The Complete Piano Sonatas Vol. 3 Edited from the sources by Christa Landon, revised by Ulrich Leisinger 海登 钢琴奏鸣曲 钢琴独奏 维也纳原典版
当克里斯塔-兰登推出她的约瑟夫-海登钢琴奏鸣曲版本的第一个印刷版本时，海登的奏鸣曲作品仍被莫扎特和贝多芬的作品所掩盖。从那时起，海登的奏鸣曲从教学室走向了音乐厅，而兰登的版本在这一过程中起到了至关重要的作用。自 2009 年海登周年纪念以来，这一 "传奇 "版本进行了彻底修订，因为在四十多年的时间里，新的数据源不断出现，真伪问题也得到了解决，尤其是因为 18 世纪音乐的编辑原则发生了很大变化。新版共分四卷出版，每卷的内容都与上一版的各卷保持一致。新版第 3 卷包括 17 首奏鸣曲 Hob. XVI:21-32 和 Hob. XVI:35-39 奏鸣曲，包括音乐课上的流行作品，如《Hob. XVI:27、35 和 37。在 "诠释说明 "中，罗伯特-D-列文解释了海登演奏实践的重要方面，并通过大量实例说明了润饰海登常用停顿的可能性"
作曲家: Haydn, Joseph
编者: Landon, Christa
校订者: Jonas, Oswald
乐器: piano
出版社: Wiener Urtext Edition
曲目:
Preface - Notes on interpreation - Suggestions for embellishment - Facsimilia - Sonate C Hob.SVI:21 - Sonate E Hob.XVI:22 - Sonate F Hob.XVI: 23 - Sonate D Hob.XVI:24 - Sonate Es Hob.XVI:25 - Sonate A Hob.XVI:26 - Sonate G Hob.XVI:27 - Sonate Es Hob.XVI:28 - Sonate F Hob.XVI:29 - Sonate A Hov.XVI:30 - Sonate E Hob.XVI:31 - Sonate h Hob.XVI: 32 - Sonate C Hob.XVI:35 - Sonate cis Hob.XVI:36 - Sonate D Hob.XVI:37 - Sonate Es Hob.XVI:38 - Sonate G Hob.XVI:39 - Critical Notes
When Christa Landon presented the first printed version of her edition of Joseph Haydn's piano sonatas, Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then, Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. Since the Haydn anniversary in 2009 this 'legendary' edition has been thoroughly revised for, over the course of more than forty years, new sources have come to light and questions of authenticity have been resolved, not least because the editorial principles for 18th-century music have changed considerably. The new edition is published in four volumes, the content of each volume being compatible with the volumes of the previous edition. Volume 3 of the new edition comprises the 17 sonatas Hob. XVI:21–32 and Hob. XVI:35–39 contained in Vol. 2 of the previous Wiener Urtext edition, including popular works for music lessons such as Hob. XVI:27, 35 and 37. In the Notes on Interpretation, Robert D. Levin explains important aspects of Haydn's performance practice and, with the help of numerous examples, shows possibilities to embellish the pauses frequently used by Haydn.