Haydn So Called

Статья Клаус Дж. Рой Так называемые скрипичные сонаты Гайдна The So-Called Violin Sonatas of Haydn Klaus G. Roy Bulletin of the American Musicological Society No. 11/12/13 (Sep., 1948), pp. 38-40

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Haydn So Called

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The So-Called Violin Sonatas of Haydn

Author(s): Klaus G. Roy

Source: Bulletin of the American Musicological Society, No. 11/12/13 (Sep., 1948), pp. 38-40
Published by: University of California Press on behalf of the American Musicological
Society
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38 BULLETIN OF THE AMERICAN MUSICOLOGICAL SOCIETY

Carl Philip Emanuel Bach's Influence on the Vienna Masters

Erwin Bodky (NE)
(OCTOBER 13, 1947)
[No abstract received.]

The Chamber Cantatas of Alessandro Scarlatti

Robert Forsberg (NE)

(NOVEMBER I O, 1947)
[No abstract received.]

The So-Called Violin Sonatas of Haydn

Klaus G. Roy (NE)
(DECEMBER 8, 1947)

As ALL BIOGRAPHERS of Haydn point out, the piano sonatas, violin sona-
tas, piano sonatas with violin, divertimenti, trios, etc. are closely linked.
What then are the eight sonatas for piano and violin which nowadays
pass for Haydn's proved and approved output in that form, and why do
we speak of eight? Geiringer briefly describes them thus:
"Out of Haydn's eight violin sonatas, four (Nos. 2-5 of the Peters
Edition) were also published as ordinary piano sonatas, by elimination
of the violin parts (Nos. 24-26 and No. 43 of the Collected Edition).
Three others are only simple arrangements of successful ensemble com-
positions. No. 6 is the transcription of the allegro, minuet, and theme
with variations from the divertimento for two violins, flute, oboe, vio-
loncello, and bass (No. ix of Haydn's catalogue), a work probably
written in the sixties. It exists also in a version for piano solo as No. I5
of the Coll. Ed. of the piano sonatas.... The violin sonatas Nos. 7 and
8 are arrangements of the string quartets, Op. 77, Nos. I and 2, elimi-
nating in each case the minuet and trio of the original composition....
The only original composition among the violin sonatas is therefore
No. I of the Peters Edition which was first published as Op. 70 in
1794." This is confirmed by the Danish scholar J. P. Larsen, when he
says (in 1939): "Only the sonata op. 70, published by Artaria and
Bossler in 1794, is to be regarded as a real violin sonata."
Why has our sonata insisted that it is better than its brothers by
naming itself a "real violin sonata" for a century and a half? Is it likely,
is it possible that Master Haydn in his 77 years should have written but
one real sonata for piano and violin? All we know about Haydn's pro-
duction would contradict such an assumption; yet what proof have we

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NEW ENGLAND CHAPTER 39

to back us up in a claim that even this wo

sonata than all the others, or that it is on
sonatas? The work is printed in the reliab
sonata without a cello part, and we must a
dental omission or a purposeful one. It ma
has pointed out, that the presence of a cel
though the part may have been separately
this sonata is truly not dispensable, as any
and this fact takes it out of the 'accompan
and puts it into that of the later trios!
What is there to prove that the work w
don? There are a goodly number of them
the little sonata and the great London sym
selves are not conclusive; that kind of proo
nating possibility, however; it may be a key t
balloon waiting to be punctured, but here

"In the home of a Miss J. (Jansen), an able pia

quaintance of a German musical dilettante. The
wanting to show off his virtuosity in the highe
him from such dangerous business, Haydn wrot
piano and violin, entitled 'Jacob's Dream', in w
driven up and up into higher positions. This com
unsigned to the lady, who, suspecting nothing of
composer, harmlessly invited our amateur to acc
sages were flying back and forth in the third p
"Very well written," he murmured; "one can see, t
of the instrument." This continued for a while
more feasible regions, the music rose still further
to the 7th position. The fingers, more and more
like ants. Scratching around, tripping over the pa
brow, the amateur changed his original praise to
heard of such a thing," the storm broke, "to sme
no idea how to write for the fiddle!" It was the
saw in his dream, and on which Haydn inexorab
down."

Griesinger made a copy from Haydn's long-lost London diary, list-

ing the works which the master had written for England. On that list
we find among others: "Two Sonatas for Miss Janson . . . One Sonata
in F minor. . one in g... The Dream ..." Botstiber comments on
this listing as follows: ". .. The Dream means either the Sonata for
Piano and Violin, entitled 'Jacob's Dream', or perhaps the Air 'The
Spirit's Song'." This particular piece is nowhere mentioned again, which
would indicate that it is lost. The date of the anecdote just related, is
placed by both Pohl and Botstiber in the crucial year, 1794.

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40 BULLETIN OF THE AMERICAN MUSICOLOGICAL SOCIETY

It would most probably be a vain attempt to reanalyze the

op. 70 on the assumption that we are dealing with Jacob's Drea
features of the work would justify such an assumption, and t
portion of humor-as in so much of Haydn-is quite high; th
position of a few sections an octave higher would certainly h
results that transpired at Miss Jansen's house, and it is not be
realm of possibility that if Haydn found the Dream to his
musically speaking, even after the occasion for its compositio
passed, he might have re-set the range of the violin part and s
manuscript to Vienna for publication; or possibly he might h
ranged a work already in the hands of the publisher for the
The number of sheets indicated for it in Haydn's diary is thr
our editions of the Sonata op. 70 contain I2 pages. Still, all thes
ant-sounding coincidences are only straws in the wind unt
find more information about either work.

MIDWESTERN CHAPTER

[Note: No meetings were held during 1945 and 1946. T

wvas held in East Lansing, Michigan, on May 17-18, 1947
All papers were read in East Lansing at the date given.

Teaching Tonality
Otto Gombosi (MW)

[Abstract printed in Bulletin 8 (1943), p. 33]

Brahms and Wagner. Their Artistic and Personal Relations,

Illustrated by Quotations from Unknown Sources
Robert Hernried (MW)

THE PAPER gives a complete survey of all letters and utterances which
serve to clarify the relations between Brahms and Wagner. It com-
prises the early stage of partisanship which goes back to Brahms' youth
(1853); the endeavors of Karl Tausig to remove the causes of the
mutual antipathy between the two composers; Wagner's biting remarks
on Brahms in his treatise Ueber das Dirigieren; the correspondence of
both composers; and quotations from an unknown source, Richard
Heuberger's manuscript "Journal of my personal relations with Jo-
hannes Brahms," the exclusive use of which was granted to the author
by Heuberger's widow. Surprisingly, the most contradictory state-
ments of Brahms about Wagner and his works are listed, as uttered
to Heuberger over a period of nineteen years, from 1878 to I897. They
show in which way Brahms partly changed his opinion about the works

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