Description
This theme is originally attributed to Franz Joseph Haydn, who included it as the slow movement of his Divertimento for Winds in Bb, Hob.II:46. However, it's uncertain whether he actually wrote the theme or took it from another source (like a hymn tune, which the "St. Anthony" name would suggest, or a folksong). Several decades later, Johannes Brahms ran across Haydn's Divertimento, liked the theme, and used it in his "Variations on a Theme by Haydn," now the most famous setting of this theme. Carl Czerny also used it for a variation set.
Specifically arranged for the early-stage piano student who is just beginning to play hands together, and for teachers who don't wish to prolong the "hands alone" stage, this unique adaptation keeps the hands in rhythmic unison and symmetrical contrary motion, optimizing ease of playing when first beginning to engage the "both hands motor area" of the brain. Throughout the piece, the student uses the same finger at the same time in both hands, and the fingers are matched to both-white or both-black keys, respectively. Strongly auditory and kinesthetic learners who don't require visual feedback may successfully learn this piece via rote instruction, too. This arrangement has also been designed so that it can work in both 2-piano 4-hands and 1-piano 4-hands settings.
Additionally, the transposition to G-flat major (from B-flat) allows the student to take advantage of the black keys' inherent posture- and accuracy-enhancing qualities, which are vital in those early lessons when correct technique habits need to be installed.
Finally, particularly for the adult student who's keen to dive into the classical repertoire: this is a genuine, well-known piece of music treated by multiple famous composers from the common practice era. Even finicky audience members will enjoy this piece, which will not sound like something a first-year piano student might play: some of the world's most elite orchestras have also recorded this work in Brahms's arrangement.
Given that the tune is potentially a bit long for a beginner student, I've placed a double bar after m. 10, noting that if necessary, a student could excerpt mm. 1-10 and perform these without the middle section and return of A. I have not reproduced Haydn's original(?) repeats, but the student and teacher could add them if desired.
The PDF, when purchased, will include both the student part (half of which is pictured) and a full score in standard notation for the teacher.