Piano Pieces - Piano Variations Piano Solo 鋼琴 變奏曲 小品 亨乐版
本卷中的作品以典範的方式展示了鍵盤樂器的發展：早期的作品是為大鍵琴創作的，其中兩部是為一種帶有所謂 "維也納低音八度 "的樂器創作的，這種樂器可以讓音樂家用一隻手彈奏大於一個手掌跨度的和絃。在我們的版本中，這些段落都有註腳，並附有演奏建議。鋼琴是後期作品的靈感來源。海頓也樂於將自己的作品改編成鋼琴曲，如 "Reiterquartett "中的 "Largo assai"。歷史演奏實踐專家克莉絲蒂娜-肖恩斯海姆（Christine Schornsheim）為這一經過全面修訂和擴充的烏爾文版提供了指法"
作曲家: Franz Joseph Haydn
校訂者: Sonja Gerlach
樂器: Piano
出版社: Henle Urtext Edition
曲目:
Haydn: Variations in E flat E flat major Hob. XVII:3
Haydn: Variations in A A major Hob XVII:2
Haydn: Andante nach Hob.I:81II
Haydn: Romance nach Hob.I:85II
Haydn: Allegretto after overture from 'La vera costanza'
Haydn: Capriccio in G 'Acht Sauschneider m¾ssen seyn' G major Hob. XVII:1
Haydn: Adagio in F Hob.XVII:9
Haydn: Variations in D Hob.XVII:7
Haydn: Andante in C nach Hob.I:94II
Haydn: Andante Hob.I:53II
Haydn: Variations in C C major Hob.XVII:5
Haydn: Sonata in f (Variations) f minor Hob.XVII:6
Haydn: Largo assai in E nach Hob.III:74II
Haydn: Variations in A major Hob.XVII:2: Additional variations from the first edition
Haydn: Appendix: Works of doubtful authenticity
Haydn: Adagio in G Urfassung von Hob.XV:22II
Haydn: Menuett in C nach Hob.I:97III
Haydn: Adagio in G nach Hob.I:93II
Haydn: Allegro after Introduzione from 'La vera costanza'
Haydn: Allegretto after aria from 'La vera costanza'
Haydn: Diffrentes petites piËces faciles et agrables (Artaria op. 46) (An original piece Hob.XVII:
Haydn: Menuet nach Hob.I:85III
Haydn: Poco adagio in G û after the variations about 'Gott erhalte' Hob.III:77II
Haydn: Adagio nach Hob.I:79II
Haydn: Capriccio (Fantasia) C major Hob.XVII:4
原文簡介:
The works in this volume show the development of keyboard instruments in an exemplary manner: the early works were intended for harpsichord, two of which were for an instrument with the so-called “Viennese bass octave,” which enabled the musician to play chords larger than a hand span with one hand. In our edition, these passages have footnotes with suggestions on how to play them. The pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for piano, as with the “Largo assai” from the “Reiterquartett.” Christine Schornsheim, a specialist in historical performance practice, provided fingerings for this completely revised and extended Urtext edition.
Contents: Capriccio in G, Hob. XVII:1 • Variations in A, Hob. XVII:2 • Variations in E-flat, Hob. XVII:3 • Andante after Hob. I:81 II • Allegretto in G Major after an aria from “La vera costanza” • Adagio after Hob. I:79 II • Menuett after Hob. I:85 III • Romance after Hob. I:85 II • Allegretto after the overture from “La vera costanza” • Adagio in F Hob. XVII:9 • Allegro after Introduzione from “La vera costanza” • Andante, Hob. I:53 II • Allegretto and Presto in G Major after Hob. III:41 IV • Capriccio (Fantasia) in C, Hob. XVII:4 • Bariations in C, Hob. XVII:5 • Variations in F minor, Hob. XVII: 6 • Adagio in G Urfassung von Hob.XV:22II • Largo assai in E after Hob. III:74 II • Poco adagio in G Major after the variations on “Gott erhalte,” Hob. III:77 II • Andante in C after Hob. I:94 II • Adagio in G after Hob. I:93 II • Menuett in C after Hob. I:97 III • Variations in A Major, Hob. XVII:2 • Variations in D, Hob. XVII:7