Joseph Haydn
Sonata in G
Hoboken XVI: G1
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Joseph Haydn
Sonata in G
Hoboken XVI: G1
- Instrumentation Guitar Duet
- Composer Joseph Haydn
- Editor Klaus Rothkegel
- Edition Sheet Music
- Publisher Eres Edition
- Order no. ERES3372
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Description:
Joseph Haydn's Sonata in G major (Hoboken XVI: G1), originally written for a piano, dates from an early phase of his career. It can be considered an early example of the Classical period.
The piano, also known as a fortepiano at that time, around the middle of the 18th century, did not have as full a sound as today's grand piano. In addition, the sonata is consistently written with great transparency. These two facts speak in favor of a transcription for the guitar.
I have arranged the sonata for two guitars. There is a technical reason for this: the sonata is easier to master this way. The lower part can be described as easy to play, although it does require retuning the low E string to D. The somewhat more difficult upper part is also of a medium level of difficulty. In this form, the sonata is well suited to teaching and can also be used as a fine recital piece.
Haydn himself prescribed few performance instructions for his sonata. I have added a few things in this regard based on my own taste and knowledge of performance practice at the time of Haydn. The metronome numbers are also my own; they serve only as a guide to the tempi.
Incidentally, I have marked the so-called double beats in the second movement, the Minuetto (bars 24-44), with the appropriate symbol, and in the third movement, the Presto (bars 27-46), I have written them as thirty-second notes due to the accidentals that occur there.
The sequence of the three movements, with fast, slow, and fast tempos, is typical of the period from which the sonata originates. It's important for playing that the first movement's performance marking, "allegro," translates from Italian as "joyous." If one were to follow today's standard metronome number for an allegro, the tempo would, in my opinion, be too fast. Haydn's sonata dates from a time before the invention of the metronome.
I wish all players of this beautiful classical sonata much enjoyment.
Klaus Rothkegel
The piano, also known as a fortepiano at that time, around the middle of the 18th century, did not have as full a sound as today's grand piano. In addition, the sonata is consistently written with great transparency. These two facts speak in favor of a transcription for the guitar.
I have arranged the sonata for two guitars. There is a technical reason for this: the sonata is easier to master this way. The lower part can be described as easy to play, although it does require retuning the low E string to D. The somewhat more difficult upper part is also of a medium level of difficulty. In this form, the sonata is well suited to teaching and can also be used as a fine recital piece.
Haydn himself prescribed few performance instructions for his sonata. I have added a few things in this regard based on my own taste and knowledge of performance practice at the time of Haydn. The metronome numbers are also my own; they serve only as a guide to the tempi.
Incidentally, I have marked the so-called double beats in the second movement, the Minuetto (bars 24-44), with the appropriate symbol, and in the third movement, the Presto (bars 27-46), I have written them as thirty-second notes due to the accidentals that occur there.
The sequence of the three movements, with fast, slow, and fast tempos, is typical of the period from which the sonata originates. It's important for playing that the first movement's performance marking, "allegro," translates from Italian as "joyous." If one were to follow today's standard metronome number for an allegro, the tempo would, in my opinion, be too fast. Haydn's sonata dates from a time before the invention of the metronome.
I wish all players of this beautiful classical sonata much enjoyment.
Klaus Rothkegel