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Haydn, Franz Joseph : Sonate für Klavier Nr.46  Mov.2 Allegretto

Work Overview

Music ID : 32215
Instrumentation:Piano Solo 
Genre:sonata
Total Playing Time:3 min 00 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: April 3, 2025
[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 the second movement, which can be considered a string quartet. Such profound and dramatic pieces are rare in Haydn's works. Please regard it as an expression of a certain kind of sorrow.

Considering this second movement as a string quartet, you are encouraged to assign each line to an instrument.

This second movement primarily proceeds in three voices.

Therefore, try to orchestrate it yourself, considering which parts would be for cello, viola, etc.

For example, in measure 1, the E in the left hand on the off-beat of beat 1 is in a low position, so it would not be unusual for the E to continue sounding from the downbeat.

Measure 2 would be A, measure 3 would be H (B natural), and so on.

Meanwhile, one can imagine the viola playing: in measure 1, E E F# G E; in measure 2, A A H C H; in measure 3, H H C H A.

In the treble clef, it is easy to imagine the two violins playing: in measure 1, E; in measure 2, E and F#;

in measure 3, F# and D#.

Prioritizing Voices

From measure 13 onwards, the ensemble becomes heavier and more complex.

When performing such sections, it is advisable to decide which voice should be prioritized.

While all voices are important, creating a prioritized voice makes the music

easier to listen to.

Writer: Ooi, Kazurou

Author : Saitoh, Noriko

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.

The second movement is an Allegretto in 3/4 time, in E minor, the parallel key to the first movement. At the end of this movement, a double bar line is drawn instead of a final bar line, but no "attacca" indication is found.

Writer: Saitoh, Noriko
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