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A Pianist's Guide to Practicing and Preparation of the First Movement of Haydn's Piano Sonata in E-Flat Major, No

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A Pianist's Guide to Practicing and Preparation of the First Movement of Haydn's Piano Sonata in E-Flat Major, No Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 A Pianist's Guide to Practicing and Preparation of the First Movement of Haydn's Piano Sonata in E-Flat Major, No. 32 Ludwig Heinz Treviranus Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PIANIST’S GUIDE TO PRACTICING AND PREPARATION OF THE FIRST MOVEMENT OF HAYDN’S PIANO SONATA IN E-FLAT MAJOR, NO. 62 By LUDWIG HEINZ TREVIRANUS A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 ! ! ! Ludwig Heinz Treviranus defended this treatise on April 26, 2012 The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Evan Jones University Representative Douglas Fisher Committee Member Heidi Williams Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ""! ! ACKNOWLEDGEMENTS I would like to thank: My major professor, Dr. Read Gainsford, for his inspiration, endless patience, support, and mentorship during this project. My committee members, Dr. Heidi Williams, Dr. Evan Jones, and Prof. Douglas Fisher for their advice, guidance, and assistance. My friends throughout the College of Music who have shared their many ideas, listened to my thoughts, and willingly given of their time to provide suggestions and help edit my treatise. Although I cannot name every person who has helped and supported me in so many ways, I would like to extend a special thanks to my father Heinz, mother Atalana, and sister Athina for their endless encouragement, alofa, and faith during my time at Florida State University. Fa’afetai mo mea uma. """! ! TABLE OF CONTENTS List of Figures…………………………………………….…………………………..vi List of Musical Examples…………………………………………………………….vii List of Musical Exercises……………………………………………………………..ix ABSTRACT…………………………………………………………………………..xi INTRODUCTION……………………………………………………………………..1 1. HAYDN’S LIFE. .....................................................................................................3 !!!!!!!!!!!!!London 1791-1795$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$%3! Haydn’s Sound World …………………………………………………………8 2. ANALYSIS AND EIGHTEENTH-CENTURY PERFORMANCE PRACTICE..13 Analysis............................................................................................................14 Topics.........................................................................................................14 Sonata-Allegro Form .................................................................................18 Abbreviation of Technical Terms ..............................................................19 Formal Sections, Tonal Areas, and Topics in Haydn, Sonata No. 62, i ....20 Performance Practice in the Eighteenth-Century.............................................35 Over-dotted Rhythm ..................................................................................36 Articulation ................................................................................................37 Legato....................................................................................................37 Staccato .................................................................................................38 Portato...................................................................................................39 Incise Slur..............................................................................................39 Brilliance...............................................................................................40 Ornaments..................................................................................................41 Short Trill – Schneller ...........................................................................41 Turn .......................................................................................................42 Appoggiatura.........................................................................................43 Tempo ........................................................................................................44 Rests and Fermatas ....................................................................................45 " ! ! Dynamics ...................................................................................................48 3. EXERCISES AND GENERAL THOUGHTS ON PRACTICE AND, PREPARATION ..........................................................................................50 Exercises ...........................................................................................................51 !!!!!!!!!!!!!!!!!!!!Dotted Chords…………………………………………………………… 51! Articulation ................................................................................................53 Legato ........................................................................................................53 Overlapping .........................................................................................53 Weight Transfer ....................................................................................54 Position Change....................................................................................56 Staccato.......................................................................................................56 Portato ........................................................................................................57 Brilliant Style ........................................................................................58 Double Thirds .............................................................................................64 Legato ....................................................................................................65 Non-Legato .............................................................................................66 Ornaments...................................................................................................67 Short Trill – Schneller..............................................................................67 Short Appoggiatura...................................................................................69 Incise Slur .................................................................................................70 Turn............................................................................................................71 Dynamics .....................................................................................................72 Rests and Fermatas ......................................................................................74 General thoughts on Practice .................................................................................76 Release of Excess Tension ..........................................................................76 Mental Engagement.....................................................................................76 Sound...........................................................................................................77 Two specific suggestions that allow greater awareness ..............................77 CONCLUSION............................................................................................................79 BIBLIOGRAPHY........................................................................................................80 BIOGRAPHICAL SKETCH .......................................................................................85 ! ! LIST OF FIGURES Fig. 1: Illustration of Prellmechanik mechanism...............................................9 Fig. 2: Illustration of Stoss-Mechanik mechanism.............................................9 "! ! LIST OF MUSICAL EXAMPLES Ex. 1: J.S. Bach, Partita No. 4 in D major, BWV 828, Overture, mm. 1-3….15 Ex. 2: Mozart, Sonata in C major, K. 545, ii, mm. 1-3………………………15 Ex. 3: Scarlatti, Sonata in C Major, K. 159, mm. 1-3………………………..16 Ex. 4: Mozart, Sonata in F major, K. 332, iii, mm. 1-3……………………...16 Ex. 5: J.S. Bach, Goldberg Variations BWV 988, Variation 18, mm. 1-4…..17 Ex. 6: Mozart, Sonata in A major, K. 331, Alla Turca, mm. 65-68…………17 (Haydn Sonata No. 62, first and third movement) Ex. 7.1: mm. 1-10……………………………………………………………22 Ex. 7.2: mm. 14-18 .........................................................................................23 Ex. 7.3: mm. 27-30 .........................................................................................24 Ex. 7.4: mm. 33-34 .........................................................................................25 Ex. 7.5: mm. 36-43 .........................................................................................25 Ex. 7.6: mm. 44-49 .........................................................................................27 Ex. 7.7: mm. 50-51 .........................................................................................27 Ex. 7.8: mm. 50-54 .........................................................................................28 Ex. 7.9: mm. 19-22 .........................................................................................28 Ex 7.10: mm. 65-80 ........................................................................................30 Ex 7.11: mm. 5-10 ..........................................................................................32
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