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Florida State University Libraries
Electronic Theses, Treatises and Dissertations The Graduate School
2012
A Pianist's Guide to Practicing andPreparation of the First Movement ofHaydn's Piano Sonata in E-Flat Major, No.32Ludwig Heinz Treviranus
Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected]
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
A PIANIST’S GUIDE TO PRACTICING AND PREPARATION OF THE FIRST
MOVEMENT OF HAYDN’S PIANO SONATA IN E-FLAT MAJOR, NO. 62
By
LUDWIG HEINZ TREVIRANUS
A treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Summer Semester, 2012
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Ludwig Heinz Treviranus defended this treatise on April 26, 2012
The members of the supervisory committee were:
Read Gainsford
Professor Directing Treatise
Evan Jones
University Representative
Douglas Fisher
Committee Member
Heidi Williams
Committee Member
The Graduate School has verified and approved the above-named committee members, and
certifies that the treatise has been approved in accordance with university requirements.
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ACKNOWLEDGEMENTS
I would like to thank:
My major professor, Dr. Read Gainsford, for his inspiration, endless patience, support, and
mentorship during this project.
My committee members, Dr. Heidi Williams, Dr. Evan Jones, and Prof. Douglas Fisher for their
advice, guidance, and assistance.
My friends throughout the College of Music who have shared their many ideas, listened to my
thoughts, and willingly given of their time to provide suggestions and help edit my treatise.
Although I cannot name every person who has helped and supported me in so many ways, I
would like to extend a special thanks to my father Heinz, mother Atalana, and sister Athina for
their endless encouragement, alofa, and faith during my time at Florida State University.
Fa’afetai mo mea uma.
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TABLE OF CONTENTS
List of Figures…………………………………………….…………………………..vi
List of Musical Examples…………………………………………………………….vii
List of Musical Exercises……………………………………………………………..ix
ABSTRACT…………………………………………………………………………..xi
INTRODUCTION……………………………………………………………………..1
1. HAYDN’S LIFE. .....................................................................................................3
!!!!!!!!!!!!!London 1791-1795$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$%3!
Haydn’s Sound World …………………………………………………………8
2. ANALYSIS AND EIGHTEENTH-CENTURY PERFORMANCE PRACTICE..13
Analysis............................................................................................................14
Topics.........................................................................................................14
Sonata-Allegro Form .................................................................................18
Abbreviation of Technical Terms ..............................................................19
Formal Sections, Tonal Areas, and Topics in Haydn, Sonata No. 62, i ....20
Performance Practice in the Eighteenth-Century.............................................35
Over-dotted Rhythm ..................................................................................36
Articulation ................................................................................................37
Legato ....................................................................................................37
Staccato .................................................................................................38
Portato...................................................................................................39
Incise Slur..............................................................................................39
Brilliance ...............................................................................................40
Ornaments ..................................................................................................41
Short Trill – Schneller ...........................................................................41
Turn .......................................................................................................42
Appoggiatura.........................................................................................43
Tempo ........................................................................................................44
Rests and Fermatas ....................................................................................45
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Dynamics ...................................................................................................48
3. EXERCISES AND GENERAL THOUGHTS ON PRACTICE
AND, PREPARATION ..........................................................................................50
Exercises ...........................................................................................................51
!!!!!!!!!!!!!!!!!!!!Dotted Chords…………………………………………………………… 51!
Articulation ................................................................................................53
Legato ........................................................................................................53
Overlapping .........................................................................................53
Weight Transfer ....................................................................................54
Position Change....................................................................................56
Staccato.......................................................................................................56
Portato ........................................................................................................57
Brilliant Style ........................................................................................58
Double Thirds .............................................................................................64
Legato ....................................................................................................65
Non-Legato .............................................................................................66
Ornaments ...................................................................................................67
Short Trill – Schneller..............................................................................67
Short Appoggiatura...................................................................................69
Incise Slur .................................................................................................70
Turn............................................................................................................71
Dynamics .....................................................................................................72
Rests and Fermatas ......................................................................................74
General thoughts on Practice .................................................................................76
Release of Excess Tension ..........................................................................76
Mental Engagement.....................................................................................76
Sound...........................................................................................................77
Two specific suggestions that allow greater awareness ..............................77
CONCLUSION............................................................................................................79
BIBLIOGRAPHY........................................................................................................80
BIOGRAPHICAL SKETCH .......................................................................................85
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LIST OF FIGURES
Fig. 1: Illustration of Prellmechanik mechanism...............................................9
Fig. 2: Illustration of Stoss-Mechanik mechanism.............................................9
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LIST OF MUSICAL EXAMPLES
Ex. 1: J.S. Bach, Partita No. 4 in D major, BWV 828, Overture, mm. 1-3….15
Ex. 2: Mozart, Sonata in C major, K. 545, ii, mm. 1-3………………………15
Ex. 3: Scarlatti, Sonata in C Major, K. 159, mm. 1-3………………………..16
Ex. 4: Mozart, Sonata in F major, K. 332, iii, mm. 1-3……………………...16
Ex. 5: J.S. Bach, Goldberg Variations BWV 988, Variation 18, mm. 1-4…..17
Ex. 6: Mozart, Sonata in A major, K. 331, Alla Turca, mm. 65-68…………17
(Haydn Sonata No. 62, first and third movement)
Ex. 7.1: mm. 1-10……………………………………………………………22
Ex. 7.2: mm. 14-18 .........................................................................................23
Ex. 7.3: mm. 27-30 .........................................................................................24
Ex. 7.4: mm. 33-34 .........................................................................................25
Ex. 7.5: mm. 36-43 .........................................................................................25
Ex. 7.6: mm. 44-49 .........................................................................................27
Ex. 7.7: mm. 50-51 .........................................................................................27
Ex. 7.8: mm. 50-54 .........................................................................................28
Ex. 7.9: mm. 19-22 .........................................................................................28
Ex 7.10: mm. 65-80 ........................................................................................30
Ex 7.11: mm. 5-10 ..........................................................................................32
Ex. 7.12: mm. 84-89 .......................................................................................32
Ex. 7.13: mm. 103-116 ...................................................................................33
Ex. 8.1: mm. 1-2 .............................................................................................36
Ex. 8.1a: ..........................................................................................................36
Ex. 8.1b ...........................................................................................................37
Ex. 8.2: m. 6....................................................................................................38
Ex. 8.3: m. 26..................................................................................................38
Ex. 8.4: m.18...................................................................................................39
Ex. 8.5: m. 27..................................................................................................40
Ex. 8.6: m. 24..................................................................................................40
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Ex. 8.7: m. 19..................................................................................................41
Ex. 8.7a ...........................................................................................................42
Ex. 8.7b ...........................................................................................................42
Ex. 8.8: m. 26..................................................................................................42
Ex. 8.8a ...........................................................................................................43
Ex. 8.9: m. 115................................................................................................43
Ex. 8.9a ...........................................................................................................44
Ex. 8.9b ...........................................................................................................44
Ex. 8.10a: mm. 44-46......................................................................................46
Ex. 8.10b: mm. 199-203 (movement iii).........................................................46
Ex. 8.10c: mm. 2-4..........................................................................................47
Ex. 8.10d: mm. 182-198 (movement iii).........................................................47
Ex. 8.11: m. 23................................................................................................49
Ex. 9.1: m. 1....................................................................................................51
Ex. 9.2: mm. 6-7 .............................................................................................54
Ex. 9.3: m. 7....................................................................................................55
Ex. 9.4: m. 26..................................................................................................57
Ex. 9.5: m. 18..................................................................................................58
Ex. 9.6: mm. 9-10 ...........................................................................................59
Ex. 9.7: m. 24..................................................................................................61
Ex. 9.8: m. 41..................................................................................................63
Ex. 9.9: mm. 4-5 .............................................................................................65
Ex. 9.10: mm. 35.............................................................................................66
Ex. 9.11a .........................................................................................................67
Ex. 9.11b .........................................................................................................67
Ex. 9.12: m. 19................................................................................................67
Ex. 9.13: m. 116..............................................................................................69
Ex. 9.14: ..........................................................................................................71
Ex. 9.14a: m. 26 ..............................................................................................71
Ex. 9.15a: mm. 2-3..........................................................................................74
Ex. 9.15b: mm. 44-46 .....................................................................................75
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LIST OF MUSICAL EXERCISES
Dotted Chords
Exc. 1a..............................................................................................................51
Exc. 1b .............................................................................................................52
Exc. 1c..............................................................................................................52
Exc. 1d .............................................................................................................53
Overlapping Legato
Exc. 2a..............................................................................................................54
Weight Transfer
Exc. 2b .............................................................................................................55
Exc. 2c..............................................................................................................55
Position Change
Exc. 3a..............................................................................................................56
Staccato
Exc. 4a..............................................................................................................57
Portato
Exc. 5a..............................................................................................................58
Brilliant Style
Exc. 6a..............................................................................................................59
Exc. 6b .............................................................................................................60
Exc. 6c..............................................................................................................60
Exc. 6d .............................................................................................................61
Exc. 6e..............................................................................................................62
Exc. 6f ..............................................................................................................62
Exc. 6g .............................................................................................................63
Exc. 6h .............................................................................................................64
Double Thirds
Exc. 7a..............................................................................................................65
Exc. 7b .............................................................................................................66
Exc. 7c..............................................................................................................66
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Ornaments
Exc. 8a..............................................................................................................68
Exc. 8b .............................................................................................................68
Exc. 8c..............................................................................................................69
Exc. 9a..............................................................................................................69
Exc. 9b .............................................................................................................70
Exc. 9c..............................................................................................................70
Exc. 9d .............................................................................................................72
Exc. 9e..............................................................................................................72
Dynamics
Exc. 10a............................................................................................................72
Exc. 10b ...........................................................................................................73
Rests and Fermatas
Exc. 11a............................................................................................................74
Exc. 11b ...........................................................................................................75
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ABSTRACT
The purpose of this study was to create a guide for practicing, performing, and preparing
the first movement of Haydn’s Piano Sonata in E-flat major, No. 62. The study brings together
historical, analytical, performance practice and pedagogical aspects to provide a rounded
approach for studying this work in preparation for performance. The study of the historical
content provides a brief introduction to Haydn’s life, and the major external factors that
influenced the composition of Sonata No. 62. An analysis of the first movement combines
traditional analysis based on thematic material, harmony, and motivic development with
description of the musical “topics” used. A brief study of relevant eighteenth-century
performance practice examines notational conventions and their application to modern
instruments. The final section offers a variety of technical exercises specific to the movement
under discussion. These exercises are designed to further strengthen specific aspects of the
technique of a pianist who is at a sufficiently advanced level to tackle this work, and offer the
tools to command a more stylistically compelling performance as suggested by the study of
performance practice conventions.
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INTRODUCTION
The purpose of this treatise is to provide a practical guide to practicing and preparing the first
movement of Piano Sonata in E-flat Major No. 62 by Joseph Haydn. Composed during his
second visit to London in 1794, Sonata No. 62 is Haydn’s grandest and most virtuosic piano
composition. Of the fifty-four complete piano sonatas by Haydn, Sonata No. 62 stands alone in
terms of its grand scale and orchestral quality.
The idea for creating this practical guide arose from awareness that there does not
currently exist a technique and practice guide for this work. Though there is a wealth of literature
available regarding history and interpretation, nothing exists that bring this together and covers a
technical approach specific appropriate to this sonata. This treatise will fill that gap.
The piano sonatas Haydn composed prior to his time in London were either written for
performing in front of smaller circles of admirers, or as teaching pieces for his students (Taggart,
1988, p. 1). Haydn spent the majority of his life writing music in the Esterházy palace, as the
Kapellmeister for Prince Nikolaus Esterházy. When he moved to London, the markedly different
working environment and social standing proved to influence his writing.
During his visit he was introduced to the English Broadwood piano, which was much
more powerful than the Viennese fortepiano to which he was accustomed. Haydn also made the
acquaintance of concert pianist Therese Jansen, to whom he subsequently dedicated this sonata.
In addition, impresario Johann Peter Salomon from London invited Haydn to compose works for
a concert series to be known as the Haydn-Salmon series. These concerts were held at the
famous Hanover Square Rooms, providing the opportunity for Haydn’s compositions to be heard
by the general public (Landon, 1988, p. 230). The combination of these circumstances inspired
the writing of the E-flat sonata, consequently making it more than a piece to played in a small
setting or for teaching purposes, but rather a sonata intended to be played in a large concert hall
for a public audience.
Each chapter in this treatise is divided into two sections. The first section of Chapter One
will focus on Haydn’s time in London: both his living environment (the move from the
Esterházy Palace in rural Hungary to one of the busiest cities in the world), and how the English
piano with its advancement in sound production influenced the writing of this sonata. Section
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Two describes the differences between the pianos Haydn knew by Walter and Schanz from
Vienna and by Broadwood from London, and the modern-day piano. This will have implications
for Haydn’s own expectations of sound and tone, and therefore how the modern pianist should
approach this sonata.
Chapter Two focuses on analysis and eighteenth-century performance practice. The first
section analyzes the movement focusing on harmonies, the use of motives, and the use of topics
as defined by Ratner (1980). The second section is a discussion of aspects of eighteenth-century
performance practice including rhythm, tempi, ornaments, articulation, fermatas, rests, and
dynamics.
Having established a historical context and a musical understanding through analysis and
an understanding of the parameters Haydn expected, the final chapter will be the Exercises and
General thoughts on Practice. This will provide a selection of exercises applicable to the
performance of the movement under consideration. The first section introduces exercises
designed specifically with the technical challenges of the movement in mind. The second section
details the implementation of these exercises. The exercises are based on the author’s own work
as a performer and teacher drawing from the examples of pedagogues such as Dohnányi, Cortot,
and Tankard and Harrison.
Concerning numbering of the sonatas: the Hoboken number (Hob.) has become a
standard reference in Haydn sonatas. Anthony von Hoboken was the first musicologist to create
a definitive account of all Haydn’s works, numbering and dating them including fifty-two
keyboard sonatas (Taggart, 1991, p.4). By this system the E-flat Sonata is referred to as Hob:
XVI/52, meaning the fifty-second sonata in the series (XVI) of piano sonatas. This treatise will
use the more modern numbering by Christa Landon of the Wiener Urtext. Landon includes
Haydn’s fifty-four complete sonatas (five of which were previously unpublished), and also an
incomplete Sonata, and seven thematic incipits of lost sonatas, for a total of sixty-two works
numbered chronologically (Taggart, 1991, p. 3). Throughout the treatise, all musical examples
(including fingering suggestions) for the E-flat sonata will be taken from the Wiener Urtext
edition (Landon and Jonas, 1973), and the sonata will be referred to by Landon’s numbering as
Sonata No. 62, as per Landon.
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CHAPTER I:
HAYDN’S LIFE
LONDON 1791-1795
Joseph Haydn, born in 1732, came to prominence as the Vice-Kapellmeister for Prince
Paul Anton Esterházy at his palace in Eisenstadt, Austria, from 1761. Following the prince’s
death, his son Prince Nikolaus Esterházy became ruler. He promoted Haydn to Kapellmeister in
1766 in the new family palace of Esterháza, located in rural Hungary. Haydn continued to serve
Prince Nikolaus for the next thirty years (Gordon, 1996, p. 91). Haydn’s job was to compose and
direct all the music commissioned by the Prince for royal events, and to direct concerts within
the palace. Haydn was also required to rehearse the music with the musicians, give lessons, and
even tune his own clavier in the orchestra (Griesinger, 1810, p. 16).
Although Haydn’s duties were many, he benefited from a constant supply of able
musicians, and an audience that was provided by the matters of court. Having a group of capable
players on hand enabled Haydn to give rein to his prolific musical imagination, and experiment
in his compositional style. Haydn explains:
I could as head of an orchestra, make experiments, observe what enhanced an effect, and
what weakened it, thus improving, adding to, cutting away, and running risks. I was set
apart from the world, there was nobody in my vicinity to confuse and annoy me in my
course, and so I had to be original. (Griesinger, p. 17)
Following the death of Prince Esterházy in 1790, Haydn found himself relieved of his
duties as music director and returned to his home in Vienna (Jones, 2009, p. 136). At this time
Johann Peter Salomon, a concert manager from London, who was in the process of attempting to
secure soloists for his season (Gordon, 1996 p. 92), heard of Prince Nikolaus’ death, and hurried
to Vienna to engage Haydn. Salomon had often written to Haydn, in the hopes of bringing him
over to London (Griesinger, 1810, p. 22). On arriving at Haydn’s room, Salomon addressed him:
“Get ready to travel. In a fortnight we go together to London” (Griesinger, 1810, p. 22).
Haydn was hesitant about traveling to England due to his inexperience with travel and the
language barrier, since he did not yet speak English. However as Mozart said on being told of
Haydn’s imminent departure ,“Oh Papa, you have no education for the wide world, and you
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speak so few languages.” Haydn answered serenely, “But my language is understood all over the
world” (Geiringer, 1982, p. 102).
Following Salomon’s proposal, Haydn made two successful visits to London in 1791-92
and 1794-95 (Gordon, p. 92). During these two trips Haydn’s contract with Salomon required
him to conduct weekly subscription concerts which were to be known as the Haydn-Salomon
series, held at the Hanover Square rooms as well as other well-known concert venues (Landon,
1988, p. 230). During Haydn’s first visit 1791-92 he composed six new symphonies and a set of
six quartets (p. 230). Yet it was his second visit in 1794-95 that inspired the writing of his last
and only piano sonatas during this period (Geiringer, 1968, p. 339).
Haydn’s move profoundly influenced his piano composition, and it was during his second
visit that he composed his last three piano sonatas, of which the E-flat is labeled ‘Grand Sonata’
(Landon, 1976, p. 452). Beghin’s (2009) article A composer, his dedicatee, her instrument, and
I: thoughts on performing Haydn’s keyboard sonata highlighted that “it was this metropolis
[London] that had inspired him to write his first real concert sonatas in the first place” (p. 212).
During Haydn’s visits to London, there were three main factors that influenced his
compositional style. First, Haydn now had the freedom to do as he pleased, since he was no
longer tied down by the demands of the palace but now lived in the city of London, one of the
busiest and most densely populated cities in Europe (Landon, 1976, p. 24). Second, he had
access to the new pianos made by the English company Broadwood, which were much larger and
louder instruments than the Viennese fortepiano that Haydn was accustomed to, having an
overall heavier construction. Third, he met a pianist whose playing proved influential.
The environment of London was ideal for a master musician like Haydn. Landon and
Jones (1988) wrote:
In the event, London was by far the best choice for Haydn. It might not have been the
undisputed musical capital of Europe, but in the years 1791-1795 it was musically the
most interesting centre; and more than that, it was in every sense a free city in the country
blessed with the greatest amount of freedom, political and personal. (p. 228)
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Haydn was adored by the English, and acquired the instant status of a celebrity. He was
hailed a musical star and showered with gifts and admiration everywhere he went (p.230).
Within a week of his arrival in London, Haydn wrote to his close friend Maria Anna von
Genzinger (1754–1793) who was the wife of Prince Nikolaus's personal physician in Vienna.
Genzinger had begun a special relationship with the composer in 1789, and in this letter Haydn
reveals the overwhelming reactions to his arrival and compares the working environment in
London, and Vienna. In his letter, Haydn wrote:
London, 8th
January 1791
Nobly born,
Gracious lady!
My arrival caused a great sensation throughout the whole city, and I went the round of all
the newspapers for 3 successive days. Everyone wants to know me. I had to dine out 6
times up to now, and if I wanted I could dine out every day; but first I must consider my
health, and 2nd
my work.
All this, my gracious lady, was very flattering to me, and yet I wished I could fly for a
time to Vienna, to have more quiet in which to work, for the noise that the common
people make as they sell their wares in the street is intolerable. (p. 229)
As noted in Haydn’s letter to Genzinger, Haydn’s transition to the London musical scene
was greeted with great enthusiasm and excitement. Dr. Charles Burney, a renowned music
historian, attended Haydn’s inaugural concert in the famous Hanover Square Rooms, describing
Haydn’s music as having an “electrical effect on all present” and of “such a degree of enthusiasm
as almost amounted to frenzy” (Geringer, 1968, p.115).
In addition to the admiration Haydn speaks of, he also mentions his negative reaction to
the noise of the common people. One of the factors that made this noise unbearable was the
location of his new living quarters, placed directly in the city with its constant hubbub. Haydn
also had a room at his disposal at the famous music shop of John Broadwood, who built the
English Broadwood piano. Against the background of the noise of pianos being built in the
workshop and the sounds from the city streets, it was in these rooms Haydn would compose (p.
229).
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Prior to his encounter with the English Broadwood piano, Haydn had been accustomed
at least from 1788 on, to a Viennese fortepiano by Wenzel Schanz (Harrison, 1997, p. 5), which
was much smaller in sound and scale. In comparison to the subtler construction and sound of the
Viennese piano, the English piano was a “somewhat cruder beast,” (Burnet, 2004, p. 168).
Features on the English piano, such as a deeper touch, a thicker soundboard that increased
resonance in the treble, and richer tone color created by the thicker hammer heads, inspired
Haydn to add a degree of orchestral power to his piano works, not found in his piano writing
prior to his arrival in London (McCabe, 1986, p. 75).
Although Haydn was fifty-nine years of age, he retained a youthful sense of curiosity
about all aspects of English life, and did not want to be left out of anything (Geringer, 1968, p
106). In the BBC documentary The Birth of British Music: Haydn, the Celebrity, Marshall
Marcus, Head of Music for London’s Southbank Centre, gave strength to Geringer’s observation
stating “Haydn is forever looking at the structure of the world wondering, what happens if you
turn this upside down? What happens if you take it from this angle?” (Hazlewood, 2009).
Haydn’s curiosity was further fueled by the English piano, which offered a broader variety of
sounds inspiring Haydn to expand the scale of his writing, employing thicker textures, and wider
dynamic ranges in his compositions. The keyboard was of utmost importance to the writing of
Haydn’s works, as it was through this instrument that he was able to realize his musical ideas. “I
sat down, began to improvise, sad or happy according to my mood serious or trifling. Once I
seized upon an idea, my whole endeavor was to develop and sustain it in keeping with the rules
of art” (Griesinger, 1810, p. 61).
On July 24 1792, Haydn finished his work in London, and returned to Vienna (Jones,
2009, p. 159). Although Haydn was now an international figure, he was not greeted by the same
reception at home as he had received when he arrived in London. No concerts were arranged in
his name, nor was there any newspaper coverage to advertise the return of the man who had
already contributed so much to the music of Austria (Geringer, 1968, p. 138). In Vienna, he
seemed no more than a retired composer.
From May 1792, Haydn spent most of his time in Eisenstadt “perhaps playing the organ
in services” (Jones, p. 160). On January 26, 1793 Haydn’s close friend Maria von Genzinger to
whom he had often written for solace, died, which added to the already disappointing atmosphere
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in his hometown (p. 140). In addition, the castle of Esterháza where he had spent the bulk of his
creative life with his patron and friend Prince Esterházy, had been abandoned after the death of
its creator (p. 146).
Neither Vienna nor Eisenstadt had much to offer Haydn, so on Tuesday 4 February 1794
(Jones, 2009, p.162) he returned to the English capital for a second visit, staying for a year and
half (Griesinger, 1810, p. 28). Once again Haydn was greeted “like an old and highly treasured
friend” (Geringer, 1982, p. 148). Unfortunately information regarding Haydn’s second visit to
London is scarce, as there remained no single person with whom he cared to share his life
through letters (p. 147) whereas on the first visit he had corresponded frequently with Maria von
Genzinger.
In contrast to the grim circumstances he had left behind in Vienna, Haydn’s second visit
to London provided new inspiration for composing for the piano. During his first visit to London
Haydn had met the young German-born concert pianist Therese Jansen who became the third
influence and the dedicatee for the E-flat sonata. Jansen was the daughter of a famous dancing
master in Aachen, and was born about 1770 (Landon, 1976, p. 440). Jansen studied with the
famous piano teacher Muzio Clementi, “Father of the Piano” in London (Beghin, 2005, p. 212),
and became one of the most sought-after teachers in London (Landon, 1988, p. 284). Although
Jansen was not known as a public performer, Haydn was inspired by her technique at the
keyboard and dedicated the E-flat sonata to her, along with two other sonatas, nos. 60 in C, 61 in
D (Landon and Jones, 1988, p. 284). In Strunk’s (1934) article Notes on a Haydn Autograph, he
explained that Haydn and Jansen were reacquainted during this second visit to London, and
although he considered her a brilliant performer she seems never to have appeared in public, nor
was she mentioned in letters he wrote (Music Quarterly, p. 193).
In comparison with Haydn’s sonatas written before 1790, which were for the court or
teaching purposes, Sonata No. 62 is in a new category. From its brilliant opening, to the
inclusion of parallel thirds, octave passages, virtuosic runs, rapid broken arpeggios, and an
increase in dynamic range, not only does it show evidence of Jansen’s technique. As Landon
puts it, “this is a ‘public’ Sonata on the grand scale” (Landon, 1976, p. 450). The scale of
Haydn’s sonata and the impression it had made on the public and the media are documented in a
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review by Allgemeine Musikalische Zeitung (I, No. 33, 15 May 1799), a periodical that was
widely read, and that helped publicize the new Sonata (Landon, 1976):
[A] Grand Sonata, rich and difficult as well, both in content and in its manner. It is true
that the reviewer must copy the exclamation that perhaps others have said a hundred
times before – Haydn (italics from the original) is inexhaustible and will never grow old.
What a highly personal way we find here, once again! No copying his own style.
Whoever is capable of playing this Sonata (a really fine piece truly written for the
connoisseur) – his early works in the form hardly compare at all for difficulty –whoever
can play it perfectly and with precision, without missing a single bit, he can truthfully say
about himself: I can play. It creates a very good impression of the lady mentioned on the
title page [Jansen] that the venerable Haydn, who won’t have the time or inclination to
pay empty compliments, should dedicate such a Sonata especially for her. (p. 452)
From this review, it is clear that Haydn’s ‘Grand Sonata’ was a highly regarded work that
not only allowed a pianist to demonstrate his or her prowess at the keyboard, but also directed
attention to the influence of Jansen’s technical abilities. Inspired by the London musical scene
and the power of the new English piano, Haydn had now written a full-scale concert sonata, not
destined for the confines of the Esterháza palace, but rather for the professional concert stage for
the general public to admire and enjoy.
HAYDN’S SOUND WORLD
As discussed above, McCabe (1986) wrote that the English Broadwood piano inspired
Haydn to add a degree of orchestral power to his piano works. It was having an instrument that
had a “greater resonance, deeper touch, and richer tone color” (Burnett, p. 168) that allowed
Haydn to find the new sonorities and possibilities exploited in this work.
Before Haydn’s arrival in London, he owned a Viennese fortepiano by Wenzel Schanz
(Beghin, p. 221). It had limited dynamic range, with little difference between loud and soft. The
minimal contrast in dynamics was largely a result of the fortepiano’s action, which was quicker
and lighter than the English Broadwood. Although the lighter action allowed the performer to
create subtler gradations of volume, it was also limited in its overall dynamic scope (Burnett, p.
151).
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The mechanism employed in the Viennese fortepiano is known as the Prellmechanik or
‘flipping action’ (Fico, 1998, p. 1) illustrated in Figure 1:
Fig.1: Illustration of Prellmechanik mechanism (Somfai, 1995, p. 14).
The Prellmechanik allowed the small leather-covered hammer to be attached to the key. As
Rosenblum (1988) explained, “[w]hen the key was depressed, the tail of the hammer shank
caught on an overhanging rail and the hammer was thrown up to strike the strings” (p. 45). The
result was an attack that was brilliant and direct. Moreover, the touch of the keys enabled ease
during performance of virtuosic passages owing to the light weight of the mechanism. In
addition to a sparkling sound, and a light touch, the tonal decay was relatively rapid (Burnett, p.
152). There were also was leather dampers that were wedged between the strings, allowing for
the sound to be cut off immediately. The articulation and precision of the Viennese piano as
Rosenblum (1988) clarified “further defined the ethos of the instrument” (p. 45) and also the
quality of sound with which Haydn was accustomed.
The English Broadwood used a mechanism known as Stoss-Mechanik or ‘pushing action’
from which the modern-day piano action is derived (Fico, p. 1) illustrated in Figure 2:
Fig. 2: Illustration of Stoss-Mechanik mechanism (Somfai, 1995, p. 14).
As shown in this illustration, as the key was depressed an intermediate mechanism pressed up on
the tail of the hammer, impelling it toward the string (Somfai, p. 14). The English action also had
a deeper key dip, a heavier touch, and slower note repetition than the Viennese action
(Rosenblum, p. 45).
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Compared with the Viennese fortepiano, the English Broadwood had a thicker
soundboard in the treble than in the bass, larger hammers made with more layers of leather, and
thicker strings. Furthermore, the dampers were made of woven cloth and did not dampen as
quickly as the leather Viennese fortepiano dampers, which led to a considerable aftersound
(Burnett, p. 151). These changes introduced Haydn to a piano that was much richer and resonant
in timbre, inspiring the orchestral power in his ‘Grand Sonata’.
Although Haydn never specifically stated he wanted an “orchestral” sound, scholars, such
as McCabe (1986) and Landon and Jones (1988) speculated that the deeper sound of the English
Broadwood and the richer sound of the London orchestra, compared with what he had previously
known, influenced the overall sound and scope of the sonata.
Despite the fact that the sonata may imitate an orchestral sound, modern-day pianists
need to be aware that what Haydn heard from orchestras is not what we are now used to. In 1795
Haydn’s Sinfonia No. 103 in E-flat ‘Drum Roll’ was performed in London. The instrumentation
consisted of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets,
timpani, and strings (Landon, 1976, p. 494).
If compared to the size of a modern day orchestra, with its advantage of a larger brass,
percussion and string sections, it is difficult for the power of Haydn’s orchestra in 1795 to
contend. Other factors to consider are the sound quality of the period instruments and the
materials of which they were made.
The website of the ‘Orchestra of the Age of Enlightenment’ (OAE), one of the prominent
modern groups using period instruments, contains an article regarding the violin that explains
that the internal reinforcement for a baroque violin was much weaker. This would make it
incapable of taking the stress and strain of romantic compositions. Also, the strings were crafted
from sheep gut which gave it an “earthier sound quality” than the bright sound created by metal
strings. (Orchestra of the Age of Enlightenment, 2006).
The baroque bow and construction of wind instruments had a large effect. OAE
explained:
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A fundamental difference between the two is that the baroque bow was convex in shape,
whereas the modern equivalent is concave. Dense, rigid wood such as snakeswood was
used for the baroque bow, which encouraged shorter bow strokes and subtle articulations.
The modern bow became sturdier and the hair was pulled tighter, thus creating greater
tension. This allowed more pressure to be exerted on the instrument by the player,
allowing them to create a louder sound. In addition to the advancements of the violin,
wind and brass instruments have also under gone significant changes. Flutes that were
once made of wood are now made of nickel, and brass instruments use larger sized bores,
which produce a larger sound suitable for large concert halls. (2006)
The construction of the violin is one main reason for the lighter and crisper tonal quality
for an orchestra in the eighteenth century. It is instructive to listen to performances of the same
work by orchestras such as the Orchestra of the Age of Enlightenment and the Berlin
Philharmonic, perhaps the model of modern orchestral playing. There is an obvious difference in
pitch - orchestras in Haydn’s day were typically tuned at A=420 to A=430, nearly a half step
lower than A=440 (Swenson, 2012). Moreover the sound of performance on period instruments
is much tighter, crisper and leaner. The fortes sound strong and vigorous yet without the
thickness of sound produced by the magnificent richness of the Berlin Philharmonic.
A similar difference exists between the sound qualities of the English Broadwood and the
modern-day piano. Overall, the modern-day piano is much larger in every detail. Along with its
increase in size, the modern-day piano is equipped with an iron frame as opposed to the wooden
frame of the English Broadwood (Nalder, 1989, p. 49). The change to an iron frame allowed for
the use of thicker, tenser and more numerous strings, enabling the pianist to create a much larger
volume of sound (Sumner, 1966, p. 71). Also, the hammers are no longer covered with leather
but with felt, which is a softer material that enables a richer, more sonorous tone. As Harding
(1978) explained:
If the string is struck with hard material, the tone is piercing and tinkling and a multitude
of high partial tones are audible; if, on the other hand, the string is struck with a soft
hammer the tone becomes less bright, but more soft and harmonious, for the higher
partial tones have disappeared. (p. 178)
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As a result, the modern-day piano continues the direction of development shown by the
Broadwood’s improvements over the Viennese fortepiano. The sound it can produce is a much
thicker, sonorous quality, and it has a greater dynamic range. As with the Berlin Philharmonic, it
is capable of producing a lush singing sound, which goes far beyond Haydn’s expectation and
concept of sound.
With this comparison of sound in both the orchestras and the pianos in mind, the modern
performer needs to adapt his approach to tone, articulation, and dynamics. When performing
forte, the pianist needs to seek a strong sound that is not thick, but vigorous. When playing
piano, the pianist needs to listen carefully for the quality of sound, making sure that the tone is
not too muffled, but speaks clearly. The importance of careful listening while playing the
modern-day piano, will help the pianist to find a quality of sound that is clear but not overstated.
In most cases the opportunities to play a Haydn sonata on a Viennese fortepiano or an
English Broadwood are rare or non-existent. As a result, the selection of exercises in the final
chapter will cater to the performance of Haydn on a modern-day piano with its heavier action
and sound. However, the exercises will be based on the historical information discussed above
with their implications for sound, and eighteenth-century notational conventions that will be
examined in Chapter Two. This will guide the pianist toward a sound that is as close as possible
to Haydn’s original intentions.
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CHAPTER II:
ANALYSIS AND EIGHTEENTH-CENTURY PERFORMANCE PRACTICE
The analysis will begin by outlining Haydn’s use of musical “topics”, or characteristic musical
gesture as described in Ratner’s (1980) study Classic Music. The incorporation of topics
provides a framework that is particularly helpful in analyzing Haydn’s sonata, and can provide a
clearer understanding of the characteristic figures in the piece. This will be followed by Haydn’s
application of sonata-allegro form, harmony, thematic material, and tonal areas. An
understanding of the analysis will help create a map the pianist can use during performance to
guide the audience through the movement’s various themes, characters and topics. Throughout
the analysis, the names of all motives and topics are burrowed from Ratner (1980). Following the
analysis will be a discussion of eighteenth-century performance practice detailing notational
conventions of this period. This will form the background for the Practice Guide, by establishing
a clear concept of how Haydn may have conceived an ideal performance of this work.
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ANALYSIS
Topics.
Theorist Leonard Ratner ignited interest in the music community with his study of the
eighteenth-century use of what he calls musical “topics” in Classic Music (Ratner, 1980). He
defines topics as “subjects of musical discourse, or a thesaurus of characteristic figures” (p. 10).
They are not pieces, but rather small passages within the work that allude to other characteristics
of eighteenth-century life. Ratner (1980) explained that some of these figures were associated
with various feelings and affections, while others maintain a picturesque flavor (p. 9). Through
subjects such as entertainment, dance, ceremonial music, the military, and the hunt, music in the
early eighteenth century developed a repertoire of characteristic figures that composers could
utilize to add variety and comprehensibility to their works (p. 9). In his analysis of the first
movement of Haydn’s Sonata No. 62 he explained:
Within the 117 measures of this movement, topics change frequently, at least three dozen
times; no topic is maintained for more than six measures continuously. Very few formal
cadences separate topics; they are joined by overlapping or by a change of figure within a
phrase. Haydn’s early training in the short-winded mosaic-like phrase structure of mid-
century gallant music is clearly in evidence here, fused by the subtle legerdemain of his
wit into a continuous but ever-varied discourse. (p. 413)
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French Overture.
The French Overture is a stately style of ceremonial music, which uses a heavy march
tempo with dotted rhythmic figures (Ratner, p. 20). Due to the marked rhythm and relatively
slow tempo, the French Overture creates an impression of majesty. Ratner (1980) explained that
it was used in the courts and theaters of France under Louis XIV to accompany the entrance of
the royal spectators. Bach’s Overture from Partita No. 4 in D major, BWV 828 opens with dotted
(to be double-dotted) rhythms and rushing scales, using the French Overture topic (p. 20).
Ex. 1: J.S. Bach, Partita No. 4 in D major, BWV 828, Overture, mm. 1-3.
(Bach, 1731/2006)
Stile Legato.
Stile legato refers to a line that contains a singable, lyrical melody with connected notes,
is not broken up by ornamentation or fragmentation, and which sits clearly in the forefront of the
musical texture. Here, Mozart displays the use of stile legato in the melody of the second
movement of his Piano Sonata in C major, K. 545.
Ex. 2: Mozart, Sonata in C major, K. 545, ii, mm. 1-3.
(Mozart, 1805/2010)
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Military and Hunt Music.
Military and Hunt Music depicts the music of fanfares. Court guards of noble houses
would often parade to the fanfare of trumpets accompanied by the tattoo of drums (Ratner, p.
18). Hunt signals can usually be identified by the pattern known as horn fifths, imitated by use of
intervals third, fifth and sixth. Scarlatti’s Piano Sonata in C major, K. 159 demonstrates the use
of this topic.
Ex. 3: Scarlatti, Sonata in C Major, K. 159, mm. 1-3.
(Scarlatti, 1839/2011)
Brilliant Style.
Brilliant Style refers to rapid passages used to display virtuosity or intense feeling
(Ratner, p. 19). Mozart opens the third movement of Piano Sonata in F major K. 332 with
running sixteenth notes in the brilliant style.
Ex. 4: Mozart, Sonata in F major, K. 332, iii, mm. 1-3.
(Mozart, 1784/2010)
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Learned Style.
Learned Style is similar to stile legato in using connected sounds but the writing is
contrapuntal, fugal or canonic rather than homophonic. Variation 18, from Bach’s Goldberg
Variations BWV 988 uses the topic of learned style.
Ex. 5: J.S. Bach, Goldberg Variations BWV 988, Variation 18, mm. 1-4.
(Bach, 1741/2007)
Turkish Music.
According to Ratner (1980), “Turkish music comes from a colorful military style called
janissary music, using drums, triangle, winds and cymbals” (p. 21). Mozart’s third movement,
Alla Turca from his Piano Sonata in A major, K. 331 is an example of Turkish Music, with its
march-like rhythm in the left hand, and quick bursts of energy in the right, built with chromatic
ornamentation.
Ex. 6: Mozart, Sonata in A major, K. 331, Alla Turca, mm. 65-68.
(Mozart, 1784/1956)
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Sonata-Allegro Form.
Haydn follows standard sonata-allegro form in which a movement may be described as
having three distinct parts: exposition, development, and recapitulation. The role of the
exposition is to present two contrasting tonal areas, usually realized with contrasting thematic
material. The principal thematic area (PTA) is in the tonic key, while the secondary thematic
area (STA) is usually in the dominant or some other closely related key (Rosen, 1980). The
development section’s main function is to build tension through its harmonic instability, setting
up an expectation of the return of the tonic. It is also a chance for the composer to experiment,
often using fragments of thematic ideas, motivic development and new textures, as well as such
harmonic devices as chromaticism and frequent modulation. The recapitulation returns to the
tonic with restatements of themes from the exposition often altered in order to remain in the tonic
key (Mathes, p. 176).
In summary, the sonata-allegro form creates a home base by establishing the principal
tonal area. The movement away from this home base begins with the transition to the dominant
and continues through the development section’s harmonic and thematic exploration, in a variety
of keys, leading back to home base (the original tonic), and uniting both PTA and STA in the
tonic key. A similar comparison is explained by Hurwitz (2005) who summarized the “exposition
as (departure), the development as (delay), and recapitulation as (return/fulfillment)” (p. 10). In
the following analysis, a chart and musical examples will demonstrate Haydn’s use of sonata-
allegro form along with a discussion of harmony, thematic material, use of topics, and
abbreviations of technical terms.
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Abbreviation of Technical terms.
PTA: Principal Tonal Area
STA: Secondary Tonal Area
PT1: First Theme in Principal Tonal Area
PT2: Second Theme in Principal Tonal Area
ST1: First Theme in Secondary Tonal Area
ST2: Second Theme in Secondary Tonal Area
FO: French Overture
SL: Stile Legato
MH: March & Hunting
BS: Brilliant Style
LS: Learned Style
TM: Turkish March
(ˇ5th
): Descending through the circle of fifths
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Table 1. Formal Sections, Tonal Areas, and Topics in Haydn, Sonata No. 62, i.
Formal Section Measure Harmony Thematic Area Themes Topics
Exposition 1-5 E-flat major PTA PT1 (FO) FO
6-8 PT2 SL
9-16 Transition SL
17 B-flat major STA (FO1) FO
18-26 Motivic
Elaboration
BS/LS
27-28 ST1 MH
29-32 B-flat minor ST2 TM
33-40 B-flat major Closing Theme
40-43 Codetta BS
Development 44-45 B-flat major---
> V/C
Transition to the
development
46-52 C minor --
(ˇ5th)--> V/g
ST1 MH
53-54 G minor—
(ˇ5th)---> V/c
Motivic
Elaboration
LS
55-56 C minor Motivic
Elaboration
LS
57-61 C minor---> Transition/PT2 SL
61-63 VI/C minor Motivic
Elaboration
BS
64-67 ---> V/C minor
68-72 E major--->A
major
ST1 MH
73-78 B minor --->B-
flat major
Transition/PT2 SL
Recapitulation 79-83 E-flat major PTA PT1 (F.O) FO
84-93 PT2 SL
93 STA (F.O1) FO
94-96 Motivic
Elaboration
BS
98-99 E-flat major ST1 MH
100-102 E-flat minor ST2 TM
104-112 E-flat major Closing Theme
112-116 E-flat major Codetta BS
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(mm. 1-10) (Topics: French Overture, Stile Legato & Brilliant Style)
Haydn opens the sonata with a grand statement in the French Overture style, marked (A)
in Example 7.1. Various fragments of this two-bar principal theme (PT1) return at key points
throughout the movement. Although only two measures in length, it is strengthened by the clarity
with which it outlines the cadential figure I-IV-V-I. The idea of taking a small cell and
expanding on it is characteristic of Haydn’s compositional style (Webster, 2012).
Haydn uses the final fragment of the French Overture topic, scale degrees ^5^4^3 to
extend the phrase, repeating the material of the second measure an octave higher, piano, over a
V-I progression in measure 3. He reduces this gesture even further, repeating only the final
^5^4^3 of the original French Overture topic with an added appoggiatura C, marked (B). As
Haydn repeats this small gesture, it becomes a link to the second principal theme (PT2) at (C).
This new melodic idea employs a cantabile phrase, in stile legato, descending chromatically and
steering away from the tonic momentarily, using a D-flat to suggest A-flat major, but quickly
returning to E-flat major. An ascending diatonic line in measure 7 answers this, which eventually
leads back to a repeat of PT1 placed an octave higher, and incorporating a dramatic change of
texture through the use of running 32nd
notes, which introduces the Brilliant Style (D).
Haydn uses the French Overture throughout the movement to signal important points of
arrival: the beginning of the transition, the secondary tonal area (STA) and also the closing
material. In the recapitulation, its entrances mirror the exposition, except that it is absent at the
beginning of the transition.
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Ex 7.1: Exposition: PT1 and PT2, mm. 1-10.
A) PT1 (French Overture Topic) B)
I IV V I V I V I V I V
C) PT2 (Stile Legato Topic)
I
D) PT1 (Brilliant Style Topic)
(mm. 14-18). (Topic: Brilliant Style)
Mathes (2007) explained that the function of the secondary tonal area (STA) is to offer
contrast in thematic material in a new key (p. 154). Haydn’s sonata forms are often described as
monothematic, where similar thematic material is used in both key areas. In this movement, the
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STA begins with a restatement of the French Overture topic, now in B-flat major at measure 18.
This kind of monothematic sonata form is most often associated with Haydn (Mathes, p. 151).
The statement of the French Overture topic returns to the brilliant style as introduced in
measures 9-10. These virtuosic passages are superimposed over a repeated V-I cadence in B-flat
major.
Example 7.2: STA, mm. 14-18.
Brilliant Style Topic
STA B-flat major
(mm. 27-30). (Topics: Military and Hunt Music & Turkish Music)
Measures 27-30 in Example 7.3 are the two contrasting themes in the STA that follow the
repeat of the French Overture topic. Ratner (1980) referred to these topics as Military and Hunt
Music and Turkish Music (p. 18). In measures 27-28, Haydn highlights the descending pattern
from D to Bb echoing the falling thirds from B
b to G as heard in the opening of the work,
measures 4-5. This descending theme here is given a new character through the use of the horn
intervals figure, with the left hand in the treble. A playful scherzando figure in the right-hand
colors this with a repeated high F flicking down to echo the upper note of the left hand’s horn
call, suggesting the Military and Hunt Music topic. Ratner (1980) proposed that this passage is
meant to imitate the high-pitched fanfare of a musical clock (p. 19).
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The horn figure is interrupted with a passage of Turkish music introduced by an elided
cadence into B-flat minor at measure 28. The 32nd
-note figure is extended down into to the bass
register, and then rises in brilliant style, to the closing theme at measure 33. The switch of
modality from major to minor is a technique Haydn probably learned from his teacher C.P.E.
Bach, who often used sudden changes to surprise and delight. As Rosen (1971) said, “C.P.E.
delights in harmonic shock, as did Haydn” (p. 79).
Example 7.3: ST1 and ST2, mm. 27-30.
ST1 (Military and Hunt Topic)
ST2 (Turkish Music Topic)
(mm. 33-34). Following ST2, this closing section shown in Example 7.4 begins with yet another
reference to the opening French Overture motive using three chords with soprano and bass
moving in contrary motion.
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Example 7.4: Closing Theme, mm. 33-34.
(mm. 38-43). The celebratory reiterations of the new key, B-flat, are interrupted by a brief, but
ominous moment of ombra (Ratner, 1980, p. 24), or shadow. The ombra motive is associated
with chromatic inflection, a sudden cessation of rhythmic activity, and in this instance by a
sudden shift of register. Harmonically, this ombra motive chromatically descends to a pedal F,
presented in tremolo in the bass, over which inversions of B-flat major in the right hand rise to
the very top of the keyboard and drive towards a climactic cadence. The codetta further
reinforces the established dominant key with virtuosic passages from measures 40 to 43
accompanied by V-I in B-flat, leading to a rising arpeggio of double octaves in the bass
accompanied by brilliant style in the right-hand, outlining the key of B-flat major decisively.
Example 7.5: Codetta, mm. 36-43.
Ombra motive
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Brilliant Style Topic
(Topics: March and Hunting Music & Brilliant Style)
The development section provides an opportunity for the composer to experiment with
motives, and explore more remote harmonic areas setting up a return to the tonic key.
Throughout this section harmonies are unstable, and proportions are unpredictable (Mathes, p.
165). Along with this harmonic instability Haydn gives a parade of ever-changing topics using
melodic material from the exposition.
(mm. 44-49). Example 7.6 shows the opening of the development, which uses the slow ombra
motive, referencing the closing material from measure 33 in the exposition, and leads to a G
major chord. This chord serves as the preparation for the return of the hunting topic, now in C
major, at measures 46-47, followed by a transitional passage in brilliant style, based
harmonically on descending third motion.
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Example 7.6: Development Section, mm. 44-49.
Ombra motive Hunting topic
Brilliant Style topic
(mm. 50-51). As shown in Example 7.7, the brilliant style passage culminates on what at first
sounds like an E-flat major harmony at the beginning of measure 50, but the introduction of an
A-natural and C-sharp in the descending octaves of the right hand create an augmented sixth
chord, pushing toward the dominant of a new key, G minor, at measure 51.
Example 7.7: mm 50-51
(Topic: Learned Style)
(mm. 50-61). Here Haydn employs a learned style texture, combining fragmentary motives that
lend themselves to contrapuntal treatment. As counterpoint features the combining of multiple
voices and rapid modulation, it is most appropriate that the composer uses this topic extensively
in the development section. Harmonically, Haydn uses the learned style motive to create a
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sequence of descending fifths, beginning in G minor in measure 52, and leading C minor in
measure 55. Even though the passage is in the key of C minor, the stile legato theme emphasizes
the subdominant as it does in the exposition.
Example 7.8: mm. 50-54
Learned Style Topic
G minor Fm-Bb7
-Eb-A
b-D-G
7-C
In Charles Rosen’s (1980) Sonata Forms, he added, “the technique of development is the
fragmentation of the themes of the exposition and the reworking of the fragments into new
combinations and sequences” (p. 2). We should note that this learned style topic initially appears
in the exposition, transitioning into ST1 as marked in Example 7.9.
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Example 7.9: Exposition, mm. 19-22.
Learned Style Topic
Measures 56 to 60 develop PT2 contrapuntally in C minor, taking advantage of the
theme’s expressive chromatic gestures and suspensions. Even though the passage is in the key of
C minor, the stile legato theme emphasizes the subdominant here as it does in the exposition.
Another brilliant style passage from measures 61 through 67 dramatically prolongs an A-flat
major harmony (VI of C minor) before coming to a dramatic half-cadence, still in C minor.
(Topics: Military and Hunt Music, Stile Legato and French Overture)
(mm. 65-80). One of the principal ways that Haydn uses to increase tension is a rapid change a
rapid change of keys (Mathes, p. 165). Example 7.10 demonstrates this sudden change of
harmonies with the unprepared appearance of E major at measure 68, directly after the half
cadence on the dominant of C minor at measure 67. By suddenly taking the music to a remote
key, Haydn delays the tonic. To enhance the playfulness of this abrupt key change, Haydn uses
the hunting topic in E-major with the scherzando short slurs in the right hand repeating it two
measures later in A-major, and then transitioning back into stile legato at measure 72 where he
descends chromatically in measures 74-76, introducing the dominant of the home key in measure
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77. Such delays heighten the need for resolution back to E-flat major, which is announced by the
French Overture topic at the beginning of recapitulation in measure 79.
Example 7.10: Development, mm. 65-80.
V/C
Hunting Topic
E major
Learned Style Topic
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V/Eb
French Overture Topic
E-flat major
(Topics: French Overture, Stile Legato and Learned Style)
(mm. 79-80). In the recapitulation, most themes presented in the exposition return in the tonic.
The themes from the STA of B-flat major now appear in E-flat major. Mathes (2007) explained
“the beginning of the recapitulation also contributes to an immediate sense of resolution as it
resolves the tension of the development by a return to the tonic key” (p. 176).
(mm. 84-88). The restatements of these motives are altered in the recapitulation, once again
demonstrating Haydn’s love of continuous development. A comparison of Examples 7.11 and
7.12 shows that in the exposition, the French Overture reappears in measures 8-9, followed
immediately by descending 32nd
notes, leading to the stile legato at measure 10. Yet the
recapitulation eliminates both the grand restatement of the French Overture and the brilliant
style, which had heralded the beginning of the transition in the exposition, and replaces them
with learned style figuration taken from the development at measures 86-87, extending into the
stile legato transitional material at measure 88.
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Example 7.11: Exposition, mm. 5-10.
Stile Legato Topic
French Overture Topic Brilliant Style Topic
Example 7.12: Recapitulation, mm. 84-89.
Stile Legato Topic
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The STA of the recapitulation is almost half the length of the STA in the exposition. Yet
the length of the closing theme in measures 103-116 is increased. As Mathes (2007) explained,
“[w]hen the STA is altered, it is usually through phrase expansions or by extensions of the
closing material that reinforce the final closure of the movement” (p. 179).
(mm. 103-116). Example 7.13 displays the three extensions that Haydn provides to vary material
from the closing theme of the exposition, delaying the resolution in the journey toward the final
cadence.
Example 7.13. Recapitulation, Closing Theme, mm. 103-116.
A) 1st Extension
B) 2nd
Extension
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C) 3rd
Extension of the codetta
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PERFORMANCE PRACTICE IN THE EIGHTEENTH-CENTURY
The study of eighteenth-century performance practice is helpful to the modern performer
in leading to awareness of how music may have been performed during that period and, as
Rosenblum (1988) suggested, “reveals composition to its fullest, in a manner at once consonant
with the composer’s expectations (as best we can discern them) and satisfying to the performer
and the music” (p. 1). There are certain expectations based on traditions and instruments of that
time from which we can more clearly deduce Haydn’s intentions and realize them even when
playing on a modern piano.
Several treatises written in the eighteenth century describe how to interpret such musical
elements as dynamics, rhythm, touch, articulation, ornaments, and tempo from the point of view
of musicians in that era. Of the multiple studies dedicated to how to perform Somfai (1995)
wrote that the most important regarding the notational conventions of Haydn’s music is C.P.E
Bach’s (1753) Versuch über die wahre Art, das Clavier zu spielen (Essay on the true art of
playing keyboard instruments) (p. 38). It is of interest that Haydn first encountered Bach’s
treatise serendipitously after venturing into a bookstore and asking for a good textbook about
theory. Upon studying the book, he found what he was seeking, and sought to make Bach’s
principles his own (Dies, 1810, p. 95).
In this chapter rhythm, articulation, tempo, fermata, rests, ornaments and dynamics will
be discussed in reference to the movement under discussion. As Bach’s (1753) treatise was one
of Haydn’s favorite manuals concerning the notation of performance directions, selections from
the study will be central to the discussion. Alongside Bach’s (1753) treatise, Türk’s (1789)
Klavierschule will also assist in finding how contemporaries expected the notation to be realized
in performance.
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Over-Dotted Rhythm.
In Sonata No. 62, i, the dotted rhythm plays a prominent role throughout the movement
under discussion. This rhythm in its full chords which is the basis for the noble French Overture
topic:
Ex. 8.1: mm. 1-2
In order to execute this dotted rhythm in the style of eighteenth-century music, the dotted
eighth-note should be lengthened beyond its notated value while the sixteenth note is shortened.
This enhances the gesture to create a livelier rhythm with both more jubilance and more
grandeur, as befits the French Overture topic. This is in line with Bach’s (1753) treatise where
he stated that: “Short notes which follow dotted ones are always shorter in execution than their
notated length” (p. 157).
The degree to which this over-dotting occurs will depend on the tempo of the music. In
the slow introduction to actual French Overtures, the performers would double dot as illustrated
in Example 8.1a:
Ex 8.1a:
Written:
Performed:
(Bach, 1753, p. 157)
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In the context of this piece, to be discussed in Chapter Three, it will be more appropriate
for the subdivision to become four parts against one as shown in Example 8.1b:
Ex. 8.1b:
Articulation.
According to Ratner (1980) articulation signifies the degree of separation sounds in
performance; the degree of separation will determine degrees of emphasis (Ratner, p. 90). Bach
(1753) stated that an ‘ordinary’ note will not be held for its full notated duration, but that there
will be a separation between it and the following note (p. 154). He also described three specific
kinds of touch that relate to the degrees of separation that Ratner (1980) mentioned. These kinds
of touches are – staccato, portato and legato (Somfai, 1995, p. 111). In addition to discussing
these three articulations used by Haydn throughout the sonata, the use of incise slurs during the
Military topic, and Brilliant style will also be examined.
Legato.
The Italian word legato literally means ‘to tie’ or ‘to bind’, (Rebora, 1958, p. 289)
Therefore the musical line should be played or sung as smoothly as possible, tying sounds
together, and avoiding any silence from note to note. Legato is often indicated by a curved line
over or under a group of notes:
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Ex. 8.2: m.6.
Notes which are to be played legato must be held for their full length. This applies to all
notes placed under or over the slur (Bach, p. 154). Türk (1789) explained “for tones which are to
be slurred, the finger should be allowed to remain on the key until the duration of the given note
is completely past, so that not the slightest separation (rest) results” (p. 344).
Staccato.
The Italian word staccato literally means ‘detached’ (Rebora, 1958, p. 503). Haydn
indicates staccato by a vertical stroke over or under the note. These notes are to be played shorter
than their written value:
Ex. 8.3: m. 26.
Bach (1753) stated “such tones are always held for a little less than half of their notated
length” (p. 154). Türk (1789) suggested, “although the dot and stroke have the same meaning,
some musicians take the stroke to indicate a shorter staccato than the dot” (p. 345).
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Portato.
The Italian word portato is the past participle of portare, “to carry” (Rebora, 1958, p.
384). Portato is used when a group of notes is marked as both slurred and dotted. The articulation
of portato lies between staccato and legato in which it is the longest duration of a note without
sounding legato:
Ex. 8.4: m. 18.
In order to perform a portato passage, Bach (1753) suggested that it is “to be played
legato, but each tone is noticeably accented” (p.156). Türk (1789) further explained “the dot
indicates the pressure which every key must receive and by the curved line the player is
reminded to hold the tone out until the duration of the given note has been completed” (p. 343).
Incise Slur.
The incise slur is drawn over pairs of notes within a musical phrase, and indicates both
legato playing, and that the first note should be heavier and the second lighter. Rosenblum
(1988) referred to these short groups of notes grouped under a slur as incise, a French term used
by nineteenth-century French theorists (p. 93). To accentuate these small musical figurations,
Haydn adds a staccato on the second note of each pair. Haydn uses this articulation to
accompany the Military and Hunt topic represented in the left hand intervals of a 3rd
, 5th
and 6ths
,
which are marked staccato:
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Ex. 8.5: m. 27.
During these figures the first note should be slightly accented, and the following note is
to be played detached and very crisply (Bach, p. 157).
Brilliance.
During virtuosic passages, Haydn does not indicate any specific articulation.
Nonetheless, running melodic lines should be executed with enough clarity that each note can be
distinctly heard:
Ex. 8.6: m. 24.
Aulabaugh (1958) believed that “the absence of slurs does not imply a detached
execution which borders upon staccato, but rather a normal, well-articulated, slightly detached
touch” (p. 71). Bailie (1989) shared a similar view and suggested “[f]ast passages must always
be immaculately articulated in passages with gracefully curving lines with a clear but ‘melodic’
touch in exuberant, virtuosic passages with a clarity so brilliant that the notes sound almost, but
not quite detached” (p. xxv).
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Ornaments.
In discussing the role of ornaments with fellow piano students over the years, the general
view has been that “they are used to decorate notes”. However Sandor (1981) described an
alternative viewpoint: “The role of an ornament is to call attention to a note” (p. 214).
Bach (1753) broke down the role of the ornament further, giving three reasons why
ornaments are “indispensible”:
1) They connect and enliven tones
2) They impart stress and accent
3) They make music pleasing and awaken the listener’s close attention (p. 79).
Haydn chooses three basic ornaments– Short Trill (Schneller), Turn, and Short
Appoggiatura. When performing these ornaments
Short Trill – Schneller.
Unlike a trill that may last multiple measures, the Schneller create short bursts of
excitement and is the ideal trill to use during Haydn’s quick descending passage beginning
directly on the main note (Rosenblum, 1988, p. 256):
Ex. 8.7: m.19.
For trills in such descending lines, Bach (1753) suggested that it is most effective to use
the Schneller (p. 143). This is executed as a three-note trill played on the beat but is indicated
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with two small notes as in Ex. 8.6a. It restricted to quick, detached notes before a descent
(Rosenblum, p. 256).
Ex. 8.7a:
(Bach. p. 142)
Ex. 8.7b:
Written:
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Performed: [Bach’s
notation; the grace
notes occur on the
beat]
Turn.
Haydn uses the symbol: which, depending on the context, is to be played either as a
turn or as a mordent (Landon and Jonas, 1964, p. XVI). In Sonata No. 62, this sign is generally
agreed to indicate a turn (p. XVI). Of the ornaments Haydn uses in his sonata, the turn is the
most decorative of the three. The placement of the turn directly over the note, signifies that it is
to be played on the beat. As Bach (1753) stated “[t]he turn is an easy embellishment which
makes melodies both attractive and brilliant” (p. 112). Agay (2008) described the turn as a four-
note group formed by the alternation of the main note with its upper and lower neighbors (p.
130).
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Ex. 8.8: m. 26.
Ex. 8.8a:
Written:
Performed:
(Bach, p. 113)
Appoggiatura.
Appoggiatura comes from the Italian verb appoggiare, “to lean upon” (Rebora, 1984,
38). It is notated as a small note in the value of a sixteenth, illustrated in Example 8.8:
Ex. 8.9: m. 115.
There are two types of appoggiatura: the long and the short. The long appoggiatura
takes half the value of its main note (Rosenblum, 1988, p. 225), while a short appoggiatura does
not bear a definite relationship to its principal note. Therefore it is played quickly on the beat, as
quickly as possible (p. 220).
Due to the character and tempo of the first movement, the appoggiatura best suited is the
short appoggiatura which as Rosenblum (1988) points out provided “rhythmic accentuation and
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quick dissonant twang” (p. 220). Example 8.9a and 8.9b illustrates how it is notated, and
performed:
Ex. 8.9a:
(Aulabaugh, p. 92).
In contrast the long appoggiatura is less abrupt. Aulabaugh (1958) explained it “carries
the stress, and the relationship between it and the principal note is one of loud to soft-stressed to
unstressed” (p. 92) as illustrated in Example 8.9b:
Ex. 8.9b:
Tempo.
To determine the exact speed appropriate for a given tempo indication is a complex
matter that continues to be discussed among music scholars and performers. Haydn marks the
first movement of this sonata Allegro. Fallows (2001) wrote that most dictionaries and
handbooks give allegro as the “standard moderately fast tempo” and its Italian translation means
‘merry, ‘cheerful’ or ‘lively’ (p. 384).
Harrison (1999) stated:
The term allegro, for instance, is non-specific and clearly does not define a particular
quantifiable speed: according to eighteenth-century writers, it has different implications
depending on the time signature, the genre of the piece involved, its geographical
provenance, and the date of the piece bearing the designation. (p. 106)
Beyond Harrison’s criteria, there are two other main clues in this sonata that may guide
the performer towards an appropriate tempo for the work.
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First, the opening is a French Overture rhythm, which as discussed earlier is a stately
style used for ceremonial music. This would imply that the tempo, although allegro, cannot be
taken too quickly lest it detract from the grandeur implied by the sharply dotted rhythm.
Second, because it is a virtuosic work designed to be performed for the public in a
concert hall, the multiple thirty-second-note passages need to be both brilliant and clearly
articulated. With this in mind, the performer can begin to gauge the pace of Haydn’s work by
how well articulated he can play the fastest passages.
Bach’s (1753) view on the matter is that:
Good performance, then, occurs when one hears all notes and their embellishments
played in correct time with fitting volume produced by a touch which is related to true
content of a piece. Herein lies the rounded, pure flowing manner of playing which makes
for clarity and expressiveness. (p. 148)
Fermatas and Rests.
The primary role of the rest is to create silence in the music. Fermatas can also create
silence in the music, but can also elongate the value of a note. Referring to a treatise by music
theorist Marpurg (1763), who acknowledged the relationship between the rhetoric of speech and
music, Rosenblum (1988) explained that in speech, grammatical punctuation is used to help
organize and structure a sentence. Similarly, fermatas and rests function as musical punctuation,
and allow for individual musical ideas to speak clearly, and for emphasis to be placed on specific
musical ideas.
The role of the fermata is to sustain the value of a given note or silence for longer than its
written value. In general, the amount of added duration of the note is at the performer’s
discretion. Considering Haydn’s propensity to experiment, and his love of improvisation at the
keyboard, it would be fair to treat the fermata as an opportunity to ponder a thought, before
introducing the next musical figuration shown in Example 8.10a:
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Ex. 8.10a: mm. 44-46.
“For Haydn the fermata was a favorite device skillfully integrated into the structural plan
where it could have the greatest effect, often as a surprise. Frequently the fermata immediately
precedes a return or change of theme” (Rosenblum, p. 368). Furthermore, Bach (1753) suggested
fermatas are, “often employed with good effect, for they [it] awaken[s] unusual attentiveness” (p.
143).
This is different from earlier practices by both Haydn himself and Johann Sebastian
Bach. It is generally agreed that the fermata as used by Bach in his chorale settings signified the
end of a phrase or a breath (Lehman, 2003) rather than a prolongation of the word and note. In
some of Haydn’s early piano works the fermata allowed for a short improvised cadenza, while in
his later works, the cadenza would be written out (Harrison, 1997, p. 162) as in the third
movement of sonata No. 62 illustrated in Example 8.10b:
Ex. 8.10b: mm. 199-203.
The practice of an improvised, or written out cadenza during a fermata was also common in the
piano works of Mozart (Neumann, 1986, p. 1).
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On a smaller scale, Haydn uses the rest and fermatas over rests as punctuation to
fragment his themes, or to help highlight a short musical idea as illustrated in the next two
examples:
Ex. 8.10c: mm. 2-4.
Haydn uses rests more freely, more frequently and more surprisingly than his
contemporaries, including Mozart (Rosenblum, 1988, p. 368). During Haydn’s slower
movements, the rest often simply corresponds to a breath. Yet in his quicker movements, such as
the first and third movement of this sonata, the rests gives a sense of a stopping-motion, creating
a sense of expectation as well as surprise. This is illustrated in both Example 8.10c (from
movement I) and 8.10d (from movement III):
Ex. 8.10d: mm. 182-198.
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Dynamics.
Haydn’s early keyboard sonatas were composed mainly for the harpsichord and
contained no dynamic indications. The first use of dynamic markings appears in Hob. XVI: 35-
39 and XVI: 20 in C published in 1780, which were influenced by the fortepiano (Harrison,
1997, p. 22). From 1784 onwards Haydn gradually increased the use of dynamics and
performance indications in his piano works (Rosenblum, 1988, p. 57). Despite the influence of
the English piano, his dynamic markings in Sonata No. 62 are minimal, and are confined only to
forte, piano, and fz. Nonetheless, Haydn utilizes each dynamic skillfully to further enhance the
character of a given motive. For instance he uses forte during the more prominent musical
figures such as the French Overture topic, virtuosic passages, and the closing themes. Piano is
not only used during the more melodic figuration of the legato sections, but also in the military
music, and to help intensify the upcoming forte.
It is not possible to describe the contexts appropriate for the forte or piano because for
every case covered by even the best rule there will be an exception. The particular effect
of these shadings depends on the passage, its context, and the composer, who may
introduce a forte or piano at a given place for equally convincing reasons (Bach, p. 147).
In performing this work on a modern-day piano, it is important to consider that Haydn
wrote this in response to the innovations of the English Broadwood. This piano had a wider
dynamic range and a bigger overall sound than the Viennese pianos to which Haydn was
accustomed. From Haydn’s point of view, this was a much more vivid experience than he had
previously known.
However, from the standpoint of modern pianists, the dynamics need to have a quality of
vividness, but still be tempered and not approach the extremes of the piano’s range of dynamics.
This especially applies to when sforzando or sforzato appears in the sonata, which requires a
forceful marcato nature. Haydn did not write this out in full but rather used the abbreviation fz
(Somfai, p. 141) as illustrated:
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Ex. 8.11: m. 23.
As Bailie (1989) suggested, “we do need to be careful to avoid thick, over-sonorous
fortes. However this does not mean that we dare not play loud, or that dynamics need to be pale.
On the contrary, they must be projected and contrasted with the utmost verve” (p.xx).
Awareness of the principles discussed in the this chapter will help the modern pianist
recreate Haydn’s intention, using the instrument now at his disposal.
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CHAPTER III:
EXERCISES AND GENERAL THOUGHTS ON PRACTICE AND,
PREPARATION
This chapter is geared toward pianists at quite an advanced level, for instance in late high school
or early college years. The aim is to further strengthen the pianist’s technique in ways that will
both provide an onstage safety net of security and also allow more flexible and comprehensive
realization of the musical details. The exercises are designed to isolate and focus on technical
issues involved in realizing the details of the movement under discussion as suggested by the
awareness of historical practice discussed in Chapter Two. Although this is not a comprehensive
list of exercises, these suggestions provide a foundation for acquiring the technical and musical
control needed to realize the ideas and make the performance more stylistically compelling. The
exercises relate to specific topics, discussed under analysis in Chapter Two. An awareness of the
sounds or images associated with these topics will better enhance the style and character of the
movement under discussion in both practice and performance. While these exercises are
applicable to many situations and many pieces, they deal with particular issues found in this
movement, as suggested below. From these exercises, many more can be devised and created for
additional training and reinforcement. The pianist is encouraged to use these both as a guide and
as a springboard to developing their own arsenal of technical solutions.
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EXERCISES
1. Each exercise should be practiced through all twelve keys. Depending on the direction of
the exercise, it will either ascend or descend chromatically.
2. Begin each exercise at a slow tempo making sure the correct technique is being used to
execute each passage. Slowly increase the tempo, as the hand feels comfortable.
3. Although the fingerings in these musical examples have been taken from the Wiener
Urtext Edition, the pianist is encouraged to explore alternative fingerings in order to find
maximum comfort while enabling clear realization of the musical goals.
Dotted Chords
Preparatory exercises for measure one:
Ex. 9.1: m.1.
Exercise: 1a
...simile
The purpose of this exercise is to help create the looseness in the wrist that will
effectively allow the dotted rhythm to be played with clarity. Repeat ascending chromatically
through all twelve keys.
1. Lift the hand slightly after the dotted quarter and allow it to bounce forward and
upward on the sixteenth notes.
2. An image that may help could be the skipping of a stone as it propels forward over
water.
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3. Make sure to keep hand-knuckles firm in order to maintain the full, round sound
required.
Exercise: 1b
…simile
1. Practice this same motion in the left hand in Ex. 1b.
Exercise: 1c
...simile
This triplet exercise is for the nimbleness needed in the thumb to execute these chords
well.
1. Let the weight of the hand rest on the upper finger.
2. Pay attention to the thumb’s motion back and forth as it moves from black to white
keys.
3. Try to keep the hand still, and allow the thumb to find greater flexibility as it moves
away from and toward the rest of the hand.
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Exercise: 1d
...simile
Exercise 1d uses the quick motions developed in exercise 1a applied to the over-dotted
rhythm appropriate for this French Overture topic. One technique for achieving the appropriate
amount of over-dotting is to make the quick note a fifth of a beat rather than a quarter. In this
tempo it would not be appropriate to literally double-dot.
1. Play the right hand chords with the same fullness of sound as executed in Exercise 1a.
2. Keep the quintuplets in the left hand steady.
3. Create a slight accent on the 5th
note to emphasize the over-dotted rhythm.
4. Always maintain a fullness of sound.
5. To help internalize the rhythm, it may be helpful to count aloud from 1 to 5 during the
exercise.
6. Some pianists may find it easier to use a phrase such as: “do the rhythm like this” or
another mnemonic device that will help reinforce this rhythm. Make sure to put
emphasis on either number 5, or the word ‘like’ in order to feel the 5th
subdivision.
Articulation.
Legato.
# Overlapping.
In order to succeed in playing legato as described in Chapter Two, the pianist must learn
to overlap sounds. The idea of overlapping began during the era of the harpsichord where notes
had to be held down longer than their written values in order to create greater and more varied
sonorities (Troeger, 2011, p. 121). Holding down of notes longer than their printed value is
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sometimes known as finger pedal, particularly in reference to harmonic accompanimental
figures. This is because it is the fingers that sustain the harmonies, rather than the sustaining
pedal.
Preparatory exercise for measures six to seven:
Ex. 9.2: mm. 6-7.
Exercise: 2a
The basic approach to overlapping legato is to hold the first finger down until after the
second note has sounded and then release the first finger.
1. Although Exercise 2a illustrates a whole note tied to a half note; it is a good idea to
experiment with the duration of the tied note. Make sure to count the beats aloud so
that there is an awareness of when the overlapped note is released.
2. Counting in this exercise will also allow the pianist to take control over the legato
touch, and to experiment with varying degrees of overlapping, holding for one quarter
or three quarters of the value rather than half, for example.
Weight Transfer.
Another aspect of legato playing is the transfer of weight from finger to finger. It might
be helpful for the pianist to compare this to walking, an activity with which s/he is very familiar.
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When we walk we must shift the weight of the body before taking our first step. Similarly when
playing legato, the weight of the hand should shift before the finger depresses the next key.
Stand as though about to walk. Observe that before the first foot moves, there is already a
transfer of weight from one side of the body to the other. After beginning to walk, observe the
weight being transferred from foot to foot with both a sideways and a forward direction. This
movement is a good parallel to playing legato on the piano; a similar feeling can be achieved
using the notes illustrated in Exercise 2b. While playing the exercise, feel the weight of the hand
moving from one part of the hand to the other, while being supported on each finger, just as the
feet support the body while walking.
Exercise: 2b
…simile
1. When the hand is free, a slight rotation in the wrist will occur naturally creating a ‘see-
saw’ motion from fingers 5 to 2 and 4 to 1 which will facilitate the weight transfer
from finger to finger.
2. Maintain contact with the keys at all times.
3. Apply the same procedure in the left hand to Exercise 2c.
Exercise: 2c
…simile
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Preparatory exercise for measure seven:
Ex. 9.3: m.7.
Position Change.
Exercise: 3a
…simile
Exercise 3a practices the quick transition from white key to black key to white.
1. Train the hand to travel slightly forward as it moves sideways between positions with a
smooth, quick movement. This is not a legato-sounding movement.
2. The thumb should pass over, not under, the third finger on its way between hand
positions. This motion can be compared to snapping one’s fingers, in which the wrist
also slightly rotates to the right.
Staccato.
There are many different techniques that can be used to create a staccato sound at the
piano. Whatever the approach, the goal is the quick return of the key from the depressed
position, in order to have the dampers return as soon as possible to the strings which will stop the
sound. Ortmann (1962) wrote “[t]he purpose of all staccato effects is shortness of tone, which in
turn demands key-ascent” (p. 197). This ascent must follow the descent quickly, implying a
change of direction for the energy being used.
One familiar movement from everyday life that utilizes this change of direction is that of
knocking. Look to apply this knocking motion when playing staccato. This action can be
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rehearsed away from the piano against a door or a wall. Practice knocking on a door normally
with the finger knuckles, then, instead of the knuckles, with the fingers held firm. Observe how
the hand springs off the wall, and then transfer this knocking motion onto the piano keys. Once
the pianist has mastered this motion away from the piano, practice the hand staccato using
exercise 4a. Make sure when playing staccato that the arm and wrist are not tense.
Preparatory exercise for staccato passages:
Ex. 9.4: m. 26.
Exercise: 4a
…simile
Portato.
It is clear from C.P.E. Bach that the portato touch is a long one (p. 156). Regarding the
tone used in portato Reder (1943) suggests that it should be of a full quality, and that the
duration is longer than the usual staccato (p. 39).
When practicing portato, the goal is an articulation that lies somewhere between staccato
and legato. Practice the five-finger exercises with this image in mind, slightly relaxing the hand
into each note as you descend and ascend through the scale.
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Preparatory exercise for playing portato passages:
Ex. 9.5: m. 18.
Exercise: 5a
For this exercise, imagine a sliding scale where 1 is perfectly staccato and 5 is played
legato: 1= staccato, 2 = slightly shorter, 3 = medium, 4 = quite long, 5= legato
Begin playing the four measures at level 1; repeat at level 2, and gradually progress to
level 5. Try to find an even gradation between each level. Now do it in reverse. Portato will be
around 4 or even longer, one could imagine 4.5. This exercise can also be useful for a general
and control of length of notes in playing classical music.
Brilliant Style.
The exercises in this section focus on training the fingertip to retract against the key
quickly to create fast brilliant sounds. This touch is sometimes referred to by the French term jeu
perlé (pearl-like play), which may be defined as passages which are played quickly, lightly and
clearly, or as Cortot (1914) stated in, “jeu perlé evokes a string of pearls being unthreaded one
by one i.e. notes played in succession with a perfect tone” (p. 35).
As this is one of Haydn’s most virtuosic sonatas, a vital component in performance of
this work is clarity and quickness of articulation. These exercises focus specifically on passages
of brilliance, which are to be played quickly, lightly and clearly. When practicing these virtuosic
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passages, it must be observed that although they are not marked with specific articulation, “they
must not be played weakly, but with fire and slight accentuation” (Bach, p. 157).
Practice each exercise at a slow tempo, with close attention to how the finger approaches,
and leaves the key. Note that as the hand becomes more comfortable with these exercises, the
speed should be increased to the appropriate performance tempo, or beyond.
Preparatory exercises for brilliant style topic:
Ex. 9.6: mm. 9-10.
Exercise: 6a
…simile
The purpose of this exercise is to practice quickness of articulation in the finger-tip.
1. Each finger should be lying on the key and then snapped towards the palm of your
hand using a quick pulling motion, as though the finger is plucking the key.
2. Each grouping of notes should be played as a single gesture, not as individual notes
aiming towards the accented tone on the final note.
3. Apply a stronger snapping motion on notes marked with a staccato accent.
4. The pianist may begin at quarter note = 60, and gradually increase the tempo as the
hand becomes accustomed to this usage, but increased tempo is secondary here.
5. Be sure to relax the hand during the rests.
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Exercise: 6b
…simile
Exercise 6b continues to focus on brilliance of articulation, and also the ability to release
the hand after a succession of quick notes. The release of the hand between each note is an
important prerequisite for clarity in playing fast passages, and must be integrated into these
exercises.
1. Apply each of the following rhythms in Exercise 6c to the five-finger exercises in
Exercise 6b through all keys. Although there are many more rhythms that can be
applied to this five-finger exercise, these are six introductory rhythms upon which
many others can be based.
Exercise: 6c
a)
b)
c)
d)
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e)
f)
2. Make sure to release the tension from fingers holding the long notes, of each rhythmic
pattern without lifting the hands off the keys.
3. After applying the rhythms in legato, also practice with the jeu perlé studied in
Exercise 6b, and portato touches. As Merrick (1958) suggested:
This early treatment [of practicing with different articulations] will both give [the
fingers] greater strength and agility with which to do so at a later date, and
engrave more firmly on your memory the order in which the notes follow each
other. (p. 27)
Preparatory exercise for measure twenty-four:
Ex. 9.7: m. 24.
Exercise: 6d
…simile
The purpose of this exercise is to help get the hand into position as quickly as possible.
Due to the fact the leap from fingers 2 to 4 is an awkward position, practice this exercise
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beginning at a slow tempo, and then progressively faster. To help keep the hand from locking,
make sure it is allowed to move freely. As Cortot (1928) suggested, “avoid practicing exercises
that incorporate extensions with a motionless hand” (p. 60).
1. Make sure that the hand shifts its weight to line up behind the fingers and does not
over-extend. Release the stretch from the second finger by allowing it to leave its key
once the hand reaches the fourth finger. This will keep the hands free to maneuver and
play the following notes.
2. These three exercises should also be practiced away from the piano. This will allow the
hand to become accustomed to the quick movement from side to side, without being
confined to the piano keys.
3. It may be helpful to compare the extension and relaxation of the hand to an image of a
rubber band expanding, and contracting.
Exercise: 6e
…simile
Exercise: 6f
…simile
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Preparatory exercises for measure forty-one:
Ex. 9.8: m. 41.
Exercise: 6g
Exercise 6g prepares the hand to move quickly between these four-note patterns.
…simile
1. Spring off the thumb each time toward the following pair of notes. The wrist will arch
up and over toward the next note.
2. Practice this exercise with both dotted and inverted dotted rhythms as shown in
Exercise 6c.
3. When practicing with the dotted rhythms, make sure to release the hand on the long
notes (dotted eighth) as suggested in Exercise 6b.
This is one of the many passages that could be approached in different ways depending
on the fingering chosen. The given exercise is to prepare for the fingering 3, 2, 3, 1. If a different
fingering is chosen, such as 4, 3, 2, 1, the movement of the hand, and therefore the preparatory
exercise would be different.
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Exercise: 6h
...simile
Exercise 6h focuses on the brilliance of the notes in between the leap from group to
group. Practice this exercise with both fingerings. In this case 3, 2, 1, the danger is that the hand
has the potential to accumulate tightness as it goes from position to position. The advantage is it
can give a less legato and therefore more brilliant sound. A fingering with less tension, but
perhaps less built-in brilliance, is 4, 2, 3, 1.
1. While practicing this exercise, maintain a steady tempo, with the aid of a metronome if
desired.
2. It may also help to accent the first note of each new group. This will help to keep a
steady tempo.
3. Listen for clear finger articulation on each note.
4. Avoid a flat dull sound by keeping the fingers firm. This will prevent the hand from
collapsing.
Double Thirds.
Throughout these exercises, emphasis on relaxation is a recurring theme. As noted by
Bernstein (1981) With Your Own Two Hands “relaxed muscles will result in – [sic] economy of
motion” (p. 131). Bernstein goes on to explain that if a musician or athlete is able to control
when or when not to contract his/her muscles, the activity can be performed more efficiently.
With that in mind, when practicing these exercises, observe opportunities to release the
hand from its exertion in each position. Notice how rested it feels, and continue in this manner
throughout each exercise. As Cortot (1928) pointed out in Rational Principles of Pianoforte
Technique “Fatigue is the worst enemy of a rational training” (p. 60).
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Preparatory exercises for legato double thirds passages measures 4-5:
Ex. 9.9: mm. 4-5.
Legato Thirds.
The purpose of these exercises is to train the hand to release when possible during double
thirds passages.
Exercise: 7a
…simile
1. When practicing this exercise, it may help to practice top legato line first.
2. Hold the top voice legato when indicated, while playing the bottom voice is slightly
detached.
3. To maintain a legato line in the upper voice lean the weight of the hand toward the
right.
4. Before playing the next note in the bottom voice, feel the release of the hand onto the
top finger.
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Non-legato Thirds.
Preparatory exercise for non-legato double thirds passages:
Ex. 9.10: m. 35.
Exercise: 7b
...simile
Exercise: 7c
…simile
The purpose of exercises 7b and 7c is to train the wrist to become looser in order to
bounce more easily on the keys.
While keeping this in mind:
1. The hand should approach the keys in a neutral position, neither very high nor very
low.
2. The wrist will move slightly up and forward toward the last note.
3. Also, practice, exercise in the left hand.
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Ornaments
When performing the ornaments in Haydn’s sonata it is helpful to remember their role as
defined by Bach (1753)
1. They connect and enliven tones.
2. They impart stress and accent.
3. They make music pleasing and awaken the listeners close attention (p. 79).
Schneller.
Ex. 9.11a
Written:
Performed:
(Bach, p. 142)
Ex. 9.11b
Modern Notation of the execution
Preparatory exercise for the Schneller:
Ex. 9.12: m. 19.
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Exercise: 8a
…simile
It is helpful to play the schneller using the hand and wrist movement of a two-note slur.
Exercise 8a will focus on practicing the two-note slur.
1. Depress the first note with the second finger while simultaneously lowering the wrist
to the level of the key.
2. The wrist should roll forward and upward while the thumb plays the second note,
eventually lifting both fingers off the keys.
Exercise: 8b
…simile
This exercise adds the schneller to the scale practiced in Exercise 8a. Be sure to apply the
same up and down wrist motion as used in the two-note slurs, connecting the first note to the last
of each four-note group.
1. Begin the schneller (triplet) in the lower wrist position with the 2nd finger, and lift the
wrist forward and upward through the ornament.
2. Aim for a crispness of articulation and allow the hand to remain light and the wrist
relaxed.
3. As the thumb lifts off the key the hand will move into position for the next group of
notes.
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Exercise: 8c
…simile
Exercise 8c is a combination of both 8a and 8b with the addition of the first note for each
grouping. This variant gives a chance to focus on releasing the hand. As you play the quarter
note, be sure to release and feel the free wrist and dangling fingers.
Short Appoggiatura.
The short appoggiatura is an ornament which as Rosenblum (1988) suggested, adds
“rhythmic accentuation” to a phrase or melody.
The purpose of this exercise is to practice a plucking motion of the fingers, which will
give the desired crisp articulation.
Preparatory passage for the short appoggiatura:
Ex. 9.13: m. 116.
Exercise: 9a
1. Begin by resting fingers 2 and 3 on the surface of the keys.
2. As the key is depressed, pull the fingertips towards the palm of your hand, while
simultaneously flicking the wrist up and forward.
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Exercise: 9b
1. While depressing both notes, hold the quarter note while plucking the eighth.
2. Although the 3rd
finger does not leave the key, the wrist movement is smaller;
however, it should still occur.
Incise Slur.
The incise slur as shown in Exercise 9c is similar in articulation to the short
appoggiatura. The main difference is that its execution is not as abrupt, and there is a slight lean
on the first note.
Exercise: 9c, m. 27
1. Depress the first note with the fifth finger.
2. While the 5th
finger remains on the note, play the second note with a sharp pull of the
fingertip, creating a snapping effect.
3. The two fingers will leave the keys simultaneously as the second note is snapped.
Ratner (1980) referred to the “high-pitched fanfare of a musical clock” (p. 19), which
refers to the horn-like intervals in the left hand. The sharp articulation in the right hand will add
brilliance to the gesture.
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Turn.
Ex. 9.14
Written
Performed
When practicing the turn:
1. Articulate each note clearly.
2. Aim for a melodic/singing quality.
3. After the first note, allow the hand to circle over slightly towards the thumb.
4. Gradually raise the hand as it leads to the last note of the turn using the 2nd finger.
While the normal preferred fingering for a turn is ‘4, 3, 2, 1’ and would include an
upward non-circular wrist motion, due to the position of the black and white keys, it is best to
use the fingering ‘3, 2, 1, 2’.
Preparatory exercises for the turn:
Ex. 9.14a: m. 26.
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Exercise: 9d
...simile
1. In the first group of notes when using fingering 3, 2, 1, allow the hand to roll over in a
counterclockwise direction to reach its lowest position on the thumb.
2. In the second group of notes when using finger 1, 2, 4, allow the hand to scoop upward
again in a counterclockwise direction to reach its highest point on the fall.
Exercise: 9e
...simile
Dynamics.
“Musical dynamics is the art of employing the various shadings brought out by changing
force of tone” (Leschetizky, p. 60).
Exercise: 10a
1. As each chord is played, make sure to keep fingertips firm, and the wrist must be
flexible but not too loose.
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2. “Anticipate each sound in your mind’s ear before you make it” (Tankard and Harrison,
1960, p. 39).
3. As the pianist gradually approaches forte, increase the speed at which the hands
depress the keys. Leschetizky (1902) explained, “Where the tones follow each other
slowly, equal strength is put forth in piano and forte, only that in the former the keys
are not pressed quickly, but slowly, which brings out the soft singing tone” (p. 60).
4. Allow the hand to relax after playing each chord, while the fingers remain on the keys.
Exercise: 10b
The purpose of this exercise is to practice playing subito dynamics. Exercise 10b allows
the pianist to alternate where the forte and piano, may be placed. Each measure is required to
have one dynamic marking. To begin the exercise, play the first measure piano, the second
measure forte, and return to piano in the third measure.
1. As stated in Exercise 10a, the pianist must anticipate the sudden change of volume in
his ear before making it.
2. Pay close attention to the final beat of each measure making sure it is at the same
dynamic as the rest of the measure.
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Rests and Fermatas.
While this is not an exercise per se there are several thoughts a pianist can have in mind
to help the execution of rests and fermatas. As noted by Bailie (1989) “[s]ilences have particular
significance in Haydn’s music. He will sometimes build up to a climax followed by a positively
dramatic silence” (xxi). Although rests create silence, the pianist should be aware that these
silences are part of the music. The challenge is to maintain the pulse through the rests, while
simultaneously creating the sudden stop with which Haydn surprises and delights as illustrated in
Example 9.15a:
Ex: 9.15a, mm. 2-3.
Exercise: 11a
1. “Silence should not be treated as a kind of vacuum, but rather as part of the continuity
of the whole” (Last, p. 125).
2. Aim to maintain the pulse through the rests
3. During the rests refrain from excess body movement until the following musical
gesture is to be played. This will enhance the surprise-effect that befits the character
Haydn often instills in his music.
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Ex: 9.15b, mm. 44-46
Exercise: 11b
As Haydn uses the fermata as a device to announce a sudden change of mood, Last (1960)
suggested “it may be considered as a moment of preparation or of ‘looking forward’” (p. 122).
1. Pianists should not be afraid of waiting too long on a fermata. Be aware that what
seems like an eternity of waiting on stage, is only a matter of moments for the listeners
in the audience.
2. Embrace the fermata and use it as an opportunity to prepare for the next mood or
character change.
3. The pianist could try waiting six quarter-note beats in this instance.
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GENERAL THOUGHTS ON PRACTICE
A general principle that recurs in books written on how to practice is awareness. The
importance of awareness at the piano while practicing can be divided into three sections:
physical, mental, and aural. These may be described as: Release of Excess Tension, Mental
Engagement, and Sound.
Release of Excess Tension.
As emphasized throughout the exercises, the pianist is encouraged to release any excess
tension in the muscles that may occur or build up during practice. Since playing the piano
involves using the muscles of the body to produce sounds, there must be tension of these muscles
when called for. The reminder here is not to hold on to that tension, or to tense other muscle
groups that are not involved in the movement at hand. Not only will this prevent the hand from
becoming tired, it will allow for efficiency of movement at the piano, which will enhance the
quality of the tone.
Bruser (1997) further explained:
The fingers themselves don’t have any muscles in them; the muscles that control the
fingers are in the rest of the hand and mainly in the forearm. Tendons extend from these
muscles to move the fingers. So overtensing the fingers creates excess tension on the
forearm. This tension prevents the free flow of energy into the hand, making playing
difficult and creating an unpleasant sound. (p. 97)
Mental Engagement.
Although practice is essentially a physical activity, it is important for the pianist’s mind
to remain engaged during these sessions. Mindless repetition of a passage will allow the mind to
wander, and the practice is no longer efficient or useful without mindful control of the session.
To avoid this, the pianist should listen carefully to the sounds that s/he is creating, and constantly
be aware of how his or her practice will enhance the music.
!!"
"
Sandor (1981) wrote:
One never feels sure of the results of purely mechanical practice – one never “knows” the
passage, and consequently one easily forgets it. All practicing should be done
consciously. One could say that the worst practicing is no practice at all, but I am not so
sure about that! Mechanical practicing can form detrimental habits that have to be
eliminated sooner or later. (p.184)
Sound.
The possibilities for creating various sounds at the piano are endless. Before playing, it is
a good idea to listen internally to the sound of a musical idea, and for the pianists to ask
themselves what kind of sound is being imagined (Bernstein, p. 120). One of the best ways to
plan the desired sound is for the pianist to sing the musical phrase aloud before playing it. As the
fingers cannot shape sound the same way the voice does, singing will help lead the shape of a
phrase, and also help guide where the music should breathe.
C.P.E. Bach (1757) further explained:
Lose no opportunity to hear artistic singing. In so doing, the keyboardist will learn to
think in terms of song. Indeed, it is good practice to sing instrumental melodies in order
to reach an understanding of their correct performance. (p. 151)
Two specific suggestions that allow greater awareness.
Practicing provides 1. an opportunity to explore various methods to learn a piece, and
determine what works and what does not, and 2. the chance to train the hands to become
accustomed to the movements required to produce the desired sounds at the piano. In addition to
the practice suggestions in the Exercises section, two further techniques a pianist can apply to
vary his practice regime, internalize the music, and ensure security during performance are:
1. Slow Practice:
An essential ingredient for the preparation of performance is slow practice. This will help
to ensure finger control, and allows the pianist to listen more clearly to what they are
playing. During slow practice, Last (1960) points out “that intelligent slow practice is
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quite different from monotonous slow practice. The section or phrase being practiced
should be as alive in its conception as it would be at the original speed” (p. 118)
2.# Practice blind:###
The pianist would do well to practice with eyes closed. Bruser (1997) explains that
practicing blind helps the pianist to focus on sensations in the hands, and increases
awareness of movement, which enable them to find their way around with more
sensitivity and precision. As the fingers learn the exact location of every key, the arms
follow the hands in their deft navigation of the instrument and draw the whole body into a
smooth, natural movement. (202)
These practice methods should be applied to supplement the exercises assigned in the
previous section. There are many more variations a pianist can explore to enhance their practice
whether it be Haydn’s sonata or another composition. Some recommended books a pianist may
wish to study to increase their repertoire of practice methods are:
1. Philip Johnston, The Practice Revolution (Johnston, 2002)
2. Nancy O’Neill Breth, The Piano Students Guide To Effective Practicing (Breth, 2004)
3. Madeline Bruser, The Art of Practicing (Bruser, 1997)
4. Seymour Bernstein, With Your Own Two Hands (Bernstein, 1981)
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CONCLUSION
This treatise examined three approaches for the first movement of Haydn’s Sonata No. 62
which will help in the preparation for performance of the work:
1. Historical
2. Analytical
3. Performance
Through the historical content it is evident that there are three main factors that
influenced the writing of this sonata. First, Haydn was exposed to a large city free from the
confines of the palace, and an opportunity to write music for a public concert-series. Second, he
was introduced to the much larger and sonorous English Broadwood piano. Third, Haydn
became acquainted with the concert pianist Therese Jansen, whose formidable technique inspired
the writing of the E-flat Sonata.
The study of analysis and eighteenth-century performance practice provides the pianist
with an awareness of where thematic material, harmonic modulation, and motivic development
appear, mapping out the broad interrelation of each section, and providing a concept of the piece
as a whole. While the study of eighteenth-century performance practice examines eighteenth-
century notational conventions that will help better discern Haydn’s musical intentions based on
instruments and traditions of that time.
The exercises and general thoughts on practicing in the final chapter are only just a
sampling of the wealth of sources a pianist can apply to the learning of this movement. Through
these exercises, the pianist should arrive at a clearer understanding of how the hand should move
around specific passages. The goal for the pianist through practicing is to develop a technique
that will provide security and assurance when it comes time to perform.
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Swenson, E. E (n.d.) The History of Musical Pitch in Tuning the Pianoforte. Retrieved from
http://drjazz.ca/musicians/pitchhistory.html
Taggart, J. L. (1988). Franz Joseph Haydn's keyboard sonatas: An untapped gold mine.
Lewiston, N.Y., U.S.A: E. Mellen Press.
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http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/445
93pg7#S44593.7
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BIOGRAPHICAL SKETCH
Name: Ludwig Heinz Treviranus
Birthplace: Upper Hutt, Wellington, New Zealand
Date of Birth: 09/29/1985
Higher Education: The University of Auckland
Major: Piano Performance
Degree: Bachelor of Music (2005)
Degree: Bachelor of Music with Honors (2006)
Degree: Master of Music (2007)
The Florida State University
Tallahassee, Florida
Major: Piano Performance
Degree: Doctor of Music (2012)
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