"Classical" music interpretation

[A.C.]

Hi! I have been playing some Mozart's and Haydn's sonatas, and the most recent one that I learned is Haydn's Sonata in F Hob.XVI:23. In fact I was preparing this sonata for the auditions of getting into undergraduate courses, however my piano teacher said those Beethoven's sonatas suit me better than the Haydn's. She told me that I do not quite understand the style of Classical period; Classical music is not only about playing all the notes, it's about harmonic progressions and the simplicity and directness of the music iteself. She also told me that What made those composers classical, in the truest sense, was not a prudish detachment or "objectivity" but rather an intensity and purity of expression where every note matters.

I know that many pianists do play some Mozart's and Haydn's Sonatas, but hardly do any of them put their music on stage (excluding some greatest pianists, for instance, Horowitz and Ashkenazy).

I'm now searching for ways to improving my "classical" sense. I keep listening to Mozart's and Haydn's music, I also anaylse some sonatas that I've learned before.

Is that only geniuses can play Mozart's and Haydn's music well? Please also suggest ways for me to improve my "classical" sense.

[JK]

It is certainly not the case that only geniuses play Mozart and Haydn well! I have also very recently learnt and performed the very same Haydn sonata as you mentioned and this is the first piece of "classical" music that I have played for a while. I think that what makes these composers hard to play is that you must never over do things but must do enough to enable the audience to understand the music.

My theory at the moment is that the key to understanding how to phrase a piece of Haydn lies in the harmonic reduction of the piece, by that I mean what the underlying chords are. Once you know what the harmony is you then need to decide what direction it has ie. which chords have emphasis and a feeling of moving towards them. For example the first three chords in the Haydn that you mentioned are F, C7, F, in this you need to decide which chord has the emphasis, or where is the fist goal point. The fact is that all three chords could be the goalpoint, but you need to choose which one you prefer. Knowing what the goal point of a phrase will tell you posible ways of playing the melodic line, for example in a descending scale of five notes you might decide to head for the last note by putting a slight crescendo through them. It is also important to understand the overall structure of the piece and to know where each section starts and begins, then you need to try and convey this to your audience.

Another place where harmony is important is in fast runs. Again coming back to the Haydn sonata, in the first movement there are lots of demi-semiquaver runs in these passages you mustn't just run off a load of fast notes, every passage like this should have a shape and a sense of line to it, often this shape is determined by the harmony underneath. In this way the audience can understand the shape of the music.

Most of all I think we must never feel restrained when playing Mozart and Haydn. For example in the Haydn sonata he didn't acually write any dynamics and hardly any articulation therefore you have the opportunity to be imaginative as you like, as long as it makes sense musically. Again deciding on articultion in my opinion very often comes back to harmony, for example in the slow movement ther are lots of appogiaturas and all of these can be articulated, even with a bit of rubato. Most of all in the Haydn you must have fun, after all when you do repeats (and I think you should always do this)you can change dynamics, articulation and shape to create interest. For example in the last movement you can play with the audience by changing dynamics suddenly, swapping them round and generally being a bit cheeky!

I hope this is of some help!

[A.C.]

Thank you for replying my topic, hehe  . Yes, what you told me is quite true, it is just a tiny variation of what my teacher said. She also told me lots of performance directions including what you are suggesting. I know that Haydn is very humorous too! This F major sonata can show his humour up, haha.

Yea, my appreciation in classical music is growing deeper and deeper since I've learned my first piece of classical music. I have listened to many Mozart's recordings, most of them are wonderful~ The performers can really make Mozart's music "sings"... when I listen to the music, it is really comfortable. I always want to play wonderfully to myself, but somehow I cannot do as wonderfully as them. I know playing piano is in fact playing in the "air", which is all about mind. I understand this fact, so besides practising "practically", I also use mental training. However, sometimes I just wonder...is that only geniuses have the truest sense to "sing" Mozart's music? In fact, God knows...probably geniuses know as well, lol!

Well, In effect I'm not too bad in the interpretation of their sonatas, it is just that their music is really hard to be perfected, and my piano teacher is rigorous to me. I really hope that I can be one of the best Mozart's interpretator tomorrow! rofl!

Btw, read from some of your posts, knowing that you're going to enter university next year. Me too, hope that we have more exchanging of ideas in the future!

[JK]

Yeah definately, I'm going to Guildhall school of music and drama in London next year, where you going?

[A.C.]

LOL, I'm going to Royal College of Music next year! I'm currently studying in Sydney Conservatorium of Music in a foundation programme. I'm initially from Hong Kong, are you English?

[JK]

Yeah I am, I live just outside London. That's so weird, I  actually got a place at the Royal College and was going to go but changed my mind at the last minute! Do you know who you're studying with?

[A.C.]

m...not sure yet, I think I'll know in the beginning of the term. I didn't make any special enquiry.

O...y u changed ur mind? Is that Guildhall is nearer to where u live? or is the tuition fee lower?

[JK]

It's both actually! Cos I live in London my Guildhall tuition fees are next to nothing, plus it is considerably closer and a much easier journey! There is a slightly mad teacher at the college called Julian Jacobson (my teacher says he's very good), I say mad because recently I saw him play all 32 of the Beethoven piano sonatas in 1 day!! Presumably you'll be staying in the Halls of residence at the college?

[A.C.]

Wow ~ That is terrific, rofl! So you must make special request for this teacher . He must be a Beethoven Specialist, or else he'll not be playing 32 sonatas in a day! I'm also currently studying a Beethoven Sonata, Op.27 No.1, it is a very hard piece (in fact none of his sonatas is easy...), but hopefully I'll play well in my audition in Sydney.

Well, I'll stay in the hall of residence when I first arrive, as I have not been to London before and do not know how to organize my own housing. Besides, there is a 24 hours practise room in th dorm, where I can even sleep with the piano! rofl! Maybe we shall meet sometimes in the future, rofl!

[JK]

Maybe we shall...

I should also add that this mad teacher played all the sonatas back-to-back from memory !

Good luck in your audition in Sydney! And you're right that sonata is particularly tricky! (my real name is James by the way!)

[bernhard]

You may also want to consider exploring "Classical" in other realms besides music. Like with all other musical movements, there were counterparts in literature, architecture, painting, sculpture, etc. And all of it was guided by an aesthetic philosophy.

What a "Classical" poet or painter or architect was after in artistic terms was pretty much the same goal as a musician, they were just working in different media.

I strongly recommend you read Charles Rosen's "The Classical Style", which does an indepth analysis of the music of Haydn, Mozart and Beethoven with parallels to the other arts and the society they lived in.

Best wishes,
Bernhard.

[A.C.]

thank you Bernhard and JK, hehe  

Bernhard, I'm sure I'll read this book in the future. It must be an interesting book!

JK, (my real name is Alan, A.C. are my initials, i think so do yours! lol!)

[thierry13]

AC, do you have a personal website who have a section talking about piano?

[johnreef]

Wow...great comments here! Most people think interpretation means deciding how fast something goes......that drives me nuts!!!! As to myself, ideas about interpretation are ALL that I mark in my scores....no fingerings, etc.