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Haydn, Franz Joseph : Sonate für Klavier Nr.34 Mov.2 Adagio

Work Overview

Music ID : 32181
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:4 min 30 sec
Copyright:Public Domain

Commentary (2)

Author : Inada, Saeko

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

Adagio, D minor, 3/4 time. Sonata form.

In contrast to the first theme's deep, sigh-like descending sixth (D minor), the second theme features light, descending sextuplets (F major). In the F major development section, the first theme is presented for only two measures, perhaps because its emotional character does not fully resonate, and quickly transitions to material from the second theme. Nevertheless, the development section returns to the tonic after only eight measures, initiating a developmental recapitulation. Finally, although there is no attacca indication, it seamlessly continues into the third movement.

Writer: Inada, Saeko

Author : Ooi, Kazurou

Last Updated: January 26, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

First, not as a personal opinion, but as a matter of common knowledge, one should not neglect basic counting, such as:

  • Maintaining a consistent tempo.
  • Counting rests accurately.

While counting can be challenging in Adagio, it can be facilitated by subdivision, which involves counting the beats in smaller, more detailed divisions.

Furthermore, set a tempo that does not convey a sense of urgency or impatience, even in passages like measure 14, where continuous triplets appear in the left hand. Fundamentally, by playing notes of smaller value (e.g., sixteenth-note triplets) as softly as possible (pp) and giving more volume to notes of higher value (e.g., quarter notes), balance can be achieved, thereby avoiding the impression of rushing.

Another helpful suggestion is to consider orchestrating this second movement. Passages with constant accompaniment, such as measure 14, can be conceptualized as sections where a relatively large ensemble of instruments is playing. Similarly, sections that proceed in two voices, like measure 18, could be imagined as, for instance, two clarinets.

In measure 11, taking the C on the first beat of the right hand with the left hand can prevent a loss of time before reaching the C two octaves higher.

Writer: Ooi, Kazurou
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