Stylistic features of the performance of Haydn's clavier sonatas. Haydn created clavier sonatas throughout his long creative life.

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 very way of 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 became a singer there. church choir. 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 they were 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 free of charge, 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.

In 1791 the old prince Esterhazy died. 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 philosophical thought reflecting 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 used the clarinet). Of the brass instruments, horns and trumpets were represented. Of the percussion instruments, 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 paid great attention to the ways in which the theme was developed.

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 the holiday spirit is back. 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"

Haydn Piano Sonatas

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 of musical expression, 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 making. 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 were used in musical practice. Haydn was closest to the hammer-action piano. In his piano works developed a new style playing this instrument. 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 with a lively and provocative main part. 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, brings back life joyful mood the first part.

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.

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

1. Introduction…………………………………………………………………... 3
2. The main distinguishing features of the sonata form of J. Haydn ... 3
3. Sonata С - dur Hob/35 Part I ……………………………..……………. 5
4. Conclusion………………………………………………………………... 8
5. 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 musical achievements his fellow artists.

J. Haydn had a bright creative personality; his music, full of sincere cheerfulness and optimism, is close to the song and dance origins of the Austrian folk melos. A joyful, cheerful attitude, courageous energy, humor full of fire, pathetic improvisation and, on the other hand, soft lyricism, light sadness, calm meditation - this is an approximate circle of 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 step one encounters such orchestral effects as the pizzicato of the bass voice, the juxtaposition of the compact sonority of the tutti against the sound of individual groups of instruments, and so on. This feature, as well as the presence of a heroic and courageous beginning in a number of sonatas of the late period, makes J. Haydn's work related to the style of L. Beethoven's piano works.

J. Haydn composed his piano sonatas throughout his life, from early youth to old age. In the first sonatas, he continued the line of the Austrian national clavier school (the “Partitas” and “Divertissements” by the Viennese composer G.K. Wagenseil served as a model for J. Haydn). 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. Similar functional dependency thematics from composition, form - 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. Harmony plays the main role in this interaction.

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 an inexhaustible source of 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, when deviating into a parallel minor, the music acquires a shade of seriousness, reflection. It lasts only a few moments and the former joyful mood reappears. In the cadenza, the character of the music changes: an increase in energy leads to a dramatic climax, emphasized by a slowdown in tempo (adagio) and a non-chord unusual 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. The musical fabric is 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 measure; 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 with the binder batch, the side batch 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 artistic material for pianist students 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

1. Alekseev A. History of piano art. - M.: Music, 1988 - 415 With.
2. Asafiev B.V. Musical form as a process. - L .: Music, 1971 - 369 p.
3. Blagoy D.D. The value of figurative associations in the work of a teacher-pianist. - M., 1966.
4. Druskin M. Essays. Articles. Notes. - L .: Music, 1987 - 299 p.
5. Kogan G.M. At the gates of mastery. The work of a pianist. - M.: Music, 1969 - 342 p.
6. Landowska V. About music. - M.: Rainbow, 1991 - 438 p.
7. Neuhaus G.G. On the art of piano playing. - M.: Classic XXI, 1999 - 228 p.
8. Novak L. Joseph Haydn. Life, creativity, historical significance. - M.: Music, 1973 - 450 p.
9. Roizman L. Piano work of J. Haydn. Introductory article in the publication: Haydn J. Selected Sonatas. Issue. 1. M., 1960.
10. Savshinsky S.I. The work of a pianist on a piece of music. - M.: Music, 1964 - 187 p.
11. Feinberg S.E. Piano as an art. - M.: Classic XXI, 2001 - 335 p.

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 Haydn's most famous clavier works. 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. It modulates into the key of the side part.
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.
The development sounds tense, 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. It feels the confidence and fortitude of the human personality, capable of withstanding life's adversities.

part 2

The intonations of her lower voice, rising along the sounds of triads, here 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 is distinguished by extraordinary lightness and grace. The dance character gives it a clear, sharp rhythm. The episodes (in the key of the same name in E major) are based on a modified refrain melody.

Stylistic features performances 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 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 an artist, J. Haydn was formed at a time when new aesthetic views, theoretical rules, a musical feeling based on a 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. Human mid-eighteenth century, he felt like a part of the Divine routine, 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 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. 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 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. Haydn's early sonatas were written, most likely, for the harpsichord (or clavichord), later ones - mainly for pianoforte. When playing modern instruments, it must be taken into account 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 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 requires good training and great 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, tempos like Andante and Adagio were not overly slow motion, say, such that they acquired in the practice of musicians of the 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, should not be performed unnecessarily 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 components of teaching music in the second half of the 18th 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.

Thesis

Tropp, Vladimir Vladimirovich

Academic degree:

Ph.D. in History of Arts

Place of defense of the dissertation:

VAK specialty code:

Speciality:

Musical art

Number of pages:

Keyboard sonata in the middle of the 18th century.

The main trends of evolution in Haydn's sonatas in the context of the influences of the German schools.

Haydn. Sonatas of the early period of creativity until 1766).

Sonatas of the period " romantic crisis».

Sonatas 1776-81.

The last clavier sonatas.

Introduction to the thesis (part of the abstract) On the topic "Haydn's clavier sonatas: On the problem of the formation of the genre and the evolution of style"

Always rich and inexhaustible, always new and striking, always significant and majestic, even when he appears to be laughing. He raised our music to that level of perfection that we do not hear

4 before him. Such a review of Haydn rightly applies to all genres of his work and, to the greatest extent, to his clavier sonatas. That stage of perfection to which Haydn raised the basic instrumental genres classicism - symphonies, quartets - later allowed him to be called the "father" of these genres, which were not born by him at all. Following a similar analogy, he could be fully called the "father of the clavier sonata".

Fortunately, the numerous surviving examples of Haydn's appeal to this genre are an inexhaustible storehouse of all kinds of finds, discoveries, the most diverse interpretations and inventive solutions that open up various paths for the future history of the clavier sonata.

Haydnian diversity, the generosity of his imagination and experiments

P are unlimited. Therefore, here you can find prototypes of many types of sonatas, embodied in the future by various authors.

Stylistic features in Haydn's clavier works are a multiplicity of individual solutions. This individuality of solutions is wonderfully combined with the clarity, integrity of the "classically" polished concepts of the genre.

Thus, the process of formation of the clavier sonata genre - a genre that is perhaps the most "fruitful" and changeable - is at the stage of its transformation into a "classical" model (and corresponding precisely to the classicist

1 Cited. Quoted from: Eibner F. Preface. Critical notes // Haydn. Clavierstucke. Wien, 1975. These words belong to E. Gerber, the author of a musical dictionary, published during Haydn's lifetime.

2 In this regard, it is curious that there is even an opinion about the “eclecticism” of Haydn’s work (see: Ripin E.M. Haydn and the Keyboard Instruments of His Time / / Haydn Studies. N.-Y. - L., 1981. ) concepts in their harmony) can be observed precisely in the work of Haydn. At the same time, the infinity of his searches in this genre makes it possible to observe the richest observations on the evolution of the composer's style over the course of forty years. In this regard, it seems to us very important to build a clearer concept of this evolution and its periodization, justified by the main directions in Haydn's solutions to the genre.

Haydn's clavier work in its entirety, as a subject of research, has not yet figured in Russian literature. In foreign literature, the most full-fledged and comprehensive study of it is represented by one monograph - Brown3, covering all clavier creativity, including various pieces (variations, etc.) and trios.

A complete review of the sonatas is also contained in Bailey's book4, but it is precisely the performance annotations to them. One of the first serious works devoted to Haydn's clavier work is an article by Radkliff5, which also gives a very brief overview of all the sonatas known at the time of its appearance. Of course, many valuable and versatile questions are covered by works devoted to selected sonatas or representing brief reviews of all sonata creativity. This is, first of all, a preface to a complete and notographically verified edition of the sonatas (ur! exO, edited by Kr. Landon6, which contains detailed description sources (autographs and first editions), evidence on the chronology of sonata creativity, weighty comments of an analytical and performing nature. It is this edition, which by its criteria is academic, that we have taken as a basis when considering the sonatas, including in relation to the chronology adopted there. Similar to the one in the specified

3 Brown A.R. Joseph Haydn's Keyboard Music. Sources and style. Bloomington, 1986 (79).

4 See: Bailie E. (75).

5 See: Radcliffe Ph. (104).

6 Hayden. Samtliche Klaviersonaten. In 3 Vol. Wien, 1966. The edition of the sonatas to the preface and comments by Kr.Landon, the source of the scientific and textual commentary on all the sonatas (in principle; brief notes) is a book by Kloppenburg7.

A number of articles are specially devoted to Haydn's sonatas: this is the earliest work by Abert, as well as review articles considering several sonatas (Wakernagel, R. Landon, Mitchell8). However, more valuable material contains reviews (chapters, separate fragments devoted to clavier genres) in monographs about Haydn. First of all, this is a major five-volume work by R. Landon9, a kind of Haydnian encyclopedia, which contains extremely valuable data of a historical nature (based on strictly verified sources) in a broad sense and individual analyses.

1P tic conclusions. The monographs of Geiringer, Kremlev, Novak also contain relevant reviews, which are especially interesting in the context of the general historical concept in each of the books.

The only purposeful historical review of Haydn's sonatas in Russian educational literature is contained in the textbook "Foreign Musical Literature, Issue 2" by I. Givental and L. Shchukina-Gingold (12) (the chapter was written by L. Shchukina). This review contains a number of profound characteristics. Finally, a chapter is devoted to this topic in the thesis of S. Muratapiyeva (41), written on a topic aimed at historical issues formation of the clavier sonata genre in the period of interest to us. The chapters of this dissertation are devoted respectively to the sonatas of C.F.E. special interest and for our work and occupies a significant place in it) and about a younger contemporary - Mozart, whose work evoked the greatest response from Haydn.

7 See: Kloppenburg W.C.M.(96) in See: Abert H.(74); Wackernagel W. (111); Landon H.C.R. (99); Mitchell W.J. (102).

9 Landon H.C.R. (98).

10 Geiringer K. (88); Kremlev Yu. (28); Novak L. (44).

Haydn's clavier sonatas are considered as the main material in a number of studies devoted to various theoretical, analytical aspects of his work (primarily questions of form). So, the works of Kallistov, Kirakosova, Fillion, and also Belyanskaya11 are devoted directly to sonatas; Haydn (also Kirakosova, Zisman, Webster12) stands out in particular the question of variational forms; important analytical issues are raised in the work of V.P. and the English clavier school (Grain)13. Some articles are specially devoted to individual works - the analysis of one or two sonatas (Eibner, Moss, Rutmanovich)14.

Of particular relevance and urgency are the questions of the authenticity of the sources and the authorship of a number of works, disputes about which, including their connection with new finds, continue constantly. The problem of authentic performance has also become burning and, in connection with this, the choice of instruments for which clavier works were originally written. This gave rise to numerous reports and "round tables" at the largest Haydnian international conferences - in Washington in 1975 and in Vienna in 198215. Questions of the authenticity of disputed works are especially intriguingly raised in Hutting's reports (which at one time caused a great discussion)16 and in the recent extraordinary story of the alleged discovery of six missing sonatas (see the article by Badura-Skoda accompanying the

11 Cm.: KannMCTOB C. (19); KwpaKocoBa II. (23); Pillion M. (86); BenaHCKaa H.(5).

12 cm.: Sisman E.R. (108); Webster J. (113).

13 cm.: Brown A.P. (80); Helm E.(91); Feder G. (85); Somfai L. (109); Grane J.C. (89).

14 Eibner F. (84); Moss J.K. (103); Rutmanowitz L. (106).

15 Cm.: Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. - London, 1981 ¡.International Joseph Haydn Congress (Wien, 5-12 Sept. 1982). Munich, 1986.

16 Cm.: Hatting C.E. (90). b his recording of these sonatas, made on CD17). At the Washington Congress there were informative reports about the instruments of Haydn's time (Ripin, Walter18). The same questions are seriously elucidated both in Brown's monograph and in a special article by Merkulov (36), as well as in Hollis's note (93).

In addition to studies that focus specifically on Haydn's work, many comparative characteristics of his sonatas can be found in works devoted to his contemporaries, as well as later creators (for example, Schubert).

Of course, Haydn's place in the history of both clavier music and musical heritage in general, it is reflected in many works on the history of music (including works on the history of the sonata, the formation of sonata-symphony cycles, on classicism and neighboring eras, fundamental music-historical publications and textbooks). Separate problems are posed in works of a theoretical nature, primarily in generalizing scientific and educational works on the analysis musical works- most of all, questions of form are considered here in the works of Haydn.

Our goal was to study precisely the clavier (sonata) work of Haydn and to identify the stylistic features and main trends in its consistent development over various periods. We have adopted a periodization that divides the path of development of the sonata into four periods: early - until 1766 (including the most sonata cycles), the period 1766-73 (13 sonatas), 1776-81 (82) (12 sonatas) and late - 1784-94 (9 sonatas).

In accordance with this periodization, the structure of the work is also built. Each period is presented as a holistic separate section, where its temporal boundaries are justified (and the union of works in one period), the main stylistic trends in comparison with the work

17 Vas1ga-8kos1a R. (76).

18 See: ha^p E.M. (105); Wuaer N. (112). Haydn’s studies of other genres of the same time, revealing the main (basic) concept of the period (in connection with which, for example, the second period according to our periodization is called “Sonata of the period” romantic crisis"). In each of the periods, continuing (modifying) and new concepts of cycles are revealed, representing both the evolution of the Haydnian language, its style, and the historical stages of the interpretation of the genre.

An important issue that is at the center of our attention is influences and parallels, that is, Haydn's contact with other author's styles, which also characterizes the aesthetic concepts of this or that time - in general and in individual works.

In connection with the fundamental importance of the question of the origins that influenced the formation of Haydn's individual sonata style, the emergence and development of a number of different trends, a special place is given to Haydn's predecessors in the genre of clavier sonata (especially in Germany and - first of all - F.E. Bach) - an entire section of the first chapter is devoted to this.

The birth and honing of bright, deeply thought-out concepts of the genre, combined with an individual, inventive solution to each sonata cycle, is an amazing feature of Haydn. This combination determines the consideration of the content and aesthetic concept in individual works and in their groups.

The basis for our approach to the study of Haydn's sonata work was the analysis of each sonata cycle. With the infinite variety and depth of Haydn's work, one could draw on the most diverse aspects of analysis, as well as comparative characteristics with various works of both Haydn and other authors. However, the main thing for us was the historical context and the actual clavier work of Haydn (inevitably, several clavier works of other genres were involved in comparisons). Questions of form occupied a special place in the analysis, as they largely determine the concept of the sonata cycle and the crystallization of various types of sonatas.

Considering the need to emphasize the main general trends in cycles of one period, and personality traits individual sonatas, in each section of the work the characteristic of the period includes the main specific features it as a whole with the corresponding examples, and then the characteristics of certain types of sonatas (or their groups) follow, and more detailed analysis some works. Each time, the choice of the degree of detail of the analysis is dictated by the content concept of certain works, but all of Haydn's published sonatas are covered as material (we are talking about unpublished, controversial works in the course of presenting the main material).

Since, as already noted, the sonatas are considered according to the Vienna edition, comparative numbering is given in the appendix - according to the Hoboken catalog and in the most common editions. It seems useful to give in the appendix a summary of the construction of all Haydn's sonata cycles (the form of the parts, their tempos, sizes; in the most original cases of forms, their diagrams are given).19

The first chapter of the work is a general description of the evolution and prerequisites of Haydn's sonata work and includes a section on the clavier sonata of the middle of the 18th century and a section on the evolution of Haydn's work in the context of the influences of the German clavier sonata. The second and third chapters chronologically examine the four periods of Haydn's sonata work: Chapter 2 - sections " Sonatas of the early period of creativity"and" Sonatas of the period " romantic crisis”, 3rd chapter - “Sonatas of 1776-81” and “ Last clavier sonatas". In conclusion, some results are summed up - first of all, moments of anticipation of the future development of the genre.

19 In the musical appendix is ​​placed And part of the Sonata by I.G. Rolle, considered in the 1st chapter of our work. Other musical examples are given inside the main text.

Dissertation conclusion on the topic "Musical Art", Tropp, Vladimir Vladimirovich

CONCLUSION

The evolution of Haydn considered by us in the genre of clavier sonata appears as the richest, multifaceted world, full of various discoveries. The path of the artist here passes through exciting searches, and its stages make up not only new pages in the composer's work, but whole huge layers in the history of the development of the genre. A deep study of these layers can be deployed in a variety of directions and become the material for many studies.

We have chosen only some moments that are characteristic of the evolution of Haydn's sonata work. The four periods we have identified mark these characteristic stages. The finds of one or another period receive a continuation and a new incarnation in subsequent ones. So, the search for bright thematism, dramatic sharpness both in the cycle as a whole and in the sonata allegro in the early period, on a “new round”, in its finished and logically crystallized form, reappeared in the third, “mature” period. In the later period, Haydn largely came to a stylistic synthesis of many of his ideas that were born in different periods.

In this sense, all the genre “inclinations” that have manifested themselves in sonata work for such a long time are reflected in late clavier work, in completely different types of sonatas he created, as well as other works for clavier. The appearance of the “New Capriccio” (Fantasy), the minuet (of course, transformed) as the finale of sonata No. 59, and also, possibly, the reworking of the early sonata No. 19 in a “lyrical” key for the cycle No. 57/47 (1788), are also characteristic, where a free prelude is added as the first movement, and the minuet finale is omitted.

Starting from an early period, there is a constant experiment in search of various forms of the cycle and various kinds development of material (and, above all, this concerns sonata aIedp). In the late period, however, for the first time those forms appear that do not fit into the framework of any regulation and are already completely individual solutions. And the non-standard, fantasy forms of F. E. Bach, realized in such a work as Capriccio C-clur, in the later period appear not only in Fantasia (where this is justified by the condition of the genre). The game, as the most important principle, also leads to "deception", violation known principles constructions, and to a new genre quality - scherzo (characteristically, in early works“play” was most revealed precisely in the finals - and the scherzo is especially evident in the finals of late sonatas with their unusual forms).

The desire for dramatization, Sturmer's freedom in "loosening" the framework of tonal development, the expansion of emotional imagery (including in the lyrical sphere) - these are the features " romantic crisis"led in the late period to" lyrical sonatas", To a deep and ambiguous dramaturgy of the cycle, to a new level of tonal freedom.

In the third period, various types of cycles are formed, differing in figurative and genre diversity, principles of development and dramatic relationships in forms. Completely different types of cycles are also presented in later works, and in this diversity there are even brighter contrasts and greater freedom.

In this regard, it is interesting to emphasize that, of course, Haydn synthesized many features of the sonata work of his contemporaries - representatives of various schools. Certainly, great importance had the work of Viennese authors - especially Hof ^an, d "Alberti, as well as the Monn brothers; Italian influence also had an effect. We have already considered how Haydn's classicist thinking affected the choice of stylistic principles closest to him both among Italians and Viennese, and in German schools, as he “restricts”, undoubtedly, the freedoms of “Sturmerism” that are attractive to him, now and then “erupting” throughout his work - either in the freedom of fantasy genres, or in the whole period of “Sturmer” writings (“romantic crisis” ), then in extraordinary experiments and unexpected turns of a later period.

But nevertheless, the key role of the German schools and, of course, first of all K.F.E. We tried to prove this, first of all, in the first chapter of this work, as well as in the course of further presentation. The very nature of the sentimentalist, "shturmer" quests of K.F.E. Bach and related authors - representatives of the German schools - was close to precisely that classicist thinking, which was inherent vividly individual style Haydn, his genius of fantasy.

Brown, in his monograph on Haydn's clavier works and in special speeches185, proves that the influences of C.F.E. Bach on Haydn are exaggerated, that they are limited to separate, in general, single works. Without going into a detailed description of both this position and the discussion with it, we only note that the indisputable uniqueness of Haydn's style, his inventiveness and thinking

185 Brown A.R. Joseph Haydn "s Keyboard Music. Sources and style; Brown A.P. Joseph Haydn and C.P.E. Bach: The Question of Influence / / Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975) is called into question when claiming that many the finds of C.F.E. C.F.E. Bach was influenced not only

1 ftfi ko on Haydn, but also - to a large extent - on Mozart and Beethoven187, which has been noted by many.

In addition, the so-called “Sturmer” and “lyrical” lines that we singled out in the first chapter in the work of the masters of German schools in the middle of the 18th century (and above all - in K.F.E. Bach) - found a fruitful continuation (in a variety of versions and transformations) throughout Haydn's entire work, and in the work of Mozart (whose "Sturmerism", for example, was constantly noted188), and in Beethoven: the line of the "lyrical" two-part sonata was traced by us in Haydn's late sonatas and in Beethoven's two-part sonatas. Let us note that in Beethoven's late work, the predominance of the lyrical beginning in the first parts is often also - sonatas No. 28, op.101, 30, op.109 and 31, op.110.

Of course, the question of connections-influences, similarities and differences between Haydn and Mozart and Beethoven can serve as a topic for a wide variety of research. This topic is only briefly touched upon here. One thing is clear: the abundance of finds in the thematic designing”, the creation of such fruitful development techniques, modulation techniques, the creation of forms - the cycle as a whole and its parts

186 See works: Abert G. W. A. ​​Mozart; Einstein A. Cited. slave; Muratalieva S.G. Cit. slave.; Wackernagel B. Joseph Haydns frühe klavieronaten: Ihr Beziehungen zur Klaviermusik um die Mitte des 18. Jahr.

187 See: Yalovets G. Beethoven's youthful works and their melodic connection with Mozart, Haydn and F.E. Bach

188 See in particular: Chicherin G. Mozart : Research Study

In the sonata work of Haydn, it provided a fertile basis for new ideas both for the Viennese classics and for later authors. It seems to us that the appearance of "Schubertisms" in Haydn's later work is far from accidental. This is and special development all the same" lyrical line” in Schubert, and the anticipation of some features of his thinking in that sea of ​​\u200b\u200bfantasy, which contained the creative thinking of Haydn. Analogies with the Romantics have also been noted by various researchers.189

In the "laboratory" of Haydn's creative experiments, his formativeness is especially striking. The incredible number of amazing finds here, all the more, could not but become an inspiring factor for further innovations among his younger contemporaries and descendants.

Here, once again, we highlight such important moments as the invention of a wide variety of development techniques (we believe that Haydn already has genuine sonata developments in such early sonatas like ##15/13 and, of course, 16/14). In the sonatas of the third period already crystallized five types of elaborations (development-contrast, elaboration - a “new round” of the exposition, development with the transformation of the material of the exposition, bringing the main line to a dramatic climax, with a given dramatization when modifying the thematic), which, being connected with each other, are present in the sonatas as both mixed and pure.

The most interesting question in historical terms is Haydn's rhythmic inventiveness, presented in incredible abundance in his sonatas. This is closely connected with the methods of "play", also the most important historical line, which can be traced from sentimentalism to romanticism.

I- - h

189 Khokhlov Yu.N. Cit. slave.; GeiringerK. Cit. slave.; Landon H.C.R. hayden. Chronicle and Works.

In the context of the formation of the genre, it is interesting to use such forms - and genres - as variations, rondo, minuet in Haydn's sonata cycles. Variations for Haydn (unlike Mozart, but having a special continuation in Beethoven's later work) gradually become a more and more permanent form for the finals of the cycles, and then for the slow first movements. Quite special concepts of cycles are created precisely thanks to the development of double variations in the first place. Variation also serves as the basis for the formation of completely unique mixed forms (which is also important in the future - for Beethoven's late sonatas, as well as Schubert's sonatas), often combined with rondality. At the same time, the rondo pure form- as part of a sonata cycle - is not typical of Haydn, and in this he is unlike the other two Viennese classics. The minuet - the most important genre and stylistic support of the Viennese classics - undergoes an original evolution in Haydn's clavier sonatas, which also contains the richest variety of ideas.

The way the clavier sonata was formed in the work of Haydn only confirms the statement about the composer: “He is in the air

190 lay the layers of soil on which the rest grew.

190 Novak L. Op. work., p.142.

List of references for dissertation research candidate of art history Tropp, Vladimir Vladimirovich, 2001

1. Abert G. VAMozart. 4.1. kn.1,2. Ch.N, book 1,2. M., 1987-1990.

2. Alekseev A. History of piano art. 4.1. M., 1962.

3. Alschwang A. Joseph Haydn // Selected works in 2 volumes. T.2. M., 1965.

4. Asafiev B.V. Musical form as a process. L., 1971.

5. Belyanskaya N.V. The System of Contrasts in Haydn's Sonata Form (Based on Piano Chamber Works): Author's abstract of diss. art criticism. M., 1995.

6. Bernie C. Musical travel. L., 1961.

7. Bobrovsky V. Functional foundations of musical form. M., 1978.

8. Bobrovsky V. To the question of the dramaturgy of the musical form // Theoretical problems of musical forms and genres. M., 1971.

9. Bobrovsky V. Thematism as a factor in musical thinking. M., 1989.

10. Bonfeld M.Sh. The Comic in Haydn's Symphonies: Abstract of diss. art history. L., 1979.

11. Buken E. Music of the epoch of Rococo and Classicism. M., 1934.

12. Givental I., Schukina-Gingold L. Musical Literature: Proc. allowance. Issue 2. K.V. Gluck, J. Haydn, VAMozart. M., 1984.

13. Goryukhina H.A. The evolution of sonata form. 2nd ed. Kyiv, 1973.

14. Dahlhaus K. "New music" as a historical category // Academy of Music. 1996. No. 3-4.

15. Evdokimova Yu. Formation of sonata form in the pre-classical era // Questions of musical form. Issue 2. M., 1972.

16. Zakovyrina T. On the question of the comic in instrumental music // Aesthetic essays: Collection of articles. Issue 4. M., 1977.

17. Zakharova O.I. Rhetoric and Western European Music of the 17th and First Half of the 18th Century: Principles and Techniques. M., 1983.

18. Zakharova O. Rhetoric and Clavier Music of the 18th Century // Musical Rhetoric and Piano Art: Sat. Issue 104 / GMPI named after the Gnessins. M., 1989.

19. Kallistov S. The form of the 1st allegro in Haydn's clavier sonatas in the light of the theoretical ideas of the era. Dipl. work/Moscow state conservatory. M., 1990.

20. Kalman J1. Minor Sphere in Mozart's Instrumental Music // Music of Baroque and Classicism. Questions of analysis. M., 1986.

21. Kalman L.L. On some forms of manifestation of typical Viennese classicism in instrumental music. Diss. cand. claim. M., 1985.

22. Kalman L. Thematic and functional plans in sonata form // Issues of polyphony and analysis of musical works: Sat. tr./ GMPI im.Gnessinykh. Issue XX. M., 1976.

23. Kirakosova L. D. Principles of thematic development in one-dark forms of Haydn on the example of his clavier work.: Dipl. / Moscow state. Conservatory. M., 1985.

24. Kirillina L.V. Classicist style in music of the 18th - early 19th centuries: Self-awareness of the era and musical practice, Moscow, 1996.

25. Klimovitsky A.I. The origin and development of the sonata form in the work of D. Scarlatti // Questions of musical form. Issue 1. M., 1967.

26. Kondratieva Yu. Clavier works of VF Bach: Dipl. work / GMPI im.Gnessinykh. M., 1988.

27. Konen V. Theater and symphony. M., 1968.

28. Kremlev Yu. Joseph Haydn. Essay on life and creativity. M., 1972.

29. Couperin F. The art of playing the harpsichord. M., 1973.

30. Landowska V. About music. M., 1991.

31. Livanova T. History of Western European music until 1789: Textbook. In 2 vols. Vol. 2. XVIII century. Ed. 2nd. M., 1982.

32. Livanova T. Musical dramaturgy J.S. Bach and her historical connections. In 2 hours 4.I: Symphonism. M.-L., 1948.

33. Livanova T. Musical classics of the XVIII century. M., 1939.

34. Lutsker P. Classicism // Music life. 1991. №№3,4.

35. Makarov V. Features of shaping concertos for several soloists with an orchestra of the Baroque era // Theoretical problems of musical form: Sat. tr. Issue 61 / GMPI named after the Gnessins. M., 1982.

36. Merkulov A.M. Haydn's clavier works: for clavichord, harpsichord or piano N Musical instruments and voice in the history of performing arts: Sat. tr. / Moscow. Conservatory. M., 1991.

37. Merkulov A.M. Editions of clavier works by Haydn and Mozart and problems of interpretation style // Musical Art and Pedagogy: History and Modernity. M., 1991.

38. Merkulov A.M. "Viennese Urtext" of Haydn's clavier sonatas in the work of a pianist and teacher // Questions music pedagogy. Issue 11. M., 1992.

39. Mikhailov A.B. Eduard Hanslik and the Austrian cultural tradition // Music. Culture. Human. : Sat. Art. Issue 2. Sverdlovsk, 1991.

40. Musical aesthetics of Western Europe XVII-XVIII centuries: Sat. articles / Comp. V.P. Shestakov. M., 1971.

41. Muratalieva S.G. Ways of the historical development of the sonata in the 18th century.: Diss. M., 1984.

42. Nazaikinsky E. The logic of musical composition. M., 1982.

43. Neklyudov Yu. Questions of the style of the late symphonies of Mozart and Haydn // Questions of teaching musical and historical disciplines: Sat. tr. Issue. 81 / GMPI named after the Gnesins. M., 1985.

44. Novak L. Joseph Haydn. Life, creativity, historical significance. M., 1973.

45. Nosina V. B. Manifestation of musical and rhetorical principles in clavier sonatas by C. F. E. Bach // Musical rhetoric and piano art: Sat. tr. Issue. 104 / GMPI im. Gnesins. M., 1989.

46. ​​Okrainets I.A. Domenico Scarlatti: Through instrumentalism to style. M., 1994.

47. Petrov Yu. Dialectic of double sonatas by D. Scarlatti in the context of the Baroque era // Ibid. M., 1989.

48. Petrov Y. Spanish genres by Domenico Scarlatti N From the history of foreign music: Sat. Art. Issue 4 / Comp. R.K. Shirinyan. M., 1980.

49. Protopopov Vl.V. Variational processes in musical form. M., 1967.

50. Protopopov Vl.V. Essays from the History of Musical Forms XV! beginning of the 19th century. M., 1979.

51. Protopopov Vl.V. Beethoven's principles of musical form: Sonata-symphony cycles op.1-81. M., 1970.

52. Pylaev M.E. On the theory and history of sonata form in the late 18th and early 19th centuries: Abstract of diss. claim. M., 1993.

53. Rabinovich A.S. Haydn: Essay on life and work. M., 1937.

54. Riemann G. Musical Dictionary. Translation and additions, ed. Y. Engel. M., 1901.

55. Rozhnovsky V.G. Interaction of the principles of shaping and its role in the genesis of classical forms: Diss. cand. claim. M., 1994.

56. Rozanov I. Preface to the publication: K.F.E. Bach. Sonatas for Piano. In 2 books. L, 1989.

57. Shirt E.A. The finale of the instrumental cycle, the Viennese classics as an artistic realization of the country dance. (On the question of the connections between classical symphony and everyday music" of the 18th century): Abstract of diss. candidate of art history. M., 1983.

58. Skrebkov S.S. Analysis of musical works. M., 1958.

59. Skrebkov S. Why are the possibilities of classical forms inexhaustible? II Soviet musician965. No. 10.

60. Tirdatov V. Thematism and structure of expositions in Haydn's symphonic allegri// Questions of musical form. Issue Z. M., 1977.

61. Topina O. creative search J. Haydn in the genre of string quartet: Dipl. work / RAM im.Gnessinykh. M., 1994.

62. Tyulin Yu. and others. Musical form: Textbook. 2nd ed. M., 1974.

63. Tyulin Yu. About Beethoven's works of the late period. clinging musical material// Beethoven: Sat. Art. Issue. I. M., 1971.

64. Fishman N. Aesthetics of F.E. Bach II Sov. music. 1964. No. 8.

65. Khokhlov Yu.N. Piano Sonatas by Franz Schubert. M., 1998.

66. Zuckerman V. Analysis of musical works: Variation form: Textbook. 2nd ed. M., 1987.

67. Chernaya L. Haydn's quartets (on the question of the formation of the genre): Dipl. work / GMPI im.Gnessinykh. M., 1973.

68. Chernova T. Dramaturgy in instrumental music. M., 1984.

69. Chicherin G. Mozart: Research study. 5th ed. M., 1987.

70. Shelting E. Music of the 18th century in the context of aesthetics " enlightened taste» // Music in the context of artistic culture: Sat. tr. Issue 120 / GMPI named after the Gnesins. M., 1992.

71. Shirinyan R. On the style of sonatas by Domenico Scarlatti // From the history of foreign music: Sat. Art. Issue 4 / Comp. R.K. Shirinyan. M., 1980.

72. Einstein A. Mozart: Personality. Creation. M., 1977.

73. Yalovets G. Beethoven's youthful works and their melodic connection with Mozart, Haydn and F.E. Bach // Problems of Beethoven's style: Sat. Art. M., 1932.

74. Abert H. Joseph Haydns Klavieronaten // Zeitschrift fur Musikwissenschaft. 111/9-10. June-July, 1921.

75. Bailie E. Haydn. Piano sonatas // The Pianistic Repertoir. London, 1989.

76. Badura-Skoda P. Six sonatas attributed to Haydn (A detective story) from Hoboken XVI, 2a-2e, 2g: Disc annotation: J.Haydn. Six lost piano sonatas. Paul Badura-Skoda, Hammerklavier. KOCH International GmbH, 1995.

77. Batford P. The keyboard music of C.Ph.E.Bach. London, 1965.

78. Bonavia F. The Essential Haydn // The Monthly Musical Record. May, 1932.

79. Brown A. P. Joseph Haydn's Keyboard Music. Sources and style. Bloomington, 1986.

80 Brown A.P. Joseph Haydn and C.P.E. Bach: The Question of Influence // Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. London, 1981.

81. Brown A.P. Realization of an Idiomatic Keyboard Style in Sonatas of the 1770-s // Haydn Studies: Proceedings of the International Haydn Conference (Washington, D.C., 1975). N.Y. London, 1981.

82. Canave P.C.G. A re-evolution of the role played by C.Ph.E.Bach in the development of the Clavier sonata. Washington, 1956.

83. Eibner F. Preface. Critical notes // Haydn. Clavierstucke. Vienna, 1975.

84. Eibner F. Die Form des "Vivace assai" aus der Sonata D-dur Hob.XVI:42 // International Joseph Haydn Congress (Wien, 5-12 Sept. 1982). Munich, 1986.

85. Feder G. A Comparasion of Haydn "s and Mozart" s Keyboard Music / / Haydn Studies. N.-Y. L., 1981.

86. Fillion M. Sonata-Exposition Procedures in Haydn's Keyboard Sonatas // Haydn Studies. N.-Y. L., 1981.

87. Fleury M. Friedrich Wilhelm Rust (1739-1796). 12 Sonatas. Vladimir Pleshakov, piano: CD Annotation. Dante Production, 1997.

88. Geiringer K. Joseph Haydn. His creative life in music. 3d edition. Berkeley, 1982.

89. Grane J.C. Haydn and the London Pianoforte School // Haydn Studies. N.-Y. L „1981.

90. Hatting C.E. Haydn or Kayser? Eine Echtheitsfrage // Die Musikforschtung XXV/2. Apr.-June 1972.

91. Helm E. To Haydn from C.P.E. Bach: Non-tunes // Haydn Studies. N.-Y. L., 1981.

92. Hoboken A. van. Tematische-bibliographisches Werkver-zeichnes. Mainz, 1957.

93. Hollis H.R. The Musical Instruments of Joseph Haydn: An Introduction // Smithsonian studies on history and technology. No. 38. Washington, 1977.

94. Hopkins A. Talking about sonatas. A book of analytical studies, based on a personal view. London, 1971.

95. Hughes R.C.M. hayden. N.-Y., 1950.

96.Dr. Kloppenburg W.C.M. De Klaveirsonates van J. Haydn. / Haydn Jahrbuch. Amsterdam, 1982.

97. LandonChr. Preface // Haydn. Sämtliche Klaviersonaten. In 3 Vol. Vienna, 1966.

98. Landon H.C.R. hayden. Chronicle and Works. In 5 volumes. London, 1976-1980.

99. Landon H.C.R. hayden. Piano Sonatas // Essays on the Vienesse Classical Style. N.-Y., 1970.

100. Meilers W. The Sonate Principle. London, 1957.

101. Mitchell W.J. The Haydn Sonatas II Piano Quarterly. XV/58. Winter 1966-67.

102. Moss J.K. Haydn's Sonate Hob.XVI:52 (ChL 62), in E-flat Major. An Analysis of the First Movement // Haydn Studies. N.-Y.-L., 1981.

103 Radcliffe Ph. The piano sonatas of Joseph Haydn // The Music Review. 1946, VII.

104. Ripin E.M. Haydn and the Keyboard Instruments of His Time// Haydn Studies. N.-Y. L., 1981.

105. Rutmanowitz L. Haydn's Sonatas Hob.XVI: 10 and 26. A Comparasion of the Compositional Procedures // International Joseph Haydn Congress. München, 1986.

106. Schedlock J.S. The Pianoforte Sonate. Its Origin and Development. N.-Y., 1964.

107. Sisman E.R. Haydn's Hybrid Variations // Haydn Studies. N.-Y.-L., 1981.

108. Somfai L. Further Comparasions Haydn "s and Mozart" s Keyboard Music., // Haydn Studies. N.-Y. L., 1981.

109. Todd R.L. Joseph Haydn and the Sturm und Drang: A Revaluation // Music Review IL 1/3. August 1980

110. Wackernagel B. Joseph Haydns frühe klavieronaten: Ihr Beziehungen zur Klaviermusik um die Mitte des 18.Jahr. Würzburg, 1975.

111. Walter H. Haydn "s Keyboard Instruments // Haydn Studies. N.-Y. -L" 1981.

112. Webster J. Binary variations of Sonata Form in Early Haydn Instrumental Music // International Joseph Haydn Congress. Munchen, 1986.

113. Westerby H. The history of pianoforte music. N.-Y., 1971.160

Please note that the scientific texts presented above are posted for review and obtained through recognition original texts dissertations (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms.
There are no such errors in the PDF files of dissertations and abstracts that we deliver.