There is no information about the piano or pianos being used. I am sure there is more than one, because these early discs seem to have a mixture of fortepiano and piano. My ear may be deceiving me, and it's just some rather clangy recording! In any case, as the booklet notes say, Haydn started out writing for harpsichord and worked through a series of developments in the instrument which led by to a fortepiano which was infinitely more powerful and pushing towards the modern piano.
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Vital Source. Product Details. Sample Pages. Additional Information. You May Also Like. Kuhlau: 9 Sonatinas, Opp. Composed : age Michael Haydn brother Nationality : Austrian. Ludwig van Beethoven Student Nationality : German. Wolfgang Amadeus Mozart colleague Nationality : Austrian. Ignaz Pleyel Student Nationality : Austrian. Constant syncopations give the music a restless, yearning edge, rising to passion in the mounting sequences that sweep the music into the recapitulation.
The finale, written against the background of a fast minuet, has a latent despairing fury that becomes manifest towards the end. Mingling violence and virtuosity, Haydn here expands a brief toccata-like sequence in an astounding crossed-hands passage, with the left hand touching the extremes of the contemporary five-octave keyboard.
Haydn composed these sonatas—for harpsichord rather than fortepiano—with one eye on the amateur market, and perhaps also in deference to the taste and keyboard technique of the prince.
Yet polished galanterie by no means precludes Haydnesque inventiveness, not least in the E major Sonata, No Its march-like opening Moderato, texturally enriched by frequent octave doublings, is grand in aspiration, if rather discursive in effect. The finale, a sturdy Tempo di menuet, is written in strict canon virtually throughout, with the right hand taking the lead in the first half and the roles reversed in the second.
Eccentric as the movement is, it never sounds like an agglomeration of random ideas, as superficially similar pieces by Emanuel Bach sometimes can. The finale, a minuet with variations, contains a beautiful syncopated F minor trio, akin to the minor-keyed trios in the early sonatas, but much subtler in the polyphonic weave of its textures. They were dedicated to the talented sisters Franziska and Maria Katherina von Auenbrugger, whose playing drew the admiration of both Leopold Mozart—never one to dish out compliments lightly—and Haydn himself.
Coming between this and the finale, a slow minuet of exquisite, refined melancholy with an assuaging C sharp major trio, the perky A major Scherzando whose tune Haydn pilfered for Sonata No 39 seems like a facetious interloper.
Like its two companions of , Nos 50 and 52, the sonata exploits the weightier sonorities of the new Broadwood instruments Haydn relished in London. But whereas Nos 50 and 52 are quasi-symphonic sonatas, written for the professional pianist Therese Jansen, No 51 is an intimate, two-movement work. Haydn perhaps intended it for his pupil and lover Rebecca Schroeter, to whom he dedicated three beautiful piano trios Nos 24—Keyboard Sonatas by Joseph Haydn (reubloomandelconsde.barcountfitmaduseshoyracalromarda.co) Divertimento in C major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:1 Partita in B ♭ major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:2 Divertimento in C major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:3 Divertimento in D major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:4 Divertimento in A major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:5 Partita in G major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:6 Divertimento in C major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co:7 Divertimento in G major, reubloomandelconsde.barcountfitmaduseshoyracalromarda.co