Preview:
Methodical work
Sonata form in the piano work of J. Haydn.
Sonata C-dur Hob/35.
Prepared by:
Sokolova Nelya Vasilievna, piano teacher.
Place of work:
MBOU DOD DSHI them. G. Kukuevitzky, KhMAO-Yugra, Surgut, st. Leningradskaya, 12
2014
- Introduction…………………………………………………………………... 3
- Main distinctive features sonata form J. Haydn ...3
- Sonata С - dur Hob/35 Part I ……………………………..……………. 5
- Conclusion………………………………………………………………... 8
- References………………………………………………………..9
Introduction
The piano work of J. Haydn is quite extensive; the composer created over fifty sonatas, several concertos for piano and orchestra, variations, rondos and other pieces of small form.
The composer lived a long life (1732-1809), he was a contemporary of J.S. Bach, D. Scarlatti, G. F. Handel, W. A. Mozart, L. Beethoven. And, despite the fact that many years of service with Prince Esterhazy chained him to one place, he was always aware of the musical achievements of his art colleagues.
J. Haydn had a bright creative personality; his music, full of sincere cheerfulness and optimism, is close to the song and dance origins of the Austrian folk melos. Joyful, cheerful attitude, courageous energy, humor full of fire, pathetic improvisation and, on the other hand, soft lyricism, light sadness, calm reflection - that's approximate circle musical images that make up the content of J. Haydn's piano music.
The main distinguishing features of the sonata form of J. Haydn
A characteristic feature of Haydn's style is the "orchestrality" of his piano compositions: in the slow parts of the sonatas one can hear either a cello cantilena or a melody played by a violin or an oboe; at every turn there are such orchestral effects as the pizzicato of the bass voice, contrasting the compact sonority of the tutti with the sound of individual groups tools, etc. This feature, as well as the presence of a heroic and courageous beginning in a number of sonatas late period links the work of J. Haydn with the style of piano works by L. Beethoven.
J. Haydn composed his piano sonatas throughout his life, from early youth to a ripe old age. In the first sonatas, he continued the line of the Austrian national clavier school (the “Partitas” and “Divertimento” served as a model for J. Haydn Viennese composer G.K. Wagenseil). In more mature sonatas (as in the sonata D-dur Hob.XVI/19), contemporaries saw features close to the style of F. E. Bach. J. Haydn took a lot from W. Mozart, especially with regard to the enrichment of melody and the perfection of form. This is clearly felt, for example, in the sonatas cis-moll (Hob.XVI/36), G-dur (Hob.XVI/40) and Es-dur (Hob.XVI/49).
Haydn, having developed the sonata form and surpassed even Mozart in its construction, retains the character of the gallant style. Haydn's music is transparent, graceful, fresh, sometimes childishly naive and playful.
The sound when performing Haydn should not be too deep: even melodiousness in legato performance does not require excessive juiciness. Technical passages and embellishments should be played in a light, transparent sound, sometimes in the finest leggiero.
No rhythmic deviations that introduce the character of pathos into recitations are unacceptable for the gallant style. All expressiveness is based on the subtlest modulations of dynamics, without the participation of the agogic emphasis of recitation. Childlike simplicity, combined with elegance and grace, sometimes with a certain pretentiousness, is so difficult to convey the style that few pianists dare to perform works of this era.
The music of the gallant style is so subtle that any sharp accentuation, harsh highlights and excesses in the forte destroy the subtlety of its charm. The same caution is necessary in the field of rhythmic deviations, which are capable of introducing an excess of expressiveness, i.e. affectation. Pedalization remains within the same boundaries as Haydn's predecessors.
Particular attention should be paid to the quality of Haydn's themes and the way they are developed. The connection between the figurative structure of thematism and the genre and form becomes organic and necessary. The interdependence of the composition and the theme is established: the theme corresponds to the composition and the composition will necessarily require the inclusion of certain qualities in the theme. A similar functional dependence of thematics on composition, form is the main feature classical style. And it is clear in the music of J. Haydn. In the first parts of Haydn's sonatas, the themes in most cases are structurally formalized and completed. The rhythmic beginning is always individualized in them.
In the structure of themes, Haydn gravitates towards a complete thought, to periods of various types: to the periodic repetition of sentences with varying cadence or the entire texture during repetition (Sonata No. 7 in D-dur, Martinsen, Sonata No. 4 in g-moll). To the themes-periods, structurally indivisible into sentences (Sonata No. 6 cis-moll, Sonata No. 24 C-dur); to open or modulating periods (Sonata No. 1 Es-dur, No. 2 e-moll); developed with lengthy second sentences (Sonata No. 26 Es-dur, No. 42 C-dur); periods divisible into three sentences (Sonata No. 3 Es-dur, No. 8 As-dur); To difficult periods(Sonata No. 9 in D-dur). In the themes, not only the main means of expression- melody, harmony, rhythm - but also meter, structure, texture, registers, timbres. In the structure of themes, Haydn loves unexpected shifts, turns, asymmetries, violations of regularity, periodicity. Hence the peculiar curve of the dynamics of his themes, the individuality of the structure; hence - capriciousness and whimsicality, enclosed in the strict framework of the classical period. Hence - surprisingly healthy humor in those displacements of form that deliberately "break" the form. Similar violations can be found in meter, rhythm, structure, harmony and texture. They are original, unexpected and brief. After them, it is easy to recover, musical thought enters the "norm", but all these surprises give the form an amazing flexibility, lightness, plasticity and wit. An even more important quality of Haydn's thematicism is the tenacity of the elements of the theme, their strong conjugation, logical interconnection, the chased logic of successive elements. In this interaction leading role plays harmony.
The emergence of themes "thesis-antithesis", "question-answer", "seed-development", "seed-development-result", "thesis-antithesis-synthesis" must be associated with the name of Haydn. In his themes, one can find both a contrasting opposition of thematically different elements, and the derivation of the opposite principle from a single one through harmonic shifts, comparisons (such as T-D D-T), and the contrasting of thematic elements with their synthesis in the final section of the entire construction.
Haydn's sonata form acquired classically finished outlines: bright thematicism, which contains the possibilities for further intensive transformation, effective methods of thematic development, meaningfulness of the composition, logical saturation and comprehension of all components of the form.
Haydn's music is a soft light, clarity of contours and lightness of constructions, and psychologically - a naive feeling and unpretentious humor.
Sonata C-dur Hob/35 I movement
This sonata is one of the best and most typical examples of Haydn's work. She is full of light, spiritual cheerfulness, subtle humor. Listening to her, as if in contact with inexhaustible source youth, health and optimism. Sometimes the music becomes sad, thoughtful or dramatic, but all these are only short-term shades of the general light color. The composer gives them in passing, as if reminding the listener that his "hero" experiences more serious and profound experiences.
The main idea of the work is clearly and succinctly contained in the main part - its initial eight bars. A typical classical period - two mutually balancing sentences: "question-answer", a light melody-song with an extremely simple accompaniment. Before us, a completely finished image appears, full of subtle stylistic details, through which the composer's creative style is immediately noticeable (the grace note in the first bar is an expressive touch! It has so much Haydnian humor and enthusiasm!). There are no significant contrasts in the exposition, the development is more contrasting. At its very beginning, with a deviation in parallel minor music acquires a shade of seriousness, reflection. It lasts only a few moments and the old joyful mood. In the cadence, the nature of the music changes: the increase in energy leads to dramatic climax, emphasized by slowing down the tempo (adagio) and an unusual non-chord for that time.
Dramatization of the music is also noted for the reprise - this is the carrying out of the theme in a minor key and the climax on a reduced seventh chord. At the end of the first part, the light, cheerful character that dominates the sonata is affirmed.
The stylistic features of Haydn's music are already clearly evident in the main part of the sonata. Here you can clearly feel the cheerful, cheerful nature of the music and the harmonic balance of the form. musical fabric clear and transparent, like the sound of a string quartet. All chords are taken and removed strictly simultaneously (the author has staccato marks in the upper voice, but they should also be played on chords in the left hand part). The pedal is optional in this formation, although it can be taken very short to emphasize the downbeats of the measure and the grace note.
Particular attention should be paid to the metro - the rhythmic side of the performance, because. the need for a clear sense of classical sonatas strong beats appear already in the first measure. In an effort to highlight the fourth quarter with a grace note, students sometimes do not feel its off-bar nature. As a result, instead of revealing the accent, they distort the metrical basis of the sonata. An ambiguity is created regarding the meter in which the sonata is written.
The next eight measures of the main part differ from the previous one by the appearance of a triplet accompaniment, which enhances the rapid development and cheerfulness of the music. In other similar passages of the sonata, the accompaniment should in no case weigh down the sonority. Therefore, the first triplets in the eighth measure should be somewhat marked to emphasize the nature of the new construction, but then, when the melody appears, the sonority of the triplets should be softened. The clarity and distinctness required in a triplet accompaniment requires an almost pedalless sonority.
In the connecting part, abundant and difficult embellishments appear in the melody. Their expressive role lies in the further activation of development: it is noteworthy that all gruppettos are written out on weak beats of the bar; thus, they contribute to a more energetic striving of melodic notes to strong beats. It is necessary to perform decorations not only easily, but also without weighing down the melodic line, to feel the attraction to downbeat tact.
The end of the connecting part should be played very energetically, with a full sound, in order to more clearly reveal the line between it and the side part. It is important to emphasize this contrast, because both parties are close in character, and if you do not focus on their difference, then the exposition may seem monotonous.
Compared to the bonding party, side party wears softer and feminine character. Gruppetto performs a different function in it. They are designed to emphasize her grace, to reveal the elements of dance plasticity. Therefore, they must be performed differently than in the linking part - melodiously, smoothly, like graceful squats in a dance.
Particular attention should be paid to the most melodious place in the exposition (bars 42-44). Here it is necessary to achieve maximum melody in the melody, "violin" softness and richness of sound. A pedal can help achieve the integrity of the melodic line in octaves. In addition, it is important to subtly calculate the strength of sound: after the melodious second octave mi one must very gently take the next sol-sharp and la in order to better connect them and make them more embossed crescendo.
Further constructions of the exposition do not contain any fundamentally new tasks. In development, the contrast of music is enhanced, and it is necessary to draw the attention of the student to revealing it. Already in the first four measures it is necessary to slow down and then again with the same energy to perform the theme of the main party in F-dur. It is especially important to convincingly play the culmination - Adagio and the dynamic rise that precedes it, otherwise the dramatic elements present in the sonata will be unrevealed.
The dramatic nature of the music and rich texture require a thick pedal in this section, it should be changed with each new harmony.
In the recapitulation, due to some differences from the exposition, it is necessary to use different colors in some places, for example, in the first construction of the main part or when it is carried out in minor.
Conclusion
The intrinsic value of Haydn's sonatas is always given by the inexhaustible wealth of ideas and the desire to improve the form. Thanks to the wealth of ideas, Haydn comes to bold and unexpected turns in texture, to a sharp change in high and low registers, to sudden contrasts in sound, which, in contrast to the more refined Mozart piano texture, give his sonatas often a more independent, free, capricious and changeable character. .
Haydn's sonatas are an indispensable art material for students - pianists of various degrees of preparedness.
"Haydn's strength is in his fantastic inventiveness, and therefore his music constantly surprises with its unexpectedness" Pablo Casals.
Bibliography
- Alekseev A. History of piano art. - M.: Music, 1988 - 415 With.
- Asafiev B.V. musical form like a process. - L .: Music, 1971 - 369 p.
- Blagoy D.D. The value of figurative associations in the work of a teacher-pianist. - M., 1966.
- Druskin M. Essays. Articles. Notes. - L .: Music, 1987 - 299 p.
- Kogan G.M. At the gates of mastery. The work of a pianist. - M.: Music, 1969 - 342 p.
- Landowska V. About music. - M.: Rainbow, 1991 - 438 p.
- Neuhaus G.G. On the art of piano playing. - M.: Classic XXI, 1999 - 228 p.
- Novak L. Joseph Haydn. Life, creativity, historical significance. - M.: Music, 1973 - 450 p.
- Roizman L. Piano work of J. Haydn. Introductory article in the publication: Haydn J. Selected Sonatas. Issue. 1. M., 1960.
- Savshinsky S.I. The work of a pianist on a piece of music. - M.: Music, 1964 - 187 p.
- Feinberg S.E. Piano as an art. - M.: Classic XXI, 2001 - 335 p.
Joseph Haydn
(1732-1809)
Joseph Haydn was born in 1782 in Rorau near Vienna.
A working family (the father was a carriage worker, and the mother was a cook) could not give their children a good education. There were 17 children in the family. But on the other hand, they were instilled with strong moral concepts that prepared Haydn for a difficult independent living. But most importantly, the very atmosphere of the family, friendly, benevolent, the way village life determined the character of the young man.
The family was musical. The father of the future composer, not knowing the notes, sang well and played the harp. For a long time, J. Haydn lived in Salzburg, where he met with Mozart. But in childhood, despite the fact that the musical talent of the children manifested itself very early, the parents could not pay for the lessons, and the future famous composer, who had a good voice, went to a big unfamiliar city and entered the church choir as a singer there. The head of the choir, during his trip around the country in search of gifted chorister boys, drew attention to the eight-year-old Josef and, with the consent of his parents, took him to Vienna.
When Haydn's voice began to break down and he was no longer suitable for singing in the choir, he was fired from the chapel, Haydn was left without bread and shelter. Never had it been so hard for him, and yet it was happy years. For ten years of hard work, Haydn made himself a professional musician. Composition was his dream. Realizing that his knowledge was not enough, and there was no money to pay for lessons, Haydn found such a way out. He entered the service of a major musician of the time, Nicolo Porpora. The young man served him for free, cleaned his suit and shoes in the morning, put his old-fashioned wig in order, he hardly won the old man's favor and occasionally received useful musical advice from him as a reward. If not for Haydn's selfless desire for music, maybe he, like his father, would have become a carriage master and, like his father, worked with song all his life.
But thanks to his amazing determination and diligence, already in 1759, Haydn received his permanent position as court bandmaster from the Czech aristocrat Count Mortsin, and two years later he received the post of bandmaster from the largest Hungarian magnate, Prince Esterhazy.
Haydn's duties included not only the leadership of the chapel, the performance of music in the palace and in the church. He had to train musicians, monitor discipline, be responsible for instruments and notes. And most importantly, he had to write symphonies, quartets, operas at the request of the prince. Sometimes the owner gave only a day to create a work. Only the genius of Haydn rescued him in such situations. And yet, such a service that restricts freedom also brought benefits, Haydn could listen to literally all his works in live performance, correcting everything that did not sound very good, and gaining experience.
He was called "daddy Haydn" both in his youth and in old age, for 30 years he was "daddy" for the musicians of Prince Esterhazy, one of the richest people in the empire. He was called "daddy" by Mozart, who considered him his teacher. Princes and kings enthusiastically listened to his music and ordered symphonies and oratorios from Haydn. Napoleon himself, they say, wished to hear the oratorio "The Creation of the World."
The musician remained a simple and modest "father" Haydn, he was a good-natured and joker. And his music is just as simple, kind and playful. This music told about simple life, about nature. He called his symphonies like paintings: “Evening”, “Morning”, “Noon”, “Bear”, “Queen”. It was “daddy” Haydn who wrote the “Children's” symphony for toy instruments: whistles, rattles, drum, children's trumpet, triangular. There are sad ones among his symphonies. Once the prince stayed in the summer palace until late autumn. It became cold, the musicians began to get sick, they missed their families, whom they were forbidden to see. And then "daddy" Haydn figured out how to remind the prince that the musicians work too hard and they need to rest.
Imagine a concert in the prince's palace. Violins and basses lead a sad melody. Pass the first, second, third, fourth parts. The prince was accustomed to joy, playfulness, merriment in Haydn's music, but here - sheer sadness ... Finally, the fifth movement is also a surprise, because there are usually only four of them in symphonies. And suddenly the second horn player and the first oboist get up, extinguish the candles at their music stands and, ignoring the orchestra, leave the stage. The orchestra continues to play as if nothing has happened. Then the bassoon falls silent, the musician also extinguishes the candle and leaves. In general, soon only the first and second violins remain on the stage. They play more and more sadly and finally fall silent. The violinists silently leave the stage in the dark. Here's a sad joke Haydn came up with to help his musicians. The hint was understood, and the prince ordered to move to Eisestadt.
Died in 1791 old prince Esterhazy. His heir did not like music and did not need a chapel. He dismissed the musicians. But he did not want to let go of Haydn, who became famous throughout Europe. In order for Haydn to be listed as his Kapellmeister until the end of his days, the young prince appointed him a pension.
This last period of life was for Haydn the happiest. The composer was free! He could travel, give concerts, conduct his works. These years were filled with such impressions as Haydn did not receive in his thirty years of service with Esterhazy. He listened to a lot of new music for himself. Impressed by Handel's oratorios, he created monumental creations - the oratorios "The Creation of the World" and "The Seasons". During his life, Haydn gave the world a huge number of creations.
Last years Haydn's life passed on the outskirts of Vienna, in peace, rest, communication with people who revered the great master. Haydn died in 1809.
« Without him, there would be neither Mozart nor Beethoven!
P.I. Tchaikovsky
listening to music: J. Haydn, Symphony No. 45 (I part), Symphony No. 94, Quartet, Sonata e-moll.
Symphonic creativity
J. Haydn
One of the main historical merits of Haydn is that it was in his work that the symphony acquired its final form. He worked on this genre for thirty-five years, selecting the most necessary, improving what he found. His work appears as the very history of the formation of this genre.
The symphony is one of the most difficult genres of music not related to other arts. It requires thoughtfulness and generalization from us. Germany of that era was the center of philosophical thought, reflecting the social changes in Europe. In addition, a rich tradition of instrumental music has developed in Germany and Austria. This is where the symphony came from. It arose in the work of Czech and Austrian composers and finally took shape in the work of Haydn.
The classical symphony was formed as a cycle of four parts, which embodied different aspects of human life.
The first part of the symphony is fast, active, sometimes preceded by a slow introduction. It is written in sonata allegro form.
The second part is slow - usually pensive, elegiac or pastoral, that is, dedicated to peaceful pictures of nature, calm inspiration or dreams. There are second parts and mournful, concentrated, deep.
The third movement is a minuet, and later a scherzo. This is a game, fun, live pictures of folk life.
The final is the result of the whole cycle, the conclusion from everything that was shown, thought out, felt in the previous parts. Often the final is life-affirming, solemn, victorious or festive.
Haydn's symphonies were written in this form.
In the work of Haydn, a special attitude to the symphony was established. It was designed for a mass audience, had a larger scale and sound power. The symphonies were performed by a symphony orchestra, the composition of which was also established in the work of Haydn. Although at that time the orchestra included a few more instruments: violins, violas, cellos and double basses - in the string group; the wooden group consisted of flutes, oboes, bassoons (in some symphonies, Haydn also used the clarinet). From copper tools French horns and trumpets were introduced. From drums tools Haydn used only timpani in his symphonies.
The exception is the G major "London Symphony" ("Military"), in which the composer also introduced a triangle, cymbals and a bass drum.
Symphony No. 103 "Timpani Tremolo"
A striking example of the symphonic cycle in Haydn's work is one of the "London Symphonies" - Symphony No. 103 in E flat major. The composer opens it with a striking technique - timpani tremolo, hence the name "Symphony with timpani tremolo". As expected, there are four parts to this work. Moreover, in the work of Haydn there was not only a characteristic sequence of parts, but also their character and structure.
First part The symphony opens with a slow introduction that sets off the cheerful and impetuous Allegro, the composer begins the symphony with a timpani roll, reminiscent of thunder. It is based on two dance themes. The theme of the main part is first played in the main key of the string instruments. In this symphony, the side part is close in character to the main part. It is also danceable, written in the rhythm of an elegant, light waltz and very similar to a Viennese street song. The first section of the sonata allegro, in which the main material is presented, is called exposition .
The second section is not accidentally called development . It develops both the themes of the exposition and the theme of the introduction. In his symphonic work, Haydn great attention paid attention to the ways of developing the theme.
The third section of the sonata allegro - reprise. Here, as it were, the whole development is summed up, the themes pass in the same order in the main key, the differences between them are smoothed out.
Second part symphony, Andante, provides a contrast to the cheerful, fast first movement. These are slow and calm variations on two themes.
First theme(in C minor) - the melody of a Croatian folk song. Slowly and calmly, it is set forth by stringed instruments.
Second theme(C major) is similar to a strong-willed, peppy march. It is performed not only by strings, but also by woodwinds and horns.
After the presentation of the themes, variations follow - alternately on each theme, in which both melodies come closer. The first theme sounds excited and tense, while the march theme becomes softer and smoother.
The third part symphonies - the traditional minuet. But this is rather not a ballroom court minuet, elegant and prim, but a folk minuet, with a characteristic clear rhythm.
In the final returns again festive mood. There are no contrasts and tensions here. The background to it is the characteristic course of French horns, similar to the sounds of a forest horn.
All parts of Symphony No. 103, with all their differences, are united by a single dance rhythm and cheerful holiday spirit.
Hearing:
J. Haydn, Symphony No. 103 Es-dur "Timpani Tremolo"
piano sonatas haydn
Throughout his life, Haydn turned to piano music in parallel with the symphony. True, this genre gave him more opportunities to experiment. He tried various means musical expressiveness, as if wanting to find out what can be done in this genre?
For a long time the sonata was chamber genre, it was intended for home music playing. And Haydn used it too. But the performance of his sonatas required sufficient skill and fine culture.
During the time of Haydn, various musical instruments. Haydn was closest to the hammer-action piano. In his piano works, a new style of playing this instrument took shape. He quickly realized that it was possible to play softer expressive melodies on the piano than on the harpsichord. Beginning with Haydn, harpsichord music began to become a thing of the past, while piano music began its history.
In the work of Haydn, the classical type of sonata has developed. It usually consists of 3 parts. The endings, written in a fast tempo in the main key, frame the slow second movement.
Very clearly, the features of Haydn's piano style are expressed in his Sonata in D major.
First part sonatas - cheerful, lively, childishly spontaneous. The first part of the sonata opens lively and perky main party. Does not bring contrast and side party. It is only lighter, softer and more elegant.
The contrast to the extreme parts is the slow The second part. It is similar to the deep reflections of the author, restrained and wide. This music manifests pathetic and even mournful intonations.
The finale, written in the form of a rondo, returns the cheerful mood of the first movement.
Haydn's sonatas are characterized by elegance and lightness of music, lack of contrast between themes, small volume and intimacy of sound.
Hearing: J. Haydn, Sonata D-dur
Similar information.
Stylistic features of the performance of Haydn's clavier sonatas
“Always rich and inexhaustible, always new and striking, always significant and majestic, even when he appears to be laughing. He raised our music to a level of perfection that we had not heard before him.. These words belong to one of the contemporaries of the great Austrian composer Joseph Haydn.
Franz Joseph Haydn (March 31, 1732, Rorau - May 31, 1809, Vienna) - Austrian composer, one of the founders of the Vienna classical school. Haydn has a great historical merit in the formation and development of the sonata form, which has undergone amazing metamorphoses both in his clavier sonatas and in trios, quartets, concertos, symphonies, which once again testifies to the deep unity of instrumental music as a whole.
As a person and artist, J. Haydn was formed at a time when new aesthetic views, theoretical rules, musical feeling based on a living human feeling, and not on dry dogmas. The composer walked a long and hard way stylistic evolution from the late Baroque to the pre-Romantic era, a path on which his contemporaries were Johann Sebastian Bach and Georg Friedrich Handel, Christoph Willibald Gluck and Wolfgang Amadeus Mozart and, finally, Ludwig van Beethoven.
Haydn was formed in the midst of the folk music of Vienna. At that time, Vienna was the cultural and musical center of Europe. According to the memoirs of contemporaries, Vienna was a cheerful, carefree city, the atmosphere of carelessness, naivety was reflected in the works of Haydn. Humor and soft light, lightness and grace are heard in them. Human mid-eighteenth century, he felt like a part of the Divine order, to which he voluntarily and unquestioningly obeyed. The harmony resulting from this order, and the joyful, life-affirming faith in God that found expression in the music of that time, attract more and more listeners today to the beauties of Haydnian music. Haydn assumed that his contemporary was well acquainted not only with the rules of performance, but also with the composing style of his time, and that he also believed in world order and a "higher world order." In this regard, the music of J. Haydn is very close to the music of J. S. Bach: both unshakably believed in God, both worked "for the glory of God."
Haydn's clavier sonatas terra incognita for most performers, guides and just fans of his music. Outstanding harpsichord and pianist, connoisseur of the ancient clavier music Wanda Landowska wrote: “..are we giving Haydn the place of honor that he deserves, and do we really understand his music?..Haydn is the fire itself. His creative powers were truly inexhaustible. Sitting at the harpsichord or pianoforte, he created genuine masterpieces; he knew how to arouse passion and delight the soul! Haydn's works are great because they contain their own sources of inspiration and originality, which characterize them as masterpieces." In essence, the famous cellist Pablo Casals spoke about the same thing: “Many do not understand Haydn. He has everything built solidly, but his music is full of constant charming fiction. His vast work is replete with innovations and surprises. Unforeseen turns of musical thought now and then occur in the maestro from Rorau. I dare say that he is able to surprise more than Beethoven: with the latter, sometimes you can foresee what will happen next, with Haydn - never". Svyatoslav Richter complained about the insufficient attention of pianists to the music of the Viennese classic and, in particular, to his sonatas: “I love Haydn very much, other pianists are relatively indifferent. How annoying!" In the words of Glenn Gould, "Haydn is the most underestimated greatest composer of all time!"
Today's interpreter of the music of J. Haydn and other composers of his era is faced with several types of difficulties due to the method of notation, instrument and meaningful awareness of the spiritual side of music.
Method of notation, melismas
The way of notation has changed significantly since the 18th century, especially with regard to articulation, as well as the unambiguous understanding of note durations and ornamentation. Early music is studded with ornaments. All decorations of the 18th century should always sound quickly and easily, and not be indifferent strumming. Wanda Landowska said about J. Haydn: “He gives melisma life". Decorations have a dual function: vertical (in relation to harmony) and horizontal (as the rhythmic and melodic enrichment they bring to the musical line). The main thing that determines the nature of jewelry is rhythm. For the interpretation of Haydn's compositions, rhythmically accurate playing is of particular importance. The measure for Haydn is not just a formative unit, but the true soul of music. Exact observance of it, uniformity, stability, firmness of the tempo are the main conditions for a good performance. It is also necessary to take into account the peculiarities of writing a musical text, in particular, the shortest notes in duration that make up certain passages: these notes, as it were, limit the speed of the tempo, the speed of movement. Further, one cannot ignore the rhythmic pattern of music: because of the fast tempo, the clarity and rhythmic clarity of the music should not suffer. Speed should not be replaced by haste, which is by no means in the spirit of Haydn, as, indeed, of many other composers. Finally, in determining the tempo of Haydn's works, articulatory designations, as well as ornamentation, are essential. Bad is the pace at which it is impossible to properly fulfill the musical notation decorations and reveal certain articulatory subtleties. Often, according to Haydn's articulatory indications, which, by the way, are very sparing, one can judge the correct character and tempo, the correct speed of movement.
Tool
J. Haydn was not a pianist, so the performing techniques in his sonatas are simpler than those of Mozart, who was a concert virtuoso. It is clear that by the end of the 18th century, the piano had deprived the cembalo of its leading role. Unlike the cembalo, the piano made it possible to use gradual dynamic changes in sonority, its rises and falls, amplifications and attenuations. Early sonatas Haydn's are most likely written for the harpsichord (or clavichord), later ones - mainly for pianoforte. When playing on modern instruments, it must be borne in mind that the piano of Haydn's time had a clear and bright upper register (which made it possible to play melodiously and varied in colors) and a very peculiar lower register. This lower (bass) register had sufficient sound fullness, which, however, was noticeably different from the deep "viscous" sound of modern grand pianos. The basses sounded not just full-sounding, but in a special way clear and sonorous. It is also significant that the piano of Haydn's time allowed sounds to merge to a much lesser extent than the piano of our time does.
Dynamics
"Dynamics" in translation means "strength". It contains a huge world of figurative possibilities: the world of sound diversity, the world of expressive musical movement, inner life musical work.
With regard to dynamics, one should remember, first of all, two circumstances that were very significant in the era of Haydn. First, Haydn's forte does not at all correspond to our idea of forte. Compared to the past, we undoubtedly think of sonority in a different way, in higher gradations. Our forte, for example, is much stronger and more voluminous than the forte adopted in Haydn's time. Secondly, according to the existing tradition, Haydn was most often content with hints of dynamics rather than precise and clear indications. Therefore, one way or another, one has to add something of oneself to Haydn's meager scale of dynamic notation. However, one should always remember one of the most important performance requirements of Haydn's time, clearly formulated by Quanz: “It is far from enough to observe piano and forte only in those places where they are indicated; each performer must be able to deliberately bring them to those places where they do not stand. To achieve this skill, you need good teaching and big experience].
Pedal
Speaking about the pedal, you need to remember the stylistic features works of art of that era. And in painting, and in architecture, and in sculpture, artists accurately outline nature, not allowing any smearing of form (Thomas Gaysborough "Portrait of Mr. Andrews with his wife", Francois Boucher "Portrait of Madame de pompadour"). The right pedal was invented only in 1782. In general, you should not play without a pedal, it significantly impoverishes the sound, but you should use it very carefully in Haydn's sonatas. Beethoven said: "Only simplicity can be understood by the heart". The pedal should not darken the fabric, no sound should last longer than it should.
strokes
The sforzato indications, which are extremely characteristic of the composer, give a lot of insight into the stylistic regularities of Haydn's clavier music. They have the most diverse functional significance.
Further, it is necessary to distinguish: does sforzato mean a syncopated accent on a weak beat of the measure, or does it only emphasize the melodic peak of the phrase? Intonational (phrasing) accents are very characteristic of Haydn, and without the correct feeling of them and, of course, without the correct proportionate dosage, a good performance clavier compositions Haydn is simply impossible. Haydn, as a rule, did not resort to the designation fp on one note (in the meaning of sforzando) (unlike Mozart, who loved this sign). J. Haydn very rarely resorted to the so-called "echo dynamics". The performer's movements must correspond to the sound image, his hands should not dangle in the air when he plays a long sound. It is very important to cultivate in yourself the feeling of withdrawing “to yourself” when playing short sounds. The Haydnian staccato also obeys the principle of speech.
Historical evidence confirm the need for expressive shading of small leagues (two-tone). Strokes of two notes make the motifs more energetic. This small accent is achieved by subtly emphasizing the first note.
Pace
Considerable difficulties arise for the performer in determining the tempo of Haydn's compositions. Here, knowledge of Haydn's style of music, well-known experience, and proper critical flair are necessary. One should not be afraid when performing Haydn's fast pace. Haydn undoubtedly did not shy away from them and, one might say, even loved them: many finales of his sonatas eloquently prove this. In Haydn's time, tempi such as Andante and Adagio did not represent an unnecessarily slow movement, such as, say, the one they acquired in the practice of musicians. 19th century. Andante and Adagio of Haydn are much more fluid than, for example, Andante and Adagio of Beethoven and the Romantics. Parts of Haydn's sonatas marked with these designations must not be performed too slowly, with pathos unusual for them: this goes against the stylistic laws of Haydn's music. And this should always be remembered.
The novelty of the music of J. Haydn and his contemporaries lies in the fact that, in contrast to the old style (baroque), more than one affect prevails within one movement, but within one movement or play, the foundations for “psychological development” and contrast are laid. For this, J. Haydn had to go a long way in the development of the “classical sonata form” with its dialectic of themes. One of the most important constituent parts teaching music second half of XVIII century - was the doctrine of expressiveness. The “principle of speech”, the mastery of true recitation, was, in contrast to our time, one of the main goals of any teaching of music. Music should speak: "talking music", "speaking performance" on instruments are considered an ideal, and not in an allegorical sense, but in the most direct way, like real speech. This is the basic principle that since the middle of the 18th century, both in Germany and in France, has become the fundamental position of musical aesthetics. How to realize this "talking singing" on the clavier? A tried and tested tool is subtext (at least the main themes). As already mentioned, in the work of the early Viennese classics the ideological and emotional world and typical images of contemporary people found their expression. For these composers, Beethoven's "hero" - the people's tribune or the "genius" of the romantics, torn by contradictions, is not yet typical. The hero of Mozart and Haydn, however, is already a man of modern times, who has broken with medieval ideology, is optimistic about the future, endowed with a rich world of feelings (especially in Mozart). He is sometimes not devoid of traits of "chivalry", and sometimes (more often in Haydn) of bourgeois patriarchy.
When performing Haydn's sonatas, it must be remembered that Haydn was a clear and definite man in his intentions. His sonatas are clear proof of this.
Last Sunday, two concerts of clavier music were held in different halls of the Moscow Conservatory: in the afternoon, our wonderful clavier player and connoisseur of ancient instruments, Yuri Martynov, played clavier sonatas on the harpsichord, tangentenflugel and hammerklavier, and in the evening, a student of the Moscow Conservatory, the winner of the latter, played in the Small Hall competition them. Scriabin, a 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 intersection 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 in the future he further expanded the scope of his musical interests by studying ancient instruments, having trained in France in the specialties of harpsichord and basso continuo in high school music in Bobigny and at the Conservatory. K. Debussy in Paris, which he graduated with gold medals. All over the world, there are only a few performers who master so many instruments and styles, so on Sunday, listeners had a chance 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 was held in three parts, each of which involved its own instrument: two sonatas by J. Haydn were presented on each instrument. There were six sonatas in total: Nos. 23, 26, 19, 20, 44 and 50 (Hob. XVI), but for obvious reasons there were no encores. Sonatas 23 and 26 were performed on the harpsichord, 19 and 20 on the tangentenflügel, and 44 and 50 on the hammerklavier.
As can be seen from the list, an exclusive sonic atmosphere was recreated in each compartment, which was further varied due to the possibilities of tuning the sound of the instruments implied by their design. The impression was unusual: when well-known works are played on instruments of construction from the time of their composition, it becomes clearly clear how much the modern piano unifies the sound of ancient things and what transcendent sound skill is required to interest the listener with his playing and the music played on the modern piano. And historical instruments, by the very fact of their use, naturally recreate the sound atmosphere of antiquity, and it remains only to professionally select them in order to successfully present the music intended for performance. As far as I understood, the instruments were chosen by Martynov for certain Haydnian sonatas by no means by chance, but from some musical and technical considerations, but, unfortunately, no public explanations, even the briefest, on this occasion were received from the clavier player, and the program of the concert didn't include them either.
It is known that experts are still arguing about which instruments which Haydnian sonatas should be played on and at what moments of his life Haydn "moved" from one instrument to another and a third, or at what moments, perhaps, he returned to previously used ones. This issue has not been convincingly resolved so far, so Yuri Martynov, apparently, solved the problem of choosing an instrument to his 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 one used by the clavier in the first part 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 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 sounded unique instrument- the only tangentenflugel in Russia, which is an exact copy of one of the few surviving historical instruments. Interestingly, in the tangentenflugel, which is also a stringed keyboard instrument, a vertically moving plate (tangent) is used for sound extraction, driven by a key and striking the string from below. In contrast to the same type of string plucking in the harpsichord, hitting the tangent allows you to vary the sound power of the tangentenflugel depending on the force of pressing the key, so more expressive phrasing is possible on it, supported by a change in the dynamics of the sound.
While playing the tangentenflugel, Yuri Martynov tried to show its other possibilities, in particular, the ability to change the 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 the mechanical restructuring the timbre of the instrument was deprived of even a hint of the sonority just demonstrated in the first part; any barely extracted sound quickly faded away, reminiscent of pizzicato strings, and the initial sound attack was muffled-matt. There was a feeling of extreme non-standard of such a timbre solution!
In the third section, a hammerklavier sounded, in the mechanism of which (in terms of design it is transitional in the direction of the piano mechanism) a hammer (hammer) striking the string is used for sound production. And on the hammerklavier, Yuri Martynov also used the possibilities provided by the tool for mechanical restructuring in order to change the nature of the sound, moreover, directly during the game. This was done with taste and left no doubt about the legitimacy of specific decisions.
It can be rightly said that Yuri Martynov in his concerto presented in sound a “short course” on the history of the development of clavier mechanics and sound production techniques in the second half of the 18th century and demonstrated the possibility of a very virtuoso playing on all instruments. The sound result was completely convincing and left nothing to be desired, which was duly appreciated by the audience of the Rachmaninov Hall, who witnessed this unique performance.
In summary, 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 the timbre, the features of sound production and registration make it possible 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 adheres to very free views on this kind of interpretation. Throughout his speech, I repeatedly caught myself thinking that if we “projected” his playing onto the keyboard of a modern piano, then much would look very free and in places, probably mannered and pretentious, but this is the beauty of playing on ancient instruments, that some tempo-dynamic exaggeration, expression and even overly free rubato are perceived on them as something completely natural, closely connected with the physics, mechanics and physiology of performance and, therefore, quite human and artistically convincing. The individuality of the artist manifested itself very sharply and vividly, but this did not hurt at all. music played, and even vice versa.
In conclusion, it remains to thank Yuri Martynov for a marvelous concert, which, if desired, could also be considered as a “master class”.
