Haydn, Franz Joseph : Sonate für Klavier Nr.1 Mov.1 Allegro
Work Overview
Genre:sonata
Total Playing Time:2 min 00 sec
Copyright:Public Domain
Commentary (2)
Author : Hamada, Mako
Last Updated: June 23, 2022
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Author : Hamada, Mako
G major. 2/4 time. The music begins with a light, dotted rhythm from the outset. Subsequently, a triplet rhythm also appears, as if in response. The contrast between passages simply constructed with plain notes and charming, rolling triplets creates the interest of this piece. In the second theme, a lovely off-beat repeated note figure emerges from somewhere, leading to a temporary cadence in the dominant key of D major.
In the development section, longer chains of triplets appear than in the exposition, and each phrase feels slightly extended. The right hand's eighth notes and the left hand's sixteenth notes move like a duet in tenths, and after subtle modulations, the section concludes with a half cadence in G major.
In the recapitulation, the melodic interjections, which were in thirds in the exposition, transform into octaves in the bass. This creates a sense of grandeur, as if reaching the climax of the first movement. Following sonata form, the second theme also remains in G major, and the piece concludes brightly.
Performance Notes
- Play with a bright tone, perfectly suited to the sound of G major.
- Allegro in 2/4 time. Feel the forward-moving energy, like a march.
- Dotted notes, sixteenth notes, eighth notes, triplets... ensure that no note stagnates; play with lively propulsion.
- For the off-beat repeated notes in the second theme, play with good articulation/bite.
- To avoid playing with a monotonous, 'stick-like' tone, imagine sounds descending from heaven or approaching from a distance.
- Let the left hand's strong ascending motion also assist.
- In sections where the left and right hands harmonize beautifully as a duet, listen carefully to both sounds and pay attention to balance.
- Play expressively, considering the character differences based on the type of notes.
Author : Ooi, Kazurou
Last Updated: November 18, 2024
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Author : Ooi, Kazurou
This sonata is characterized by its optimistic and joyful nature. It is posited that the sonata is fundamentally rooted in the idiom of the string quartet. One might envision the agile bowing of a violin, and attempt to assign parts, for instance, "this passage for violin, this for cello." The score consulted by the author contains few dynamic markings; moreover, those present are inexplicably enclosed in parentheses. This suggests an ambiguous notation, implying "it might be so."
Consequently, it is suggested that performers may exercise considerable freedom in determining dynamics. For instance, if the initial four measures proceed piano, then in measure 5, the left hand abruptly shifts to octaves, potentially leading to a sudden forte, followed by an immediate return to piano in measure 6. Such surprising dynamic shifts, imbued with Haydn's characteristic playfulness, could be highly effective.
In the latter half, for example, one might proceed piano from measure 17 to measure 19, then suddenly introduce mezzo forte for measures 20-21. Within this, only the soprano line from the upbeat of beat 2 to beat 1 of measure 21 could be played piano, returning to mezzo forte from the upbeat of beat 1 of measure 21. Performers are encouraged to freely construct their own "ensemble" and express these passages with enjoyment.
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