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Haydn, Franz Joseph : Sonate für Klavier Nr.51 Mov.1 Allegro moderato

Work Overview

Music ID : 32229
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:5 min 30 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: April 3, 2025
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Listeners encountering this piece for the first time would likely not anticipate the bustling, joyful world that unfolds, given its subdued opening in the first four measures. This first movement also progresses at a Moderato tempo; therefore, it might be advisable to count the eighth note as the fundamental beat unit (counting eight per measure instead of four will facilitate accurate rhythmic precision). Indeed, precise beat counting is of paramount importance throughout this first movement. It is imperative to ensure that the tempo does not decelerate upon the appearance of 32nd notes, even if the opening section is rapid. To achieve this, one should play the measures densely populated with smaller note values without strain, establishing that tempo as the foundational pace from the outset. The entire piece is replete with unexpected developments, characteristic of Haydn's distinctive sense of humor. Therefore, maintain a singular, unwavering tempo throughout, performing with utmost enjoyment and vivacity.

Writer: Ooi, Kazurou

Author : Saitoh, Noriko

Last Updated: February 9, 2020
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The first movement, in E-flat major, is in Allegro moderato and 4/4 time. The opening theme begins with a scale in the tonic key, descending one octave. Such scalar motion is frequently observed throughout this movement. In the development section (from m. 29), a transitional passage characterized by repeated notes is first treated, followed by the opening theme. The second theme (from m. 19) is not present here. In the recapitulation (from m. 49), a fermata is placed between the first theme and the transitional passage that was treated in the development section. From the recapitulation of the second theme (from m. 66) onwards, it is faithfully reproduced from the exposition through transposition.

Writer: Saitoh, Noriko
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