Haydn, Franz Joseph : Sonate für Klavier Nr.53 Mov.1 Presto
Work Overview
Genre:sonata
Total Playing Time:4 min 30 sec
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: April 3, 2025
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Author : Ooi, Kazurou
It is unclear what psychological depiction Haydn sought when composing this first movement, but it is undoubtedly a unique first movement that encompasses mysterious, dramatic, and beautiful aspects. Works from this period were composed with the pianoforte in mind (not solely the harpsichord). Therefore, it can be said that Haydn himself aimed for changes in timbre and dynamics unique to the pianoforte in these works. This first movement never feels overly serious, and a certain humorous quality can also be perceived. Regarding its structure, it may be helpful to imagine a string quartet. For instance, measures 30-35 are precisely such a section; be mindful of the four-part (or three-part) texture and ensure the independence of each voice. Furthermore, while measures 16-18 present a beautiful aspect, recognize non-harmonic tones such as suspensions, and be careful not to accent the resolution when moving to the next resolving note.
Author : Saitoh, Noriko
Last Updated: February 9, 2020
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Author : Saitoh, Noriko
The first movement, in E minor, is a Presto in 6/8 time. The opening theme suggests a dialogue between the left and right hands, beginning with an ascending arpeggiated chord in the left hand, marked p. The right hand's interjection, in response, ascends in register each time it appears. After eight measures, this theme is marked with a fermata, followed by a development of the same material. The second theme (from measure 30) is characterized by the right hand's double stops in thirds or sixths, with an ascending motion again prominent. Similarly, after six measures, a fermata is placed, followed by a development of this material, mirroring the technique used for the first theme. The development section (from measure 46) focuses primarily on the first theme, with no elements of the second theme present. Towards the end of this development section, the roles of the left and right hands in the first theme are inverted, with the left hand descending in thirds over an octave or more towards the dominant chord of the tonic key. This dominant chord is then marked with a fermata, leading into the recapitulation (from measure 79). This recapitulation presents a condensed version of the exposition.
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