Й. Гайдн — ноты для фортепиано
Ноты для фортепиано к произведениям композитора Йозефа Гайдна
Классики — юношеству
Й. Гайдн
Избранные произведения
для фортепиано
5-7 классы детской музыкальной школы
составление и общая редакция
Э.Федорченко и Е. Эфруси
«Музыка», 1968г.
номер 3136
В настоящий сборник включен ряд клавирных произведений Гайдна дивертисменты (сонаты), вариации, аллегро и др., —по трудности рассчитанных на учащихся V—VII классов музыкальных школ.
При редактировании этих пьес мы пользовались, по возможности, уртекстом. В других случаях (при отсутствии оригинала) мы сопоставляли различные имеющиеся издания. Ввиду чрезвычайной скупости динамических обозначений и фразировочных лиг в оригинале, а иногда и полного отсутствия их, мы позволяли себе внести дополнительные указания, которые могут помочь в работе с учеником. Это оговорено в сносках там, где авторские ремарки отсутствуют. В тех случаях, когда они имеются в тексте, наши указания взяты в скобки, а добавочные лишь отмечены пунктиром.
При отсутствии уртекста мы старались избежать излишнего нагромождения и пестроты динамических обозначений, не свойственных стилю Гайдна.
В тексте указывается возможная дополнительная расшифровка украшений и аппликатура. Педаль в этих пьесах употребляется весьма скупо, и мы не сочли необходимым указывать ее, предоставляя это педагогу.
- Дивертисмент (соната-партита) до мажор
- Дивертисмент (соната) до мажор
- Дивертисмент (сонатина) ре мажор
- Соната соль мажор
- Адажио фа мажор.
- Ария с вариациями (La Roxelance) до минор
- Тема с вар нациями до мажор.
- Ариетта с вариациями ля мажор
- Аллегро фа мажор.
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Sonaten von Joseph Haydn
herausgegeben von Louis Koehler und Adolf Ruthardt
Й. Гайдн
Сонаты
Leipzig C.F.Peters
номер 3136
JOSEPH HAYDN (born at Rohrau [lower Austria] in 1732, died at Vienna in 1809), of humble parentage, was chiefly his own teacher in composition. Having lost his voice at an early age, after filling the post of chorister for a short time in Stephan’s Cathedral, Vienna, he was thrown upon his own resources, when he met his first patron, Baron von Filrnberg, who invited him to his estate Weinzierl, with the commission to write a few quartets for his chamber-music-ensemble. He became composer of quartets, divertissements and symphonies in succession to the «Chapels» of Count Morzin (Lukavec 1759) and Prince Paul Anton Esterhazy (Eisenstadt, Castle Esterhazy, since 1761). Then, with the exception of two concert-tours to London (1791—92, 1794—95) he took up his permanent abode inVienna, and to him that City owes its reputation as the home of classical music. In 1755 he wrote the first quartet for Filrnberg, in 1759 the first symphony for Morzin, and as early as 1751 he even composed the first operetta: «The new hunchback Imp».
Marriage acquainted him rather with the salt, than with the bliss, of earth, for the barber’s daughter, Maria Anna, — from whom at last he became divorced after an issueless wedded life of forty years, — was an unmusical Xanthippe. His art, however, amply indemnified him for what he missed in married life, for he was loved and esteemed all the more by the Viennese, more especially, on his return from the London Concert-tours which were indeed crowned with success. He was loudly cheered and homage was done to the artist who at each of the Salomon-Concerts conducted six of his own newly composed symphonies, the final result being that in 1791 Oxford conferred upon him the title of Doctor of Music.
Haydn’s style, based upon the School of the Mannheim Symphonists (Stamitz) and upon that of Bach’s sons and Boc-cherini, shews a new feature in the development1) of the «motive» in the working-out of the movements in his larger works. Nor must we undervalue the influence exerted upon his contemporaries by the simplicity and popular tone of his themes, recalling the early «suite». These charms are further enhanced by a warmth of tone peculiarly Austrian, a delicious humour, child-like mirth, and a convincing truthfulness in the sharp cut outlines of his principal themes. The tradition which attributes to him the introduction of the Minuet into the symphony, lacks historical foundation.
His honorary title of to-day «Father Haydn» well expresses the heart-stirring, alluring simplicity and the natural bent of his imagination; it overlooks, however, his art of musically reproducing his thoughts, in which, even to this day, Haydn, in many respects, has not been surpassed, whose versatility of mind no musician has so far attained to. His oratorios, quartets and symphonies open out the paths to modern music; while, written as they chiefly were for the sweet-toned, delicate «clavichord», an elder sister to the pianoforte, his 34 sonatas for piano rather belong to the early school of composition, hence the predominance of the gracefully intertwining figural subjects. Twenty piano-concertoes and «divertissements» with piano, beautiful variations (f-minor, etc.) and fantasias, complete the garland of his piano-works.
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Источник
Й. Гайдн — ноты для фортепиано
Ноты для фортепиано к произведениям композитора Йозефа Гайдна
Классики — юношеству
Й. Гайдн
Избранные произведения
для фортепиано
5-7 классы детской музыкальной школы
составление и общая редакция
Э.Федорченко и Е. Эфруси
«Музыка», 1968г.
номер 3136
В настоящий сборник включен ряд клавирных произведений Гайдна дивертисменты (сонаты), вариации, аллегро и др., —по трудности рассчитанных на учащихся V—VII классов музыкальных школ.
При редактировании этих пьес мы пользовались, по возможности, уртекстом. В других случаях (при отсутствии оригинала) мы сопоставляли различные имеющиеся издания. Ввиду чрезвычайной скупости динамических обозначений и фразировочных лиг в оригинале, а иногда и полного отсутствия их, мы позволяли себе внести дополнительные указания, которые могут помочь в работе с учеником. Это оговорено в сносках там, где авторские ремарки отсутствуют. В тех случаях, когда они имеются в тексте, наши указания взяты в скобки, а добавочные лишь отмечены пунктиром.
При отсутствии уртекста мы старались избежать излишнего нагромождения и пестроты динамических обозначений, не свойственных стилю Гайдна.
В тексте указывается возможная дополнительная расшифровка украшений и аппликатура. Педаль в этих пьесах употребляется весьма скупо, и мы не сочли необходимым указывать ее, предоставляя это педагогу.
- Дивертисмент (соната-партита) до мажор
- Дивертисмент (соната) до мажор
- Дивертисмент (сонатина) ре мажор
- Соната соль мажор
- Адажио фа мажор.
- Ария с вариациями (La Roxelance) до минор
- Тема с вар нациями до мажор.
- Ариетта с вариациями ля мажор
- Аллегро фа мажор.
Скачать ноты
Sonaten von Joseph Haydn
herausgegeben von Louis Koehler und Adolf Ruthardt
Й. Гайдн
Сонаты
Leipzig C.F.Peters
номер 3136
JOSEPH HAYDN (born at Rohrau [lower Austria] in 1732, died at Vienna in 1809), of humble parentage, was chiefly his own teacher in composition. Having lost his voice at an early age, after filling the post of chorister for a short time in Stephan’s Cathedral, Vienna, he was thrown upon his own resources, when he met his first patron, Baron von Filrnberg, who invited him to his estate Weinzierl, with the commission to write a few quartets for his chamber-music-ensemble. He became composer of quartets, divertissements and symphonies in succession to the «Chapels» of Count Morzin (Lukavec 1759) and Prince Paul Anton Esterhazy (Eisenstadt, Castle Esterhazy, since 1761). Then, with the exception of two concert-tours to London (1791—92, 1794—95) he took up his permanent abode inVienna, and to him that City owes its reputation as the home of classical music. In 1755 he wrote the first quartet for Filrnberg, in 1759 the first symphony for Morzin, and as early as 1751 he even composed the first operetta: «The new hunchback Imp».
Marriage acquainted him rather with the salt, than with the bliss, of earth, for the barber’s daughter, Maria Anna, — from whom at last he became divorced after an issueless wedded life of forty years, — was an unmusical Xanthippe. His art, however, amply indemnified him for what he missed in married life, for he was loved and esteemed all the more by the Viennese, more especially, on his return from the London Concert-tours which were indeed crowned with success. He was loudly cheered and homage was done to the artist who at each of the Salomon-Concerts conducted six of his own newly composed symphonies, the final result being that in 1791 Oxford conferred upon him the title of Doctor of Music.
Haydn’s style, based upon the School of the Mannheim Symphonists (Stamitz) and upon that of Bach’s sons and Boc-cherini, shews a new feature in the development1) of the «motive» in the working-out of the movements in his larger works. Nor must we undervalue the influence exerted upon his contemporaries by the simplicity and popular tone of his themes, recalling the early «suite». These charms are further enhanced by a warmth of tone peculiarly Austrian, a delicious humour, child-like mirth, and a convincing truthfulness in the sharp cut outlines of his principal themes. The tradition which attributes to him the introduction of the Minuet into the symphony, lacks historical foundation.
His honorary title of to-day «Father Haydn» well expresses the heart-stirring, alluring simplicity and the natural bent of his imagination; it overlooks, however, his art of musically reproducing his thoughts, in which, even to this day, Haydn, in many respects, has not been surpassed, whose versatility of mind no musician has so far attained to. His oratorios, quartets and symphonies open out the paths to modern music; while, written as they chiefly were for the sweet-toned, delicate «clavichord», an elder sister to the pianoforte, his 34 sonatas for piano rather belong to the early school of composition, hence the predominance of the gracefully intertwining figural subjects. Twenty piano-concertoes and «divertissements» with piano, beautiful variations (f-minor, etc.) and fantasias, complete the garland of his piano-works.
Скачать ноты
Источник