatas from the first movement, Yu. Martynov changed the registration and used both manuals.
In the second part, a unique instrument sounded - the only tangentflugel in Russia, which is an exact copy of one of the few surviving historical instruments. Interestingly, the tangentflugel, which is also a stringed keyboard instrument, uses a vertically moving plate (tangent) driven by a key and striking the string from below to produce sound. Unlike the same type of string plucking in a harpsichord, the tangent strike allows you to vary the power of the tangentflugel sound depending on the force of pressing the key, so more expressive phrasing is possible on it, supported by changes in the dynamics of the sound.
Playing the tangentflugel, Yuri Martynov tried to show its other capabilities, in particular, the ability to change timbre with the help of leather strips placed between the tangents and strings: for example, the second part of Haydn’s 20th sonata took on a very unusual sound appearance when, due to mechanical after the restructuring, the timbre of the instrument was deprived of even a hint of the sonority just demonstrated in the first movement; any barely produced sound quickly died away, reminiscent of string pizzicato, and the initial sonic attack was muted and dull. There was a feeling of extreme non-standardity of such a timbre solution!
In the third section, a hammerklavier sounded, the mechanism of which (in terms of design, transitional in the direction of the piano mechanism) uses a hammer (hammer) striking a string to produce sound. And on the Hammerklavier, Yuri Martynov also took advantage of the opportunities provided by the instrument for mechanical adjustment in order to change the character of the sound, moreover, directly during the playing process. This was done with taste and left no doubt about the legality of specific decisions.
We can rightfully say that Yuri Martynov in his concert sounded like “ short course» history of the development of keyboard mechanics and sound production technology in the second half of the 18th century and on all instruments demonstrated the possibility of very virtuoso playing. The sound result was completely convincing and left nothing to be desired, which was appreciated by the audience of the Rachmaninov Hall, who witnessed this unique performance.
To summarize, I can say that it was a wonderful concert, during which one could be convinced of the need to perform ancient works on instruments of ancient lifetime designs, when the properties of timbre, sound production and recording features allow one to achieve such artistic effects that are fundamentally unattainable on modern pianos.
If we try to characterize the performing style of the clavier player himself, regardless of the sound of the ancient instruments he played, then we can say that Yuri Martynov has very open views on this kind of interpretation. As his performance continued, I repeatedly caught myself thinking that if we “projected” his playing onto the keyboard of a modern piano, then a lot of things would look very free and, in places, probably mannered and pretentious, but that’s the beauty of playing on ancient instruments that some tempo-dynamic exaggeration, expression and even too free rubato are perceived on them as something completely natural, closely related to the physics, mechanics and physiology of performance and, therefore, completely human and artistically convincing. The artist’s individuality manifested itself very sharply and brightly, but this did not harm the music being performed in the least, quite the contrary.
In conclusion, it remains to thank Yuri Martynov for a wonderful concert, which, if desired, could also be considered as a “master class”.
Haydn's keyboard sonatas
“Simple and clear” Haydn is in fact not so simple and clear. For a performance worthy of a great master, it is necessary not only to master the pianistic technique, but also to have an idea of his work as a whole, and an understanding of the cultural context of the classical era. P. Casals assured in 1953 that “Haydn’s era... has not yet arrived” and “many do not understand Haydn.” And to this day, more than half a century later, the words of the great cellist have still not lost their relevance - and therefore, scientific, methodological articles, developments and observations are also relevant, helping to deepen the interpretation of the music of the Viennese classic and “correct the great injustice” 1.
In her study “Classical style in music of the 18th - early 19th centuries,” L. Kirillina notes: “What is difficult in Haydn is not contained in catchy comparisons, not in conflicting thematic drama, not in the intensification of purely sound power, but in those details and subtleties that in the 18th century were caught by experts... Haydn is in fact sometimes extremely deep, but this depth is not the ocean or a dark pool, but a transparent mountain lake: at a superficial glance, it seems that the bottom is close, because all the pebbles and algae are clearly visible, but this is only an illusion of clarity and serenity - if you look closely, you will notice that there, in the depths, their own tragedies and dramas take place - sounds, intonations, motives, rhythms , accents, pauses behave like living creatures inhabiting these transparent waters” 2.
Haydn often and willingly turned to the clavier throughout his life. The harpsichord was still very common, but the piano was already replacing it. The composer's interest in the new hammer family of keyboards and its new openings increased over the years.
Among the composer's works for the clavier are concertos, sonatas, variation cycles, fantasies, capriccios, dance and children's pieces, clavier trios, and chamber sonatas. Due to the quantitative advantage and indicativeness in terms of Haydn’s creative evolution, the basis of the genre structure of his piano works is sonatas, which Haydn composed over 40 years. The exact number of Haydn's keyboard sonatas is still unknown. It was generally accepted that Haydn wrote 52 keyboard sonatas, but in 1963, under the editorship of K. Landon, the Vienna Urtext was published, which included 62 of the composer’s sonatas. There are suggestions that this is not the final figure, the search continues...
Those works that we have demonstrate a long and constant evolution of the author's style. The composer’s first cycles, known under the rather vague genre designation “partita” or “divertissement for clavier,” arose from the field of home music playing. They are miniature in scale, register limited to the first or second octave, and extremely transparent in texture. At the same time, these youthful experiences already contain certain stable, typically Haydn style elements: the intensity of motivic development, detailed work over form, the predominance of major colors, the motor energy of rhythm.
Haydn's searches in the field of sonata form are interesting. Throughout his creative evolution, the composer used various types of cyclic compositions - three-part(in the finale there is often a fast part, but there is also a minuet; the first parts are slow, variational and improvisational) and two-part(slow - fast and two fast parts). Thus, having approved the sonata cycle, the author himself deviates from the created scheme, demonstrating other possibilities and outlining new ways of developing the sonata cycle.
Periodization. A periodization has been adopted that divides the path of development of the sonata into four periods: early - before 1766(including the most sonata cycles), period 1766-73(13 sonatas), 1776-81(82)(12 sonatas) and late - 1784-94(9 sonatas).
Haydn. Sonatas early period creativity (until 1766)
Already at this stage, the process of creating, exciting in terms of the intensity of the search, from a small partita a truly classicist sonata cycle in its dramaturgy takes place (although all sonatas of this period are also called “partitas” or “divertimentos”). Actually, only Sonata No. 1/8 represents such a partita; Already in all subsequent ones, the formation of precisely co-nation takes place. Similar diverse processes can be observed in symphonies and quartets of the 1750s-60s.
From the very beginning, Haydn's sonatas leave no impression of immaturity. Amazing brightness of images, ingenuity thematic development, logically clear, directed dramaturgy. Internal completeness distinguishes each work, while the richness of Haydn’s imagination is amazing: there are no “standard” similarities, there is a multiplicity of original solutions. “This is main feature Haydn - an abundance of thoughts." Thus, already in the first examples in the sonata genre, Haydn does not follow any one principle, but his aspirations are multidirectional. This tendency is characteristic of all his work.
The multiplicity of solutions lies in the search for vivid thematicism, its developmental development, and dramatic logic. Particular attention is therefore paid to searching sonata form: even in the “microsonatas” (these include Nos. 2/7, 3/9, 6/10) it is interesting to observe the process of formation of the sonata allegro (it is absent only in sonata 5/11).
The vivid characteristic of the thematic character, usually set from the very beginning of the work (the main part!), dictates the peculiar “genre” of the cycle, sometimes theatrical imagery, and a different structure. Genre foundations (which brings Haydn, as already mentioned, closer to the Italian and Viennese schools) are definitely present in all parts of the cycle (which is all the more “weighted down” by the obligatory presence of a minuet). In this regard, the types of Haydn’s sonatas defined by S. Muratalieva, with a predominance of “genre” ones, are quite understandable.
Starting from sonata No. 2/7, two versions of the three-movement cycle are mainly used (in sonata No. 19 a new type appears for the first time, as will be discussed below): sonata allegro - slow movement - minuet and sonata allegro - minuet - fast finale. Thus, the minuet either “balances” the genre character, completing the cycle after the slow part - an improvisational warehouse, philosophical or lyrical center, or serves as a contrast as a “given”, “gallant” part in a calmer movement between two fast parts (the finale in these cases - in sonata or old sonata form).
The composition of the cycle in the early sonatas has not yet been determined. IN individual works(6th and 8th sonatas) it is, like symphonies, four-part. Unlike F. E. Bach, Haydn writes sonatas with minuets: Allegro - Andante - minuet or Allegro - minuet. Allegro is still very undeveloped, and a single type of movement, monotonous texture erase its thematic and formal facets (for example, continuous movement in triplets in 3- th sonata). In the slow movements, some type of presentation is chosen, associated with certain genre traditions: prelude (Andante of the 1st sonata), a type of violin solo with accompaniment (Largo of the 2nd sonata). Starting from the 5th sonata, the minuet usually no longer concludes the cycle, but enters into the middle of it, and starting from the 17th, it often drops out completely. Three sonatas are curious in their way, the 7th, 8th, 9th, as miniature works, much narrower in scope than the previous ones. The Allegro of the 7th sonata has only 23 bars. In the 9th sonata the finale is a scherzo. Some works of this group cannot even be called sonatas due to the free interpretation of the first movement, a miniature and undeveloped sonata allegro, written only in the tonal plan of the old sonata (TDDT) or in da capo form (11th sonata).
In the evolution of Haydn throughout the early sonatas, one can observe the formation of bright, independent theme-images, and the strengthening of the developmental principle. Thus, already in sonata No. 8/5 there is a rare solution to the comparison of contrasting images: the 2nd thematic element is in the minor of the same name, which extremely separates the short “images of characters”. This technique is repeated in the second sonata allegro of this sonata - in the finale. In sonata No. 13/6 minor - in the final part of the exposition.
1767 brought especially many sonatas, and in some of them one can already feel the search for new expressive thematics. The presentation is gradually enriched: in the 16th sonata a small passage cadence appears. A noticeable shift occurs in the 19th sonata. Simultaneously with the expansion of the overall scale of the cycle, there is also a noticeable complication of the type of presentation itself: the range of sound is expanded, the texture is enriched. Already within the Allegro, thematic facets are highlighted by various textural techniques: the first theme - with broken passages, the second - with rehearsals in the harpsichord style, the final part - with Albertian basses.
Sonatas 1776-81
The period of 1776-81 in Haydn's clavier work is distinguished by a clear desire for individualization, a complete, vivid image of each sonata cycle. This occurs on the basis of already established principles of creating thematic imagery and its development - the rich experience of experimentation in the early sonatas and the “emotional crisis” in the “romantic” ones prepared the final formation of Haydn’s mature style. It is from the standpoint of maturity that it would be possible to “focus” the previously found concepts into a single, integral type. But Haydn was attracted precisely by the possibility of creating different, complete types of sonatas. And at the same time, each sonata of this period evokes a tangible echo with the abundance of finds and their shimmering play in the early sonatas.
The third period of Haydn's sonata work, according to our periodization, includes 12 sonatas: six sonatas of 1776 (Nos. 42-47 / 27-32), published in one collection; five sonatas dedicated to the Auenbrugger sisters, published in 1780 (Nos. 48-52 / 35-39); sonata No. 53/34, probably written in 1781-82, and published later (in 1784).
Much in these sonatas is close to “Esterhazi”, which is especially natural for the collection of 1776, chronologically adjacent to them. However, all sonatas of 1776 are distinguished by a very clear structure, associated specifically with the laws of drama (the clash of heroes; the internal conflict of heroes in the classicist concept). The “plots” of such dramas are different, but the facets of their development - beginning-climax-denouement - are defined with distinct clarity. Therefore, each cycle is individualized and can either be sharply different from the other (which is especially clear in the collection of 1780), or have plot-shaped similarity with a certain set of means characteristic of a cycle of the same concept.
The increased impact of theatrical techniques associated with specific visual imagery or genre and plot symbolism is indicative. This is observed in the figurative-genre oppositions of parts of the cycle, the nature of thematic means and developmental development in a number of cycles, especially in sonatas Nos. 44/29, 45/30, 48-51 / 35-38. Certain “theatrical” effects in the early sonatas (Nos. 11/2, 18/Es3) find their vivid continuation here. It is characteristic that fundamentally new interpretations of the form of the cycle and means of development do not appear during this period.
And the development-contrast with a predominance of the minor in the intensely dynamized form of sonata allegro, and the inventiveness of rhythmic-textural means, and fantasy improvisation, and the “clinginess” of thematic elements - all this, present in the early, “romantic” and - in the most complete form - in "Esterhazi" sonatas, is also used during this period. Various combinations of exposition and development-recapitulation, the significance of the role of slow movements, the use of variations in the finales (including variations on a minuet theme, double variations), finally, the unity of the dramatic line in the case of the presence of two sonata allegri in the cycle - the first part and the finale - and these fundamental findings of earlier periods are preserved at the new stage of creativity.
We also note the return of the minuet to the sonata cycle. It is present in one form or another in all sonatas, except Nos. 50/37, 52/39, 53/34. Moreover, in the collection of 1776, the rule of the Viennese cycle, constantly present in Haydn’s early sonatas, is observed: if the minuet is not the middle movement, it appears in the finale. Here we can also observe the tendency that consistently grew in the early period: the minuet lost its purity of form, being combined with other functions - sonata form, in sonata No. 32/44 - and double variations. Minuets in finales now often serve as the theme of variations (Nos. 44/29, 45/30, 48/35) - this form dominates various options(in the last parts of the cycle). In this regard, the rare use of sonata allegro in the finales is indicative (only in two sonatas Nos. 47/32 and 52/39, and in the second case the final sonata form is the only one in the cycle). Other transformations of the minuet also occur: a version of the minuet in a two-part form, without a trio, as a slow movement (Andantino of sonata No. 46/31, the prototype of which is the ancient polyphonized dances of the suite; modification of the minuet with a minor trio into a variation cycle in sonata No. 48/35 ). What is the reason for this newly stable role of the minuet? Obviously, with the desire for genre brightness of the cycle in connection with the classicist concept of the effectiveness of drama with extremely clearly defined characters and clashes, which emerged in Haydn’s mature sonatas. This support, which creates the effects of theatricalization, genre switching in certain “acts” of the dramaturgical whole. Both “pure minuet and its transformations can be perceived differently in connection with the general idea of the cycle.
In recent years Haydn no longer worked so much on the sonata, being absorbed in other interests. But individual works of those years are extremely interesting, as are the most recent quartets. The 49th sonata, Es-dur (1790), is very famous. Her developed Allegro testifies to the full maturity of Haydn's sonatas, and in particular piano its incarnation. In one thing he still returns to his old patterns: the concert cadenza leads to a reprise. The concept in this sonata and Adagio is extremely broad, in places close to Gluck’s pathos (especially in “Alceste”).
Haydn's keyboard works of the 80s and 90s are characterized by an extraordinary diversity of genre and style interactions. A distinctive feature of the chamber sonata cycles of this period is the integration of innovative aspirations with the principles characteristic of early classicist examples of the genre. The dramaturgy and compositional logic of the works under consideration, which favor the dialogical pairing of sonata with fantasy and concert music, as well as styles of theater and church music, indicate the approval of a new aesthetic concept of the chamber sonata. The latter does not at all imply emotional and intellectual frivolity, striving to capture not only the hidden depths of personal experiences, but also the skill of a sophisticated composer’s “game.”
The vast majority of works in this group, with the exception of Sonata XVI/43 in three movements, are two-movement cycles (XVI/40, 41, 42, 48, 51). The common features of the sonatas under consideration are the dominance of lyrics, the dominance of major keys, a relatively transparent homophonic texture, emphasized attention to variation as a principle of development, a significant proportion of improvisational and “playful” beginnings and the associated “absolutely extraordinary freedom in creating forms.” Bright individuality of chamber sonatas late period Haydn's creativity, which meets the aesthetic requirements of the classicist era, is largely determined by the specifics of genre-style interactions. It is characterized primarily by the predominance of the chamber style itself: reliance on recognizable everyday (primarily dance and song) genres, as well as the leading role of the gallant manner of writing (as indicated by the primacy of the homophonic-harmonic structure, the functional significance of specific cadence formulas, and the special sophistication of melody) . Influences from other styles (in particular, church and theatrical), which do not contradict the aesthetic norms of chamber music, are pushed aside in the works of the late period under consideration to the periphery of the designated dialogue, giving way to a variety of genre interactions. The noted interactions, which play an important role both in the dramaturgy of individual parts of the sonatas and at the level of cycles, are undoubtedly associated with the peculiarities of Haydn’s work of the 1780s - 1790s.
In relation to chamber sonatas, the experimental aspirations of the late Haydn were realized in the formation of a lyric-genre variety of the cycle4. Its figurative structure and dramatic principles testify to the opening of the established boundaries of the genre through a sophisticated “playing out” of relevant stereotypes. The first parts of the sonatas under consideration are characterized by the primacy of lyrics, which does not exclude genre beginning as one of the lyrical hypostases, which dominates the finales, which often tend towards scherzo. The figurative and semantic balance of the two spheres echoes the dual unity of the subjective and objective characteristic of classicist aesthetics, favoring a multiplicity of fascinating genre dialogues; their priority role in Haydn’s mature sonata thinking is indisputable.
Variation, fantasy. Original examples of genre interactions, determined by the specifics of the lyric-genre cycle, are found in the first movements of these sonatas. In particular, the compositional principles of the Andante from cycle XVI/51 (1794) go back to the widespread type of the so-called “song allegro” with its characteristic “non-conflicting thematic contrast”. This results in the dominance of song thematicism in all sections of the exhibition, as well as the intonational similarity of themes, rhythmic uniformity, the appearance of improvisational connections that veil the boundaries of sections of the sonata form, the predominance of variational development (especially in the theme of the main part), as a result of which the Andante in question comes closer to the genre of variations. A kind of anticipation of this kind of “lyrical” transformation is the first parts of the cycles XVI/42 (1784) and XVI/48 (1789), in which the traditional sonata allegro is replaced by various types of variation cycle.
The genre interaction of variations and fantasy is also observed in the first movement of Sonata XVI/48. The varied themes here are intonationally close, but contrast each other in modal terms (C major - C minor). Each of the themes is saturated with pathetic elements (the initial declamatory motif of both themes and its modifications, meaningful pauses, loudness contrasts, the special role of harmony of mind VII7) and fantasy-improvisational elements (the use of “unevenly” grouped passage technique, the predominance of modal tonal and harmonic instability). The dialogical coupling of the designated genres is facilitated not only by the strengthening of the role of the pathetic sphere and the growing scope of improvisation in the process of dramatic development, but also by the veiling of the boundaries between sections of the double three-part form (openness of minor constructions, written reprises in a major variation), as well as everything a more tangible figurative relationship between the themes.
The principle of convergence of various genre features is also characteristic of the finales of two-part cycles. In the finales of the Sonatas XVI/40 and XVI/41, the complex three-part form (typical of dance pieces of Haydn’s era) is saturated with variation due to the active renewal of thematic themes in reprises. Thanks to the varied repetitions of sections in the finale of sonata XVI/51, a form close to the three-five-part one is formed. In cycles XVI/42 and XVI/48, the unusual “mixed” forms of finales, based on the interaction of various compositional structures, are due to the dominance of the playful scherzo element. As is known, in the instrumental genres of the era of classicism, scherzo could embody the diverse facets of the comic, including wit and parody6. At the turn of the 18th–19th centuries. wit implied a special sophistication of humor and was embodied through “... artificially created asymmetrical structures, unexpected modulations or interrupted turns, the use of a “learned” manner (imitations, canons, fugato) in a comic context”; the parody was based “...on a witty game of combining the incongruous and ridiculous simplification, belittlement, grounding of the sublime and poetic.”
Suite. Genre dialogues in the sonatas under consideration are observed not only within the movements, but also at the level of the composition of the cycles. Let us note, in particular, the original interactions with suite principles, which brings chamber sonatas of the 80s - 90s closer to examples of the early classical style. The “roll calls” with the suite can be judged based on the tonal unity of the cycles, the complementary type of contrast between their parts, as well as significant role genre and everyday themes. The latter is typical not only for game finales, which refract the dance beginning in many different ways. Specifics everyday genres declares itself in other parts of the cycles, revealing varying degrees of genre specification. Thus, in the middle part of sonata XVI/43, an unpretentious minuet - a kind of return to the sonatina style - clearly approaches the dance thematics that play an important role in Moderato and Presto, which directly indicates a connection with the suite.
The main theme of the opening Allegretto innocente from cycle XVI/40 is based on the genre features of the barcarolle; song thematicism also dominates in the Andante from Sonata XVI/51. The alla breve size, leisurely tempo and uniformity of pulsation, referring the listener to the traditional semantics of the step, as well as a significant proportion of punctuated rhythmic figures in the themes of the main parts Andante from cycle XVI/51 and Moderato from XVI/43 indicate an individual interpretation of genre features of the court ceremonial march.
Concert performance. The mechanisms of genre interactions inherent in the cycles under consideration and largely determining the specificity of Haydn’s chamber sonatas of the 80s - 90s do not exhaust the originality of these cycles. We are talking, in particular, about stylistic dialogues, which Haydn does not embody in a straightforward manner. On the one hand, the dialogues were implemented within the boundaries chamber style, promoting the versatility of the author's compositional and figurative-dramatic solutions at the level of a certain genre. On the other hand, the refraction in chamber music of specific patterns of other styles (primarily theatrical and church) contributed not only to the enrichment of the arsenal of expressive means of the instrumental sonata, but also to the crystallization of the principles of mature clavier art of the classicist era. A very significant role in the stylistic space of the Haydn cycles under consideration belongs to the specifically interpreted concert performance. This seems far from accidental, since during the second half of the 18th century the stylistic definition of concertante appeared in a wide variety of genres related to the chamber sphere - from the concert symphony to the sonata in the concert style. Such a scope of concerts was facilitated by the significantly increased level of skill of European musicians and developed amateur performance.
Notable examples of the refraction of this style in the chamber sonata genre are the first parts of cycles XVI/40 and 41, dedicated to Princess Maria Esterhazy. The interaction of chamberness and concertity in these sonatas, apparently, was predetermined by the performing potential of the addressee. Thus, in Allegretto innocente from Sonata XVI/40, each theme of the three-five-part form: the song-lyrical barcarolle and the pathetic exclamation that contrasts with it, reveal some kinship with the concert style (the presence of a mini-cadence in the first theme, expressive accents, dynamic contrasts, elements of chord-tuttie presentation in the second). Purposeful activation of concerto-virtuoso elements in varied reprises of sections (arpeggios, passage technique, fermatas, suggesting the possibility of their cadence scoring) contributes to the mutual rapprochement of initially contrasting themes. The attributes of concert performance, presented in a lighter version, favor the development of a unique dialogue between chamber and concert performance, which does not go beyond the boundaries of the chamber sphere (which, by the way, corresponds to the author’s remark innocente - artless, simple). A similar interpretation of the mentioned dialogue is implemented in Allegro from cycle XVI/41. The difference from the previous sonata lies in the special role of quasi-cadence structures, whose location - in the final sections of the development and reprise - appeals to the generally accepted norms of concert performance of that time. The mentioned structures seem to accumulate the hidden energy of concert performance, which is more restrainedly demonstrated in the main and secondary parts. The latter, however, is explained by both the genre dominant Allegro (march beginning) and the very agile tempo of this movement. The interaction of chamber music with the characteristic features of other styles is manifested in the cycles under consideration more indirectly, which corresponds to the intra-genre specificity of the chamber sonata.
Along with the above-mentioned example of a playful interpretation of elements of the church style (in Vivace assai from Sonata XVI/42), the final Presto from cycle XVI/40 deserves attention. Not only the figurative and emotional structure of this part, but also the compositional logic, thematicism, and textured presentation here are clearly close to theatrical stylistics. The extreme sections of the complex three-part form are dominated by the rapid pulse of continuous movement, staccato strokes, sudden metrical accents, going back to the traditional semantics of buffa opera. The music of the middle section (key - parallel minor) creates an emphasized contrast with its dark pathos and expressiveness of the declamatory statement (unpredictable rhythmic glitches, a significant role of reduced and increased intervals that saturate the melodic structures). In general, the dynamics of genre and style interactions inherent in J. Haydn’s chamber keyboard sonatas of the 1780s - 1790s characterizes not only the specific direction of the evolution of the sonata cycle in the composer’s work. The conceptual ambiguity of the most important components of the genre generated by these interactions indicates an increase in its hierarchical weight in the instrumental music of mature classicism. Thanks to this, Haydn’s classically perfect sonatas open up exceptional prospects for further development.
Among all Haydn's sonatas, his last, 52nd keyboard sonata, also in Es major, stands out in a special place. Like the late quartets, new trends appear in it: great figurative deepening is combined with amazing subtlety of musical writing. New, more subjective content gives rise to new compositional ideas.
Thesis
Tropp, Vladimir Vladimirovich
Academic degree:
Ph.D. in History of Arts
Place of thesis defense:
HAC specialty code:
Speciality:
Musical art
Number of pages:
Keyboard sonata in the middle of the 18th century.
The main trends of evolution in Haydn's sonatas in the context of the influences of German schools.
Haydn. Sonatas of the early period of creativity until 1766).
Sonatas of the period " romantic crisis».
Sonatas 1776-81.
The last keyboard sonatas.
Introduction of the dissertation (part of the abstract) On the topic "Haydn's keyboard sonatas: On the problem of the formation of the genre and the evolution of style"
Always rich and inexhaustible, always new and amazing, always significant and majestic, even when he seems to laugh. He raised our music to that level of perfection that we have not heard
4 li away." Such a review of Haydn fairly applies to all genres of his work and, to the greatest extent, to his keyboard sonatas. The level of perfection to which Haydn raised the main instrumental genres of classicism - symphonies, quartets - allowed him to later be called the “father” of these genres, which were not born by him. Following such an analogy, he could fully be called “the father of the keyboard sonata.”
Fortunately, the numerous surviving examples of Haydn’s use of this genre represent an inexhaustible storehouse of all kinds of finds, discoveries, diverse interpretations and inventive solutions that open up a variety of paths for the future history of the keyboard sonata.
Haydn's diversity, the generosity of his imagination and experimentation
P are limitless. Therefore, here you can find prototypes of many types of sonatas embodied in the future by different authors.
The stylistic features in Haydn's clavier works represent a multiplicity of individual solutions. This individuality of solutions is remarkably combined with the clarity and integrity of the “classically” refined concepts of the genre.
Thus, the process of formation of the keyboard sonata genre - a genre that is perhaps the most “fruit-bearing” and changeable - is in the stage of its transformation into a “classical” example (and corresponding precisely to the classicist
1 Quote by: Eibner F. Preface. Critical notes // Haydn. Klavierstucke. Wien, 1975. These words belong to E. Gerber, the author of a musical dictionary, published during Haydn’s lifetime.
2 In this regard, it is curious that there is even an opinion about the “eclecticism” of Haydn’s work (see: Ripin E.M. Haydn and the Keyboard Instruments of His Time // Haydn Studies. N.-Y. - L., 1981. ) concepts in their harmony) can be observed precisely in the work of Haydn. At the same time, the infinity of his searches in this genre provides the opportunity for rich observations on the evolution of the composer’s style over the course of forty years. In this regard, it seems to us that it is very important to build a clearer concept of this evolution and its periodization, justified by the main directions in Haydn’s solutions to the genre.
Haydn's keyboard work in its entirety, as a subject of study, has not yet appeared in Russian literature. In foreign literature, the most complete and comprehensive study of it is represented by one monograph - Brown3, covering all clavier music, including various pieces (variations, etc.) and trios.
A full review of the sonatas is also contained in Bayley's book4, but it consists of performance annotations for them. One of the first serious works devoted to Haydn's clavier work is Radkliff's article5, which also gives a very brief overview of all the sonatas known at the time of its appearance. Of course, many valuable and diverse issues are covered in works devoted to selected sonatas or representing brief reviews of the entire sonata work. This is, first of all, a preface to the complete and notographically verified edition of the sonatas (ig!exO edited by Kr. Landon6, which contains a detailed description of the sources (autographs and first editions), evidentiary data on the chronology of sonata creativity, significant comments of an analytical and performing nature. It is this edition, which is academic in its criteria, that we took as a basis when considering the sonatas, including in relation to the chronology adopted there.
3 Brown A.R. Joseph Haydn's Keyboard Music. Sources and style. Bloomington, 1986 (79).
4 See: Bailie E. (75).
5 See: Radcliffe Ph. (104).
6 Haydn. Samtliche Klaviersonaten. In 3 Vol. Wien, 1966. edition of the sonatas with a preface and commentary by Kr. Landon, the source of the historical and textual commentary on all sonatas (according to the principle; brief notes) is a book by Kloppenburg7.
A number of articles are specifically devoted to Haydn’s sonatas: this is the earliest work by Abert, as well as review articles examining several sonatas (Wakernagel, R. Landon, Mitchell8). However, more valuable material is contained in reviews (chapters, individual fragments devoted to keyboard genres) in monographs on Haydn. First of all, this is a major five-volume work by R. Landon9, a kind of Haydn encyclopedia, which contains extremely valuable data historical nature(based on strictly verified sources) in broad terms and individual analyzes
1P tical conclusions. The monographs of Geiringer, Kremlev, and Novak also contain relevant reviews, which are especially interesting in the context of the general historical concept in each of the books.
One of a kind, focused historical overview Haydn's sonata works in domestic educational literature are contained in the textbook “Foreign Musical Literature, Issue 2” by I. Givental and L. Shchukina-Gingold (12) (chapter written by L. Shchukina). This review contains some in-depth features. Finally, a chapter is devoted to this topic in S. Muratapieva’s dissertation (41), written on a topic aimed at the historical issues of the formation of the keyboard sonata genre in the era of interest to us. The chapters of this dissertation are devoted, respectively, to the sonatas of C. F. E. Bach, Haydn and Mozart, which is precisely the question of the phenomena closest to Haydn - his main and immediate predecessor C. F. E. Bach (this question is of particular interest to our work and occupies a significant place in it) and about his younger contemporary - Mozart, whose work evoked the greatest response from Haydn.
7 See: Kloppenburg W.C.M. (96) in See: Abert N. (74); Wackernagel W. (111); Landon H.C.R. (99); Mitchell W.J. (102).
9 Landon H.C.R. (98).
10 Geiringer K. (88); Kremlev Yu. (28); Novak L. (44).
Haydn's keyboard sonatas are considered as the main material in a number of studies devoted to various theoretical and analytical aspects of his work (primarily issues of form). Thus, the works of Kallistov, Kirakosova, Fillion, and also Belyanskaya11 are directly devoted to the sonatas; The question of variation forms in Haydn (also Kirakosova, Zisman, Webster12) especially stands out; important analytical questions are raised in the work of V.P. Bobrovsky (9). In addition to the above-mentioned works, there are articles devoted specifically to individual particular comparisons of Haydn with his contemporaries - C. F. E. Bach (Brown, Helm), Mozart (Feder, Somfai) and the English keyboard school (Grein)13. Some articles are specifically devoted to individual works - the analysis of one or two sonatas (Eibner, Moss, Rutmanovich)14.
Of particular relevance and urgency are the questions of the authenticity of sources and the authorship of a number of works, disputes about which, including their connections with new finds, continue constantly. The problem of authentic performance and, in connection with this, the choice of instruments for which the keyboard works were originally written has also become pressing. This gave rise to numerous reports and round tables at the largest Haydn international conferences - in Washington in 1975 and in Vienna in 198215. Questions of the authenticity of controversial works are especially intriguingly posed in the reports of Hattingh (which caused much discussion at the time)16 and in the recent extraordinary story of the alleged discovery of six missing sonatas (see the article by Badura-Skoda, accompanying Shchuk
11 Cm.: KannMCTOB C. (19); KwpaKocoBa II. (23); Pillion M. (86); BenaHCKaa H.(5).
12 Cm.: Sisman E.R. (108); Webster J. (113).
13 Cm.: Brown A.P. (80); Helm E.(91); Feder G. (85); Somfai L. (109); Grane J.C. (89).
14 Eibner F. (84); Moss J.K. (103); Rutmanowitz L. (106).
15 Cm.: Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. - London, 1981 ¡.International Joseph Haydn Congress (Wien, 5-12 Sept. 1982). Munich, 1986.
16 Cm.: Hatting C.E. (90). b his recording of these sonatas, made on CD17). At the Washington Congress there were informative reports on the instruments of Haydn's time (Rypin, Walter18). These same issues are seriously covered in Brown’s monograph, and in a special article by Merkulov (36), as well as in Hollis’s note (93).
In addition to studies that focus specifically on Haydn’s work, many comparative characteristics of his sonatas can be found in works devoted to his contemporaries, as well as later creators (for example, Schubert).
Of course, Haydn’s place in the history of both keyboard music and musical heritage in general, it is reflected in many works on the history of music (including works on the history of the sonata, the formation of sonata-symphonic cycles, on classicism and neighboring eras, fundamental musical historical publications and textbooks). Certain problems are posed in theoretical works, primarily in generalizing scientific and educational works on the analysis of musical works - most of all, issues of form in Haydn's works are considered here.
Our goal was to study specifically Haydn’s clavier (sonata) work and identify the stylistic features and main trends of its consistent development over various periods. We have adopted a periodization that divides the path of development of the sonata into four periods: early - until 1766 (including the most sonata cycles), the period 1766-73 (13 sonatas), 1776-81 (82) (12 sonatas) and late - 1784-94 (9 sonatas).
In accordance with this periodization, the structure of the work is also built. Each period is presented in the form of an integral separate section, where its time boundaries (and the unification of works into one period), the main stylistic trends in comparison with the work are substantiated
17 Vas1iga-8kos1a R. (76).
18 See: ga^n E.M. (105); UuaIer N. (112). Haydn’s studies of other genres of the same time, identifying the main (main) concepts of the period (in connection with which, for example, the second period, according to our periodization, is called “Sonatas of the period “ romantic crisis"). In each of the periods, ongoing (changing) and new concepts of cycles are revealed, representing both the evolution of Haydn’s language, its stylistics, and historical stages interpretation of the genre.
An important issue that is in the center of our attention is influences and parallels, that is, Haydn’s contacts with other author’s styles, which also characterizes the aesthetic concepts of a particular time - in general and in individual works.
Due to the fundamental importance of the question of the origins that influenced the formation of Haydn’s individual sonata style, the emergence and development of a number of different trends, a special place is given to Haydn’s predecessors in the genre of the keyboard sonata (especially in Germany and, first of all, F.E. Bach) - an entire section of the first chapter is devoted to this.
The birth and honing of bright, deeply thought-out concepts of the genre, combined with an individual, inventive solution to each sonata cycle, is an amazing feature of Haydn. This combination determines the consideration of the content and aesthetic concepts in individual works and in their groups.
The basis for our approach to studying Haydn’s sonata works was the analysis of each sonata cycle. Given the endless variety and depth of Haydn's work, one could draw on a variety of aspects of analysis, as well as comparative characteristics with various works of both Haydn and other authors. However, the main thing for us was historical context and Haydn’s keyboard work itself (it was inevitable that several keyboard works from other genres would be involved in comparisons). A special place in the analysis was occupied by issues of form, as they largely determine the concept of the sonata cycle and the crystallization of various types of sonatas.
Considering the need to emphasize both the main general trends in the cycles of one period, and personality traits individual sonatas; in each section of the work, the characteristics of the period include the main specific features it as a whole with relevant examples, and then follows characteristics of certain types of sonatas (or their groups), and a more detailed analysis of some works. Each time the choice of the degree of detail of the analysis is dictated by the substantive concept of certain works, but all published sonatas of Haydn are covered as material (about unpublished, controversial works we're talking about in the course of presentation of the main material).
Since, as already noted, the sonatas are considered according to the Vienna edition, the appendix provides comparative numbering - according to the Hoboken catalog and in the most common editions. It seems useful to provide in the appendix a summary of the construction of all Haydn’s sonata cycles (form of parts, their tempos, sizes; in the most original cases of forms, their diagrams are given).19
The first chapter of the work is a general description of the evolution and background of Haydn’s sonata work and includes a section on the clavier sonata of the mid-18th century and a section on the evolution of Haydn’s work in the context of the influences of the German clavier sonata. The second and third chapters chronologically examine the four periods of Haydn’s sonata work: Chapter 2 - sections “ Sonatas of the early period of creativity" and "Sonatas of the period " romantic crisis", 3rd chapter - "Sonatas of 1776-81" and " Last keyboard sonatas" In conclusion, some results are summed up - first of all, moments of anticipation of the future development of the genre.
19 The music appendix contains the I part of the Sonata by I. G. Rolle, discussed in the 1st chapter of our work. Other musical examples are given within the main text.
Conclusion of the dissertation on the topic "Musical Art", Tropp, Vladimir Vladimirovich
CONCLUSION
The evolution of Haydn in the genre of the keyboard sonata that we have considered appears as a rich, multifaceted world, full of a wide variety of discoveries. The artist’s path here passes through an exciting search, and its stages constitute not only new pages in the composer’s work, but entire huge layers in the history of the development of the genre. An in-depth study of these layers can be deployed in the most different directions and become material for many studies.
We have selected only a few points that are characteristic of the evolution of Haydn’s sonata work. The four periods we have identified mark these characteristic stages. Findings from one period or another are continued and re-incarnated in subsequent ones. Thus, the search for bright thematicism, dramatic acuity both in the cycle as a whole and in the sonata allegro in the early period, on the “new round”, in its completed and logically crystallized form reappeared in the third, “mature” period. In the late period, Haydn largely came to a stylistic synthesis of many of his ideas that were born in different periods.
In this sense, all the genre “inclinations” that manifested themselves in sonata creativity for such a long time are reflected in the late clavier work, in completely different types of sonatas created by him, as well as other works for the clavier. The appearance of the “New Capriccio” (Fantasia), the minuet (of course, transformed) as the finale of sonata No. 59, and also, possibly, the reworking of the early sonata No. 19 in a “lyrical” key for cycle No. 57/47 (1788) are also characteristic. where a free prelude is added as the first movement, and the minuet-finale is excluded.
Since the early period there has been a constant experiment in search of various forms cycle and various types of material development (and, above all, this applies to sonata aedp). In the later period, however, for the first time those forms appear that do not fit into the framework of any regulation and represent completely individual solutions. And the non-standard, fantasy forms of F.E. Bach, embodied in such a work as Capriccio C-clir, in the late period no longer appear only in Fantasia (where this is justified by the condition of the genre). Play, as the most important principle, leads to both “deception”, a violation of known principles of construction, and to a new genre quality - scherzo (it is characteristic that in the early works the “game” was most revealed precisely in the finales - and scherzo is especially evident in the finales of the later sonatas with their unusual shapes).
The desire for dramatization, Stürmer freedom in “losing” the framework of tonal development, the expansion of emotional imagery (including in the lyrical sphere) - these are the features “ romantic crisis”led in the later period to “lyrical sonatas,” to the deep and ambiguous dramaturgy of the cycle, to a new level of tonal freedom.
In the third period, the most different types cycles, distinguished by figurative and genre diversity, principles of development and dramatic relationships in forms. Completely different types of cycles are presented in later works, and in this diversity there are even brighter contrasts and greater freedom.
In this regard, it is interesting to emphasize that, of course, Haydn synthesized many features of the sonata creativity of his contemporaries - representatives of various schools. Of course, the work of Viennese authors was of great importance - especially Hofan, d'Alberti, as well as the Monn brothers; Italian influence also had an effect. We have already looked at how Haydn's classicist thinking was reflected in the choice of the stylistic principles closest to him, both among the Italians and Viennese, as well as among the German schools, as he “limited” the freedoms of “Sturmerism”, which were certainly attractive to him, every now and then “breaking through” throughout his work - either in the freedom of fantasy genres, or in the whole period of “Sturmerism” works ( “romantic crisis”), then in the extraordinary experiments and unexpected turns of a later period.
But still, the key role of the German schools and, of course, first of all C. F. E. Bach, in their influence on the most important principles of the formation of the concepts of sonata cycles in Haydn is obvious to us. We tried to prove this, first of all, in the first chapter of this work, as well as in the course of further presentation. The very nature of the sentimentalist, “Sturmer” quests of C. P. E. Bach and related authors - representatives of German schools - was close to precisely that classicist thinking that was inherent in Haydn’s vividly individual style, his genius of fantasy.
Brown, in his monograph on Haydn's keyboard works and in special performances,185 proves that the influence of C. P. E. Bach on Haydn is exaggerated, that they are limited to individual, generally isolated works. Without going into a detailed description of both this position and the discussion with it, we will only note that the indisputable uniqueness of Haydn’s style, his ingenuity and thinking is not at all questioned
185 Brown A.R. Joseph Haydn's Keyboard Music. Sources and style; Brown A.P. Joseph Haydn and C.P.E.Bach: The Question of Influence // Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975) question the assertion that many the finds of C. P. E. Bach were the most important of those various phenomena (Viennese, Italian, later - English school), which were reflected in the formation and evolution of Haydn's style. This is also confirmed by the fact that the most important features of sonata thinking and style of C. F. E. Bach that we noted influenced not only
1 ftfi to Haydn, but also - to a large extent - to Mozart and Beethoven187, which has been noted by many.
In addition, the so-called “Stürmer” and “lyrical” lines that we highlighted in the first chapter in the work of masters of German schools of the mid-18th century (and above all in C. F. E. Bach) found a fruitful continuation (in a variety of variants and transformations) throughout Haydn’s entire work, and in the work of Mozart (whose “Sturmerism,” for example, was constantly noted188), and in Beethoven: the line of the “lyrical” two-part sonata was traced by us in Haydn’s late sonatas and in Beethoven’s two-part sonatas. Note that in Beethoven’s late work there is often a predominance of the lyrical element in the first movements - sonatas Nos. 28, op. 101, 30, op. 109 and 31, op. 110.
Of course, the question of connections, influences, similarities and differences between Haydn and Mozart and Beethoven can serve as a topic for a wide variety of research. This topic is touched upon only briefly here. One thing is clear: an abundance of finds in the thematic “ design", the creation of such fruitful development techniques, modulation techniques, the creation of forms - the cycle as a whole and its parts
186 See works: Abert G. W. A. Mozart; Einstein A. Quote. slave; Muratalieva S.G. Quote slave.; Wackernagel W. Joseph Haydns frühe klaviersonaten: Ihr Beziehungen zur Klaviermusik um die Mitte des 18.Jahr.
187 See: Yalovets G. Youthful works of Beethoven and their melodic connection with Mozart, Haydn and F.E. Bach
188 See especially: Chicherin G. Mozart: Research Study
Haydn's sonata work provided a fertile basis for new ideas both for the Viennese classics and for later authors. It seems to us that the appearance of “Schubertisms” in Haydn’s late work is far from accidental. This is also a special development of the same “ lyrical line"in Schubert, and the anticipation of some features of his thinking in the sea of fantasy that contained Haydn's creative thinking. Analogies with the Romantics have also been noted by various researchers.189
In the “laboratory” of creative experiments, Haydn’s creativity in form is especially striking. The incredible number of amazing finds here could not help but become an inspiring factor for further innovations among his younger contemporaries and descendants.
Here we will once again highlight such important points as the invention of a wide variety of development techniques (we believe that Haydn’s genuine sonata developments already exist in such early sonatas as Nos. 15/13 and, of course, 16/14). In the sonatas of the third period already crystallized five types of developments (development-contrast, development - “ new round»exposition, development with transformation of the material of the exposition, with bringing the main line to a dramatic climax, with a given dramatization while modifying thematic themes), which, being related to each other, are present in the sonatas in both mixed and pure versions.
The most interesting question in historically- and Haydn's rhythmic inventiveness, presented in incredible abundance in his sonatas. This is closely connected with the techniques of “game”, also the most important historical line that can be traced from sentimentalism to romanticism.
I- - h
189 Khokhlov Yu.N. Quote slave.; GeiringerK. Quote slave.; Landon H.C.R. Haydn. Chronicle and Works.
In the context of the formation of the genre, it is interesting to use such forms - and genres - as variations, rondo, minuet in Haydn's sonata cycles. Variations for Haydn (unlike Mozart, but having a special continuation in Beethoven's late work) gradually become an increasingly permanent form for the finales of cycles, and then for the slow first movements. Completely special concepts of cycles are created precisely thanks to the development, first of all, of double variations. Variation also serves as the basis for the formation of completely unique mixed forms (which is also important in the future - for Beethoven’s late sonatas, as well as Schubert’s sonatas), often combined with rondalism. At the same time, Rondo in pure form- as part of a sonata cycle - is not typical for Haydn, and in this he is not like the other two Viennese classics. The minuet, the most important genre and stylistic pillar of the Viennese classics, undergoes an original evolution in Haydn's keyboard sonatas, which also contains a rich variety of ideas.
The way the keyboard sonata was formed in Haydn’s work only confirms the statement about the composer: “He is
190 lal was the layer of soil on which the rest grew.”
190 Novak L. Quoted. work., p.142.
List of references for dissertation research candidate of art history Tropp, Vladimir Vladimirovich, 2001
1. Abert G. VAMozart. 4.1. book 1,2. Ch.N, book 1,2. M., 1987-1990.
2. Alekseev A. History of piano art. 4.1. M., 1962.
3. Alschwang A. Joseph Haydn // Selected Works in 2 volumes. T.2. M., 1965.
4. Asafiev B.V. Musical form as a process. L., 1971.
5. Belyanskaya N.V. System of contrasts in sonata form by Haydn (on the material of piano chamber works): Abstract of Ph.D. dissertation. art criticism. M., 1995.
6. Bernie Ch. Musical travels. L., 1961.
7. Bobrovsky V. Functional foundations of musical form. M., 1978.
8. Bobrovsky V. On the issue of dramaturgy of musical form // Theoretical problems of musical forms and genres. M., 1971.
9. Bobrovsky V. Thematism as a factor in musical thinking. M., 1989.
10. Bonfeld M.Sh. Comic in Haydn's symphonies: Abstract of dissertation. art history L., 1979.
11. Buchan E. Music of the era of Rococo and Classicism. M., 1934.
12. Givental I., Shchukina-Gingold L. Musical literature: Textbook. allowance. Issue 2. K.V.Gluck, J.Haydn, V.A.Mozart. M., 1984.
13. Goryukhina N.A. Evolution of sonata form. 2nd ed. Kyiv, 1973.
14. Dalhousie K. “New music” as a historical category // Musical Academy. 1996. No. 3-4.
15. Evdokimova Yu. Formation of sonata form in the pre-classical era // Questions of musical form. Issue 2. M., 1972.
16. Zakovyrina T. On the question of the comic in instrumental music // Aesthetic essays: Collection of articles. Issue 4. M., 1977.
17. Zakharova O.I. Rhetoric and Western European music of the 17th and first half of the 18th century: principles, techniques. M., 1983.
18. Zakharova O. Rhetoric and keyboard music of the 18th century // Musical rhetoric and piano art: Collection of works. Issue 104 / GMPI named after Gnessins. M., 1989.
19. Kallistov S. Form of the 1st allegro in Haydn’s keyboard sonatas in the light of the theoretical concepts of the era. Dipl. work/Moscow state conservatory M., 1990.
20. Kalman J1. Minor sphere in Mozart’s instrumental music // Music of Baroque and Classicism. Questions of analysis. M., 1986.
21. Kalman L.L. About some forms of manifestation of Viennese classicism typical in instrumental music. Diss. Ph.D. claim M., 1985.
22. Kalman L. Thematic and functional plans in sonata form // Questions of polyphony and analysis of musical works: Sat. tr./ GMPI named after Gnessins. Issue XX. M., 1976.
23. Kirakosova L. D. Principles of thematic development in Haydn’s monothematic forms using the example of his clavier creativity.: Dipl.work. / Moscow State Conservatory. M., 1985.
24. Kirillina L.V. Classical style in music of the 18th - early 19th centuries: Self-awareness of the era and musical practice M., 1996.
25. Klimovitsky A.I. The origin and development of the sonata form in the work of D. Scarlatti // Questions of musical form. Issue 1. M., 1967.
26. Kondratyeva Yu. Keyboard works of V. F. Bach: Dipl. work / GMPI named after Gnessins. M., 1988.
27. Konen V. Theater and symphony. M., 1968.
28. Kremlev Yu. Joseph Haydn. Essay on life and creativity. M., 1972.
29. Couperin F. The art of playing the harpsichord. M., 1973.
30. Landowska V. About music. M., 1991.
31. Livanova T. History of Western European music until 1789: Textbook. In 2 volumes. T.2. XVIII century. Ed. 2nd. M., 1982.
32. Livanova T. Musical dramaturgy of J. S. Bach and her historical connections. In 2 parts 4.I: Symphony. M.-L., 1948.
33. Livanova T. Musical classics of the 18th century. M., 1939.
34. Lutsker P. Classicism // Musical life. 1991. No. 3,4.
35. Makarov V. Features of the formation of concerts for several soloists with an orchestra of the Baroque era // Theoretical problems of musical form: Collection. tr. Issue 61 / GMPI named after Gnessins. M., 1982.
36. Merkulov A.M. Keyboard works by Haydn: for clavichord, harpsichord or piano N Musical instruments and voice in the history of performing arts: Sat. tr. / Moscow Conservatory. M., 1991.
37. Merkulov A.M. Editions of keyboard works by Haydn and Mozart and problems of interpretation style // Musical art and pedagogy: History and modernity. M., 1991.
38. Merkulov A.M. “Vienna Urtext” of Haydn’s keyboard sonatas in the work of a pianist and teacher // Questions of musical pedagogy. Issue 11. M., 1992.
39. Mikhailov A.B. Eduard Hanslick and the Austrian cultural tradition // Music. Culture. Human. : Sat. Art. Issue 2. Sverdlovsk, 1991.
40. Musical aesthetics of Western Europe in the 17th-18th centuries: Sat. articles / Comp. V.P. Shestakov. M., 1971.
41. Muratalieva S.G. Paths of historical development of the sonata in the 18th century: Candidate's dissertation. M., 1984.
42. Nazaykinsky E. Logic of musical composition. M., 1982.
43. Neklyudov Yu. Issues of style of the late symphonies of Mozart and Haydn // Issues of teaching musical-historical disciplines: Sat. tr. Vol. 81 / GMPI named after Gnessins. M., 1985.
44. Novak L. Joseph Haydn. Life, creativity, historical significance. M., 1973.
45. Nosina V. B. Manifestation of musical and rhetorical principles in the keyboard sonatas of C. F. E. Bach // Musical rhetoric and piano art: Collection. tr. Vol. 104 / GMPI named after. Gnesins. M., 1989.
46. Okrainets I.A. Domenico Scarlatti: Through instrumentalism to style. M., 1994.
47. Petrov Yu. Dialectics of paired sonatas by D. Scarlatti in the context of the Baroque era // Ibid. M., 1989.
48. Petrov Y. Spanish genres from Domenico Scarlatti N From the history of foreign music: Sat. Art. Issue 4 / Comp. R.K. Shirinyan. M., 1980.
49. Protopopov Vl.V. Variational processes in musical form. M., 1967.
50. Protopopov Vl.V. Essays on the history of musical forms XV! beginning of the 19th century. M., 1979.
51. Protopopov Vl.V. Beethoven's principles of musical form: Sonata-symphonic cycles op.1-81. M., 1970.
52. Pylaev M.E. On the theory and history of sonata form at the end of the 18th and beginning of the 19th centuries: Abstract of Ph.D. dissertation. claim M., 1993.
53. Rabinovich A.S. Haydn: Essay on Life and Work. M., 1937.
54. Riemann G. Musical dictionary. Translation and additions, ed. Yu.Engel. M., 1901.
55. Rozhnovsky V.G. Interaction of the principles of shape formation and its role in the genesis of classical forms: Diss. Ph.D. claim M., 1994.
56. Rozanov I. Preface to the publication: C. F. E. Bach. Piano Sonatas. In 2 books. L, 1989.
57. Shirt E.A. The finale of the instrumental cycle, Viennese classics as an artistic implementation of country dance. (On the question of the connections between the classical symphony and everyday music of the 18th century): Author's abstract of the dissertation for candidate of art history. M., 1983.
58. Skrebkov S.S. Analysis of musical works. M., 1958.
59. Skrebkov S. Why are the possibilities of classical forms inexhaustible? II Soviet musician965. No. 10.
60. Tirdatov V. Thematics and structure of expositions in Haydn’s symphonic allegri // Questions of musical form. Issue 3 M., 1977.
61. Topina O. Creative quests of J. Haydn in the genre of string quartet: Dipl. work / Gnessin Russian Academy of Music. M., 1994.
62. Tyulin Yu. et al. Musical form: Textbook. 2nd ed. M., 1974.
63. Tyulin Yu. About the works of Beethoven of the late period. Stickiness of musical material // Beethoven: Sat. Art. Vol. I. M., 1971.
64. Fishman N. Aesthetics of F.E. Bach II Sov. music. 1964. No. 8.
65. Khokhlov Yu.N. Piano sonatas by Franz Schubert. M., 1998.
66. Tsukkerman V. Analysis of musical works: Variation form: Textbook. 2nd ed. M., 1987.
67. Chernaya L. Haydn’s Quartets (on the issue of the formation of the genre): Dipl. work / GMPI named after Gnessins. M., 1973.
68. Chernova T. Dramaturgy in instrumental music. M., 1984.
69. Chicherin G. Mozart: Research etude. 5th ed. M., 1987.
70. Shelting E. Music of the 18th century in the context of aesthetics “ Enlightened taste» // Music in context artistic culture: Sat. tr. Issue 120 / GMPI named after Gnessins. M., 1992.
71. Shirinyan R. About the style of Domenico Scarlatti’s sonatas // From the history of foreign music: Sat. Art. Issue 4 / Comp. R.K. Shirinyan. M., 1980.
72. Einstein A. Mozart: Personality. Creation. M., 1977.
73. Yalovets G. Youthful works of Beethoven and their melodic connection with Mozart, Haydn and F.E. Bach // Problems of Beethoven's style: Collection. Art. M., 1932.
74. Abert N. Joseph Haydns Klaviersonaten // Zeitschrift fur Musikwissenschaft. 111/9-10. June-Jule, 1921.
75. Bailie E. Haydn. Piano sonatas // The Pianistic Repertoir. London, 1989.
76. Badura-Skoda P. Six sonatas attributed to Haydn (A detective story) from Hoboken XVI, 2a-2e, 2g: Disc annotation: J.Haydn. Six lost piano sonatas. Paul Badura-Skoda, Hammerklavier. KOCH International GmbH, 1995.
77. Batford P. The keyboard music of C.Ph.E.Bach. London, 1965.
78. Bonavia F. The Essential Haydn // The Monthly Musical Record. May, 1932.
79. Brown A. P. Joseph Haydn's Keyboard Music. Sources and style. Bloomington, 1986.
80. Brown A.P. Joseph Haydn and C.P.E.Bach: The Question of Influence // Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. London, 1981.
81. Brown A.P. Realization of an Idiomatic Keyboard Style in Sonatas of the 1770s // Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. London, 1981.
82. Canave P.C.G. A re-evolution of the role played by C.Ph.E.Bach in the development of the Clavier sonata. Washington, 1956.
83. Eibner F. Preface. Critical notes // Haydn. Klavierstucke. Wien, 1975.
84. Eibner F. Die Form des “Vivace assai” aus der Sonata D-dur Hob.XVI:42 // International Joseph Haydn Congress (Wien, 5-12 Sept. 1982). Munich, 1986.
85. Feder G. A Comparasion of Haydn's and Mozart's Keyboard Music // Haydn Studies. N.-Y. L., 1981.
86. Fillion M. Sonata-Exposition Procedures in Haydn's Keyboard Sonatas // Haydn Studies. N.-Y. L., 1981.
87. Fleury M. Friedrich Wilhelm Rust (1739-1796). 12 Sonatas. Vladimir Pleshakov, piano: Annotation for the CD. Dante Production, 1997.
88. Geiringer K. Joseph Haydn. His creative life in music. 3d edition. Berkeley, 1982.
89. Grane J.C. Haydn and the London Pianoforte School // Haydn Studies. N.-Y. L„ 1981.
90. Hatting C.E. Haydn oder Kayser? Eine Echtheitsfrage // Die Musikforschtung XXV/2. April-June 1972.
91. Helm E. To Haydn from C.P.E.Bach: Non-tunes // Haydn Studies. N.-Y. L., 1981.
92. Hoboken A.van. Tematische-bibliographisches Werkver-zeichnes. Mainz, 1957.
93. Hollis H.R. The Musical Instruments of Joseph Haydn: An Introduction // Smithsonian studies on history and technology. No. 38. Washington, 1977.
94. Hopkins A. Talking about sonatas. A book of analytical studies, based on a personal view. London, 1971.
95. Hughes R.C.M. Haydn. N.-Y., 1950.
96.Dr. Kloppenburg W.C.M. De Klaveirsonates van J.Haydn. / Haydn Jahrbuch. Amsterdam, 1982.
97. Landon Chr. Preface // Haydn. Sämtliche Klaviersonaten. In 3 Vol. Wien, 1966.
98. Landon H.C.R. Haydn. Chronicle and Works. In 5 Volumes. London, 1976-1980.
99. Landon H.C.R. Haydn. Piano Sonatas // Essays on the Vienesse Classical Style. N.-Y., 1970.
100. Meilers W. The Sonate Principle. London, 1957.
101. Mitchell W.J. The Haydn Sonatas II Piano Quarterly. XV/58. Winter 1966-67.
102. Moss J.K. Haydn's Sonate Hob.XVI:52 (ChL 62), in E-flat Major. An Analysis of the First Movement // Haydn Studies. N.-Y.-L., 1981.
103. Radcliffe Ph. The piano sonatas of Joseph Haydn // The Music Review. 1946, VII.
104. Ripin E.M. Haydn and the Keyboard Instruments of His Time // Haydn Studies. N.-Y. L., 1981.
105. Rutmanowitz L. Haydn's Sonatas Hob.XVI: 10 and 26. A Comparasion of the Compositional Procedures // International Joseph Haydn Congress. München, 1986.
106. Schedlock J.S. The Pianoforte Sonate. Its Origin and Development. N.-Y., 1964.
107. Sisman E.R. Haydn's Hybrid Variations // Haydn Studies. N.-Y.-L., 1981.
108. Somfai L. Further Comparasions Haydn's and Mozart's Keyboard Music., // Haydn Studies. N.-Y. L., 1981.
109. Todd R.L. Joseph Haydn and the Sturm und Drang: A Revaluation // Music Review IL 1/3. August 1980.
110. Wackernagel B. Joseph Haydns frühe klaviersonaten: Ihr Beziehungen zur Klaviermusik um die Mitte des 18.Jahr. Wurzburg, 1975.
111. Walter H. Haydn's Keyboard Instruments // Haydn Studies. N.-Y. -L„ 1981.
112. Webster J. Binary variations of Sonata Form in Early Haydn Instrumental Music // International Joseph Haydn Congress. Munchen, 1986.
113. Westerby H. The history of pianoforte music. N.-Y., 1971.160
Please note the above scientific texts posted for information purposes and obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms.
IN PDF files There are no such errors in the dissertations and abstracts that we deliver.
Keyboard sonatas Haydn created throughout his long career creative life. He composed his early works for the harpsichord, and his later ones for the piano, using the diverse sound capabilities of this then new instrument.
Haydn's sonatas are usually a three-movement cycle: 1st movement - sonata Allegro
(The name "sonata" comes from the Italian word "sonare" "to sound").
The Sonata in E minor is one of Haydn's most famous keyboard works. It is distinguished by its special lyricism and elegance of sound, as well as extraordinary virtuosity.
1st. Part
The music of the 1st movement is written at a fast tempo and has a sonata form. The theme of the main part (E minor), presented in three voices, is unusually alarming and agitated. The melody of the lower voice is decisive, strong-willed, rising along the sounds of a minor tonic triad in the low register. Short motives of the upper voices of a lyrical, intermittent, restless nature.
The connecting part is bright. It modulates into the key of the side part.
The theme of the side part (in the parallel key of G major) contrasts with the main part. It sounds especially light, transparent and melodious.
The joyful mood is conveyed in the light, fast passages of the final part.
The development sounds tense, predominantly in minor keys. In the main part, the lyrical short motives, ending unsteadily, acquire a particularly alarming character. In the connecting part, the decisive “run-up” of the sixteenth notes ends with soft, sad “second sighs”. At the end of development, the main part sounds most vivid.
The reprise, like the development, is of a tense, excited nature. Its themes are carried out here in the main key of E minor. Especially sad, like regret about an unfulfilled bright dream, the theme of the side party sounds. The final game, longer than in the exhibition, completes the 1st. part of the stormy, rapid movement of the sixteenth notes. It conveys the confidence and fortitude of the human personality, capable of withstanding life’s adversities.
part 2
The intonations of her lower voice, rising along the sounds of triads, here move into the upper register, acquiring a fanfare sound.
The reprise, like the development, is of a tense, excited nature. Its themes are carried out here in the main key of E minor. The theme of the side game sounds especially sad, like regret about an unfulfilled bright dream. The final game, longer than in the exposition, ends Part I with a stormy, rapid movement of sixteenth notes. It conveys the confidence and fortitude of the human personality, capable of withstanding life’s adversities.
The music for this piece is light and dreamy. Its main theme, in the key of G major, is similar to improvisation in a leisurely, calm movement. The pattern of the melodious melody forms a beautiful ornate pattern of figurations of small durations.
Part 3.
The finale of the sonata is written in the form of a rondo and has the following structure: (Refrain 1 episode Refrain 2 episode Refrain).
The refrain (E minor) creates a feeling of swiftness and flight, and is distinguished by its extraordinary lightness and grace. Its dance character is given by a clear, sharp rhythm. The episodes (in the same key of E major) are based on a modified refrain melody.
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 figurative content his works, but also to understand issues belonging 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.
Download:
Preview:
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 central places in the work of Joseph Haydn 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 quartet, more than 50 sonatas, a large number of concerts and chamber ensembles 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
The composer turned to this genre of instrumental music 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 the title pages include Per il Clavicembalo o Fianoforte, proving that in performing practice the piano began to play no less a role than the harpsichord.
Thus, keyboard style Haydn gradually changed and received complete completion 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 of dynamics rather than precise and clear instructions, therefore it is important that the completion of dynamic shades takes place in accordance with the meaning of the work, according to its stylistic features and patterns and, in no case, exceeds the permitted measure .
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 – quite fast tempo, but not excessive.
Allegretto – moderately fast tempo and graceful performance. In terms of speed, it is closer to Andante than to Allegro.
Moderato – moderate tempo.
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 XIX century. There is also no need to be afraid of fast tempos in the finales of sonatas. But it is important to understand that due to fast pace The clarity and rhythmic clarity of the music should not suffer.
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 does not obey a strict scheme in Haydn, but follows from the specific features of each individual episode: its character, the movement of the melody, and 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 with 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).
In the period from the second half of the 19th century to the first third of the 20th century, under the influence of romantic musical art, many editions and interpretations appeared that did not correspond to the style of the era of the work’s creation.
There are changes in them original text the author's ligature and articulation were most affected: 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 performance 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 publication is chronological order in the arrangement of sonatas. Other most 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 leagues of phrasing that arose in the romantic era have disappeared, there are fewer dynamic instructions, only in rare cases an approximate decoding of decorations is given in small print. 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 “speculation” musical composition will “live”, that is, influence the 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.”
Used Books
- 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.