Editor: Sonja Gerlach
Fingering: Christine Schornsheim
Pages: 129

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.

Contents:
Capriccio in G "Acht Sauschneider müssen seyn" Hob. XVII:1
Piano Variations in A Hob. XVII:2
Piano Variations in E flat Hob. XVII:3
Andante after Hob. I:81II
Allegretto G major (after an aria from "La vera costanza")
Adagio nach Hob. I:79II
Menuett after Hob. I:85III
Romance after Hob. I:85II
Allegretto after the overture from "La vera costanza"
Adagio in F Hob. XVII:9
Allegro after Introduzione from "La vera costanza"
Andante Hob. I:53II
Allegretto and Presto G major (after Hob. III:41IV)
Capriccio (Fantasia) in C Hob. XVII:4
Piano Variations in C Hob. XVII:5
Piano Variations (Sonata) f minor Hob. XVII:6
Adagio in G Urfassung von Hob.XV:22II
Largo assai in E after Hob. III:74II
Poco adagio G major - after the variations on "Gott erhalte" Hob. III:77II
Andante in C after Hob.I:94II
Adagio in G nach Hob. I:93II
Menuett 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