How many haydn sonatas

Hans-Martin Theopold Fingering. Further editions of this title Study score pocket score With altogether over 50 works, they form a significant segment of his overall output. Next to 25 complete sonatas in the Appendix, Volume I also contains five single pieces that had perhaps once been planned as sonatas , and the beginnings of seven lost sonatas.

Several of these pieces cannot be entirely authenticated without the shadow of a doubt. They are finest Haydn, full of surprise effects and pianistic refinements. His immense oeuvre documents the profound changes in music history during the second half of the eighteenth century, leading to the emancipation of instrumental music.

His most important genres are the symphony and the string quartet, where he cultivated the technique of motivic-thematic development; he made significant contributions to the instrumental concerto and to piano music; during the last years of his life, he composed his great oratorios. Opera and art song take on a rather subordinate significance. He makes a name for himself as a composer: fifteen symphonies, piano sonatas, trios, divertimenti, string trios, wind partitas, string quartets Opp.

He composes many baryton pieces for Prince Nikolaus. Haydn adjusts works imported from Vienna or Italy to the local taste. Little instrumental music after , often with integrated opera music.

VIIb: 2. Of course there is more to Haydn than mere froth and dazzling fingers but an element of fun when appropriate is indispensable. See more Haydn Music. See more Haydn Pictures. See more Haydn Album Reviews. Discover Music. See more Haydn Guides. XVI Ingenious fingering. The central motif in the first movement in one of the many early sonatas in C major is made up of a typical musical phrase.

We would probably spontaneously begin playing this simple figure using the 2nd or 3rd finger and then continue with the neighbouring finger in each case: or And when repeating it, we would jump accordingly and play it once again with the same fingering, beginning with the 2nd or 3rd finger. But Haydn wants the player to separate the last note each time staccato and to slur the preceding 32nd notes.

So, the last 32nd note is not supposed to emphasized at all. But that will not work very well with the standard fingering, will it?

This fingering naturally phrases off the 32nd figure because the weak 4th finger has to slightly bend when the 3rd finger stretches over it. Get your students to play this figure with the fingering as a continuous ascending sequence on the white keys.

Detective work: The figure appears quite often in this movement, starting on different notes. Can your students find each time this particular figure occurs? But beware: not all 32nd note figures are the one they are looking for. Get your students to use the ingenious fingering each time.

And in one single case, Jacob Leuschner has included a little pedagogical fingering joke. Where is it? In it, the player suddenly has to play this same figure with a different and once again unusual fingering — leading to an even better execution of the notated phrasing, as can be heard.

Your students can also practise this fingering in an ascending C major scale. This little exercise not only trains the dexterity of the hand, but also frees us from the routine of using supposedly fixed fingering sequences: We piano players are allowed to and ought to try out ALL fingering combinations, to find the best possible result for OUR HAND.

The C major sonata Hob. XVI can be found in the following Urtext editions without or with fingering of pianist Jacob Leuschner, p.