Haydn Piano Sonata Collection: Hardcover Edition

Author: Hermann Zehner
Publisher:
Publication Date: 2005-04-01
Features: This practical edition is based on the outstanding Complete Edition compiled by Carl Pesl. Like the Complete Edition, the original markings by Haydn himself are printed in larger type, while all other added markings are in a slightly finer and smaller font. Markings added during Haydn's lifetime are presented in a smaller font, and those added in later editions appear in parentheses with a small font size, including the markings added by the editor of this book. However, to avoid confusion, newly added slurs and expressive markings (such as mp@espre, dolce) are not enclosed in parentheses but printed in a fine, smaller font. My dynamic markings aim to strike a balance between the principles of scholarly research and the "musical re-creation" crucial for contemporary performers. Handling tempo changes requires extreme caution; on the other hand, if various touch treatments (such as legato, marcato, leggiero, etc.) can make the piece more vibrant, these treatments do not violate strict performance style theory. Fingerings should also approximate Haydn's style, so this edition occasionally features thumb plays on black keys. In fact, there are many opportunities for performers to experiment with fingerings in the same or similar passages. Special attention should be paid to certain notes and ornaments—all those that must be played "non-legato"—when repeating them, to ensure that the modern piano "forced" to produce a light response. Ornaments themselves are self-contained. On this point, even the most meticulous research rarely yields a definitive interpretation. Therefore, in some doubtful passages, I have boldly chosen one version or another based on considerations of harmony, melody, rhythm, or theme. In truth, piano playing cannot follow a rigid scheme, and I also believe that the strict rule "trills always start from the upper note" is incorrect. I determine ornaments from two perspectives: first, the practical purpose of this edition, and second, the greater volume of modern pianos. Haydn himself preferred a lighter, finer piano sound. After establishing these two starting points, I had to omit some ornaments or certain notes within them. When ornaments are abundant, it might be better to omit one or two entirely. Ornaments should make the melody more lively and light, not cumbersome and tedious! For the same reason, I occasionally use triplets and quintuplets in the rhythmic treatment of ornaments to avoid the rigid and lifeless "ornamentation" in strict rhythms. I also suggest that when repeating the same ornament, occasional variations can be introduced, such as "starting from the upper note," "starting from the lower note," adding or omitting notes, or changing rhythmic patterns. It goes without saying that the tempo of a piece plays a very important role. As for the last point, pedal markings appear only where they are truly necessary. Used carefully, the pedal can often greatly improve the sound. However, Haydn's ornaments and textures cannot be "trampled" on, so I recommend using the pedal as sparingly as possible, as well as any other subtle touch treatments!—Hermann Zehner