CCSH Sonata Hob XVI 23. Dalle sei sonate Edizione Hummel 1774 Play Play
Vladimir Horowitz
Piano
Recorded on 11/25/2011, uploaded on 11/25/2011
Musician's or Publisher's Notes
Istituto Europeo di Musica
Haydn- Sonate per il pianoforte.
Academic Research-
Piano Department
2002-2011
CCSH -Ciclo completo delle Sonate di Haydn
Bibliography
Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of Oration. Cambridge,MA: Harvard University Press, 1991.
Burnham, Scott. "The Role of Sonata Form in A. B. Marx's Theory of Form." Journal of Music Theory, vol. 33, no. 2 (Autumn 1989): 247-271.
"Form." The Cambridge History of Western Music Theory, ed. T. Christensen. Cambridge: Cambridge University Press, 2002.
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press, 1998.
Damschroder, David and David Russell Williams. Music Theory from Zarlino to Schenker.Stuyvesant, NY: Pendragon, 1990.
Darcy, Warren. Review of Classical Form, by William E. Caplin. Music Theory Spectrum, vol. 22, no. 1 (Spring 2000): 122-125.
Hepokoski, James. "Beyond the Sonata Principle." Journal of the American Musicological Society, vol. 55, no. 1 (Spring 2002): 91-154.
Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and
Deformations in the Late-Eighteenth Century Sonata. Oxford: Oxford University Press, 2006.
Hill, John Walter. Review of Classical Music, by Leonard Ratner. Eighteenth-Century Studies, vol. 17, no. 1 (Autumn 1983): 78-82.
LaRue, Jan. Review of Sonata Forms, by Charles Rosen. Journal of the American Musicological Society, vol. 34, no. 3 (Autumn 1981): 557-566.
Meyer, Leonard. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago: University of Chicago Press, 1967.
Perry-Camp, Jane. Review of Sonata Forms, by Charles Rosen. Eighteenth-Century Studies, vol. 17, no. 2 (Winter 1983-84): 205-9.
Ratner, Leonard. Harmonic Aspects of Classic Form. Journal of the American Musicological Society, vol. 2, no. 3 (Autumn 1949): 159-168.
Classical Music: Expression, Form, and Style. New York: Schirmer, 1980.
Reicha, A. Treatise on Melody. Translated by P. M. Landey. Hillsdale, NY: Pendragon, 2000
Schenker, Heinrich. Free Composition, translated and edited by Ernst Oster. Hillsdale, NY: Pendragon Press, 1977.
Schmalfeldt, Janet. "Form as the Process of Becoming." Beethoven Forum 4. Lincoln: University of Nebraska Press, 1995.
Spitzer, Michael. Review of Classical Form by William E. Caplin. Music & Letters, vol. 81, no. 1 (February 2000): 110-115.
Tovey, Donald James. The Main Stream of Music and Other Essays. Oxford: Oxford University Press, 1949.
Webster, James. "Sonata Form." Grove Music Online. Ed. by L. Macy (accessed Nov. 1, 2007).
Joseph Haydn composed his opus 13 set of keyboard sonatas in 1773 for his patron, Prince Esterházy. Though today some of its constituent works are overshadowed by other more popular works from Haydn’s pen, the collection was warmly received at their premiere, and even enjoyed several reprintings over the succeeding decades. The 1770s was a transition period for Haydn in which he was experimenting with the fortepiano and the clavichord. While the harpsichord was likely the instrument for which he composed these sonatas, they have been performed on all of these instruments, as well as the modern piano.
Third in the opus 13 set is the Sonata in F major. With bravura, the sonata opens with an elegant theme, which is immediately repeated with added ornamentation. A secondary idea unfolds across brilliant runs and a distinctive semitone idea in the key of the dominant, but also surprisingly touches upon C minor, before the exposition’s close. The development section, though beginning much in the same manner as the exposition, becomes quite dramatic by its conclusion, and leads into an altered recapitulation of the movement’s thematic material. The central Adagio movement in F minor begins with a charming melody, yet tinged with melancholy. Like its companions pieces, it is in a rounded binary form. Lastly, the Presto finale opens with a sprightly theme, which, like the first movement, briefly touches upon C minor before its close. The rhythmic material of the theme is briefly developed before the theme itself brings the sonata to a witty close.Joseph DuBose
Dalle 6 Sonates pour le Clavecin
Composés par Giuseppe Haydn Oeuvre XIII. chés Jean Julien Hummel à Berlin avec Privilége du Roi à Amsterdam au Grand Magazin de Musique et aux Adreses Ordinaire
Allegro
Adagio (fa minore)
Finale. Presto
Organico: clavicembalo o pianoforte solo Edizione: Hummel, Berlino, 1774 Dedica: principe Nicolay Esterházy
Haydn's Piano sonatas (Sound recording): Artur Balsam, Piano
Classical Music | Piano Music
Franz Joseph Haydn
CCSH Sonata Hob XVI 23. Dalle sei sonate Edizione Hummel 1774
PlayRecorded on 11/25/2011, uploaded on 11/25/2011
Musician's or Publisher's Notes
Istituto Europeo di Musica
Haydn-
Sonate per il pianoforte.
Academic Research-
Piano Department
2002-2011
CCSH -Ciclo completo delle Sonate di Haydn
Bibliography
Joseph Haydn composed his opus 13 set of keyboard sonatas in 1773 for his patron, Prince Esterházy. Though today some of its constituent works are overshadowed by other more popular works from Haydn’s pen, the collection was warmly received at their premiere, and even enjoyed several reprintings over the succeeding decades. The 1770s was a transition period for Haydn in which he was experimenting with the fortepiano and the clavichord. While the harpsichord was likely the instrument for which he composed these sonatas, they have been performed on all of these instruments, as well as the modern piano.
Third in the opus 13 set is the Sonata in F major. With bravura, the sonata opens with an elegant theme, which is immediately repeated with added ornamentation. A secondary idea unfolds across brilliant runs and a distinctive semitone idea in the key of the dominant, but also surprisingly touches upon C minor, before the exposition’s close. The development section, though beginning much in the same manner as the exposition, becomes quite dramatic by its conclusion, and leads into an altered recapitulation of the movement’s thematic material. The central Adagio movement in F minor begins with a charming melody, yet tinged with melancholy. Like its companions pieces, it is in a rounded binary form. Lastly, the Presto finale opens with a sprightly theme, which, like the first movement, briefly touches upon C minor before its close. The rhythmic material of the theme is briefly developed before the theme itself brings the sonata to a witty close. Joseph DuBose
Dalle 6 Sonates pour le Clavecin
Composés par Giuseppe Haydn
Oeuvre XIII. chés Jean Julien Hummel à Berlin avec Privilége du Roi
à Amsterdam au Grand Magazin de Musique et aux Adreses Ordinaire
Allegro
Adagio (fa minore)
Finale. Presto
Organico: clavicembalo o pianoforte solo
Edizione: Hummel, Berlino, 1774
Dedica: principe Nicolay Esterházy
Haydn's Piano sonatas (Sound recording): Artur Balsam, Piano
http://lccn.loc.gov/73760867
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