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Haydn, Franz Joseph : Sonate für Klavier Nr.56 Mov.2 Vivace assai

Work Overview

Music ID : 32243
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:2 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.

This section, measures 19-20 of the third movement, is extremely difficult, and the right hand's progression in thirds cannot be played without considerable technique. Therefore, I will explain one method to manage playing it.

On the second beat of measure 19, the right hand plays the first two thirds (A-F#, G-E), and from the next F#, plays single notes: F#, E, D. At the F#, the left hand plays the inner voices of the right hand: D and C#. Then, on the first beat of measure 20, it descends with B, A, G, F#, E.

Similarly, on the second beat of measure 20, the right hand plays the thirds B-G, A-F#. From there, it plays single notes G and F#, and then enters measure 21, playing E, F#, G, F#, E. The left hand, on the second beat of measure 20, plays E and D, which are the lower notes of the third third. It also plays the right hand's inner voices in measure 21 (C#, D, E, D, C#) with the left hand, along with the four A's below them.

Measures 77-78 are similar.

As indicated in the score, playing all the thirds with the right hand at the fast tempo of Vivace assai is extremely difficult. Please try various contrivances by utilizing the left hand.

Writer: Ooi, Kazurou

Author : Saitoh, Noriko

Last Updated: February 26, 2021
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The Vivace assai of the second movement is in the same D major as the first movement. It appears to be written with a free conception, unconstrained by conventional forms. A lively character pervades the entire movement, and rather than the opening theme being literally recapitulated, the movement continuously spins out diverse developments of this theme in a perpetual motion style.

Writer: Saitoh, Noriko