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

Many performers constantly turn to Haydn's compositions: these are students of children's music schools, students of music schools and conservatories, as well as concert artists. For a competent reading of the composer's music, it is important not only to understand the specifics of the figurative content of his works, but also to understand issues related to the field of performing technology. In this work, the problems of style and interpretation of Haydn's works will be considered on the example of his clavier sonatas.

Download:

Preview:

Municipal budgetary educational institution

Additional education

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

Methodical work

teacher Semenkova A.V.

"Performance features

Clavier compositions

Joseph Haydn"

Murmansk

2017

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

Dynamics…………………………………………………....……5

Articulation…………………………………………….….…….6

Pace………………………………………………………...……..6

Ornament…………………………………………..….………8

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

Introduction

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

First of all, he became one of the founders of the Viennese classical school. The development of the genres of symphony, quartet, sonata is associated with his name.

Haydn's creative legacy is enormous. He created 104 symphonies, 83 string quartets, more than 50 sonatas, a large number of concertos and chamber ensembles of various compositions, as well as vocal and symphonic works.

Many performers constantly turn to Haydn's compositions: these are students of children's music schools, students of music schools and conservatories, as well as concert artists. For a competent reading of the composer's music, it is important not only to understand the specifics of the figurative content of his works, but also to understand issues related to the field of performing technology.

In this work, the problems of style and interpretation of Haydn's works will be considered on the example of his clavier sonatas.

Keyboard sonatas

The composer turned to this genre of instrumental music throughout his entire career. The term "sonata" itself first appeared in relation to the c-moll sonata, written in 1771.

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

The first sonatas, called “partitas” or “clavier divertissements”, are still quite modest in size and often have a harpsichord character. In style, they are close to the works of Carl Philipp Emanuel Bach, from whom Haydn learned the techniques of thematic variation, ornamentation and innovative textural techniques.

It is not known for certain which of the sonatas were written for harpsichord or clavichord, and which for piano. The autograph of the C minor sonata already contains dynamic indications forte, piano, sforzato, but there are no indications of crescendo or diminuendo, indicating a piano orientation.

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

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

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

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

Dynamics

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

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

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

According to the existing tradition, Haydn most often limited himself to only hints of dynamics, rather than precise and clear indications, therefore it is important that the replenishment of dynamic shades takes place in accordance with the meaning of the work, according to its stylistic features and patterns, and, in no case, does not exceed the permitted measure. .

Characteristic for the composer are the sforzato indications, which have the most diverse functional significance. Undoubtedly, they denote Haydn's emphasis, but at the same time it is necessary to understand and distinguish at what dynamic level the sforzato put down in the text should be performed. With the general dynamics of the forte, the accent should be quite strong and catchy, with the dynamics of the piano, it should be weaker, sometimes even barely audible.

Unlike Mozart, Haydn, as a rule, did not use the notation forte and piano on the same note. Rarely, he also used the so-called "echo dynamics", which involves a change in sonority when repeating individual phrases.

Articulation

Issues related to the ratio of legato and staccato, understanding the meaning of staccato varieties - dots and vertical lines, and most importantly - the ability to apply them in different contexts, should also be important for the performer of Haydn's compositions.

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

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

Pace

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

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

Prestissimo - the fastest pace.

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

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

Allegro is a fairly fast tempo, but not excessive.

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

Moderato - moderate pace.

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

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

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

Largo is the slowest pace.

It must be emphasized that, in Haydn's time, tempos such as Andante and Adagio were not unnecessarily slow movements, such as they acquired in the practice of nineteenth-century musicians. Also, one should not be afraid of the fast tempos in the finals of the sonatas. But at the same time, it is important to understand that because of the fast pace, the clarity and rhythmic clarity of the music should not suffer.

For the interpretation of Haydn's compositions, rhythmically accurate playing and tempo stability are of particular and very significant importance. This does not mean that within one part or even one separate episode there cannot be deviations from the main tempo. However, frequent shifts in tempo within one part, and even more so within one episode, are excluded. It is also important that the tempo and character of the accompaniment remain the same, despite any slight accelerations and decelerations in the melody.

Ornamentation

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

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

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

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

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

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

Combination uncrossed mordent and gruppettostarts with the root note and consists of four sounds.

In general, we can say that Haydn is characterized by the interchangeability of melismas, which allows the performer to decide for himself which of the decorations to choose in this case.

Sonata editions

Until the early 1870s, Haydn's piano sonatas existed only in manuscript form. In 1774 a Viennese publisher J. Kurzböck published the composer's six sonatas for the first time. In 1778 the publisher I. Yu. Hummel published six more sonatas, known in manuscript as early as 1776.

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

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

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

In the period from the second half of the 19th century to the first third of the 20th century, under the influence of romantic musical art, many editions-interpretations appeared that did not correspond to the style of the era in which the work was created.

In them, the changes in the original text to the greatest extent affected the author's ligature and articulation: small per-measure slurs were replaced by longer, phrasing ones, which was dictated by the desire for melodiousness and breadth of breathing. An example of the use of such a ligature is the edition of Haydn's sonatas G. Riemann (1895).

Also, to enhance the cantileverness of the music, preference was given to playing legato. In musical notation, this was noted either through slurs or through verbal indications that applied both to small notes in melody or accompaniment, and to passages in fast parts of sonatas. Another means of creating broader melodic lines was copious pedaling. In particular, it is found in the editorial M. Presman completed in 1919.

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

In addition, Bartók details the very process of dynamic changes: in his edition, one can find the designations crescendo and diminuendo, crescendo molto and diminuendo molto. Sometimes an increase in sonority corresponds to an acceleration of movement, and, conversely, a decrease in sound corresponds to a slowdown.

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

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

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

In 1920, the publishing house Breitkopf and Gertel published three volumes of Haydn's clavier sonatas, edited by K. Pasler . This edition, based on the composer's autographs, was subsequently used in their work by many editors of Haydn's urtexts.

Since the late 1920s, editions have appeared that can be called "semi-urtexts". In them, the designations of the author and editor are printed in different fonts. This is the edition G. Zilcher (Edition Breitkopf, 1932, in four volumes, 42 sonatas) and a very widespread edition of Haydn's sonatas, edited by K. Martinsen (Edition Peters, 1937, in four volumes, 43 sonatas).

In 1960-1966, the publishing house "Music" published three volumes of selected sonatas, edited by L. I. Roizman . Around the same time, Haydn's clavier urtexts were published in the USA (1959), Hungary (1961), Austria (1964-1966) and Germany (1963-1965). All of them have been reprinted several times.

Among the numerous editorial works, the Viennese Urtext certainly stands out. C. Landon . It includes 62 sonatas, while there are far fewer in other common editions. One of the important advantages of this edition is the chronological order in the arrangement of the sonatas. Another important feature lies in the very attitude to the musical text, which is based primarily on the composer's autographs and handwritten copies, and not on printed editions, even if they were in his lifetime.

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

When working with an urtext edition, it is important not only to have a certain stock of historical knowledge, but also to understand the main expressive meaning of the composer's instructions, then the individual performing edition created on the basis of the urtext will be competent.

Conclusion

Of course, an in-depth theoretical consideration of the problems of stylistically correct interpretation does not yet lead to performing creativity, but is only the foundation for it. Only with creative “thinking” will a piece of music “live”, that is, affect the listeners.

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

Used Books

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

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.

At the same time, observing this rule, it should be borne in mind that the replenishment of dynamic shades must 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. The abundance of dynamic nuances is no less harmful than their 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 executed 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 performance. 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 movements, these tempos are much more fluid 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 performance 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 in certain 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 was a man quite clear and definite in his intentions. He tended to write the 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.

Stylistic features of the performance of Haydn's clavier sonatas

“Always rich and inexhaustible, always new and striking, always significant and majestic, even when he appears to be laughing. He raised our music to a level of perfection that we had not heard before him.. These words belong to one of the contemporaries of the great Austrian composer Joseph Haydn.

Franz Joseph Haydn (March 31, 1732, Rorau - May 31, 1809, Vienna) was an Austrian composer, one of the founders of the Vienna Classical School. Haydn has a 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, were taking shape. The composer went through a long and difficult path of stylistic evolution from the late Baroque to the pre-Romantic era, a path in which his contemporaries were Johann Sebastian Bach and Georg Friedrich Handel, Christoph Willibald Gluck and Wolfgang Amadeus Mozart and, finally, Ludwig van Beethoven.

Haydn was formed in the midst of the folk music of Vienna. At that time, Vienna was the cultural and musical center of Europe. According to the memoirs of contemporaries, Vienna was a cheerful, carefree city, the atmosphere of carelessness, naivety was reflected in the works of Haydn. Humor and soft light, lightness and grace are heard in them. The man of the middle of the 18th century felt himself a part of the Divine order, to which he voluntarily and unquestioningly obeyed. The harmony resulting from this order, and the joyful, life-affirming faith in God that found expression in the music of that time, attract more and more listeners today to the beauties of Haydnian music. Haydn assumed that his contemporary was well acquainted not only with the rules of performance, but also with the composing style of his time, and that he also believed in world order and a "higher world order." In this regard, the music of J. Haydn is very close to the music of J. S. Bach: both unshakably believed in God, both worked "for the glory of God."

Haydn's clavier sonatas terra incognita for most performers, guides and just fans of his music. An outstanding harpsichordist and pianist, an expert in early clavier music, Wanda Landowska wrote: “...do we give Haydn the honorable place that he deserves, and do we really understand his music?..Haydn is the fire itself. His creative powers were truly inexhaustible. Sitting at the harpsichord or pianoforte, he created genuine masterpieces; he knew how to arouse passion and delight the soul! Haydn's works are great because they contain their own sources of inspiration and originality, which characterize them as masterpieces." In essence, the famous cellist Pablo Casals spoke about the same thing: “Many do not understand Haydn. He has everything built solidly, but his music is full of constant charming fiction. His immense creativity is replete with innovations and surprises. Unforeseen turns of musical thought now and then occur in the maestro from Rorau. I dare say that he is able to surprise more than Beethoven: with the latter, sometimes you can foresee what will happen next, with Haydn - never". Svyatoslav Richter complained about the insufficient attention of pianists to the music of the Viennese classic and, in particular, to his sonatas: “I love Haydn very much, other pianists are relatively indifferent. How annoying!" In the words of Glenn Gould, "Haydn is the most underestimated greatest composer of all time!"

Today's interpreter of the music of J. Haydn and other composers of his era is faced with several types of difficulties due to the method of notation, instrument and meaningful awareness of the spiritual side of music.

Method of notation, melismas

The way of notation has changed significantly since the 18th century, especially with regard to articulation, as well as 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 a huge world of figurative possibilities: the world of sound diversity, the world of expressive musical movement, the inner life of a 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, tempi such as Andante and Adagio were not unnecessarily slow movements, such as those acquired in the practice of 19th-century musicians. Andante and Adagio of Haydn are much more fluid than, for example, Andante and Adagio of Beethoven and the Romantics. Parts of Haydn's sonatas marked with these designations must not be performed too slowly, with pathos unusual for them: this goes against the stylistic laws of Haydn's music. And this should always be remembered.

The novelty of the music of J. Haydn and his contemporaries lies in the fact that, in contrast to the old style (baroque), more than one affect prevails within one movement, but within one movement or play, the foundations for “psychological development” and contrast are laid. For this, J. Haydn had to go a long way in the development of the “classical sonata form” with its dialectic of themes. One of the most important 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 means is subtext (at least of the main themes). As already mentioned, the ideological and emotional world and typical images of contemporary people found their expression in the work of the early Viennese classics. For these composers, Beethoven's "hero" - the people's tribune or the "genius" of the romantics, torn by contradictions, is not yet typical. The hero of Mozart and Haydn, however, is already a man of modern times, who has broken with medieval ideology, is optimistic about the future, endowed with a rich world of feelings (especially in Mozart). He is sometimes not devoid of traits of "chivalry", and sometimes (more often in Haydn) of bourgeois patriarchy.

When performing Haydn's sonatas, it must be remembered that Haydn was a clear and definite man in his intentions. His sonatas are clear proof of this.

Haydn's clavier sonatas

"Simple and clear" Haydn is actually not so simple and clear at all. For a performance worthy of a great master, it is necessary not only to master the pianistic technique, but also to have an idea of ​​his work in general, an understanding of the cultural context of the classical era. P. Casals assured in 1953 that "the era of Haydn ... has not yet arrived" and "many do not understand Haydn." And to this day, more than half a century later, the words of the great cellist still have not lost their relevance - and therefore, scientific, methodological articles, developments and observations are also relevant, helping to deepen the interpretation of the music of the Viennese classic and "correct the great injustice" 1 .

In her study “Classical Style in Music of the 18th - Early 19th Centuries”, L. Kirillina notes: “The difficult thing in Haydn is contained not in catchy comparisons, not in conflicting thematic dramaturgy, not in forcing purely sound power, but in those details and subtleties that in the 18th century they were captured by connoisseurs ... Haydn is actually sometimes extremely deep, but this is not the depth of the ocean or a dark pool, but of a transparent mountain lake: at a superficial glance it seems that the bottom is close, because all the pebbles and algae are clearly visible, but this is only the illusion of clarity and serenity - looking closer, you can see that there, in the depths, their tragedies and dramas take place - sounds, intonations, motives, rhythms, accents, pauses behave like living creatures inhabiting these transparent waters” 2 .

Haydn often and willingly turned to the clavier throughout his life. The harpsichord was still very common, but the piano was already supplanting it. The composer's interest in the new hammer family of keyboards and its new possibilities increased over the years.

Among the composer's works for the clavier are concertos, sonatas, variation cycles, fantasies, capriccios, dance and children's pieces, clavier trios, chamber sonatas. Due to the quantitative advantage and indicativeness in terms of Haydn's creative evolution, the genre structure of his piano compositions is based on sonatas, which Haydn composed for 40 years. Until now, the exact number of Haydn's clavier sonatas is unknown. It was generally accepted that Haydn wrote 52 clavier sonatas, but in 1963, under the editorship of K. Landon, the Viennese Urtext was published, which included 62 sonatas of the composer. There are suggestions that this is not the final figure, the search continues ...

The writings we have at our disposal demonstrate a long and constant evolution of the author's style. The composer's first cycles, known under the rather vague genre designation "partita" or "divertissement for clavier", arose from the field of home music-making. They are miniature in scale, register limited to the first or second octave, and exceptionally transparent in texture. At the same time, even these youthful experiences already contain certain stable, typically Haydnian stylistic elements: the intensity of motive development, detailed work on form, the predominance of major colors, and the moving energy of rhythm.

Haydn's searches in the field of sonata form are interesting. Throughout his creative evolution, the composer has applied various types of cyclic compositions - tripartite(in the finale, the fast part is more often, but there is also a minuet, the first parts are slow, variational and improvisational) and two-part(slow - fast and two fast parts). So, having approved the sonata cycle, the author himself deviates from the created scheme, demonstrating other possibilities and outlining new ways of developing the sonata cycle.

periodization. Periodization is adopted, dividing the path of development of the sonata into four periods: early - before 1766(which includes the most sonata cycles), period 1766-73(13 sonatas), 1776-81(82)(12 sonatas) and late- 1784-94(9 sonatas).

Haydn. Sonatas of the early period of creativity (before 1766)

Already at this stage, the process of creating a truly classicist sonata cycle from a small partita takes place, exciting in terms of the intensity of the search (although all sonatas of this period are also called “partitas” or “divertissements”). Actually, only Sonata No. 1/8 is such a partita; already in all subsequent ones, the formation of exactly co-natality takes place. Similar diverse processes can be observed in the symphonies and quartets of the 1750s-60s.

From the very beginning, Haydn's sonatas leave no impression of immaturity. The brightness of the images, the inventiveness of the thematic development, the logically clear striving dramaturgy are amazing. Internal completeness distinguishes each work, while the richness of Haydn's imagination is amazing: there are no "typical" similarities, there is a plurality of original solutions. "This is the main feature of Haydn - the abundance of thoughts." So, already in the first samples in the sonata genre, Haydn does not follow any one principle, and his aspirations are multidirectional. This trend is characteristic of all his work.

The multiplicity of solutions lies in the search for bright thematics, its developmental development, and dramatic logic. Thus, special attention is paid to the search for sonata form: even in the “microsonatas” (such as Nos. 2/7, 3/9, 6/10) it is interesting to observe the process of becoming a sonata allegro (it is absent only in sonata 5/11 ).

The vivid characteristic of the thematic, usually set from the very beginning of the work (the main part!), dictates the peculiar “genre” of the cycle, sometimes theatrical imagery, and a different structure. Genre foundations (which brings Haydn closer, as already mentioned, to the Italian and Viennese schools) are definitely present in all parts of the cycle (which is all the more "weighted" by the obligatory presence of the minuet). In this regard, the types of Haydn's sonatas defined by S. Murataliyeva, with the predominance of "genre" ones, are quite understandable.

Starting with Sonata No. 2/7, two variants of the three-movement cycle are mainly used (a new type appears for the first time in Sonata No. 19, which will be discussed below): sonata allegro - slow movement - minuet and sonata allegro - minuet - fast finale. Thus, the minuet either "balances" the genre character, completing the cycle after the slow part - an improvisational warehouse, philosophical or lyrical center, or serves as a contrast as a "given", "gallant" part in a more relaxed movement between two fast parts (the finale in these cases - in sonata or starosonata form).

The composition of the cycle in the early sonatas has not yet been determined. In some works (6th and 8th sonatas), it is, on the model of symphonies, four-part. Unlike F. E. Bach, Haydn writes sonatas with minuets: Allegro - Andante - minuet or Allegro - minuet. Allegro is still very undeveloped, and a single type of movement, a monotonous texture erase its thematic and formal facets (for example, continuous movement of triplets in 3- and sonata). In slow parts, some type of presentation is chosen, associated with certain genre traditions: prelude (Andante 1st sonata), type of violin solo with accompaniment (Largo 2nd sonata). Starting from the 5th sonata, the minuet usually no longer concludes the cycle, but enters the middle of it, and starting from the 17th, it often falls out altogether. Three sonatas, 7th, 8th, 9th, are curious in their way, as miniature works, much narrower in scale than the previous ones. The Allegro 7th Sonata has only 23 bars. In the 9th sonata, the scherzo serves as the finale. Some works of this group cannot even be called sonatas due to the free interpretation of the first movement, a miniature and undeveloped sonata allegro, written only in the tonal plan of the old sonata (TDDT) or in the da capo form (11th sonata).

In the evolution of Haydn during the early sonatas, one can observe both the formation of bright, independent themes-images, and the strengthening of the developmental principle. So, already in sonata No. 8/5 there is a rare solution for juxtaposing contrasting images: the 2nd thematic element is in the minor of the same name, which extremely separates the short “character images”. This technique is repeated in the second sonata allegro of this sonata - in the finale. In sonata No. 13/6 in minor - in the final part of the exposition.

1767 brought especially many sonatas, and in some of them the search for a new expressive thematic is already felt. The exposition is also gradually enriched: in the 16th sonata, a small passage cadenza appears. A noticeable shift occurs in the 19th sonata. Simultaneously with the expansion of the overall scale of the cycle, the complication of the very type of presentation is also noticeable here: the range of sound is expanded, the texture is enriched. Already within the Allegro, the thematic facets are highlighted by various textural techniques: the first theme - by broken passages, the second - by rehearsals in the harpsichord style, the final part - by Albertian basses.

Sonatas 1776-81

The period 1776-81 in Haydn's clavier work is distinguished by a clear striving for individualization, a completed vivid image of each sonata cycle. This happens on the basis of the already established principles for creating thematic imagery and its development - a rich experience of experimenting in early sonatas and an "emotional crisis" in "romantic" prepared the final formation of Haydn's mature style. It is precisely from the position of maturity that it would be possible to “focus” the previously found concepts into some single, integral type. But Haydn is attracted precisely by the possibility of creating different, complete types of sonatas. And at the same time, each sonata of this period evokes a tangible echo with the abundance of finds, their iridescent play in the early sonatas.

The third period of Haydn's sonata work, according to our periodization, includes 12 sonatas: six sonatas of 1776 (No. 42-47 / 27-32), published in one collection; five sonatas dedicated to the Auenbrugger sisters, published in 1780 (No. 48-52 / 35-39); sonata No. 53/34, written probably in 1781-82, and published later (in 1784).

Much in these sonatas is close to "Estergaziev", which is especially natural for the collection of 1776, which chronologically adjoins them. However, all the sonatas of 1776 are distinguished by a very clear construction, connected precisely with the laws of drama (the clash of heroes; the internal conflict of heroes in the classic concept). The "plots" of such dramas are different, but the boundaries of their development - plot-climax-denouement - are clearly defined. Therefore, each cycle is individualized and can either differ sharply from the other (which is especially clear in the collection of 1780), or have a plot-figurative similarity with a certain set of means, characteristic of a cycle similar in concept.

It is indicative that the impact of theatrical techniques associated with a specific depiction or genre, plot symbolism is intensified. This is observed in figurative-genre oppositions of parts of the cycle, the nature of thematic means and developmental development in a number of cycles, especially in sonatas Nos. 44/29, 45/30, 48-51 / 35-38. Separate effects of "theatricalization" in the early sonatas (Nos. 11/2, 18/Es3) find their bright continuation here. It is characteristic that fundamentally new interpretations of the form of the cycle, the means of development do not appear during this period.

And the development-contrast with the predominance of minor in the intensely dynamized form of the sonata allegro, and the ingenuity of rhythmic-textural means, and fantasy improvisation, and the "clinging" of thematic elements - all this, which was present in the early, "romantic" and - in the most complete form - in "Estergaziev" sonatas, is used in this period. Various combinations of exposition and development-reprise, the significance of the role of slow parts, the use of variations in the finals (including variations on the theme of the minuet, double variations), finally, the unity of the dramatic line in the case of the presence of two sonata allegri in the cycle - the first movement and the final - and these fundamental discoveries of earlier periods are preserved at a new stage of creativity.

We also note the return of the minuet to the sonata cycle. It is present in one form or another in all sonatas, except for Nos. 50/37, 52/39, 53/34. Moreover, in the collection of 1776, the rule of the Viennese cycle, which is constantly present in Haydn's early sonatas, is observed: if the minuet is not the middle part, it appears in the finale. Here we can also observe the trend that consistently increased in the early period: the minuet lost its purity of form, combined with other functions - sonata form, in Sonata No. 32/44 - and double variations. The minuets in the finale now often serve as the theme of variations (Nos. 44/29, 45/30, 48/35) - this form dominates the various variations (in the last parts of the cycle). In this regard, the rare use of the sonata allegro in the finals is indicative (only in two sonatas Nos. 47/32 and 52/39, and in the second case the final sonata form is the only one in the cycle). There are also other transformations of the minuet: a variant of the minuet in two-part form, without a trio, as a slow part (Andantino sonata No. 46/31, the prototype of which is the old polyphonized dances of the suite; modification of the minuet with a minor trio into a variation cycle in sonata No. 48/35 ). What is the reason for this once again stable role of the minuet? Obviously, with the desire for the genre brightness of the cycle in connection with that classicist concept of the effectiveness of a drama with extremely clearly defined characters and collisions, which emerged in Haydn's mature sonatas. This support, which creates the effects of theatricalization, genre switching in certain "acts" of the dramatic whole. Both “pure minuet and its transformations can be perceived differently in connection with the general idea of ​​the cycle.

In recent years Creativity Haydn did not work so much on the sonata, being absorbed in other interests. But individual works of those years are exceptionally interesting, as are the latest quartets. The 49th sonata, Es-dur (1790), is very famous. Her developed Allegro testifies to the full maturity of Haydnian sonatas, and in particular piano her incarnation. In one, he still returns to his own old patterns: the concert cadenza leads to a reprise. Extremely broadly conceived in this sonata and Adagio, in some places close to Gluck's pathos (especially in "Alceste").

Haydn's clavier compositions of the 80s - 90s are characterized by an extraordinary diversity of genre and style interactions. A distinctive feature of the chamber sonata cycles of this period is the integration of innovative aspirations with the principles characteristic of early classicist examples of the genre. Dramaturgy and compositional logic of the works under consideration, favoring the dialogical pairing of sonata with fantasy and concert performance, as well as the styles of theatrical and church music, testify to the establishment of a new aesthetic concept of the chamber sonata. The latter does not at all imply emotional and intellectual lightness, striving to capture not only the hidden depths of personal experiences, but also the mastery of a sophisticated composer's "game".

The vast majority of the compositions of this group, with the exception of the Sonata XVI / 43 in three parts, are two-part cycles (XVI / 40, 41, 42, 48, 51). The common features of the sonatas under consideration are the dominance of lyrics, the dominance of major keys, a relatively transparent homophonic texture, emphasized attention to variation as a development principle, a significant proportion of improvisational and “playing” beginnings and the “absolutely extraordinary freedom in creating forms” associated with it. The bright individuality of the chamber sonatas of the late period of Haydn's work, which meets the aesthetic requirements of the classicist era, is largely determined by the specifics of genre and style interactions. It is characterized primarily by the predominance of the chamber style itself: reliance on recognizable everyday (primarily dance and song) genres, as well as the leading role of the gallant manner of writing (as indicated by the primacy of the homophonic-harmonic warehouse, the functional significance of specific cadence formulas, and the special sophistication of the melody) . Influences from other styles (in particular, ecclesiastical and theatrical) that do not contradict the aesthetic norms of chamber music are pushed aside in the works of the late period under consideration to the periphery of the designated dialogue, giving way to a variety of genre interactions. The noted interactions, which play an important role both in the dramaturgy of individual parts of the sonatas and at the level of cycles, are undoubtedly associated with the peculiarities of Haydn's work of the 1780s - 1790s.

With regard to chamber sonatas, the experimental aspirations of late Haydn were realized in the formation of a lyric-genre variety of the cycle4. Its figurative structure and dramatic principles testify to the opening of the established boundaries of the genre through a sophisticated "playing out" of the relevant stereotypes. The first parts of the considered sonatas are characterized by the primacy of the lyrics, which does not exclude the genre principle as one of the lyrical incarnations, which dominates in the finals, often gravitating towards scherzo. The figurative and semantic balance of the two spheres echoes the dual unity of the subjective and the objective, which is characteristic of classicist aesthetics, favoring the multiplicity of fascinating genre dialogues, their priority role in Haydn's mature sonata thinking is indisputable.

variation, fantasy. Original examples of genre interactions due to the specifics of the lyric-genre cycle can be found in the first parts of these sonatas. In particular, the compositional principles of Andante from cycle XVI/51 (1794) date back to the widespread type of the so-called "singing allegro" with its characteristic "non-conflicting thematic contrast". Hence the dominance of song thematics in all sections of the exposition, as well as the intonational similarity of themes, rhythmic uniformity, the appearance of improvisational links that veil the boundaries of sections of the sonata form, the predominance of variational development (especially in the theme of the main part), as a result of which the considered Andante approaches the genre of variations. A kind of anticipation of this kind of "lyrical" transformation are the first parts of cycles XVI/42 (1784) and XVI/48 (1789), in which the traditional sonata allegro is replaced by various types of variation cycle.

The genre interaction of variations and fantasy is also observed in the first movement of the Sonata XVI/48. The varying themes here are close to each other, but contrast with each other in terms of modes (C dur - c moll). Each of the themes is saturated with pathetic elements (the initial declamatory motif of both themes and its modifications, meaningful pauses, loud contrasts, the special role of the harmony of the mind7) and fantasy-improvisational (the use of “unevenly” grouped passage technique, the predominance of the tonal and harmonic instability). The dialogic conjugation of the indicated genres is facilitated not only by the strengthening of the role of the pathetic sphere and the growing scope of improvisation in the process of dramatic development, but also by the veiling of the boundaries between sections of the double three-part form (openness of minor constructions, written reprises in major variation), as well as all more tangible figurative affinity of themes.

The principle of convergence of various genre features is also characteristic of the finals of two-part cycles. In the finale of the Sonatas XVI/40 and XVI/41, the complex three-movement form (typical for dance pieces of the Haydn era) is saturated with variation due to the active renewal of the thematics in the reprises. Due to the varied repetitions of the sections in the finale of the sonata XVI/51, a form is formed that is close to the three-five-part. In the cycles XVI/42 and XVI/48, the unusualness of the “mixed” forms of the finals, based on the interaction of various compositional structures, is due to the dominance of the playful scherzo element. As is known, in the instrumental genres of the classicism era, scherzo could embody the diverse facets of the comic, including wit and parody6. At the turn of the XVIII-XIX centuries. wit implied a special refinement of humor and was embodied through “... artificially created asymmetrical structures, unexpected modulations or interrupted revolutions, the use of a “learned” manner (imitations, canons, fugato) in a comic context”; the parody was based “... on a witty play in a combination of incongruous and ridiculous simplification, humiliation, landing of the sublime and the poetic” .

Suite. Genre dialogues in the considered sonatas are observed not only within the parts, but also at the level of composition of the cycles. We note, in particular, original interactions with suite principles, which bring the chamber sonatas of the 80s and 90s closer to examples of the early classical style. One can judge about the "echoes" with the suite based on the tonal unity of the cycles, complementing the type of contrast between their parts, as well as the significant role of genre and everyday themes. The latter is typical not only for game finals, which refract the dance beginning in many ways. The specificity of everyday genres also manifests itself in other parts of the cycles, revealing a different degree of genre concretization. Thus, in the middle part of the sonata XVI/43, the unpretentious minuet - a kind of return to the sonata style - clearly approaches the dance themes that play an important role in Moderato and Presto, which directly indicates the connection with the suite.

The main theme of the opening Allegretto innocente from cycle XVI/40 is based on the genre features of the barcarolle; song thematicism dominates in Andante from Sonata XVI/51. The size of alla breve, unhurried tempo and uniformity of pulsation, referring the listener to the traditional semantics of the step, as well as a significant proportion of punctuated rhythmic figures in the themes of the main parts of Andante from the cycle XVI/51 and Moderato from XVI/43 testify to the individual interpretation of the genre features of the court ceremonial march.

Concert. The mechanisms of genre interactions inherent in the cycles under consideration and largely determining the specifics of Haydn's chamber sonatas of the 1980s and 1990s do not exhaust the originality of these cycles. We are talking, in particular, about the dialogues of the stylistic plan, embodied by Haydn by no means straightforwardly. On the one hand, the dialogues were realized within the boundaries of the chamber style, contributing to the versatility of the author's compositional and figurative-dramatic solutions at the level of a certain genre. On the other hand, the refraction in chamber music of the specific laws of other styles (primarily theatrical and ecclesiastical) contributed not only to the enrichment of the arsenal of expressive means of the instrumental sonata, but also to the crystallization of the principles of the mature clavier art of the classicist era. A very significant role in the stylistic space of the considered Haydnian cycles belongs to the specifically interpreted concerto. This seems far from accidental, since during the second half of the 18th century the stylistic definition of concertante figured in a wide variety of genres related to the chamber sphere, from a concert symphony to a sonata in a concert style. This scale of concert performance was favored both by the significantly increased skill level of European musicians and by the developed amateur performance.

Remarkable examples of the refraction of this style in the chamber sonata genre are the first parts of cycles XVI/40 and 41, dedicated to Princess Maria Esterhazy. The interaction of chamber and concert quality in these sonatas, apparently, was predetermined by the performance potential of the addressee. Thus, in Allegretto innocente from Sonata XVI/40, each theme of the three-five-movement form: the song-lyrical barcarolle and the pathetic exclamation that contrasts it, reveal some kind of affinity with concert style (the presence of a mini-cadenza in the first theme, expressive accents, dynamic contrasts, elements of chord-tutti presentation in the second). Purposeful activation of concert-virtuoso elements in varied reprises of sections (arpeggios, passage technique, fermata, suggesting the possibility of their cadence scoring) contributes to the mutual convergence of initially contrasting themes. The attributes of concert performance, presented in a lighter version, favor the development of a kind of dialogue between intimacy and concert performance, which does not go beyond the boundaries of the chamber sphere (which, by the way, corresponds to the author's remark innocente - artlessly, simply). A similar interpretation of the mentioned dialogue is realized in Allegro from cycle XVI/41. The difference from the previous sonata lies in the special role of quasi-cadence constructions, whose location - in the final sections of development and reprise - appeals to the generally accepted norms of concert performance of that time. The aforementioned constructions seem to accumulate the hidden energy of concert performance, which is more restrainedly demonstrated in the main and side parts. The latter, however, can be explained both by the genre dominance of Allegro (marching beginning) and by the rather mobile tempo of this movement. The interaction of chamberness with the characteristic features of other styles manifests itself in the cycles under consideration more indirectly, which corresponds to the intra-genre specificity of the chamber sonata.

Along with the above-mentioned example of playful interpretation of church style elements (in Vivace assai from the Sonata XVI/42), the final Presto from the XVI/40 cycle deserves attention. Not only the figurative-emotional structure of this part, but also the compositional logic, thematics, textural presentation here are clearly close to theatrical style. In the extreme sections of a complex three-part form, the impetuous pulse of continuous movement, staccato strokes, sudden metrical accents, which go back to the traditional semantics of opera buffa, dominate. The music of the middle section (tonality - parallel minor) creates an accentuated contrast with its gloomy pathos and expressiveness of the declamatory statement (unpredictable rhythmic failures, a significant role of diminished and enlarged intervals that saturate melodic constructions). In general, the dynamics of genre and stylistic interactions inherent in J. Haydn's chamber clavier sonatas of the 1780s-1790s characterizes not only the specific direction of the evolution of the sonata cycle in the composer's work. The conceptual ambiguity of the most important components of the genre generated by these interactions indicates an increase in its hierarchical weight in the instrumental music of mature classicism. Thanks to this, the classically perfect Haydnian sonatas open up an exceptional prospect for further development.

Among all Haydn's sonatas, his last, 52nd clavier sonata, also in Es-dur, stands out in a special place. Like late quartets, new trends appear in it: a large figurative recess is combined with an amazing subtlety of musical writing. New, more subjective content gives rise to new compositional ideas.

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 in the Small Hall, a student of the Moscow Conservatory, the winner of the latter, played 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 from some musical and technical considerations, but, unfortunately, no public explanations, even the briefest, on this occasion were received from the clavier player, and the program of the concert didn't include them either.

It is known that experts are still arguing about which instruments which Haydnian sonatas should be played on and at what moments of his life Haydn "moved" from one instrument to another and a third, or at what moments, perhaps, he returned to previously used ones. This issue has not been convincingly resolved so far, so Yuri Martynov, apparently, solved the problem of choosing an instrument to his taste, probably guided by some theoretical works. But it seemed to me that he made many decisions - both on the choice of instrument and on registration - on his own, relying on his own professionalism and artistic taste.

As you know, the one used by the clavier in the first part is a 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 production. And on the hammerklavier, Yuri Martynov also used the possibilities provided by the tool for mechanical restructuring in order to change the nature of the sound, moreover, directly during the game. This was done with taste and left no doubt about the legitimacy of specific decisions.

It can be said with full right 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.

Summarizing, 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”.