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Description
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._ Capriccio in G "Acht Sauschneider müssen seyn" Hob. XVII:1Piano Variations in A Hob. XVII:2Piano Variations in E flat Hob. XVII:3Piano arrangement of the 2nd movement from the Symphony Hob. I:81Piano arrangement of the aria "Io son poverina" from La vera costanzaPiano arrangement of the 2nd movement from the Symphony Hob. I:79Piano arrangement of the 3rd movement from the Symphony Hob. I:85Piano arrangement of the 2nd movement from the Symphony Hob. I:85Piano arrangement of the second part of the overture Hob. Ia:15 from La vera costanzaAdagio in F Hob. XVII:9Piano arrangement of the final part of the Introduzione from La vera costanzaPiano arrangement of the 2nd movement from the symphony Hob. I:53Piano arrangement of the 4th movement from the String Quartet Hob. III:41 ("op. 33 No. 5")Capriccio (Fantasia) in C Hob. XVII:4Piano Variations in C Hob. XVII:5Piano Variations (Sonata) f minor Hob. XVII:6Adagio in G Urfassung von Hob.XV:22IILargo assai in E after Hob. III:74II Poco adagio G major - after the variations on "Gott erhalte" Hob. III:77IIAndante in C after Hob.I:94II Adagio in G nach Hob. I:93IIMenuett in C after Hob. I:97III Appendix: Works of doubtful authenticity Piano Variations in A major Hob. XVII:2: Additional variations from the first edition Variations in D Hob. XVII:7



