The Manifestation of the Theatrical-Depictive Pastoral in Haydn’s Clavier Sonatas
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Abstract
In the most diverse genres of Haydn’s compositions – the operas, symphonies, cantatas and oratorios – pastoral
lyricism manifested itself in the broadest manner, however the most delicate expression was found in the composer’s
chamber music. Being present in all the movements of the cycle, the pastoral manifests itself most frequently and directly
in the slow movements of the sonatas. Upon analysis of the intonational lexis of the slow movements of Haydn’s piano
sonatas there is a special means revealed of displaying the pastoral element, – namely, the theatrical-depictive means. It is
also possible to trace a conditional type of classification of such type of Haydn’s pastoral, when the subject of the musical
theme is also presented both as a theatrical dialogue-scene and a monologue, as well as a divertimento scene with musical
accompaniment. All the aforementioned is significant for setting up the artistic goals of pianistic intonating.
The interpretation of performance of these kinds of musical themes elevated to the highest level of conditionality
prescribes to the pianist the necessity of realized and regulated actions in the context of the “theater stage” and does not
allow emotional exaggerations, or superfluities in the choice of performance techniques: dynamics, agogics, tempos
and pedaling.
The “recognizable” traits of the pastoral manifest themselves not in a vocal-recitative, affected-romantic performance,
but in an external theatricality of delicate feelings, the cultivation of refined details in the interpretation of the music.
The ultimate priority of the performance lies in the recreation of lyrical, intimate feelings, the expressivity and
sincerity of emotions within the framework of the regulated, unexpressive statement in a gallant manner “from the cuffs.”
Keywords: Joseph Haydn, piano sonatas, the pastoral in music.
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