Joseph Haydn

(1732-1809)

Joseph Haydn was born in 1782 in the town of Rohrau near Vienna.

The working family (the father was a carriage maker, and the mother was a cook) could not give their children a good education. There were 17 children in the family. But they were instilled with strong moral concepts that prepared Haydn for the difficult independent life. But the main thing is the very atmosphere of the family, friendly, friendly, the way of life village life determined the character of the young man.

The family was musical. The father of the future composer, not knowing the notes, sang and played the harp well. For a long time, J. Haydn lived in Salzburg, where he met Mozart. But in childhood, despite the fact that the children’s musical talent manifested itself very early, parents could not pay for lessons, and the future famous composer, who had good voice, went to a large unfamiliar city and became a singer there church choir. The choir director, during his trip around the country in search of gifted boy singers, drew attention to eight-year-old Joseph and, with the consent of his parents, took him to Vienna.

When Haydn's voice began to break and he was no longer suitable for singing in the choir, he was fired from the chapel, Haydn was left without bread and shelter. Never had it been so difficult for him, and yet these were happy years. Over ten years of hard work, Haydn made himself a professional musician. His dream was composition. Realizing that his knowledge was not enough, and there was no money to pay for lessons, Haydn found such a way out. He entered the service of a major musician of the time, Nicolo Porpora. The young man waited on him for free, cleaned his suit and shoes in the mornings, tidied up his old-fashioned wig, he had difficulty winning the old man’s favor and, as a reward, occasionally received useful musical advice from him. If not for Haydn’s selfless desire for music, perhaps he, like his father, would have become a carriage maker and, like his father, worked with song all his life.

But thanks to his amazing determination and hard work, already in 1759 Haydn receives his permanent position as court bandmaster from the Czech aristocrat Count Morcin, and two years later receives the position of bandmaster from the largest Hungarian magnate, Prince Esterhazy.

Haydn's responsibilities included not only leading the chapel, performing music in the palace and in the church. He had to train musicians, monitor discipline, and be responsible for instruments and notes. And most importantly, he had to write symphonies, quartets, and operas at the prince’s request. Sometimes the owner gave only a day to create the work. Only Haydn's genius saved him in such situations. And yet, such a freedom-limiting service also brought benefits: Haydn could listen to literally all of his works in live performance, correcting everything that did not sound very good, and gaining experience.

He was called “Papa Haydn” both in his youth and in his old age; for 30 years he was the “papa” for the musicians of Prince Esterhazy, one of the richest men in the empire. He was called “father” by Mozart, who considered him his teacher. Princes and kings listened to his music with delight and commissioned Haydn to write symphonies and oratorios. Napoleon himself, they say, wished to hear the oratorio “The Creation of the World.”

The musician remained a simple and modest “father” Haydn; he was a kind-hearted man and a joker. And his music is just as simple, kind and playful. This music talked about simple life, about nature. He also called his symphonies like paintings: “Evening”, “Morning”, “Noon”, “Bear”, “Queen”. It was “father” Haydn who wrote the “Children’s” Symphony for toy instruments: whistles, rattles, drums, children’s trumpets, tricorns. Among his symphonies there are also sad ones. One day the prince stayed in the summer palace until late autumn. It became cold, the musicians began to get sick, they missed their families, whom they were forbidden to see. And then “father” Haydn came up with a way to remind the prince that musicians work too hard and need to rest.

Imagine a concert in a prince's palace. The violins and bass lead the sad melody. The first, second, third, fourth parts go through. The prince was accustomed to joy, playfulness, and fun in Haydn’s music, but here there is sheer sadness... Finally, the fifth movement is also a surprise, because in symphonies there are usually only four of them. And suddenly the second horn player and the first oboist get up, extinguish the candles at their music stands and, not paying attention to the orchestra, leave the stage. The orchestra continues to play as if nothing had happened. Then the bassoon falls silent, the musician also extinguishes the candle and leaves. In general, soon only the first and second violins remain on stage. They play more and more sadly and finally fall silent. The violinists leave the stage silently in the dark. This is the sad joke Haydn came up with to help his musicians. The hint was understood, and the prince ordered to move to Eisestadt.

Died in 1791 old prince Esterhazy. His heir did not like music and did not need a chapel. He dismissed the musicians. But he did not want to let go of Haydn, who became famous throughout Europe. In order for Haydn to be considered his bandmaster until the end of his days, the young prince granted him a pension.

This last period of his life was the happiest for Haydn. The composer was free! He could travel, give concerts, conduct his works. These years were full of such impressions that Haydn did not receive during his thirty years of service with Esterhazy. He listened to a lot of new music. Under the impression of Handel's oratorios, he created monumental works - the oratorios “The Creation of the World” and “The Seasons”. During his life, Haydn gave the world a huge number of creations.

Recent years Haydn's life was spent on the outskirts of Vienna, in peace, relaxation, communication with people who revered the great master. Haydn died in 1809.

« If it weren’t for him, there would be neither Mozart nor Beethoven!”

P.I. Tchaikovsky

Listening to music: J.Haydn, Symphony No. 45 (I movement), Symphony No. 94, Quartet, Sonata e-moll.

Symphonic creativity

J. Haydn

One of Haydn’s main historical merits is that it was in his work that the symphony acquired its final form. He worked on this genre for thirty-five years, selecting what was most necessary and improving what he found. His work appears as the very history of the formation of this genre.

Symphony is one of the most complex genres of music not related to other arts. It requires us to be thoughtful and general. Germany of that era was the center philosophical thought, reflecting social changes in Europe. In addition, Germany and Austria have rich traditions of instrumental music. This is where the symphony appeared. It arose in the works of Czech and Austrian composers and finally took shape in the works of Haydn.

The classical symphony was formed as a cycle of four movements that embodied different aspects of human life.

The first part of the symphony is fast, active, sometimes preceded by a slow introduction. It is written in the form of a sonata allegro.

The second part is slow - usually thoughtful, elegiac or pastoral, that is, dedicated to peaceful pictures of nature, calm inspiration or dreams. There are second parts that are mournful, concentrated, and deep.

The third movement is a minuet, and later a scherzo. This is a game, fun, living pictures of folk life.

The finale is the result of the entire cycle, a conclusion from everything that was shown, thought out, felt in the previous parts. Often the ending is life-affirming, solemn, victorious or festive.

Haydn's symphonies were written in this form.

Haydn's work established a special attitude towards the symphony. It was designed for mass audience, had a larger scale and sound power. The symphonies were performed by a symphony orchestra, the composition of which was also established in Haydn’s work. Although at that time the orchestra still included a few instruments: violins, violas, cellos and double basses - in the string group; the wooden group consisted of flutes, oboes, bassoons (in some Haydn symphonies I also used a clarinet). Brass instruments included horns and trumpets. From percussion instruments Haydn used only timpani in his symphonies.

The exception is the G major “London Symphony” (“Military”), in which the composer also introduced a triangle, cymbals and a bass drum.

Symphony No. 103 “With tremolo timpani”

A striking example symphonic cycle in Haydn’s work is one of the “London Symphonies” - Symphony No. 103 in E flat major. The composer opens it with a striking technique - a timpani tremolo, hence the name “Symphony with a timpani tremolo”. As expected, this work has four parts. Moreover, in Haydn’s work not only a characteristic sequence of parts developed, but also their character and structure.

First part The symphony opens with a slow introduction, setting off a cheerful and rapid Allegro; the composer begins the symphony with a timpani roll reminiscent of thunder. It is based on two dance themes. The theme of the main part is first carried out in the main key of the string instruments. In this symphony, the secondary part is similar in character to the main one. It is also danceable, written in the rhythm of an elegant, light waltz and is very similar to a Viennese street song. The first section of a sonata allegro, in which the main material is presented, is called exposition .

It is no coincidence that the second section received the name development . It develops both the themes of the exposition and the theme of the introduction. In his symphonic work Haydn great attention paid attention to ways to develop the topic.

The third section of the sonata allegro - reprise. Here, as it were, the entire development is summed up, the themes proceed in the same order in the main key, the differences between them are smoothed out.

Second part symphony, the Andante, provides a contrast to the cheerful, fast first movement. These are slow and calm variations on two themes.

First topic(C minor) – melody of a Croatian folk song. Slowly and calmly it is presented with string instruments.

Second topic(C major) looks like a strong-willed, vigorous march. It is performed not only by strings, but also by woodwinds and horns.

After the presentation of the themes, variations follow - on each theme in turn, in which both melodies come closer. The first theme sounds excited and tense, and the marching theme becomes softer and smoother.

Third part symphonies - traditional minuet. But this is rather not a ballroom court minuet, elegant and prim, but a folk minuet, with a characteristic clear rhythm.

In the final comes back again festive mood. There are no contrasts or tensions here. The background is the characteristic course of horns, similar to the sounds of a forest horn.

All parts of Symphony No. 103, despite all their differences, are united by a single dance rhythm and a cheerful festive mood.

Hearing:

J.Haydn, Symphony No. 103 Es-dur “With tremolo timpani”

Haydn's piano sonatas

Haydn turned to piano music throughout his life in parallel with the symphony. True, this genre gave him more opportunities to experiment. He tried various means musical expressiveness, as if wanting to find out what can be done in this genre?

For a long time there was a sonata chamber genre, it was intended for home music playing. And Haydn used it too. But the performance of his sonatas required sufficient skill and subtle culture.

During Haydn's time, various types of music were used in musical practice. musical instruments. Haydn was closest to the hammer piano. His piano works developed new style playing this instrument. He quickly realized that it was possible to perform softer, more expressive melodies on the piano than on the harpsichord. Starting with Haydn, harpsichord music began to become a thing of the past, and piano music began its history.

In Haydn's work a classical type of sonata developed. Usually it consists of 3 parts. The extreme ones written in fast pace in the main key, frame the slow second part.

The features of Haydn's piano style are expressed very clearly in his Sonata in D major.

First part sonatas are cheerful, lively, childlike. The first part of the sonata opens with a lively and playful main part. The side party does not bring any contrast either. It is only lighter, softer and more elegant.

The contrast to the extreme parts is the slow second part. It is similar to the deep thoughts of the author, restrained and broad. This music reveals pathetic and even mournful intonations.

The finale, written in the form of a rondo, returns to the cheerful mood of the first movement.

Haydn's sonatas are characterized by grace and lightness of music, lack of contrast between themes, small volume and intimate sound.

Hearing: J.Haydn, Sonata D- major

Related information.

How to perform Haydn

How to Perform Haydn (2009)

This collection, dedicated to Haydn’s clavier work, plays the role of a kind of encyclopedia in which particular aspects of performance are immersed in a broad historical and cultural context.

Articles by the greatest pianists and teachers of the 20th century cover a huge range of problems: from general issues style and interpretation to the principles of ornamentation, from the analysis of various editions and urtext to the details of fingering, phrasing and pedalization.

Practical advice and comments are addressed to pianists, including teachers and Children's Music School students, in whose practice the Haydn repertoire occupies a prominent place.

“Like Haydn, everything is fresh and modern!” A. Merkulov

GENERAL ISSUES OF STYLE AND INTERPRETATION Anton Rubinstein

“Grandfather Haydn - kind, warm-hearted, cheerful...”

Maria Barinova Performing Haydn and Mozart in gallant style

Boris Asafiev Harmony of Haydn's worldview

Pablo Casals “Many do not understand Haydn - the knowledge of his depth is just beginning.”

Wanda Landowska “Haydn is fire itself; he knew how to awaken passion!”

Yuliy Kremlev Brief notes about Haydn's keyboard sonatas

Yakov Milshtein Stylistic features performances of Haydn's works

Paul Badura-Skoda On the question of Haydn's ornamentation

Alexander Merkulov Keyboard works by J. Haydn: for clavichord, harpsichord or piano?

PRACTICE OF WORKING ON KEYBOARD WORKS Alexander Goldenweiser Piano concert D-dur (Hob. XVIII/11), Sonata cis-minor (Hob. XVI/36)

Vladimir Sofronitsky Sonata in Es major (Hob. XVI/49).

Leonid Roizman Piano works of J. Haydn

Carl Adolf Martinsen Preface to the edition of the keyboard sonatas of J. Haydn.

Hermann Zilcher Preface to the edition of the keyboard sonatas of J. Haydn

Friedrich Wührer Sonata c minor(Hob. XVI/20)

Andante with variations in f minor (Hob. XVII/6)

Sonata in Es major (Hob. XVI/52)

Paul Badura-Skoda Interpretation of Haydn. Performer's commentary

Directions for ornamentation

Partita G-Dur (Hob. XVI/6, Landon 13)

Sonata As-dur (Hob. XV1/46, Landon 31)

Sonata c minor (Hob.XVI/20, Landon 33)

Sonata in F major (Hob. XVI/23, Landon 38)

Evgeniy Teregulov What can confuse us in the urtext. Performance analysis sonatas

Es-dur (Hob. XV1/49), part I

Sonata in Es major (Hob. XVI/49), part I

Alexander Merkulov Editorial staff keyboard works Haydn and Mozart and problems of interpretation style

Alexander Merkulov “Viennese Urtext” of Haydn’s keyboard sonatas in the work of a pianist-teacher.

Preview:

Methodical work

Sonata form in the piano work of J. Haydn.

Sonata C major Hob/35.

Prepared by:

Sokolova Nelya Vasilievna, piano teacher.

Place of work:

MBOU DOD DSHI them. G. Kukuevitsky, Khanty-Mansi Autonomous Okrug-Yugra, Surgut, st. Leningradskaya, 12

2014

1. Introduction…………………………………………………………………………………... 3
2. The main distinctive features of J. Haydn’s sonata form...3
3. Sonata C - dur Hob/35 I movement……………………………..……………. 5
4. Conclusion……………………………………………………………………... 8
5. References……………………………………………………..9

Introduction

J. Haydn's piano work is quite extensive; The composer created over fifty sonatas, several concertos for piano and orchestra, variations, rondos and other small pieces.

The composer lived a long life (1732-1809), he was a contemporary of J. S. Bach, D. Scarlatti, G. F. Handel, W. A. ​​Mozart, L. Beethoven. And, despite the fact that many years of service with Prince Esterhazy chained him to one place, he was always aware of the musical achievements of his fellow artists.

J. Haydn had a bright creative personality; his music, full of sincere cheerfulness and optimism, is close to the song and dance origins of Austrian folk melodies. A joyful, cheerful attitude, courageous energy, humor full of fire, pathetic improvisation and, on the other hand, soft lyricism, light sadness, calm reflection - this is an approximate circle musical images, constituting the content of J. Haydn's piano music.

The main distinctive features of J. Haydn's sonata form

A characteristic feature of Haydn’s style is the “orchestrality” of his piano works: in the slow parts of the sonatas one can hear either a cello cantilena or a melody played by a violin or oboe; at every step there are such orchestral effects as pizzicato of the bass voice, contrasting the compact sonority of the tutti with the sound separate groups tools, etc. This feature, as well as the presence of heroic and courageous principles in a number of sonatas late period makes the work of J. Haydn similar to the style of the piano works of L. Beethoven.

Their piano sonatas J. Haydn composed throughout his life - from early youth until old age. In his first sonatas, he continued the line of the Austrian national keyboard school (J. Haydn’s model was the “Partitas” and “Divertimentos” of the Viennese composer G. K. Wagenseil). In more mature sonatas (as in the sonata D major Hob.XVI/19), contemporaries saw features close to the style of F. E. Bach. J. Haydn adopted a lot from W. Mozart, especially with regard to the enrichment of melody and perfection of form. This is clearly noticeable, for example, in the sonatas cis-moll (Hob.XVI/36), G-dur (Hob.XVI/40) and Es-dur (Hob.XVI/49).

Haydn, having developed the sonata form and surpassed even Mozart in its construction, retains the character of the gallant style. Haydn's music is transparent, graceful, fresh, sometimes childishly naive and playful.

The sound when performing Haydn should not be too deep: even melodiousness in a legato performance does not require excessive richness. Technical passages and embellishments should be performed with a light, transparent sound, sometimes in the finest leggiero.

No rhythmic deviations that introduce a pathetic character into the recitation are acceptable for the gallant style. All expressiveness is based on the finest modulations of dynamics, without the participation of agogic emphases of recitation. Childlike simplicity combined with elegance and grace, sometimes with a certain pretentiousness, are so difficult to convey the style that few pianists dare to perform works of this era.

The music of the gallant style is so subtle that any sharp accentuation, harsh highlights and excesses in the forte destroy the subtlety of its charm. The same caution is also necessary in the area of ​​rhythmic deviations, the formation of which can introduce an excess of expressiveness, i.e. affectivity. Pedaling remains within the same limits as in Haydn's predecessors.

Should be paid special attention on the quality of Haydn’s themes and methods of their development. The connection between the figurative structure of thematics and genre and form becomes organic and necessary. The interdependence of composition and theme is established: the theme responds to the composition and the composition will necessarily require the inclusion of certain qualities in the theme. Such a functional dependence of thematicity on composition and form is the main feature classic style. And it is clear in the music of J. Haydn. In the first movements of Haydn's sonatas, the themes are in most cases structurally designed and completed. The rhythmic beginning is always individualized in them.

In the structure of themes, Haydn gravitates towards complete thought - towards periods different types: to the periodic repetition of sentences with varying cadence or the entire texture during repetition (Sonata No. 7 in D-major, Martinsen, Sonata No. 4 in g-moll). To themes-periods, in structure indivisible into sentences (Sonata No. 6 cis-moll, Sonata No. 24 C-dur); to open or modulating periods (Sonatas No. 1 Es-dur, No. 2 e-moll); developed with extensively stated second sentences (Sonatas No. 26 Es-dur, No. 42 C-dur); periods divided into three sentences (Sonatas No. 3 Es-dur, No. 8 As-dur); to difficult periods (Sonata No. 9 in D major). The themes not only individualize the basic means of expression- melody, harmony, rhythm - but also meter, structure, texture, registers, timbres. In the structure of themes, Haydn loves unexpected shifts, turns, asymmetry, violation of regularity and periodicity. Hence the peculiar curve of the dynamics of his themes, the individuality of the structure; hence the capriciousness and whimsicality contained within the strict framework of the classical period. Hence the surprisingly healthy humor in those shifts of form that deliberately “break” the form. Similar violations can be found in meter, rhythm, structure, harmony and texture. They are original, unexpected and brief. After them, musical thought easily recovers and returns to “normal,” but all these surprises give the form amazing flexibility, lightness, plasticity and wit. An even more important quality of Haydn’s thematicism is the clinginess of the elements of the theme, their strong conjugation, logical interconnection, and the precise logic of successive elements. In this interaction main role harmony plays.

The emergence of the themes “thesis-antithesis”, “question-answer”, “grain-development”, “grain-development-result”, “thesis-antithesis-synthesis” must be associated with the name of Haydn. In its themes one can find both a contrasting opposition of thematically different elements, and the derivation opposite beginning from a single one through harmonic shifts, comparisons (such as T-D D-T), and contrasting thematic elements with their synthesis in the final section of the entire construction.

Haydn's sonata form acquired classically complete outlines: vivid thematicism, which contains the possibility of further intensive transformation, effective methods of thematic development, meaningful composition, logical saturation and comprehension of all components of the form.

Haydn's music is soft light, clarity of contours and lightness of designs, and in psychologically- naive feeling and unpretentious humor.

Sonata C-dur Hob/35 I movement

This sonata is one of the best and most typical examples of Haydn's work. She is full of light, spiritual cheerfulness, subtle humor. Listening to her, it’s as if you are in contact with an inexhaustible source of youth, health and optimism. Sometimes the music becomes sad, thoughtful or dramatic, but all these are just short-term shades of the overall bright color. The composer gives them in passing, as if reminding the listener that his “hero” is no stranger to more serious and profound experiences.

The main idea of ​​the work is clearly and succinctly contained in the main part - its initial eight-bar. Typically a classical period, two mutually balancing sentences: “question-answer”, a light melody-song with extremely simple accompaniment. Before us appears a completely finished image, full of subtle stylistic details, from which the composer’s creative style is immediately noticeable (the grace note in the first bar - what an expressive touch! There is so much Haydnian humor and enthusiasm in it!). There are no significant contrasts in the exhibition; the development is more contrasting. At the very beginning, when deviating in parallel minor the music takes on a tone of seriousness and reflection. This lasts only a few moments and the former joyful mood reappears. In the cadenza, the character of the music changes: an increase in energy leads to a dramatic climax, emphasized by a slower tempo (adagio) and a non-chord, unusual for that time.

The reprise is also marked by dramatization of the music - it carries out the theme in a minor key and culminates on a diminished seventh chord. At the end of the first movement, the bright, cheerful character dominant in the sonata is established.

The stylistic features of Haydn's music are clearly manifested already in the main part of the sonata. Here the vigorous, cheerful character of the music and the harmonic balance of the form are clearly felt. The musical texture is clear and transparent, like the sound of a string quartet. All chords are played and released strictly simultaneously (the author places staccato signs in the upper voice, but they should also be played on the chords in the left hand part). The pedal is not necessary in this formation, although it can be taken very short to emphasize the strong beats of the bar and quarter notes with a grace note.

Particular attention should be paid to the metro - the rhythmic side of the performance, because the need for a clear sense of classical sonatas strong beats appear already in the first measure. Trying to highlight the fourth quarter with a grace note, students sometimes do not feel its off-beat nature. As a result, instead of bringing out the emphasis, they distort the metrical basis of the sonata. There is confusion regarding the meter in which the sonata was written.

The next eight-bar of the main part differs from the previous one in the appearance of a triplet accompaniment, which enhances the rapidity of development and cheerfulness of the music. In other similar places in the sonata, the accompaniment should in no case burden the sonority. Therefore, the first triplets in the eighth measure should be somewhat marked to emphasize the character of the new construction, but then, when the melody appears, the sonority of the triplets should be softened. The clarity and distinctness required in triplet accompaniment requires an almost pedalless sonority.

In the connecting part, abundant and difficult embellishments appear in the melody. Their expressive role consists in further intensifying development: it is noteworthy that all gruppettos are written on the weak beats of the bar; Thus, they contribute to a more energetic rush of melodic notes towards strong beats. It is necessary to perform decorations not only easily, but also without burdening the melodic line, to feel the attraction to the strong beat of the bar.

The end of the connecting part must be played very energetically, with a full sound, in order to more clearly reveal the line between it and the side part. It is important to emphasize this contrast, because both parties are similar in character, and if you do not draw attention to their differences, the exhibition may seem monotonous.

Compared with the binding lot, the side lot is softer and feminine character. A different function is performed by the gruppetto. They are designed to emphasize its grace and reveal elements of dance plasticity. Therefore, they must be performed differently than in the connecting part - melodiously, smoothly, like graceful squats in a dance.

Particular attention should be paid to the most melodious place in the exposition (42-44 bars). Here it is necessary to achieve maximum melodiousness in the melody, “violin-like” softness and richness of the sound. A pedal can help achieve the integrity of the melodic line in octaves. In addition, it is important to finely calculate the strength of the sound: after the melodious second octave mi you need to take the next ones very gently G sharp and A in order to better bind them and make them more prominent crescendo.

The further construction of the exhibition does not contain any fundamentally new tasks. In development, the contrast of music is enhanced, and it is necessary to draw the student’s attention to its identification. Already in the first four-bar, you need to slow down and then again, with the same energy, perform the theme of the main part in F major. It is especially important to convincingly play the climax - the Adagio and the dynamic rise that precedes it, otherwise the dramatic elements present in the sonata will be unrevealed.

The dramatic nature of the music and the rich texture require a thick pedal in this section, which should be changed with each new harmony.

In a reprise, due to some differences from the exposition, it is necessary to use other colors here and there, for example, in the first construction of the main part or when conducting it in a minor key.

Conclusion

The intrinsic value of Haydn's sonatas is always given by the inexhaustible wealth of ideas and the desire to improve the form. Thanks to the wealth of ideas, Haydn comes to bold and unexpected turns in texture, to sharp changes in high and low registers, to sudden contrasts in sound, which, in contrast to the more refined Mozartian piano texture, often give his sonatas a more independent, free, capricious and changeable character .

Haydn's sonatas represent an indispensable art material for student pianists of varying degrees of preparedness.

“Haydn’s strength lies in his fantastic inventiveness, and therefore his music constantly amazes with its unexpectedness” Pablo Casals.

References

1. Alekseev A. History of piano art. - M.: Music, 1988 - 415 With.
2. Asafiev B.V. Musical form as a process. - L.: Music, 1971 – 369 p.
3. Blagoy D.D. The importance of figurative associations in the work of a pianist teacher. - M., 1966.
4. Druskin M. Essays. Articles. Notes. - L.: Music, 1987 – 299 p.
5. Kogan G.M. At the gate of mastery. Pianist's work. - M.: Music, 1969 - 342 p.
6. Landowska V. About music. - M.: Raduga, 1991 - 438 pp.
7. Neuhaus G.G. About the art of piano playing. - M.: Classics XXI, 1999 – 228 p.
8. Novak L. Joseph Haydn. Life, creativity, historical significance. - M.: Music, 1973 - 450 p.
9. Roizman L. Piano works of J. Haydn. Introductory article in the publication: Haydn J. Selected Sonatas. Vol. 1. M., 1960.
10. Savshinsky S.I. A pianist working on a piece of music. - M.: Music, 1964 - 187 p.
11. Feinberg S.E. Pianism as an art. - M.: Classics XXI, 2001 – 335 p.

Keyboard sonatas Haydn created throughout his long career creative life. Their early works he composed for the harpsichord, and later ones for the piano, using the diverse sound capabilities of this, then still new instrument.

Haydn's sonatas are usually a three-movement cycle: 1st movement - sonata Allegro
(The name "sonata" comes from Italian word"sonare" "to sound").
The Sonata in E minor is one of Haydn's most famous keyboard works. It is distinguished by its special lyricism and elegance of sound, as well as extraordinary virtuosity.

1st. Part
The music of the 1st movement is written at a fast tempo and has a sonata form. The theme of the main part (E minor), presented in three voices, is unusually alarming and agitated. The melody of the lower voice is decisive, strong-willed, rising along the sounds of a minor tonic triad in the low register. Short motives of the upper voices of a lyrical, intermittent, restless nature.
The connecting part is bright. It modulates into the key of the side part.
The theme of the side game (in parallel tonality G major) contrasts with the main part. It sounds especially light, transparent and melodious.
The joyful mood is conveyed in the light, fast passages of the final part.
Development sounds intense, mostly in minor keys. In the main part, the lyrical short motives, ending unsteadily, acquire a particularly alarming character. In the connecting part, the decisive “run-up” of the sixteenth notes ends with soft, sad “second sighs”. At the end of development, the main part sounds most vivid.

The reprise, like the development, is of a tense, excited nature. Its themes are carried out here in the main key of E minor. The theme of the side game sounds especially sad, like regret about an unfulfilled bright dream. The final game, longer than in the exhibition, completes the 1st. part of the stormy, rapid movement of the sixteenth notes. She has a sense of confidence and fortitude. human personality capable of withstanding life's adversities.

part 2

The intonations of her lower voice, rising along the sounds of triads, here move into the upper register, acquiring a fanfare sound.
The reprise, like the development, is of a tense, excited nature. Its themes are carried out here in the main key of E minor. The theme of the side game sounds especially sad, like regret about an unfulfilled bright dream. The final game, longer than in the exposition, ends Part I with a stormy, rapid movement of sixteenth notes. It conveys the confidence and fortitude of the human personality, capable of withstanding life’s adversities.
The music for this piece is light and dreamy. Its main theme, in the key of G major, is similar to improvisation in a leisurely, calm movement. The pattern of the melodious melody forms a beautiful ornate pattern of figurations of small durations.

Part 3.
The finale of the sonata is written in the form of a rondo and has the following structure: (Refrain 1 episode Refrain 2 episode Refrain).
The refrain (E minor) creates a feeling of swiftness and flight, and is distinguished by its extraordinary lightness and grace. Its dance character is given by a clear, sharp rhythm. The episodes (in the same key of E major) are based on a modified refrain melody.

Last Sunday, two concerts of clavier music took place in different halls of the Moscow Conservatory: during the day, our wonderful clavier player and connoisseur of ancient instruments Yuri Martynov played in the Rachmaninoff Hall, performing keyboard sonatas on the harpsichord, tangentlügel and hammerklavier, and in the evening, a student of the Moscow State Conservatory, winner of the latter, played in the Small Hall competition named after Scriabin, pianist (grandson of the remarkable pianist and composer T. P. Nikolaeva), who performed works by Scriabin, Debussy and Ravel on a modern piano.

Yuri Martynov, as an interpreter, works at the junction of several performing schools: he graduated from the Moscow Conservatory as a pianist in the class of M. S. Voskresensky and as an organist in the class of A. A. Parshin. This already testified to the extraordinary knowledge and skills of the musician, but later he further expanded the scope of his musical interests by studying ancient instruments, having trained in France in the specialty of harpsichord and basso continuo in High school music at Bobigny and at the Conservatory. K. Debussy in Paris, from which he graduated with gold medals. Throughout the world, performers who master so many instruments and styles are counted in very few, so on Sunday listeners had the opportunity to come into contact not only with a variety of instruments, but also with a widely and brilliantly educated musician who played them.

The concert took place in three sections, each of which had its own instrument: two sonatas by J. Haydn were presented on each instrument. A total of six sonatas were performed: Nos. 23, 26, 19, 20, 44 and 50 (Hob. XVI), and for obvious reasons there were no encores. Sonatas 23 and 26 were performed on the harpsichord, 19 and 20 on the tangentenflugel, and 44 and 50 on the hammerklavier.

As can be seen from the list, in each department an exclusive sound atmosphere was recreated, which was further varied due to the possibilities of restructuring the sound of the instruments implied by their design. The impression was unusual: when famous works are played on instruments designed at the time of their composition, it becomes clearly clear how much a modern piano unifies the sound of ancient things and what incredible sound skill is required to interest the listener in their playing and the music played on a modern piano. And historical instruments, by the very fact of their use, naturally recreate the sound atmosphere of antiquity, and all that remains is to professionally select them in order to successfully present the music intended for performance. As far as I understand, the instruments were chosen by Martynov for certain Haydn sonatas not by chance, but for certain musical and technical reasons, but, unfortunately, there were no public explanations, even the briefest, about this from the keyboard player, and the concert program did not contain them either.

It is known that experts are still arguing about which instruments should be used to perform which Haydn sonatas and at what moments in his life Haydn “moved” from one instrument to another and a third, or at what moments he perhaps returned to previously used ones. This question has not yet been convincingly resolved, so Yuri Martynov, apparently, solved the problem of choosing an instrument to his own taste, probably guided by some theoretical works. But it seemed to me that he made many decisions - both on the choice of instrument and on registration - on his own, relying on his own professionalism and artistic taste.

As is known, the keyboard instrument used by the keyboardist in the first section is a stringed keyboard instrument, which, as a rule, has two manuals and several register switches, the sound of which is formed by plucking the string with a special tongue while simultaneously raising the damper to release the string. In Haydn's sonatas from the first movement, Yu. Martynov changed the registration and used both manuals.

In the second part, a unique instrument sounded - the only tangentflugel in Russia, which is an exact copy of one of the few surviving historical instruments. Interestingly, the tangentflugel, which is also a stringed keyboard instrument, uses a vertically moving plate (tangent) driven by a key and striking the string from below to produce sound. Unlike the same type of string plucking in a harpsichord, a tangent strike allows you to vary the power of the tangentflugel sound depending on the force of pressing the key, so it is possible to use it more expressive phrasing, supported by changes in sound dynamics.

Playing the tangentflugel, Yuri Martynov tried to show its other capabilities, in particular, the ability to change timbre with the help of leather strips placed between the tangents and strings: for example, the second part of Haydn’s 20th sonata took on a very unusual sound appearance when, due to mechanical after the restructuring, the timbre of the instrument was deprived of even a hint of the ringing quality just demonstrated in the first movement; any barely produced sound quickly faded away, reminiscent of string pizzicato, and the initial sonic attack was muted and dull. There was a feeling of extreme non-standardity of such a timbre solution!

In the third section, a hammerklavier sounded, the mechanism of which (in terms of design, transitional in the direction of the piano mechanism) uses a hammer (hammer) striking a string to produce sound. And on the Hammerklavier, Yuri Martynov also took advantage of the opportunities provided by the instrument for mechanical adjustment in order to change the character of the sound, moreover, directly during the playing process. This was done with taste and left no doubt about the legality of specific decisions.

We can rightfully say that Yuri Martynov in his concert sounded like “ short course» history of the development of keyboard mechanics and sound production techniques of the second half of the XVIII century and demonstrated the possibility of very virtuoso playing on all instruments. The sound result was completely convincing and left nothing to be desired, which was appreciated by the audience of the Rachmaninov Hall, who witnessed this unique performance.

To summarize, I can say that it was a wonderful concert, during which one could be convinced of the need to perform ancient works on instruments of ancient lifetime designs, when the properties of timbre, sound production and recording features allow one to achieve such artistic effects that are fundamentally unattainable on modern pianos.

If we try to characterize the performing style of the clavier player himself, regardless of the sound of the ancient instruments he played, then we can say that Yuri Martynov has very open views on this kind of interpretation. During his performance, I repeatedly caught myself thinking that if we “projected” his playing onto the keyboard of a modern piano, then a lot of things would look very free and, in places, probably mannered and pretentious, but that’s the beauty of playing on ancient instruments: some tempo-dynamic exaggeration, expression and even too free rubato are perceived on them as something completely natural, closely related to the physics, mechanics and physiology of performance and, therefore, completely human and artistically convincing. The artist’s individuality showed up very sharply and brightly, but it didn’t hurt at all music performed, and even vice versa.

In conclusion, it remains to thank Yuri Martynov for a wonderful concert, which, if desired, could also be considered as a “master class”.