Stylistic features of the performance of Haydn's clavier sonatas. "peculiarities of performance of clavier compositions by Joseph Haydn"

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. Joyful, cheerful attitude, courageous energy, humor full of fire, pathetic improvisation and, on the other hand, soft lyricism, light sadness, calm reflection - that's approximate circle musical images that make up the content of J. Haydn's piano music.

The main distinguishing features of the sonata form of J. Haydn

A characteristic feature of Haydn's style is the "orchestrality" of his piano compositions: in the slow parts of the sonatas one can hear either a cello cantilena or a melody played by a violin or an oboe; at every turn there are such orchestral effects as the pizzicato of the bass voice, contrasting the compact sonority of the tutti with the sound of individual groups tools, etc. This feature, as well as the presence of a heroic and courageous beginning in a number of sonatas 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 “Divertimento” served as a model for J. Haydn Viennese composer G.K. Wagenseil). In more mature sonatas (as in the sonata D-dur Hob.XVI/19), contemporaries saw features close to the style of F. E. Bach. J. Haydn took a lot from W. Mozart, especially with regard to the enrichment of melody and the perfection of form. This is clearly felt, for example, in the sonatas cis-moll (Hob.XVI/36), G-dur (Hob.XVI/40) and Es-dur (Hob.XVI/49).

Haydn, having developed the sonata form and surpassed even Mozart in its construction, retains the character of the gallant style. Haydn's music is transparent, graceful, fresh, sometimes childishly naive and playful.

The sound when performing Haydn should not be too deep: even melodiousness in legato performance does not require excessive juiciness. Technical passages and embellishments should be played in a light, transparent sound, sometimes in the finest leggiero.

No rhythmic deviations that introduce the character of pathos into recitations are unacceptable for the gallant style. All expressiveness is based on the subtlest modulations of dynamics, without the participation of the agogic emphasis of recitation. Childish simplicity, combined with elegance and grace, sometimes with a certain pretentiousness, is so difficult to convey the style that few pianists dare to perform works of this era.

The music of the gallant style is so subtle that any sharp accentuation, harsh highlights and excesses in the forte destroy the subtlety of its charm. The same caution is necessary in the field of rhythmic deviations, which are capable of introducing an excess of expressiveness, i.e. affectation. Pedalization remains within the same boundaries as Haydn's predecessors.

Particular attention should be paid to the quality of Haydn's themes and the way they are developed. The connection between the figurative structure of thematism and the genre and form becomes organic and necessary. The interdependence of the composition and the theme is established: the theme corresponds to the composition and the composition will necessarily require the inclusion of certain qualities in the theme. A similar functional dependence of thematics on composition, form is the main feature classical style. And it is clear in the music of J. Haydn. In the first parts of Haydn's sonatas, the themes in most cases are structurally formalized and completed. The rhythmic beginning is always individualized in them.

In the structure of themes, Haydn gravitates towards a complete thought, to periods of various types: to the periodic repetition of sentences with varying cadence or the entire texture during repetition (Sonata No. 7 in D-dur, Martinsen, Sonata No. 4 in g-moll). To the themes-periods, structurally indivisible into sentences (Sonata No. 6 cis-moll, Sonata No. 24 C-dur); to open or modulating periods (Sonata No. 1 Es-dur, No. 2 e-moll); developed with lengthy second sentences (Sonata No. 26 Es-dur, No. 42 C-dur); periods divisible into three sentences (Sonata No. 3 Es-dur, No. 8 As-dur); to difficult periods (Sonata No. 9 in D-dur). In the themes, not only the main expressive means - melody, harmony, rhythm - are individualized, 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 a strict framework 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. Even more important quality Haydn's thematism becomes the tenacity of the elements of the theme, their strong conjugation, logical interconnection, 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 a classically finished shape: a vivid thematicism, containing the possibilities of further intensive transformation, effective ways thematic development, meaningful composition, logical saturation and understanding 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 vivacity, subtle humor. Listening to her, as if in contact with an inexhaustible source of youth, health and optimism. Sometimes the music becomes sad and thoughtful or dramatic, but all these are only short-term shades of the general light color. The composer gives them in passing, as if reminding the listener that his "hero" experiences more serious and profound experiences.

The main idea of ​​the work is clearly and succinctly contained in the main part - its initial eight bars. A typical classical period - two mutually balancing sentences: "question-answer", a light melody-song with an extremely simple accompaniment. Before us, a completely finished image appears, full of subtle stylistic details, through which the composer's creative style is immediately noticeable (the grace note in the first bar is an expressive touch! It has so much Haydnian humor and enthusiasm!). There are no significant contrasts in the exposition, the development is more contrasting. At its very beginning, with a deviation in parallel minor music acquires a shade of seriousness, reflection. It lasts only a few moments and the 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. musical fabric clear and transparent, like sound 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 inclination to a strong beat of the measure.

The end of the connecting part should be played very energetically, with a full sound, in order to more clearly reveal the line between it and the side part. It is important to emphasize this contrast, because both parties are close in character, and if you do not focus on their difference, then the exposition may seem monotonous.

Compared to the bonding party, side party is softer and more feminine. 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 conducted in a minor key.

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 varying degrees of preparedness.

"Haydn's strength is in his fantastic inventiveness, and therefore his music constantly surprises with its unexpectedness" Pablo Casals.

Bibliography

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2. Asafiev B.V. musical form like 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 meaning. - 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.
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11. Feinberg S.E. Piano as an art. - M.: Classic XXI, 2001 - 335 p.

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 at the Higher School of Music in Bobigny and at the Conservatory. K. Debussy in Paris, which he graduated with gold medals. All over the world, there are only a few performers who master so many instruments and styles, so on Sunday, listeners had a chance to come into contact not only with a variety of instruments, but also with a widely and brilliantly educated musician who played them.

The concert was held in three parts, each of which involved its own instrument: two sonatas by J. Haydn were presented on each instrument. There were six sonatas in total: Nos. 23, 26, 19, 20, 44 and 50 (Hob. XVI), but for obvious reasons there were no encores. Sonatas 23 and 26 were performed on the harpsichord, 19 and 20 on the tangentenflügel, and 44 and 50 on the hammerklavier.

As can be seen from the list, an exclusive sonic atmosphere was recreated in each compartment, which was further varied due to the possibilities of tuning the sound of the instruments implied by their design. The impression was unusual: when well-known works are played on instruments of construction from the time of their composition, it becomes clearly clear how much the modern piano unifies the sound of ancient things and what transcendent sound skill is required to interest the listener with his playing and the music played on the modern piano. And historical instruments, by the very fact of their use, naturally recreate the sound atmosphere of antiquity, and it remains only to professionally select them in order to successfully present the music intended for performance. As far as I understood, the instruments were chosen by Martynov for certain Haydnian sonatas by no means by chance, but 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 in choosing an instrument and in registering - 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 stringed keyboard instrument, which, as a rule, has two manuals and several register switches, the sound of which is formed by plucking the string with a special tongue while simultaneously raising the damper to release the string. In Haydn's sonatas from the first movement, Yu. Martynov changed the registration and used both manuals.

In the second section, a unique instrument sounded - 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 extraction. And on the hammerklavier, Yuri Martynov also used the possibilities provided by the tool for mechanical restructuring in order to change the nature of the sound, moreover, directly during the game. This was done with taste and left no doubt about the legitimacy of specific decisions.

It can be rightly said that Yuri Martynov in his concerto presented in sound a “short course” on the history of the development of clavier mechanics and sound production techniques in the second half of the 18th century and demonstrated the possibility of a very virtuoso playing on all instruments. The sound result was completely convincing and left nothing to be desired, which was duly appreciated by the audience of the Rachmaninov Hall, who witnessed this unique performance.

In summary, I can say that it was a wonderful concert, during which one could be convinced of the need to perform ancient works on instruments of ancient lifetime designs, when the properties of the timbre, the features of sound production and registration make it possible to achieve such artistic effects that are fundamentally unattainable on modern pianos.

If we try to characterize the performing style of the clavier player himself, regardless of the sound of the ancient instruments he played, then we can say that Yuri Martynov adheres to very free views on this kind of interpretation. Throughout his speech, I repeatedly caught myself thinking that if we “projected” his playing onto the keyboard of a modern piano, then much would look very free and in places, probably mannered and pretentious, but this is the beauty of playing on ancient instruments, that some tempo-dynamic exaggeration, expression and even overly free rubato are perceived on them as something completely natural, closely connected with the physics, mechanics and physiology of performance and, therefore, quite human and artistically convincing. The individuality of the artist manifested itself very sharply and vividly, but this did not harm the music performed in the least, 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”.

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 they were instilled with strong moral concepts that prepared Haydn for a difficult independent life. 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 children manifested itself very early, parents could not pay for lessons, and the future famous composer, who had good voice, went to a large unfamiliar city and entered the church choir as a singer there. The head of the choir, during his trip around the country in search of gifted chorister boys, drew attention to the eight-year-old Josef and, with the consent of his parents, took him to Vienna.

When Haydn's voice began to break down and he was no longer suitable for singing in the choir, he was fired from the chapel, Haydn was left without bread and shelter. Never had it been so hard for him, and yet it was happy years. For ten years of hard work, Haydn made himself a professional musician. Composition was his dream. Realizing that his knowledge was not enough, and there was no money to pay for lessons, Haydn found such a way out. He entered the service of a major musician of the time, Nicolo Porpora. The young man served him 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. Under the impression of 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.

The last years of Haydn's life were spent on the outskirts of Vienna, in peace, rest, communication with people who revered the great master. Haydn died in 1809.

« Without him, there would be neither Mozart nor Beethoven!

P.I. Tchaikovsky

listening to music: J. Haydn, Symphony No. 45 (I part), Symphony No. 94, Quartet, Sonata e-moll.

Symphonic creativity

J. Haydn

One of the main historical merits of Haydn is that it was in his work that the symphony acquired its final form. He worked on this genre for thirty-five years, selecting the most necessary, improving what he found. His work appears as the very history of the formation of this genre.

The symphony is one of the most difficult genres of music not related to other arts. It requires thoughtfulness and generalization from us. Germany of that era was the center of philosophical thought, reflecting the social changes in Europe. In addition, a rich tradition of instrumental music has developed in Germany and Austria. This is where the symphony came from. It arose in the work of Czech and Austrian composers and finally took shape in creativity Haydn A.

The classical symphony was formed as a cycle of four parts, which embodied different aspects of human life.

The first part of the symphony is fast, active, sometimes preceded by a slow introduction. It is written in sonata allegro form.

The second part is slow - usually pensive, elegiac or pastoral, that is, dedicated to peaceful pictures of nature, calm inspiration or dreams. There are second parts and mournful, concentrated, deep.

The third movement is a minuet, and later a scherzo. This is a game, fun, live pictures of folk life.

The final is the result of the whole cycle, the conclusion from everything that was shown, thought out, felt in the previous parts. Often the final is life-affirming, solemn, victorious or festive.

Haydn's symphonies were written in this form.

In the work of Haydn, a special attitude to the symphony was established. It was designed for a mass audience, had a larger scale and sound power. The symphonies were performed by a symphony orchestra, the composition of which was also established in the work of Haydn. Although at that time the orchestra included a few more instruments: violins, violas, cellos and double basses - in the string group; the wooden group consisted of flutes, oboes, bassoons (in some symphonies, Haydn also used the clarinet). 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, despite their differences, are united by a single dance rhythm and cheerful festive mood.

Hearing:

J. Haydn, Symphony No. 103 Es-dur "Timpani Tremolo"

piano sonatas haydn

TO piano music Haydn addressed throughout his life 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 could be done in this genre?

The sonata has long been a 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, a new style of playing this instrument took shape. He quickly realized that it was possible to play softer expressive melodies on the piano than on the harpsichord. Beginning with Haydn, harpsichord music began to become a thing of the past, while piano music began its history.

In the work of Haydn, the classical type of sonata has developed. It usually consists of 3 parts. The endings, written in a fast tempo in the main key, frame the slow second movement.

Very clearly, the features of Haydn's piano style are expressed in his Sonata in D major.

First part sonatas - cheerful, lively, childishly direct. 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, returns the cheerful mood of the first movement.

Haydn's sonatas are characterized by elegance and lightness of music, lack of contrast between themes, small volume and intimacy of sound.

Hearing: J. Haydn, Sonata D-dur

Similar information.

Yulia Gennadievna Tyugasheva
Methodological development "Stylistic features of the performance of Haydn's compositions"

Stylistic features of the performance of Haydn's compositions.

Stylistic originality of Haydn's music, including the clavier, is relatively little studied.

What, first of all, you need to know and remember in general aesthetic terms, when starting to study and interpret clavier, and indeed any other, music haydn?

1. Haydn were undoubtedly close to those aesthetic views, according to which music is called upon to embody mathematical relationships in sounds, and to awaken feelings "master the hearts", "excite or calm passions".

2. What Haydn as a person and an artist, he was formed in an environment, so to speak, of the folk music of Vienna.

Dynamic shades.

With regard to dynamics, one should remember, first of all, two circumstances that are very significant in the era haydn.

First, forte haydn 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 times haydn. Of course, we should not at all return to the forte that was customary and desirable. Haydn: Our ear is too accustomed to acoustically stronger sound. But we also shouldn't, playing this or that Haydn's writings, exaggerate the power of forte, force the sound.

Secondly, according to the existing tradition, Haydn more often than not, he was content with hints of dynamics rather than precise and clear indications. Therefore, to the meager scale of dynamic notation haydn, one way or another, you have to add something from yourself.

However, observing this rule, it should be borne in mind that replenishment dynamic shades should take place in strict accordance with the meaning of the work, in accordance with its style features and laws and in no case exceed the permitted measure. You can not go too far in your additions. abundance dynamic nuances no less harmful than absence: it shouldn't destroy, crush the melodic line.

Over the years Haydn began to record in more detail and more carefully his performance requirements. And among his later there are such, which allow us to more accurately judge the nature of its dynamics. An excellent example in relation to the differentiation of dynamic shades can be at least his Sonata D-dur, belonging to the years 1782-1784, the Sonata Es-dur, created in 1974. Here we have in mind not only the designations forte and piano, but also the designations fortissimo and pianissimo, and also, perhaps most importantly, the indications crescendo or similarly f-piu f-ff these sonatas, like some others essays relating to that period can be use to study Haydn's style, in particular, style of his dynamics.

Especially give a lot to know stylistic laws of clavier music Haydn instructions sforzato which are extremely characteristic of the composer. They have the most diverse functional significance.

First of all, the indications sforzato undoubtedly mean haydn accent. At times haydn did not yet use the usual for the 19th century and so familiar to us special signs like >, ^,< >. Instead of them, the designation sforzato was most often used. Therefore, it is immediately necessary to distinguish and determine exactly at what dynamic level should be performed put down in the text sforzato. It's one thing if sforzato is set at the general dynamic level of forte. It is completely different if it is listed on the general dynamic level of the piano. In the first case, the accent should be strong enough, catchy; in the second - weaker, sometimes even barely audible.

Next, 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 top of the phrase? Intonation (phrasing) accents are very characteristic Haydn, and without the correct feeling of them and, of course, without the correct proportionate dosage, good performance of Haydn's clavier works is simply impossible.

To the notation forte and piano (f p) on the same note (meaning sforzando) Haydn, as a rule, did not resort. In this respect, he is decisively different from Mozart, who loved this sign and often put it in those places. essays, where it was necessary to first take the sound sharply enough, and then suddenly weaken it.

Rarely used Haydn to the so-called"echo dynamics". But he still was not completely alien to this effect, which involves a change in sonority (weaker sonority) when repeating individual steps. It should only be taken into account that, applying this effect at performance of Haydn's works, it is necessary to observe a certain caution and be economical. There is nothing easier than using the immoderate effect of echo-dynamics to break up a single line of development of musical material and thereby significantly worsen execution. The circumstance that haydn this effect is rare, should caution performer from any excesses in this area.

At all, Haydn, judging by the few surviving confessions, was an opponent of all kinds of exaggerations. And the dynamic side performance is no exception here. Sonority in interpretation Haydn's writings should not be rude, harsh, excessively protruding and, most importantly, should not go to the detriment of the nobility and simplicity of expression.

Considerable difficulties arise in performer and in determining the pace Haydn's writings. This is where knowledge is needed. Haydn's style of music, and known experience. And proper critical flair. Should not be afraid of performed by Haydn fast paced. Haydn undeniably did not shy away from them, and, one might say, even I loved: many finales of his sonatas eloquently prove this.

At times haydn tempos such as Andante and Adagio were not unnecessarily slow motion, these rates are much more mobile than those of Beethoven and the romantics. Parts of sonatas haydn, marked with these notations, cannot be be too slow, with unusual pathos: it's coming contrary to stylistic the laws of music haydn. And this should always be remembered.

Haydn left us no mathematical calculations of tempo, no metronomic notations. Therefore, when accurately determining the pace, one has to take into account a number of circumstances. First of all, it is necessary to take into account the very nature music: sparkling sonata finales haydn, of course, require the most mobile tempo, parts marked Largo - the slowest tempo. It is also necessary to take into account peculiarities writing musical text, in particular, the shortest notes in duration, of which these or those passages: these notes, as it were, limit the speed of the tempo, the speed of movement. Further, one cannot pass by the rhythmic pattern 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 just like many other composers. Finally, they are essential in determining the tempo of works haydn and articulatory designations, as well as ornamentation. Bad is the pace at which it is impossible fulfill decorations properly indicated in the musical text and to reveal certain articulatory subtleties. Often on articulatory indications haydn, by the way, very stingy, one can judge the correct character and pace, the correct speed of movement.

To confidently resolve all difficulties that arise when determining the tempo in works haydn, it is necessary to know and understand the nature of Haydnian tempo notation; it is necessary to know exactly which indications of tempo he resorted to most often and what they meant to him.

We can propose the following scheme of tempo designations found in clavier sonatas haydn from which much will become clear to us.

The fastest tempo that appeared in the clavier sonatas haydn, is the Prestissimo tempo. True, it occurs only once - in the Sonata G-dur, dating back to 1780. Prestissimo y haydn means the fastest pace and should be fulfilled appropriately, as quickly as possible. We emphasize once again that there is no need to be afraid of the fast pace of haydn, especially in his cheerful finals: they should be played easily and quickly, they are so conceived, they testify to a certain graceful manner of his writing, alien to any heaviness.

Second fastest pace Haydn is Presto. This tempo occurs 20 times in his clavier sonatas. (mostly in finals) and should run extremely fast(but not limiting). One should strive to ensure that all notes, decorations and articulatory strokes sound clear and distinct in it, so that there are no sound roughness and errors.

To the pace of Presto y haydn the rates of Allegro molto and Allegro assai are approaching in speed. Both tempos are rarely found in his clavier sonatas. (Allegro molto -5 times, Allegro assai - only once).

Somewhat slower should be fulfilled Vivace molto and Vivace assai, found in the E-moll sonata and D-dur sonata, respectively, and mean a very lively movement, but still less fast than Presto.

Frequently used Haydn in clavier sonatas, the tempo designation Allegro indicates a fairly fast tempo, but by no means excessive. IN "pure" in form it occurs 24 times in the sonatas; with various additions indicating desire haydn either slightly increase the speed of movement, or, conversely, slightly reduce it.

No less common in clavier sonatas Haydn notation Menuett Tempo di menuetto. At performance this tempo, it should be borne in mind that the minuets haydn, in contrast to the minuets of earlier times, were relatively calm in movement, although perhaps less calm than Mozart's classically balanced minuets. That's why the minuets haydn don't play too fast. It is also significant that in any minuet haydn there are always 3 rhythmic beats per bar. And not one hit per strong beat.

Relatively rare in clavier sonatas haydn designation Allegretto (only 4 times, indicating a moderately fast and at the same time graceful character performance. Perhaps it approaches Andante rather than Allegro.

Known difficulties are Haydn performance of Andante tempo, found in clavier sonatas 12 times, of which once with the addition of Con moto, 2 times - Con espressione. These additions show that Haydn in individual cases, unfortunately few, sought to help performer in specifying the speed of movement Andante: the words Con moto indicate desire Haydn perform Andante at a more active tempo, Con espressione's words to his desire to play Andante more calmly (sonata G-dur). In all other cases performer will have to decide how perform this or that Andante: whether to play it more fluidly or more calmly.

Often found in claviers Haydn's writings Moderato designation (20 times) also delivers the performer has a lot of worries. One moderate pace here is far from always equal to another. A lot depends on the nature of the music, on the texture, dynamics, rhythm and other components of the musical fabric.

Adagio affixed Haydn in clavier sonatas more than 15 times, should not run too slowly. Where Haydn wanted to strongly emphasize its drawling character, he also adds the designation e cantabile to it (as he did in Sonata Es-dur).

The slowest pace Haydn is Largo, occurs twice in his clavier sonatas. Moreover, in one case sostenuto was added to it, as if emphasizing the extremely slow nature of the movement. Lento notation in clavier sonatas haydn does not occur at all.

Worth mentioning is also found in the text of the clavier sonatas haydn notation Larghetto - the pace is faster than Largo, and that especially important, faster than Adagio. About it performer of Haydn's works never to be forgotten.

For interpretation Haydn's writings special Rhythmically accurate playing is essential. Tact for haydn- not just a formative unit, but the true soul of music. Exact observance of it, rhythmic uniformity, stability, firmness of the tempo - special conditions for good performance.

However, this does not mean that Haydn's compositions must be performed mechanically, soullessly, formally, beating out every quarter and strong beat of the bar like conducting a clumsy bandmaster. Moreover, this does not mean that within one part or even one separate episode, haydn there are no deviations from the main tempo at all. Of course, frequent shifts in tempo haydn within one part are excluded. They are absolutely not in the spirit of him style and can only spoil the performance. But even here there are exceptions; especially this refers to his comparatively late essays.

Agogics, rightly understood and applied in moderation, undoubtedly helps the natural execution of transitions, the relationship of individual episodes. If not always, then in many cases, tempo freedom here seems to us necessary.

And in general, is any good musical execution without agogic digressions? After all, it is possible to play a work quite plastically, flexibly, only by resorting to agogic means!

Haydn here constitutes an exception to the general rule. We only need, we repeat, to be able to use agogics in moderation, not to go beyond the permitted border style. However, these limits are also very relative. Taste here, as in everything else, plays a decisive role.

Rubato is also absolutely necessary when performance of Haydn's works. But still in more moderate doses than agogic digressions. In this sense style features of Haydn's music differ significantly from style features his great contemporaries, say, Mozart, who has quite clear and unambiguous indications of execution of Rubato, and even gives a comprehensive explanation of Rubato's game: "so that the left hand does not know anything about it", to "the left hand did not make concessions". At haydn we will not find such self-confessions. And it's even more

complicates an already difficult problem. performances of Rubato.

What exactly performing Rubato and how to perform Rubato? In what character?

In which style? Answering these questions is difficult, sometimes even impossible.

One thing is certain: the pace and nature of the accompaniment should remain with haydn still more unaltered, unaffected by the slight accelerations and decelerations in the melody, which should always be the center of attention performer. It is impossible, for example, well fulfill, as noted above, the slow parts of the sonatas haydn without resorting to skillful Rubato. It is what informs performer liveliness and expressiveness. Of course, Rubato almost does not affect performances of rapid movements in Haydn's compositions: here it is like death.

Were they peculiar Haydn some features of rhythmic recording that took place among his predecessors, in particular among his predecessors, in particular with Bach and Handel? In short, is it necessary to known cases perform notes are rhythmically different. How are they written in the text? Probably sometimes necessary especially when performing dotted rhythm, but only sometimes and very carefully, without crossing the border of artistic taste. The purpose and justification for such changes is to achieve an active rhythm as opposed to a sluggish, lazy and vague execution. However, one should never forget that Haydn He was a man quite clear and definite in his intentions. He tended to write notes the way he wanted them to be played. Changes in rhythm performance are more the exception to the rule than the rule.

Ornamentation.

Ornamentation Haydn is located, one might say, halfway between C. F. E. Bach and Mozart. Although Haydn and once called Carl Philipp Emmanuel Bach his great teacher, this should be understood in a broadly generalized sense, but not in the sense that he literally adopted the rules of ornamentation from his predecessor. Despite some similarities with the North German composer, even outwardly it is noticeable that the decorations of haydn have a completely independent notation. After all, their basic education Haydn received in Vienna and not in Berlin.

Grace notes.

Grace notes haydn, notated with small notes, can be long or short, stressed and unstressed. Their duration is not always unambiguously predetermined by the notation, but, unlike later composers, long accented grace notes predominate, especially if the small note of the grace note forms a harmonic dissonance. Despite their spelling, such dissonant delays are usually played "to the beat", simultaneously with the bass note or voice note. Grace notes notated with quarter or half notes usually correspond to the duration of these notes; grace notes written in eighths or sixteenths can be either short or long. Therefore, a grace note notated eighth might well be half note long, as, for example, in the Sonata G major, Menuett, bar 28.

If the grace note itself forms a consonance, as, for example, with grace notes going up a sixth or an octave, then the grace note is usually played briefly and unstressed. 17 .

There are also grace notes that should be played in a modern way - off-beat and easy, as, for example, in Sonata No. 37, D-dur in 1 movement, bars 17-19.

An unconditional rule that knows no exceptions should be considered a league between the grace note and the subsequent main tone. Due to the fact that this rule was taken for granted by musicians of the 18th century, in old manuscripts and, accordingly, in modern editions, grace notes sometimes do not have leagues. Their absence has caused confusion among musicians of our day and has led to many misinterpretations. Not only grace notes notated in small notes, but also written out discordant detentions should always be tied to resolution, which should be removed gently, as, for example, in Sonata No. 35 C-dur (movement 2, bar 4).

Trills and uncrossed mordents.

Trill at haydn, like most trills of the 18th century, usually begin on a non-chord note. For execution of Haydnian trills are more suitable for the Italian-inspired instructions of Quantz than the recommendations of C. F. Bach, because the teacher haydn according to the composition was the Italian Porpora.

Trills, like almost all 18th century ornaments in general, should always sound fast and easy, and not be an indifferent strumming. In contrast to Bach's trill, in Quantz's trills the main sound is accentuated slightly more than the upper auxiliary note.

Let's compare performing deciphering one place from 1 part haydnian G-dur "Noah Sonatas No. 6 according to Quantz and Bach.

Not only with descending, but also with ascending chains of trills, for a good melodic connection, it is preferable to start with the main sound, as, for example, in the f-moll" Variations, measures 82 and further.

Sometimes trills refer not only to the duration of the note they stand above, but rather to stop at about half the note duration, as, for example, in part 2 of the F-dur Sonata No. 23 (bars 7-8).

An uncrossed mordent consists of Haydn of three notes and, unlike the usual long trill, begins with the main sound.

About what exactly is the execution was intended by Haydn, can be concluded based on many examples from his essays, where the uncrossed mordent is written out in small or large notes, as, for example, in part 1 of G-dur "Noah Sonata No. 39, bar 18.

Instead of the accepted designation of mordent Haydn uses the ~ sign.

That's why performer need to understand how perform it is a universal sign as a mordent, as a gruppetto, or as an uncrossed mordent. Knowing that mordents were used only in ascending sequences of sounds or at the beginning of a phrase over a longer note, choosing the right decoration is not difficult. At the beginning of h-moll "noy Sonata No. 32 Haydn wrote out the mordent in notes, and then immediately the abbreviated designation.

Mordent always starts with a reference sound. It is necessary to strictly follow the correct game and not start it from the beat.

Gruppetto.

For this decoration Haydn uses three types designations: his "universal mark"~, the accepted designation ~, as well as a grace note of three small notes.

The groupetto primarily serves to give some brilliance to notes that are more significant in a rhythmic or melodic sense.

A grace note is often used to "explanations" performance at the beginning of the piece.

As can be seen from the selected examples, the groupetto begins above the note, sometimes on a beat of the bar (Sonata No. 29 and 48, sometimes before it (Variations C-dur).

Groupetto between two dotted notes often being executed at the beginning of G-dur "Noah Sonata No. 27 (Ex 15).However, often, by analogy with the third of the above examples, the dotted rhythm here "escalates". Compare the different notation in the 1st movement of the Sonata No. 48 in G-dur, vols. 13 and 83.

Arpeggio.

Like Mozart, Haydn marked the arpeggio either with a slash approximately in the middle of the chord, or with the help of small notes. Therefore, the slash implied haydn not acchakkatura, that is, the mixing of harmonically alien tones to sharpen the sound, but only a simple ascending expansion of the chord. The achchakkatura itself is found in haydn relatively rare and is indicated specifically with the help of notes, as in part 1 of the cis-moll Sonata No. 35.

Haydn specifically noted the arpeggio only when he wanted to guarantee a decomposed playing chords. In many cases, arpeggiation is left to choice. performer. In piano texture, arpeggios in the right hand should almost always be played "to the beat", with a distinct emphasis on the highest note.

Full house, train and other ornaments.

Less common decorations Haydn mostly notated in small notes, for example (Ex 20).

These decorations, according to the 18th century theory, should also be played "to the beat" and softly, that is, emphasizing the subsequent note of the melody. It should be cautioned against a common mistake when they perform from the beat.

In the music of that time, some decorations can be replaced by others on occasion. Contractor often you have to decide for yourself whether to play a gruppetto, an uncrossed mordent or a longer trill here. Sometimes, when a sentence is repeated, the ornamentation is enriched. But at the same time, one should not add too many decorations to obscure the calm and clear vision of the melodic line.

Let's turn to the grace notes: even their duration cannot be unambiguously determined, and the composer himself often did not assume their same type performance. Along with the usual rhythmic durations with grace notes, of course, can sing notes, which are about one-third or one-fifth of the note duration, and therefore cannot be recorded accurately. In addition, a long grace note means not only a certain pitch and duration of a sound, but also an emphasis on a note and its connection legato with an unaccented one. resolution. Therefore, it is desirable to return to older "clarifying" publications, however, with the difference that "text" And "explanations" clearly distinguished graphically.

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 early period 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 sorts of finds, discoveries, 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 domestic literature. IN foreign literature the most full-fledged and comprehensive study of it is presented 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 a detailed description of the 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 is academic by its criteria, that we have taken as a basis when considering the sonatas, including in relation to the chronology adopted there.

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

4 See: Bailie E. (75).

5 See: Radcliffe Ph. (104).

6 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 in S. Muratapiyeva's dissertation (41) is devoted to this topic, written on a topic aimed at the historical problems of the formation of the clavier sonata genre in the era of interest to us. The chapters of this dissertation are devoted respectively to the sonatas of C.F.E. 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 the musical heritage in general is reflected in many works on the history of music (including works on the history of the sonata, the formation of sonata-symphonic cycles, on classicism and neighboring eras, fundamental musical-historical publications and textbooks). 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) creativity of Haydn and to identify style features and the main trends of its consistent development over various periods. We have adopted a periodization that divides the path of development of the sonata into four periods: early - until 1766 (including the most sonata cycles), the period 1766-73 (13 sonatas), 1776-81 (82) (12 sonatas) and late - 1784-94 (9 sonatas).

In accordance with this periodization, the structure of the work is also built. Each period is presented 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, which represent both the evolution of the Haydnian language, its style, and historical stages 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 the individual, inventive solution of each sonata cycle- 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 historical context and Haydn's own clavier work (in terms of comparisons, it was inevitable that several clavier works of other genres were involved). 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.

Given the need to emphasize both the main general trends in the cycles of one period, and the individual features of individual sonatas, in each section of the work, the characterization of the period includes its main specific features as a whole with relevant examples, and then follows the characterization of certain types of sonatas (or their groups) , and a more detailed analysis of some works. Each time, the choice of the degree of detail of the analysis is dictated by the 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 generalizing description of the evolution and prerequisites of Haydn's sonata work and includes a section on the clavier sonata mid-eighteenth 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 the most different 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 late period, Haydn largely came to a stylistic synthesis of many of his ideas that were born in different periods.

In this sense, all the genre “inclinations” that 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 has been a constant experiment in search of various forms of the cycle and various types of 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, leads both to “deception”, a violation of the known principles of construction, and to a new genre quality - scherzo (it is typical that in early works the “game” was most revealed precisely in the finals - and scherzo is especially evident in the finals of late sonatas with their unusual shapes).

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 in the brightly individual style of 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 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 the most different options and transformations) throughout the whole of Haydn's work, and in the work of Mozart (whose "storming", 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 a special development of 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 as Nos. 15/13 and, of course, 16/14). In the sonatas of the third period already crystallized five types of development (development-contrast, development - " new round exposition, development with the transformation of the material of the exposition, bringing the main line to a dramatic culmination, with a given dramatization when modifying the thematic), which, being connected with each other, are present in the sonatas both in mixed and in pure versions.

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.

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