![]() Breezy march rhythms and vigorous stomping figures abound are his styles. For instance, in the slow movement of Sonata No.60 in C major in bars 9-10, the stressed offbeat semiquavers in the left-hand, in the right-hand and again in the left-hand. Besides, a sforzato in the course of a melodic line in a piano context is more likely to indicate a gentle emphasis- a “leaning” upon, or slight “holding” of certain notes, important to the shaping and expressive sense of the phrase. ![]() ![]() For example, this was found in the first movement of No. Syncopated sforzatos sometimes occur in the late Sonatas with Beethovenian persistence. Haydn’s frequent sforzatos must be treated in a brisk forte passage, a sharp, firm, or indeed biting accent. The sudden forte or piano is indeed the characteristics of Haydn. Later, when he had grown used to the capacities of the new instruments, the gradations of sound like crescendo or decrescendo were implied by the shape of the phrase in the sonata. XVI: 35- 39 and XVI: 20 in C published in 1780, which were influenced by the fortepiano. The first use of dynamic markings appears in Hob. In his early sonata works, as it was in the era of the harpsichord, there are no dynamic signs. There are some matters of style for Haydn in writing his sonatas. These influences perhaps most obvious in his finales, which are typically full of spark and often of rumbustious “country” humour, abounding in his characteristically irregular phrase lengths, stomping, whirling or “churning” dance-like rhythms. Bailie (1989) said about Haydn’s ancestry, on the possibility that Haydn was Croatian rather than German extraction, and of the folk influences he naturally absorbed from the mixed races and cultures of his native region near the Austro-Hungarian border. Again, he used the formality of the minuet as a vehicle for all manner of textual experiment, and his minor trios are often finely expressive. His recapitulations are seldom mere re-statements, but demonstrate his irresistible urge to continue to “work” his material. The mood usually was switched wildly almost from bar to bar, between exuberance pathos and grandeur such as in the 1st movement of No.60 in C major. In each he embarks on a new adventure in structure and style, encompassing every imaginable variety of mood, from the defiance of No.40 in E flat major and No.47 in B minor, to the refinement and expressive grace of No.54 in G major. The “typical” Haydn first movement does not exist. It was stated that Haydn may have first conceived his early works in the context of the string ensemble and then subsequently, he adapted his ideas to the keyboard. In his early sonatas, some passages were inspired by the technique of the violin, there are some imitation of string instruments inside. This does not detract from their musicality, but it may explain why Haydn’s piano sonatas are not performed very often. However, only small amount of the sonatas contained virtuoso passages, and some of them sound relatively simple instead. Most of those were written in major keys and only 7 of them were in minor keys. He also wrote 9 sonatas with just two movements, and 2 sonatas with four movements. Most of his sonatas were followed a rigid three-movement structure. He was not a pianist, only three of his piano sonatas were written in the last 20 years of his life. Most of these were written in his early years. In his later life, he accepted the honour which were heaped upon him with unaffected pleasure, and without a trace of vanity. His optimistic character enabled him to accept the obstacles and frustrations of his life as a liveried servant without bitterness. His legendary humour was combined with the true countryman’s sense of the realities of life. ![]() Haydn was the most natural and lovable men. The men developed a close relationship and found inspiration in each other’s works. He frequently travelled to Vienna to work and met Mozart during the trip. Haydn composed symphonies, string quartets, chamber music and operas for the court. In 1761, he started to serve the Esterházy family for almost 3 decades. Haydn spent lots of his career as a court musician for the rich Esterházy family at their remote estate.
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