Piano Pieces - Piano Variations Piano Solo 钢琴 变奏曲 小品 亨乐版
本卷中的作品以典范的方式展示了键盘乐器的发展：早期的作品是为大键琴创作的，其中两部是为一种带有所谓 "维也纳低音八度 "的乐器创作的，这种乐器可以让音乐家用一只手弹奏大于一个手掌跨度的和弦。在我们的版本中，这些段落都有脚注，并附有演奏建议。钢琴是后期作品的灵感来源。海登也乐于将自己的作品改编成钢琴曲，如 "Reiterquartett "中的 "Largo assai"。历史演奏实践专家克里斯蒂娜-肖恩斯海姆（Christine Schornsheim）为这一经过全面修订和扩充的乌尔文版提供了指法"
作曲家: Franz Joseph Haydn
校订者: Sonja Gerlach
乐器: 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
原文简介:
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