CCSH. Sonata Hob XVI 21. Dalle sei sonate Edizione Hummel 1774 Play Play
Jean Martin
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).
The Sonata in C major, originally listed as 21 in Hoboken category 16, but later renumbered to 19, was the first of six published as Haydn’s opus 13. The set was composed in 1773 for Prince Esterházy, Haydn’s patron, and was warmly received. Furthermore, it enjoyed several reprintings over the next several decades. Nevertheless, today, the C major Sonata is one of Haydn’s less recognized works for keyboard. Though Haydn specified on the title page for the sonata to be performed on the harpsichord, it is generally recognized that the 1770s was a transition period for the composer, in which he was also experimenting with the fortepiano and the clavichord, and thus the sonata has been performed on all of these instruments, as well as the modern piano.
Cast in the usual three-movement form of the Classical period, the sonata opens with a stately first movement.The Allegro moderato tempo establishes the dignified air of the movement as the opening theme unfolds with dotted rhythms and graceful triplets. In the latter part of the exposition, the regal manner is momentarily abandoned as the key turns towards the minor. In contrast to this opening movement, the central Adagio is more ornamental and melodic. Dramatic melodic leaps and poignant harmonies characterize the rounded binary form movement. Like the first movement, the mood turns somewhat mysterious as the key wanders toward the minor mode before returning to blissful opening theme. Lastly, a Presto finale concludes the sonata with the wit and rhythmic playfulness for which Haydn is so well-known.Joseph DuBose
J.Haydn, Sonata in Do maggiore Hob XVI 21
Six 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 maggiore)
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 21. 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
The Sonata in C major, originally listed as 21 in Hoboken category 16, but later renumbered to 19, was the first of six published as Haydn’s opus 13. The set was composed in 1773 for Prince Esterházy, Haydn’s patron, and was warmly received. Furthermore, it enjoyed several reprintings over the next several decades. Nevertheless, today, the C major Sonata is one of Haydn’s less recognized works for keyboard. Though Haydn specified on the title page for the sonata to be performed on the harpsichord, it is generally recognized that the 1770s was a transition period for the composer, in which he was also experimenting with the fortepiano and the clavichord, and thus the sonata has been performed on all of these instruments, as well as the modern piano.
Cast in the usual three-movement form of the Classical period, the sonata opens with a stately first movement. The Allegro moderato tempo establishes the dignified air of the movement as the opening theme unfolds with dotted rhythms and graceful triplets. In the latter part of the exposition, the regal manner is momentarily abandoned as the key turns towards the minor. In contrast to this opening movement, the central Adagio is more ornamental and melodic. Dramatic melodic leaps and poignant harmonies characterize the rounded binary form movement. Like the first movement, the mood turns somewhat mysterious as the key wanders toward the minor mode before returning to blissful opening theme. Lastly, a Presto finale concludes the sonata with the wit and rhythmic playfulness for which Haydn is so well-known. Joseph DuBose
J.Haydn, Sonata in Do maggiore Hob XVI 21
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
Edizione: Hummel, Berlino, 1774
Dedica: principe Nicolay Esterházy
Haydn's Piano sonatas (Sound recording): Artur Balsam, Piano
http://lccn.loc.gov/73760867
More music by Franz Joseph Haydn
Sonata in A-flat Major Hob. XVI:46
CCSH Sonata Hob XVI 6. Edizione: Breitkopf & Härtel 1800-1806 in Oeuvres complètes de J. Haydn
CCSH Sonata Hob XVI 28. Dalle sei sonate Edizione Hummel 1778
Sonata in A-flat Major, Hob XVI: 46
Sonata in D Major Hob. XVI:37
Concerto for Cello no 2 in D major, Op. 101/H 7b 2.mv.
Sonata No. 47 in B minor Hob. XVI: 32
CCSH Sonata Hob XVI 36. Dalle sei sonate Edizione Artaria 1780
Piano Concerto in D Major, Hob. XVIII
Symphony No. 45 "Farewell"
Classical Music for the Internet Era™