Joseph Haydn: Complete Piano sonatas, volume III

Complete Piano Sonatas Volume II-Franz Joseph Haydn was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the Piano trio and his contributions to musical form haveearned him the epithets 'Father of the Symphony' and 'Father of the String Quartet'. At the time of his death aged 77 he was one of the most celebrated composers in Europe.Franz Joseph Haydn: Complete PianoSonatas Volume II includes 18 sonatas for solo Piano. This Urtext Edition is an authoritative edition with accurate editorial content and as close to the composer's intentions as possible.

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. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition 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-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings ??? a who???s who??? on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn???s sonatas will further cement their place in the world of music. Volume I contains Haydn???s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this grouphas been questioned ??? the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Edition without fingering-The revision of the three-volume edition of Haydn???s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure??? Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume I contains Haydn???s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this group has been questioned ??? the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Edition without fingering-The revision of the three-volume edition of Haydn???s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure??? Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume III offers the crowning achievement of Haydn???s sonata-writing with these late works including famous works such as the stormy Sonata in e minor Hob. XVI:34 and the grand??? Sonata in E-flat major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity which is why these sonatas remain firmly anchored in concert life to this day.

The second volume of Haydn's Piano Sonatas presented here as a study score. This highly accurate Urtext edition has been edited by Georg Feder and fingered by Hans-Martin Theopold.

The third volume of Haydn's complete Piano sonatas presented as an accurate and authoritative Henle Urtext edition. Clothbound.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings ??? a who???s who??? on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn???s sonatas will further cement their place in the world of music. Volume III offers the crowning achievement of Haydn???s sonata-writing with these late works including famous works such as the stormy Sonata in e minor Hob. XVI:34 and the grand??? Sonata in E-flat major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity which is why these sonatas remain firmly anchored in concert life to this day.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings ??? a who???s who??? on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn???s sonatas will further cement their place in the world of music. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas ??? it is here one finds the core of Haydn???s sonata production which amateurs and professionals alike simply cannot do without!

The first volume of Haydn's Piano Sonatas presented here as a study score. This highly accurate Urtext edition has been edited by Georg Feder and fingered by Hans-Martin Theopold.

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. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition 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-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

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. Questions of authenticity have also been resolved not least because the editorial principles for 18th-century music havechanged 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.

Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.