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Haydn, Franz Joseph : Sonate für Klavier Nr.53 Mov.2 Adagio

Work Overview

Music ID : 32236
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:5 min 00 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.

This is the second movement, evoking the image of an opera aria. In sections like measures 13-16, where continuous 32nd notes appear densely in the right hand, set a tempo that never feels rushed. For measures 13-16, create a smooth and melodic line, as if a singer could naturally sing it.

At this point, do not play these four measures all at once. A vocal line without sufficient breathing becomes distressing for the listener. It is acceptable to treat the first note of each measure, or every two measures, as the final note of the preceding measure. For example, the first note of measure 14, F#, should be treated as the last note of the preceding measure's final four notes (B-G-F#-E). Take a breath at this F#, and then treat the subsequent D as the beginning of a new phrase. Similarly, in measures 15 and 16, treat the first note as the last note of the preceding measure, take a breath, and thus play with a certain degree of rubato.

Furthermore, since the tempo of these four measures will serve as the basic tempo, try starting the beginning at that tempo.

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 second movement, Adagio, is in 3/4 time and in G major, the relative major of the first movement. Although written in ternary form, its tonal conception aligns with sonata form. Primarily, the right hand's melodic line, rich in ornamental and small note values, is accompanied by the left hand's broader note values. The middle section (from m. 21) begins in E minor, the relative minor of this movement, and also features A minor. Upon the return of the first section (the third section, from m. 32), it is preceded by an approximately one-measure passage marked (Piu) Adagio. At the conclusion of this movement, the dominant chord of E minor, which initiated the middle section, is heard, leading attacca into the next movement.

Writer: Saitoh, Noriko