Sonate in D-Dur Hob. XVI:37)
Sonata in D Major
Composed by Joseph Haydn
For Flute and Guitar
Arranged by Noemi Gyori and Katalin Koltai
Published by Doblinger
Includes score and flute part
The present transcription of the D major Sonata by Haydn is the second to follow Mozart's d minor Fantasy in the 'Classical flute and guitar collection'; a series that aims to widen the flute and guitar repertoire with true chamber music treasures; adding first time translations of keyboard works by Viennese classical composers to the currently available works for the duo. Our editions attempt to remain true to the original text, while adapting the musical intentions of the composers to our instruments in a way that highlights the articulate and elaborate expressiveness of both the flute and the guitar and their duo as a formation.
Joseph Haydn's piano sonata oeuvre, consisting of more than 60 works, is a collection with real musical jewels; finally receiving its deserved appreciation by performers and taking its rightful place on the international concert platform. The Hob XVI:37, D major Sonata was composed in 1780 for the notable pianist sisters, Caterina and Marianna von Auenbrugger. With its flawless virtuosity and myriad humorous moments, the D major Sonata is among the most spectuacular, and thereby one of the most popular kyeboard works by Haydn. In the current version for flute and guitar, we aspired to create a dynamic dialogue between the two instruments: on the one hand enhancing the leading and concerto like qualities of each voice, on the other hand, providing them both the space to take on the supporting, accompanying role at various sections of the piece. The first Allegro con brio movement, with its sparkling tune and virtuosic figural passages, embodies a uniquely vivid and bright conversation, creating an atmosphere similar to a double-concerto. These characteristics of the movement are further highlighted at those musical turning points, where we have rephrased the original text with brief cadenzas. The second Largo movement corresponds natually with the flute and guitar, invoking a French Baroque overture and the sounds of the intimate conversations between a melody instrument and the lute. The piece concludes with the final rondo, a shimmering, light and facetious movement, full of the jocose junctures so distinctive of Haydn, a perfect match for the witty, graceful and vivid qualities of the duo.