Many performers constantly turn to Haydn's compositions: these are students of children's music schools, students music schools and conservatories, as well as concert artists. For a competent reading of 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 considered on the example of his clavier sonatas.

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Municipal budgetary educational institution

Additional education

Children's Art School No. 1 of the city of Murmansk

Methodical work

teacher Semenkova A.V.

"Performance features

Clavier compositions

Joseph Haydn"

Murmansk

2017

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

Dynamics…………………………………………………....……5

Articulation…………………………………………….….…….6

Pace………………………………………………………...……..6

Ornament…………………………………………..….………8

1. Editions of sonatas………………………………………………………9
2. Conclusion…………………………………………….……......12
3. Literature used….………….……………………….13

Introduction

Clavier compositions occupy one of the central places in the work of Joseph Haydn and include sonatas, piano concertos, variation cycles, as well as works of small form. Turning to the performance of the composer's music, one cannot but mention the contribution that Haydn made to the development of world musical culture.

First of all, he became one of the founders of the Vienna classical school. His name is associated with the development of the genres of symphony, quartet, 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 of various compositions, as well as vocal and symphonic works.

Many performers constantly turn to Haydn's compositions: these are students of children's music schools, students of music schools and conservatories, as well as concert artists. For a competent reading of 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 considered on the example of his clavier sonatas.

Keyboard sonatas

to this genre instrumental music the composer addressed throughout creative way. The term "sonata" itself first appeared in relation to the c-moll sonata, written in 1771.

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

The first sonatas, called “partitas” or “clavier divertissements”, 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 indications of crescendo or diminuendo, indicating a piano orientation.

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

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

Thus, Haydn's clavier style gradually changed and received complete completion in the last sonatas.

In close connection with the instrumental preferences of the composer are other stylistic features of the interpretation of his works, relating to dynamics, articulation, tempo and ornamentation.

Dynamics

As you know, the piano of Haydn's time had a bright and clear upper register, which made it possible to play melodiously and in a variety of colors, and a peculiar lower register, which had sufficient sound fullness, which differed markedly from the deep, "viscous" sound of modern grand pianos.

Therefore, when playing certain works by the composer, one should not exaggerate the power of sound, force the sound, that is, the forte cannot be the same as when playing the music of Liszt or Prokofiev.

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

According to the existing tradition, Haydn was most often limited only to hints of dynamics, rather than precise and clear indications, therefore it is important that the completion dynamic shades took place in accordance with the meaning of the work, in accordance with its style features and laws and, in no case, did not exceed the permitted measure.

Characteristic for the composer are the sforzato indications, which have the most diverse functional significance. Undoubtedly, they denote Haydn's emphasis, but at the same time it is necessary to understand and distinguish at what dynamic level the sforzato put down in the text should be performed. With the general dynamics of the forte, the accent should be quite strong and catchy, with the dynamics of the piano, 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. Rarely, he also used the so-called "echo dynamics", which involves a change in sonority when repeating individual phrases.

Articulation

Issues related to the ratio of legato and staccato, understanding the meaning of staccato varieties - 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 compositions.

So, for example, a wedge above a note does not always indicate that this sound should be played abruptly, on staccato. This designation is often found in the endings of phrases, and in such cases, the wedges indicate a short and soft completion of the phrase, and not at all a sharp accent. Instead of treating the wedge as a short, accented staccato, it should be understood as writing a shorter and almost always quieter note than the one over which the period stands.

The next moment is the execution of the point under the league. Haydn used this stroke less frequently. Its traditional performance is to shorten the note by about 2 times. In the case when the ends of the leagues are not equipped with shortening signs, they need to be played more softly, which is a reflection of the legato technique borrowed from stringed instruments.

Pace

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

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

Prestissimo - the fastest pace.

Presto - executed extremely (but not extremely) quickly. It occurs mainly in the finals. The rates of Allegro molto and Allegro assai are close to it in terms of speed.

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

Allegro is a fairly fast tempo, but not excessive.

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

Moderato - moderate pace.

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

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

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

Largo is the slowest pace.

It must be emphasized that, in Haydn's time, tempi such as Andante and Adagio did not represent an unnecessary slow motion, such that they acquired in the practice of musicians 19th century. Also, one should not be afraid of the fast tempos in the finals of the sonatas. But at the same time, it is important to understand that because of the fast pace, the clarity and rhythmic clarity of the music should not suffer.

For the interpretation of Haydn's compositions, rhythmically accurate playing and tempo stability 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 shifts in tempo within one part, and even more so within one episode, are excluded. It is also important that the tempo and character of the accompaniment remain the same, despite any slight accelerations and decelerations in the melody.

Ornamentation

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

Grace notes , written out in eighth or sixteenth notes, can be long or short, stressed or unstressed. Their duration is not always unambiguously determined by the notation. Grace notes notated with quarter or half notes usually correspond to the duration of these notes.

Trills can begin both with the main sound and with the auxiliary. In most cases, they should be played with a nachschlag, whether or not it is notated.

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

To designate a mordent Haydn used the sign of the crossed-out gruppetto. Mordent is usually applied in ascending sequences of sounds or at the beginning of a phrase over a long note, and always begins with the root note.

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

Combination uncrossed mordent and gruppettostarts with the root 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 of the decorations to choose in this case.

Sonata editions

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

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

A complete edition was carried out by the firm of Breitkopf and Hertel in Leipzig (1800-1806). Also in the period from 1780 to 1790, separate sonatas of the composer were published in England and France.

Among other editions of Haydn's piano works, one can name the French edition of 1840, edited by A. Dörfel (1850-1855) and edition A. Lemoine (1863).

Between the second half of XIX centuries to the first third of the 20th century, under the influence of romantic musical art, many editions-interpretations appeared that did not correspond to the style of the era of the creation of the work.

They have changes original text the author's ligature and articulation were most affected: small per-measure leagues 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 cantileverness of the music, preference was given to playing legato. IN musical notation this was noted either by slurs or by verbal indications, which applied both to small notes in melody or accompaniment, and to passages in fast parts of sonatas. Another means of creating broader melodic lines was copious pedaling. In particular, it is found in the editorial M. Presman completed in 1919.

Concluding the conversation about the "romanticized" editions, one cannot but mention the edition of Haydn's clavier sonatas B. Bartok (1912), since many characteristic stylistic signs of the time were focused in it. The Hungarian musician significantly enriches the dynamics of the sonatas, using the designations both fortissimo and pianissimo, while accompanying them with the indications molto espressivo, pesante, tranquillo, agitato.

In addition, Bartók details the very process of dynamic changes: 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 corresponds to a slowdown.

Also, by adding individual voices and calms, Bartok transforms the latent voice leading, accompanied by it, into a more explicit, embossed one.

In addition, Bartók's editing is characterized by great tempo and agogic freedom, which is reflected in many performance remarks.

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

In 1920, the publishing house Breitkopf and Gertel published three volumes of Haydn's clavier sonatas, edited by K. Pasler . This edition, 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 designations of the author and editor are printed in different fonts. This is the edition G. Zilcher (Edition Breitkopf, 1932, in four volumes, 42 sonatas) and a very widespread edition of Haydn's sonatas, edited by K. Martinsen (Edition Peters, 1937, in four volumes, 43 sonatas).

In 1960-1966, the Music publishing house published three volumes of selected sonatas, edited by L. I. Roizman . Around the same time, Haydn's clavier urtexts were published 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 Viennese Urtext certainly stands out. C. Landon . It includes 62 sonatas, while there are far fewer in other common editions. One of the highlights of this edition is chronological order in the arrangement of the sonatas. Another important feature lies in the very attitude to the musical text, which is based primarily on the composer's autographs and handwritten copies, and not on printed editions, even if they were in his lifetime.

As a result of this approach, which is in many respects fundamentally new for the existing editorial practice, the text of the sonatas in the Vienna Urtext has become much clearer. Appeared in romantic era slurs of a phrasing nature, there are fewer dynamic indications, only in rare cases small print an approximate decoding of the decorations is given. On the other hand, numerous small touches, important in interpreting the music of that era, have become much more prominent. There are also no indications of pedalization at all.

When working with an urtext edition, it is important not only to have a certain stock of historical knowledge, but also to understand the main 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 art, but is only the foundation for it. Only with creative “thinking” will a piece of music “live”, that is, affect the listeners.

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

Used Books

1. Badura-Skoda P. On the issue of Haydn's ornamentation. / How to perform Haydn. Compiled by Merkulov A. - M., "Classics-XXI", 2009.
2. Kremlev Yu. Joseph Haydn. Essay on life and creativity. - M., "Music", 1972.
3. Merkulov A. Clavier works by J. Haydn: for clavichord, harpsichord or piano? / How to perform Haydn. Compiled by Merkulov A. - M., "Classics-XXI", 2009.
4. Merkulov A. Editions of clavier works by Haydn and Mozart and problems of style of interpretation. / How to perform Haydn. Compiled by Merkulov A. - M., "Classics-XXI", 2009.
5. Merkulov A. "Viennese urtext" of Haydn's clavier sonatas in the work of a pianist-teacher. / How to perform Haydn. Compiled by Merkulov A. - M., "Classics-XXI", 2009.
6. Milstein Ya. Stylistic features performances of Haydn's works. / How to perform Haydn. Compiled by Merkulov A. - M., "Classics-XXI", 2009.
7. Musical encyclopedia. Editor Keldysh Yu. - M., "Soviet Encyclopedia", 1973.
8. Roizman L. Introductory article / Haydn J. Selected Piano Sonatas. - M., "Music", 1960.
9. Teregulov E. How to read piano music J. Haydn. - M., "Bioinformservis", 1996.
10. Landon C. Vorwort / J. Haydn. Samtliche Klaviersonaten. – Wien, Wiener Urtext Edition, 1966.
11. Martienssen C. A. Vorwort / J. Haydn. Sonate fur Klavier zu zwei Handen. – Leipzig, Edition Peters, 1937.

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) was an Austrian composer, one of the founders of the Vienna Classical School. Haydn has a huge historical merit in the formation and development sonata form, which underwent 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 the time when new aesthetic views, theoretical rules, musical feeling based on living human feeling and not on dry dogmas. The composer went through a long and difficult path of stylistic evolution from the late Baroque to the pre-Romantic era, a path in 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. The man of the middle of the 18th century felt himself 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. An outstanding harpsichordist and pianist, an expert in early clavier music, Wanda Landowska wrote: “...do we give Haydn the honorable place 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 immense creativity 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 unambiguous understanding. note durations and ornaments. 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. To interpret Haydn's writings special meaning has rhythmically accurate play. 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. The tempo is bad if it is impossible to properly perform the embellishments indicated in the musical text 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 to late XVIII century, the piano 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. Haydn's early sonatas were written, most likely, 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 huge world 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 more often than not 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 of the pedal, one must remember the stylistic features of the 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 of Haydn's clavier works 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 confirms 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 were not unnecessarily slow movements, such as those acquired in the practice of 19th-century musicians. 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. J. Haydn needed to go through long haul 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 say: 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 means is subtext (at least of the main themes). As already mentioned, the ideological and emotional world and typical images of contemporary people found their expression in the work of the early Viennese classics. 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.

Keyboard sonatas Haydn created throughout his long creative life. He composed his early works for the harpsichord, and later for the piano, using the various possibilities of the sound 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").
Sonata in E minor is one of the most famous clavier works Haydn. It is distinguished by its special lyricism and elegance of sound, as well as extraordinary virtuosity.

1st. Part
The music of the 1st part is written in a fast tempo Presto and has the structure of a sonata form. The theme of the main part (E minor), in a three-voice presentation, is unusually disturbing and agitated. The melody of the lower voice is resolute, strong-willed, rising along the sounds of a minor tonic triad in a low register. Short motives of the upper voices of a lyrical, intermittent, restless character.
The binding party is bright. There is a modulation in tonality side party.
Side Party Theme (in parallel key G major) is in contrast to the main part. It sounds especially light, transparent and melodious.
The joyful mood is conveyed in the light, fast passages of the final part.
Development sounds stressful, mostly in minor keys. In the main part, lyrical short motifs, ending unstable, acquire a particularly disturbing character. In the connecting part, the decisive "runs" of the sixteenths end with soft, sad "second sighs". At the end of development main party sounds the brightest.

The reprise, like the development, is of a tense, agitated character. Her themes are held here in the main key of E minor. The theme of the side part sounds especially sad, like regret about an unfulfilled bright dream. The final game, longer than in the exposition, completes the 1st. part of the stormy, impetuous movement of the sixteenth. She exudes confidence and fortitude. human personality capable of withstanding the adversities of life.

part 2

The intonations of her lower voice, rising along the sounds of triads, here pass into the upper register, acquiring a fanfare sound.
The reprise, like the development, is of a tense, agitated character. Her themes are held here in the main key of E minor. The theme of the side part sounds especially sad, like regret about an unfulfilled bright dream. The final part, longer than in the exposition, completes the first part with a stormy, impetuous movement of the sixteenths. It feels the confidence and fortitude of the human personality, capable of withstanding life's adversities.
The music of this part is light and dreamy. Its main theme, in the key of G major, is like improvisation in a leisurely, calm movement. The pattern of the melodious melody makes up a beautiful ornate pattern of figurations of small durations.

3 part.
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, it differs extraordinary lightness and grace. The dance character gives it a clear, sharp rhythm. Episodes (in same key in E major) are based on a modified refrain melody.

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 famous works sound on the instruments of the construction of the times 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 for some musical and technical reasons, but, unfortunately, no public explanations, even the briefest ones, were received from the clavier on this occasion, 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 “transferred” 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 tool- 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.

With full right, we can say that Yuri Martynov in his concert presented in sound as if " short course» the history of the development of clavier mechanics and sound production techniques in the second half of the 18th century and on all instruments demonstrated the possibility of a very virtuoso game. 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”.

How to perform Haydn

How to Perform Haydn (2009)

This collection is dedicated to clavier creativity Haydn, plays the role of a kind of encyclopedia, in which particular aspects of performance are immersed in a wide historical and cultural context.

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

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

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

GENERAL QUESTIONS OF STYLE AND INTERPRETATION Anton Rubinstein

"Grandfather Haydn - amiable, cordial, cheerful ..."

Maria Barinova Performance of Haydn and Mozart in gallant style

Boris Asafiev Harmony of Haydn's worldview

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

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

Julius Kremlev Brief Notes on Haydn's Clavier Sonatas

Yakov Milshtein Stylistic features of the performance of Haydn's compositions

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

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

PRACTICE OF WORK ON CLAVIRUS COMPOSITIONS Alexander Goldenweiser Piano concert D-dur (Hob. XVIII/11), Sonata cis-moll (Hob. XVI/36)

Vladimir Sofronitsky Sonata Es-dur (Hob. XVI/49).

Leonid Roizman Piano works by J. Haydn

Carl Adolf Martinsen Preface to the edition of J. Haydn's clavier sonatas.

Hermann Zilcher Preface to the edition of J. Haydn's clavier sonatas

Friedrich Wuhrer Sonata in c-moll (Hob. XVI/20)

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

Sonata Es major (Hob. XVI/52)

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

Instructions for ornamentation

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

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

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

Sonata F-dur (Hob. XVI/23, Landon 38)

Evgeny Teregulov What can confuse us in the urtext. Sonata performance analysis

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

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

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

Alexander Merkulov "Viennese Urtext" of Haydn's clavier sonatas in the work of a pianist-teacher.