An Examination of Style and Performance
Introduction
Joseph Haydn may be the most underrated of all the great composers, especially when it comes to his piano music. Music students in every field, remain taught that Haydn is the “father of the Symphony.” It is this fact that keeps the student from seeking out, discovering, and delighting in his brilliant, often difficult, but worth the challenge of playing Haydn’s late keyboard compositions. Haydn’s major keyboard works are sonatas, generally representing his growth from his early years until 1794 with completion of his final three sonatas. According to Gordon (1996), Haydn often set the early sonatas in the gallant style with these works remaining teaching compositions in the 21st century. (p. 93).
Knowing Haydn’s preference for a particular instrument remains debatable. According to Rosenblum (1991), the scarcity of historical documentation of the fortepiano in both southern Germany and Austria underscores any clarification on the issue. Existing literature show the use of the clavichord in the earliest of his compositions as well as typically directing and accompanying orchestras from the keyboard – a practice of his era.
Haydn’s Sturm und Dran (storm and stress) period, explores new elements with his use of minor keys, the growth of both the exposition and development sections, and a higher degree of dramatic character in his compositions. Harmon, Milner, and Mellers (1962) describe the sonatas as “quick movements, replete with shooting scales and repeated notes, and even a faint suggestion of contrasting (p. 598).”
The Sturm and Dran influence first impelled C.P.E. Bach’s creations framed in the popular emotion of society’s intellectual and artistic conflict with sensibility of rococo style according to Harmon et al (1962). Haydn’s music of the 1770s embraces “the dramatic potentialities inherent in rococo style (p. 599).” It is during this Sturn and Dran influence Haydn’s keyboard “modulations jump to extravagant keys.” Much of these “stormful” works use the minor keys, “or if in the major, in outlandish keys, such as B (p. 600).”
Ironically, according to Harmon et al (1962) it is during this storm and stress influence Haydn’s musical sense of humor develops from his earlier works with a “simple buffo frivolity to
the tendency for “abrupt contrast of key, a melodic ellipsis” pausing with “contraction of rhythm” startling alongside amusing the listener with drama and clever applications of wit (p. 600). This and other development of his piano sonatas Haydn “follows a pattern almost identical with his symphonies and quartets.” The spirit of his music provides little melody offering appeal in twirl and twiddle “superfices” he eventually draws drama exemplified in the F major Sonata of 1776. (p. 605).
His late sonatas show mature and refined piano writing with a noticeable growth in virtuoso elements in Hob. XVI: 50 & 52. Moreover, Haydn sonatas often exemplify the "empfindsamerstil," imitating the gestures of keyboard writing seen in Carl Philipp Emanuel Bach’s works. In Dies’ (1810) biography of Haydn, he wrote of Haydn commenting on discovering the volume of CPE Bach’s Prussian sonatas. Dies (1810) quotes Haydn, “I did not come away from my instrument until I had played through them all, and anyone who knows me well must realize that I owe a great deal to Emanuel Bach, that I have understood him and studied him diligently. Emanuel Bach once paid me a compliment on this score himself.”
Accordingly, this paper provides an analysis of the stylistic and performance of Haydn piano sonatas as an outline of a proposed lecture recital. The analysis includes examination of Haydn’s keyboard performance using Samuel Wesley’s report of Haydn’s playing in London on March 2, 1792 as well as discussion of the keyboard instruments of Haydn’s time. In addition, discussions include the kinds of instruments on which he composed, and some discussion on Haydn’s changing instrument preference in sonatas. I will explore his use of ornamentation, articulation, dynamics, tempi, and forms. I will demonstrate and perform Hob. XVI: 19 and 44, illustrating the pianistic and interpretational challenges a performer faces.
Haydn’s Pianism
London Performance March 2, 1792
Invited to London by the master violinist Johan Peter Salomon proved his concert management equally successful when Haydn agreed to the London visit. Mozart upon hearing of the impending concert series, his “objection that he could not even speak English Haydn replied: ‘My language is understood throughout the world!’ (Dies, as cited by Federin, 2011).”
During his time in London, the Journal of Luxury and Fashion lauded Haydn as “our old favourite” continuing about the new compositions made explicitly for the London concert series of 1794, directed by him from the piano exemplifies the London audience adoration of the maestro. “It is truly wonderfulPassages often occur which render it impossible to listenwithout becoming excited (Hadden, 1902, p. 116).”
Samuel Wesley
Samuel Wesley attended the evening premier performance with Haydn on the keyboard on the clavichord. Wesley Rosenblum (1991) writes of Wesley’s report on Haydn’s London, March 2, 1792 performance describing the now aging master’s recital:
His performance on the Piano Forte, although not such as to stamp him a first rate artist upon that Instrument, was indisputably neat and distinct. In the Finale of one of his Symphonies [No. 98] is a Passage of attractive Brilliancy, which he has given to his Piano Forte, and which the Writer of this Memoir remembers him to have executed with the utmost Accuracy and Precision (p. 19).
This praise by Wesley comes with the fact, according to Rosenblum (1991), “Unlike many composers who wrote a considerable amount of keyboard music, Haydn was not an unusually gifted keyboard performer.” Rosenblum (1991) also suggests that due to this fact, most of his public keyboard performances took place accompanying a singer or in an orchestra piece. (p. 19). At the same concert, according to Skinner, renown, musicologist Charles Burney provided his account of the historical moment:
Haydn himself presided at the pianoforte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever, to my knowledge been caused by instrumental music in England. (Skinner, 1996).
Skinner adds, “Of all composers in London, during the 1790s to produce orchestral works for which the market required” it was the works of Joseph Haydn that remained “preeminent.” Johann Peter Solomon the entrepreneur and violinist introduced his own concert series in the renown, Hanover Square Rooms regularly including Haydn pieces. Solomon succeeded enticing the Master to London in 1791. (1996). Foglesong, acknowledges the 1792 London success of Haydn on the fortepiano during his Symphony No. 98 in B-flat Major exemplified the master’s “greatest successes took place away from home (2011).”
Foglesong describes how Wesley confirms Haydn “himself played” his “propulsive and delightfully unpredictable Presto finale. This piece remains rare among the symphonies of Haydn with “its inclusion of a short fortepiano solo due to the fact keyboardists, were de rigueur in English orchestras (2011).”
During this piece, the “slowdown towards the end” adds another uncharacteristic aspect to the memorable performance. Foglesong describes Wesley’s attendance and comment on the performance: “Composer Samuel Wesley was present for the March 2nd premiere and confirms that Haydn himself played the cadenza “with the utmost Accuracy and Precision,” undoubtedly to the added delight of an already dazzled audience (2011).” According to Hollis (1972), another admirer wrote of his London keyboard performance, “His execution of solo passages was described by a London musician and writer in 1792 as ‘indisputably neat and distinctwith accuracy and precision (p. 17).”
Keyboard Idiom
Hollis (1972) reminds how “many of the keyboard compositions do not ‘work’ well when played on a modern piano” in 21st century “pianistic style (p. 15).” According to Lubin (2003) in using “the full-fledged piano idiom,” Haydn’s “clavier sonatas of the mid-1770s, and 1780s adumbrate the full-fledged piano idiom,” This as Lubin (2003) explains “arose in the wake of an intellectual movement” called “Empfindsamkeit” rejuvenating German-speaking lands use of the clavichord. (p. 2).
Hollis (1972) adds how performers without access to the 18th century German, Viennese, or English piano, they “must at least know their characters in order to realize the musical intent and beauty of Haydn’s keyboard music.” Both “the potentialities” as well as the “limitations” of these 18th century instruments lend to understanding interpretation when faithfully recreating the music written specifically for these pianos. (p.15).
According to Hollis (1972), exactly “when” Haydn’s creativity looked to the keyboard remains argumentative. (p. 8). Typically, according to Hollis (1972), prior to 1781, Haydn’s interest in the keyboard shows only as much as these pieces were “part of the orchestral texture (p. 10).” She explains:
When Haydn turned decisively to the piano is a question as fascinating as the definitive answer to it is elusive. That it happened well before 1790 is certain. In this year, returning after a happy time in Vienna to Eszterhaza, where by now he felt isolated and restless, he wrote to his dear friend Marianne von Genzinger that, "nothing could console me, my whole lodging was in disorder; my piano that I usually love in other times was moody and disobedient and provoked my displeasure more than it consoled me." There is no mention of his harpsichord or
clavichord. In the same year, he advised a friend to give away [!] his harpsichord and buy a piano, adding that he no longer played his harpsichord. (p. 8).
Further insights of Haydn’s preference for the keyboard instrument show according to Hollis (1972) admirers sent a “harpsichord from England, an instrument already tolling its own death knell.” As Hollis (1972) relays this instrument’s “machine stop and a Venetian swell for effects” countered the existing “characteristics of the Baroque – a type” representative of the transitional to Classicism as well as “from harpsichord to piano (p. 8).” All except the D major clavier concertos of the three Haydn wrote from around 1770. Of the three, clavier concertos the actual reference shows “cembalo (p. 9).”
Any of his earlier piano pieces, adds Hollis, “must have been the square model, expressive but limited in volume” based upon his lengthy service to the nobles (p. 9).” Hollis (1972) adds, upon Haydn’s departure from the long service of the Hungarian Esterhaza for Vienna, “He gave away his clavichord saying he had composed most of “The Creation” on it (p. 14).”
Hollis’ (1972) research of the keyboards used by Haydn look at the type of sound provided aligning with his pianism. As she explains, “dynamic (keyboard) markings” prior to his work after 1780, “could apply to the harpsichord as well as to the clavichord or piano, e.g.
forte, piano, — effects possible on a two-manual instrument.” Hollis (1972) determines this due to “the first “crescendo” mark” appearing on the 1780 “Arteria (his publisher) edition of the C minor Sonata” although Hollis (1972) posits because “this passage is not preserved in the autograph, even this is possibly a later edition (p.10).”
Hollis (1972) explains Haydn’s keyboard autographed works up to 1770 “(harpsichord is indicated – ‘Cembalo or Clavicembalo’)” such as “Concerto per il clavicembalo, Eifertimnto per il clavicemblo solo., Div3ertim3ento per il cambalo don 2 violini e Basso, and 20 Variazioni per il cembalo.” Hollis (1972) details how “in general, clavier trios from 1784 specify on the title page “per il clavicembalo o forte piano As late as 1800, however, Haydn indicated for his Trio No. 9 "per il cembalo colviolino e violoncello.” (p. 13).
Recalling the practical nature of Haydn, Hollis (1972) explains how designating the pianoforte on the front of his published sheet music after 1788, while discouraging would be buyers having not replaced the harpsichord with the newer piano instrument shows the business side of the issue during this transition of Haydn to writing the piano sonata. Explained:
.
A consideration of the problem on stylistic grounds leads one
for a dynamically touch-sensitive instrument, whether clavichord
or piano, and that the trios and later sonatas are unquestionably
for piano. But like the choice of instruments for The Well-Tempered
Clavier, this is a subject for continuing discussion and debate and one
not likely to be settled to the complete satisfaction of anyone. (p. 14-15).
Pedals Instead of Knee Levers
Walls (2002), advises how accepting Haydn’s composition intentions meant his sonatas performed “on the instruments for which these works were conceived, there is another practical and contingent question that we as musicians living in the twenty-first century must confront:”
How narrowly should we set our focus in our efforts to match instruments to repertoires? After all, Haydn is recommending not just a Viennese fortepiano but also a particular maker's instruments. .But by the time he composed his next, and wonderfully flamboyant, Sonata in E major Hob. XVI: 52 in 1794, he had been won over to the instruments of John Broadwood and his contemporaries that he had encountered in England, which were more robust, heavier in action and fuller in tone. (p. 29).
Upon Haydn’s return to Vienna in 1795 from his second London stay, “he took with him a new 'Grand Piano Forte' by Longman and Broderip (whose compass extended to c). (p. 29)
Haydn’s first experience with the Broadwood piano came after London when he moved to Lissen Grove. Loaned to Hayden, according to Hollis (1972) by Bohemian composer and pianist Johann Ladislay Dussek, the special ordered Broadwood “was a five and one-half-octave instrument” rather than the typical five-octave continental models of pianos possessing the foot pedals instead of the Austrian style knee pedaled pianos. It is from using this special piano, Haydn writes directions to ‘open out pedal’ of his “first movement of the C major Sonata of 1794 (p. 15)”.
Hollis (1972) speculates due to the brilliant and “astounding pedal affects” used on this piano by Dussek influencing Haydn’s admiration of this pianist’s skill, the music written for this instrument remains, “impractical to follow precisely” due to the compositions written with the English pedals in mind.” At the same time, explains Hollis (1972), “the additional half-octave was virtually wasted on him.” Only one of Haydn’s keyboard compositions shows him venturing “beyond the compass of this own country’s instruments” resulting in only the, a -- “this is the slow movement of the C major Sonata (p. 15).”
Hollis (1972) further explains, “It cannot be overemphasized that Haydn accepted the limitations while realizing superbly the capabilities of his instruments (p. 17).” In conclusion, of her research of the keyboard instruments used for composition and leading the symphony by Haydn with, “Recently discovered correspondence between Haydn and Erard reveals that Haydn understood very well the intricate mechanism of the piano (p.21).”
At the same time Walls (2002) describes how “the last three Haydn sonatas never go beyond the compass of the Viennese instruments (though they exploit that to the full).” This may indicate that Haydn “wanted to ensure that these works, for all that they might have been inspired by the sonority of the English piano” continued reachable of this compatriots. (p. 30).
Haydn allocated his Sonata in E major (Hob XVI 49) to the Forte-piano, according to Walls (2002), with his autographed manuscript and his, “first sonata to be thus described by the composer. “ Written for one of his noble patrons, Haydn corresponds, instructions for playing the piece. He wrote how “only the Adagio is quite new, and I especially recommend this movement it is rather difficult but full of feeling.” At this, Haydn bemoans the fact his patron has “not one of Schantz's [sic] fortepianos” as he describes how this “could then produce twice the effect.” As Walls (2002) explains, Haydn’s partiality to the Schanz fortepiano becomes clear as his further correspondence with the noble patron “insists that this sonata really will not work very well on the harpsichord (p. 26).”
Additional correspondence, as Walls (2002) explains revealing, “why he preferred Schanz instruments to those by other Viennese makers.” His emphasis on “their lightness of touch” and most importantly “that the best way to perform was to replicate not just the sound but the feel of the instrument he had in mind.” Haydn markings in the sonata “seem to presuppose the use of a fortepiano.” Walls (2002) offers:
The outer movements have a single crescendo marking while the central Adagio e cantabile has a number of forzandos and dynamic changes within a phrase (which could not convincingly be realized by changing manuals). Mostly, though, the specifically pianistic features are more subtle – a matter of the kind of cantabile phrasing at which the fortepiano excelled For anyone determined enough, however, this sonata could be played on a harpsichord. (p. 26).
Walls (2002) writes, advising 21st century performers of Haydn’s E major Sonata and how the maestro would add, “an instrument with a Schanz-like lightness of touch would suit the sonata better than the Steinway with its much heavier action.” While “the disparity between the modern Steinway or Bösendorfer piano and the old Stein or Walter fortepianomade in Germany and Austria during the eighteenth century had a brightness” the “difference between the harpsichord and fortepiano of the eighteenth century are not nearly as pronounced ( p. 27).”
It is the "crispness of articulation that seems to have had little aesthetic connection to the more massive and darker-sounding large English pianos that are the true ancestors of the modern instrument (p. 28).” Cole (1998), explains how Haydn encountering impressive pianos during the first trip to London, made use of the English grand, composing three sonatas as well as three trios. “On his return to Vienna Haydn took with him a five-and-a-half-octave instrument by Longman & Broderip (p. 134).” Understanding the embellishments used in Haydn’s keyboard sonatas leads to the explanation of ornamentations.
Ornamentations
Lee (2007) provides the ornamentation explanations including the following:
No one disputes the need for embellishments. This is evident from the great numbers of them everywhere to be found. They are, in fact, indispensable. Consider their many uses; they connect and enliven tones and impart stress and accent; they make music pleasing and awaken our close attention. Expression is heightened by them; let a piece be sad, joyful, or otherwise, and they will lend a fitting assistance. Embellishments provide opportunities for fine performance as well as much of its subject matter. They improve mediocre compositions. (Lee, 2007, p.19).’
Trill
Lee (2007) explains how the trill provides the printed note “as a rapid alternation” using the “half-or whole-step above” with this “depending on” both “the key –signatures and the accidentals of the music.” The short or long trill basically exists in three forms: plain, termination (suffix), and prefix. During the classic period, the trill becomes identified by the use of the “tr” indicating the either the full, long, and as the sign for the short trill or the “Schneller (p. 18).”
Beginning in the beat, typical of most 18th century ornaments, the trill begin above and not on the printed note. The exception arises when “the note preceding the written trill” appears as “an upper appoggiatura,” allowing tying the note “over into the trill (Lee, 2007, p. 18).”
Appoggiatura
Defined as small graceful notes, the appoggiatura follows the main notes taking its time as it plays on the beat. As Lee (2007) explains, the appoggiaturas have two categories including the short and the long. The short also known as the ‘invariable’ appoggiatura takes ‘very small, scarcely noticeable’ “part of the value of the following note” where during the performance is becomes “slurred’ and represented as the “sixteenth or thirty-second note.” The second category of the long appoggiatura or ‘variable’ works “both melodically and harmonically.” Typically, the long appoggiatura “takes the accent and a measurable portion of the value of its main note” while receiving “one-half of a duple note or two-thirds of a note divisible by three (p. 19).”
As part of the appoggiatura as Lee (2007) explains, “two ‘one note’ ornamentations called the grace note and the after note use in classical piano sonatas prevail. Known as “a small note played before the beat,” the grace note takes “it’s time from the preceding note” while slurring to the next note. The after note appoggiatura also “a small note” belonging to the preceding note while slurring from it, “takes time from the end of its beat (pg. 19).”
Acciaccatura
Lee (2007) describes the acciaccatura ornamentation as “a very short appoggiatura” typically from below. The Italian derived word means ‘to crush.’ The two notes play “almost together acciaccatura (crushing together) then “released immediately as if it were marked staccato” and found in the classical period music than that of the Baroque era. (p. 21).
Arpeggio
Lazlo (1995) describing the arpeggio, or the sequence of notes played individually, posits “the most beautiful” of them occur and the end of Haydn’s piano sonatas. “The arpeggio as an instrumental effect often suggested themes.” In his earlier keyboard sonatas, Haydn sought concluding forcefully, achieved by slowing down as shown with the “adaggio” and later works as augmented rhythms. “Resolution of a final pair of chords in a movement,” may require execution sans the “rallentando” (or slowing down) replaced with “decisive force (p. 98).”
Achieving the decisive force direction as Lazlo (1995) explains,
is indicated by the characteristic accent staccato, on the second note of a two-note slurMore often, the end is arpeggiated as at the end of 29 Eb III., or played with real acciaccatura, as at the conclusion of the Adante of 58 C. (p. 98).
Lazlo (1995) explains this ornamentation “rarely appears in Haydn’s sonatas.” With unusual dynamics, this ornamentation begins on the beat although “it must be played more softly than the principal note.” As a variant of this, Haydn would carefully “place a rest in the left hand during the unaccented ornament (p. 98).”
Mordent
Described by Lee (2007) as a Latin based word meaning ‘to bite’, the mordent “(depending on the key signatures and the accidentals of the music)” begins “on the beat” with the printed note” played first. Generally, this ornamental “consists of three notes” but also “may be prolonged to five, seven, or more (p. 22).” Notably this ornamentation prevailed in the pre-classical era.
The Turn
Again, Lee (2007) offers another ornamental description called “the turn.” Here, this ornamentation becomes “played at varying speeds” while revolving “around it main note” while “starting from the upper auxiliary.” Described, according to Lee (2007) “as one of the most beautiful and useful ornaments” due to the way “the melody is made singularly charming and animated.” This ornamentation provides embellishment to pieces “of tender as well as of lively character” when applied to “slurred and detached notes (p. 19).”
Haydn Piano Sonatas’ Style and Performance
Of the total 950 works credited Haydn, according to Newman (1963) “283, or nearly half, belong to various settings to which the title ‘sonata’ is given in at least some of the Haydn sources.” This points to how Haydn “devoted nearly a fourth of his more extended creative efforts to the sonata” according to Newman (1963):
Fifty-seven solo keyboard sonatas (or about 20 per cent), 41 accompanied sonatas or piano trios (mostly K & Vn & Vc; about 14 per cent), 21 trios mostly for 2 violins and cello (about 7 per cent), 6 duos for violin and viola (about 2 per cent), and the 7 single-movement orchestral "sonatas (p. 461)."
Newman (1963) explains these totals do not include:
The solo keyboard sonatas arranged from "The Seven Last Words" set just listed (H. XX/1/c), or the four-hand keyboard sonatas arranged from most of the "London" symphonies (e.g., H. I/97/f), or 7 accompanied sonatas for keyboard and optional violin that were arranged from 4 solo keyboard sonatas, a divertimento a 6, and 2 string quartets (H. XIV/24-26 and 43bis, II/11 [cf. XVI/15], and III/81-82).(p. 461)
“When, in the sequence of symphonies he wrote for his first visit to England,” according to Harman et al (1962), audiences found that, “Haydn finally achieved his synthesis of protest with acceptance,” and in addition, he conquered the issue of writing themes having “lyrical amplitude.” In this, he also conquered the tendency of his sonata style sounding like Mozart. The search for unity in diversity, which must be attained without impairing dramatic tension, here reaches its apotheosis. This remains true though Haydn treatment of sonata form in his mature works is unpredictable, no two movements being quite alike in structure. (p. 602)
Haydn according to Westerby (1924) had a special feature in his piano sonatas, “With Haydn,” he explains, “the left hand is almost invariably employed” with “accompanying work.” Westerby (1924) offers, “It occasionally initiates, alternates with, or imitates a phrase, but it lacks interchange and inversionHaydn looks on his work (with keyboard sonatas), as it were, from the point of view of a first violinist.” Westerby (1924) further posits, “Haydn’s sonatas graduate in merit according to their date of appearance. Those of 1776 are better developed than the first set, and his finest worksare the last two in E♭which, for Haydn, show unusually deep feeling (p. 68).”
In general, Westerby (1924) describes how Haydn’s sonatas “are especially characterized by an ever-flowing sprightly wit and humour.” In addition, as Westerby (1924) explains, it is “by perfect finish and development ("according to his lights")” that Haydn “by a fund of refreshing melody” shows the strong Croatian influence:
Haydn was the first apostle of wit, Mozart was the first in the modern style to bring out depth of feeling combined with grace and delicacy of expression; in the former he anticipated Beethoven, as, for example, in his fiery and passionate C minor Sonata. (p. 70)’
Westerby (1924) explains the evolution of the sonata as a combination of Haydn and Mozart’s efforts at enlarging the breadth as well as development of the three sections typical of the sonata 1st movement, while at the same time improving “the slow movements and finales.” Strongly influenced by Italian models as well as devotion to chamber music resulting in “a more melodious style, the cultivation of a more fluent” as well as “more highly phrased and punctuated style (p. 61).” Describing Haydn’s piano sonatas’ style and performance looks to both the traditional 18th century musical instruments and those used in the 21st century.
According to Gieringer (1946):
The pianoforte sonata No. 20 of 1771 shows Haydn in the midst of his ‘romantic crisis.’ In this composition, the master's only piano sonata in C minor, all the formal restraints of the style galant are broken and passion and subjective feeling triumph. The finale of the C minor sonata is no longer a carefree affair, destined solely to dismiss the listener in a gay mood the climax of the whole work is imbued with dramatic tension. The beginning of the development exhibits Haydn's art as constituting a link between the music of Bach and that of Beethoven. The contrapuntal style used in the elaboration of the main theme, the daring modulation to B♭. (p. 224).
Describing Haydn’s Sonata in F, Harman et al (1962) write, “instead of baroque unity and continuity we have contrasting and heterogeneous material associated with two different key centres.” Illustrating how this sonata “is no longer the unfolding of melody, but the conflict between two groups of material and between different keys, Harmon et al (1962) explain development of this piece “begins with some sensationally rapid modulations (pg. 606).”
At the same time, according to Harman et al (1962), “all the material is presented in startling oppositions of key, often with false starts and changes of direction” possibly with the “faintly comic undertone to the equivocal use of the natural or flat second.” Through recapitulation, appreciation of “the dramatic significance of the apparently innocuous fragments of tune and” a rhythmic start reveals the “dramatic purpose is still more marked in those sonatas which, like the fierce B minor, are directly influenced by the mood of 'Storm and Stress' (p. 606).” After Haydn’s first London visit, his keyboard writings of his later sonatas gain maturity with closely related themes. The E flat sonata includes the “lyrical adagio in E major” reveals an approach reminiscent of the Neapolitan F flat. (p. 607).
Advising there are few samples of D minor works, or even sections of these works, according to MacKay (2003) thus, not allowing determining registrai methods, it is “this pairing of high F and chromatic harmony” proving it “is not atypical. “ Haydn’s Piano Trio in D major (Hob. XV: 7, composed 1785), third movement, bar 19, that “reserves high F for a cadential moment in the minor middle section, supported (as in Hob. XV: 23), by a German-augmented, sixth chord.” Haydn uses harmonics less frequently in the IV, than in the V7 ii and vii^sup o^” of the “possible diatonic contexts for F in the key of C majoras support for this registrai extreme (p. 126).”
Geiringer (1946) describes Haydn’s six sonata works of 1773 as “rather different from the work composed two years earlier.” Reacting to his “previous subjectivism,” Haydn’s work appears less personal for a while. Among the six sonatas, only two contain real adagios while the No. 26 finds the slow movement replaced with a “minuet.” As remarkable as the last movement of No. 20, the apparent “insignificant finale of the same sonata” remains noticeably disappointing. (p. 225).
With these six sonatas as Gieringer (1947) explains, Haydn’s work becomes noticeably more compact with his sonatas. “In No. 24 the adagio leads straight into the finale and in No. 30, of 1776,” he completely omits the, "dividing lines between the movements altogether.” With “the last two movements of this sonata stand in a certain rhythmical relation to each other, the connection” of this section is particularly strong (p. 225).”
Allegro Form Playing
Early, Haydn’s advocacy of the allegro form called the “Sonata Allegro” due to the fact the “final Allegro” sonata movement typically came from this classical era characteristic according to Eakle of musickit.com, where it began its evolution. As in Haydn’s era, the 21st century holds no formalities in composing a Sonata Allegro. Simplistically described, this form has an “exposition” or A section. Following the exposition is the development or section B. Here, incorporation of some of the exposition material ensues. Section A recapitulation the A components basically return to its original material (2012).
The exposition according to Eakle “states the main thematic elements and has its own internal form.” Its main key section includes the main theme establishing the home key with one or more phrase. Transitioning between the main theme to any relatable key section this action has several possibilities including development of new ideas about the primary theme, modulation toward the new key, metamorphosis to change in mood, as well as introduction of new material. Other transitioning possibilities include anticipating ideas for the second theme creates a deceptive modulation, as well as omission. (2012).
Eakle explains how connected key sections contain the second or a subordinate dominant key theme. This may mimic or contrast the main theme. Typical to the subordinate theme means if the key is major use of V, III if a minor key or v, as well as having at times more than the single key with the closing in an authentic type cadence. Characteristically, the closing thematically substantiates the new key and may come from other themes, contain fresh melodies, have no theme, end with a repeated exposition in the transition, or contain its own character. At this, point reiteration of V as well as I harmonies. (2012).
1750-1803 Five-Octave Keyboard Compositions
Instruments of choice during the Baroque era, the harpsichord, and clavichord waned in popularity by Haydn’s transitional period to writing keyboard compositions resulting in his sonatas. MacKay (2003) describes this period of Haydn’s creativity, as the standard five-octave fortepiano became the instrument of classical keyboard music. By the 1760s, Haydn and his contemporary composers had instruments capable of a wider range than the harpsichord and clavichord from the earlier era. Now the keyboard pieces ranged “from F with its two and a half octave below middle C to the F two and a half octaves above it (FF to f3).” With such a “registrai span,” now “Haydn’s keyboard music seems to display satisfaction with the boundaries set by the instruments for which he composed (p. 126).
Haydn’s later years, according to MacKay (2003), demonstrates the maestro’s intentions using all the five octave range capabilities imaginatively and to a “musical advantage.” Turning exclusively to the fortepiano instrument by 1784-95, Haydn incorporated “the keyboard’s registrai extremes into his large-scale tonal planning.” His purpose in doing so meant to “highlight major formal juncture in a composition,” provide emphasis on an “important phrase-level event” including “cadences and modulations” as well as calling “attention to musically significant or unusual individual harmonies (p. 126).”
MacKay (2003) describes Haydn’s flat major (Hob. XVI: 45) composed in 1766 as well as the D major (Hob. XVI: 19), from 1767, along with the Capriccio in G major, (Hob. XVII: 1) of 1765, also including F “though none extend upward beyond d3.” As MacKay (2003) points out, Hob. XVI: 19, in spite of its use of low F, pointedly avoid low F-sharp and G-sharp in its middle movement (p. 126).”
Continuing to conforming his compositions to the five-octave norm of continental Europe after his introduction to the English grand fortepiano, Haydn, however, wrote the Finale of Sonata in C major (Hob. XVI: 50) as MacKay (2003) explains, “during his second visit to London in 1794-1795”making use of the upper register 7, added keys arriving upward by a third to a 3. (p. 126).
MacKay (2003) wrote how Haydn’s Sonata in D major (Hob. XIV: 5, recte XVI: 5a) remained “fragmentary” showing his earliest keyboard work containing both low and high F. His sonata (Hob. XVI: 45). Even at this level of piano sonata compositions, Haydn reveals his “awareness of how extreme pitches can assist in creating emphasis of important form and tonal events.” Occurring in the second movement, his D minor section exemplifies “a stormy trio” standing “in stark contrast” to the lighter preceding minuet. With the low F concluding the opening two-measure gesture of the theme, Haydn’s “registrai extremes” introduces a prominent emphasis in the piece. (p. 126).
Adding emphasis to the modulation from D minor to its relative key, F major, the high F extends the ascending scalar passage. MacKay (2003) further explains Haydn’s new idea of using high and low F as connections to “important and formal events in the composition.” Again, this directly contrasts with Haydn’s typical registari “attenuation” extremes customary to his earlier compositions where his registari extremes proved “restrained and conventional.” These later keyboard compositions expressed Haydn’s developed awareness with the register for clarifying the formal design of his work. (p. 126).
According to Geiringer (1942) Haydn’s Sonata 19 in G minor the “character of the suite is not so clearly revealed.” It is the “presto” or finale that provides the “contrasts between forte passages in unison” with “harmonized piano passages (p. 204). MacKay (2003) explains the registrai extremes of Hob. XVI: 52 “coincide with the beginning of Subordinate Theme 1 and the middle of Subordinate Theme 2 (p. 293).” Mackay (2003) concludes, “Though register is but one of a multitude of musical factors that go into creating a composition’s tonal shape,” it is Haydn’s preference of serving registri “extremes” that mark his understanding of how the “register can articulate” keyboard works. (p. 126).
Description of Recital Pieces
Lazlo (1993) provides the details of the lecture recital of Sonata in Sonata in D major, Hob. XVI: 19 “Galant” Style, Sonata in g minor, Hob. XVI: 44 – “Empfindsamer.” Included also, the ” Sonata in D major, 1st, 2nd, and 3rd movements , and Sonata in g minor No. 32 Hob. XVI 44, 1st movement only.
Sonata in D major, Hob. XVI: 19 “Galant” Style
Performed in the ”galant” style, the playing remains full of joyful character and a happy mood punctuated with short-breathed expressions. The galant is never tragic in nature and always with the rests separated. Cadential key affirmations effectively separate the material. Exemplifying the Baroque, the galant exhibits thinner textures, even compromising the melodic line forgoing the bass contrapuntal relationship. Increasingly, the bass line performs as a support for the higher parts with effortless harmonics.
Sonata in g minor, Hob. XVI: 44 – “Empfindsamer”
Known either, as the “empfindsamer” style, “sensitive style,” or “style of sensibility” the “empfindsamer” values expressive interpretation. Executing begins moderato tempo rather than fast while preserving flexibility of the phrase structure and connecting extended melodies at times into six bars or even eight. A phrase of eight notes balances another grouping of six creating an asymmetry. Often written in an angular melody, exhibiting more than normal leaps over steps while preserving the Baroque style of “hemiola” with three notes over two.
Some Style Features From My Performance
Sonata in D major
1st Movement
At the beginning of this movement (mm. 1-8), though it stills in 8 measures as one phrase in typical classical form, but the structure divides into 3 + 5 instead of 4+ 4. Use of dissonant intervals or chords to add the intense element, which is normally played loud. dissonant resolves to consonant, which is played soft to make contrast, like mm. 57 and 58. Haydn likes to display phrase following with repetition, for example, mm. 86 – 90which performer always play soft for the second time to make contrast sound. It ends with the sound fading away same as the first movement of Sonata in g minor to create kind of cute sound, which matches with Haydn’s personality
2nd Movement
Tempo he marked as “Andante” for this movement doesn’t mean slow, just like walking pace, very floating, so Haydn indicates performers don’t play slow. This movement’s composing style is like his string quartets or orchestration, not so much like only a piano piece. ‘So many detailed articulation in this piece, like left-hand rests at the beginning of this movement, alternation of staccato and legato in mm. 18, 29. Use of contrast elements to make the audience feel interested and joyful. Ex. mm. 29-32. In first two measures, it shows cute and soft character with staccato; in the next two measures, it shows elegant and expressive character with legato. Use of alteration major and minor keys. B section of this movement in E minor, which starts from mm. 50 and in mm. 56, it modulates to E major. However, A minor appears from mm. 67 to mm. 73, which is matched that Haydn always likes to surprise audience. Performers should play soft in this section to amuse audience as Haydn’s expectation.
3rd Movement:
Very light sound, which needs performers’ virtuosic fingers running in fast tempo. Haydn put repetition marking in every section. Performers need to decide how not to make audience feel bored for repeating each phrase. A very good example would be in mm. 25 – 32. Performers could play forte in mm. 25, mm. 26 and mm. 28, and switch to piano in mm. 27 and mm. 29 to make the music “Black and White.” Choice of fingering is very important to play fast passage. Like in mm. 72-77, if you only use right hand with rotated motion, you cannot reach the fast tempo you expect. Performers would like to use left hand to play the dyads, which accompany with right hand only plays “E.” In mm. 101 – 108, at the first half of the phrase, all the octaves are played soft and light until it goes to “D” on beat. At the second half of the phrase, when all the octaves repeat to the arrival point “F-sharp,” which it stands on upbeat instead the first time on beat. Many places you can discover that Haydn likes to surprise audience and create interesting phrase.
Sonata in g minor No. 32 Hob. XVI 44
1st Movement Only:
Use of alteration of major and minor, as I mentioned 2nd movement of Sonata in D Major, same is here, in mm. 9, it switches from b-flat major to b-flat minor, which normally performers start to play soft. Black and white or dark and light character switches to each other. for example, at the beginning of this movement, it starts with very sensitive and dark feeling. From mm. 12, it changes to light and loud sound to make contrast elements. Very interesting one is, from mm. 46- 51, performers need to build the climax using crescendo, which because Haydn uses this technique of gradually adding voices like choral.
Conclusion
Joseph Haydn may be the most underrated of all the great composers, especially when it comes to his piano music. Sviatoslav Richter once said, “Dear Haydn, how I love you! But other pianists? They’re rather lukewarm towards you. Which is a great shame (English Conservatory, 2012)”. This quote precisely illustrates the extent contemporary pianists largely ignore the bulk of Haydn’s keyboard works. Researching literature of Haydn’s piano skills, reveals, according to Newman (1963) “his understanding of the evolution of the keyboard instruments toward the development of the fortepiano.” Newman (1963) adds his earlier view of lack of literature on the maestro’s keyboard:
If the literature on Haydn's keyboard sonatas is modest, that on his keyboard trios is microscopic. The trios deserve to be elevated to their rightful place among Haydn's chief categories of instrumental music. Furthermore, they deserve the same recognition for their significant position at the start of the literature for the piano trio that Haydn's string quartets have within their class. (p. 470).
Clearly, the undiscovered truth by piano performers of the Haydn treasure of piano sonatas remains for the most part still hidden. The paradox of Haydn’s contribution to classical music remains classical keyboard musicians as well as students of continue recognizing him the “father of the symphony” while nearly all but ignoring the beauty as well as the challenges to playing his scores of keyboard sonatas.
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