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Haydn, Franz Joseph : Sonate für Klavier Nr.9 Mov.1 Moderato

Work Overview

Music ID : 32127
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:5 min 00 sec
Copyright:Public Domain

Commentary (2)

Author : Okada, Akihiro

Last Updated: February 9, 2020
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

D major, Sonata form, 4/4 time signature.

The principal theme, consisting of 7 measures, is characterized by motives employing arpeggiated figures and rhythmic figuration, as well as motives based on descending scales. Following a transition (from m. 8), the subordinate theme (from m. 13) is presented in the dominant key of A major and is repeated by a repeat sign.

In the latter half (from m. 20), after a process of returning from the dominant key to the tonic key, utilizing motives from the principal theme and the transition, the principal theme (from m. 36) and the subordinate theme (from m. 51) are recapitulated in the tonic key, and the latter half is repeated by a repeat sign.

Writer: Okada, Akihiro

Author : Ooi, Kazurou

Last Updated: December 16, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This is a very bright and enjoyable first movement. Although the tempo is marked Allegro, a more moderate, calmer tempo, closer to Moderato, offers the advantage of making trills and turns easier to play, while simultaneously allowing for the effortless performance and comfortable listening of intricate notes such as sextuplets, triplets, and thirty-second notes.

Naturally, the tempo should be consistent throughout, so be careful not to let it change from one section to another. Pay particular attention to sections without a clear rhythmic accompaniment, such as measures 23-28, where the tempo tends to accelerate. Maintain a consistently unwavering tempo, as close to a metronomic pace as possible. This will enable the listener to accurately perceive the beat.

The peak point begins from measure 23, with the tension reaching its highest around measure 31.

There are also editions with differing articulations and rhythms. As articulation is generally felt to be flexible, please apply legato and staccato based on the performer's discretion. There is no single "correct" or "incorrect" approach.

Writer: Ooi, Kazurou

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