The piano sonatas of Haydn; Fourth program, part one

From Cincinatti the piano sonatas of Haydn performed undiscussed by Raymond Dudley Concert Artist in Residence at the University of Cincinnati. Here for the fourth programme in the series is Raymond's Dudley. We mentioned earlier that the influences of the North German style of Carl Philipp Emanuel Bach had begun to have a profound effect on the compositions of Haydn causing a development away from the style Galante of the times and towards more depth of feeling and greater freedom towards emotional expression and music in the Sonata as of the transitional period leading up to the mature works of Haydn storm and stress period. The delightful grace and light hearted mood of his early works and this style go on was frequently replaced by a leaning toward the more serious baroque means of expression and at the same time there were an increasing number of stylistic features pointing to the passionate subjectivity of the storm and stress period. We heard the growth of musical feeling

in the last broadcast particularly the trio sections such as the number 16 trio in D minor. The number 17 in C minor and the number 18 trio in E-flat minor are. All reflecting a certain sadness that turns to an almost tragic feeling in the adagio opening of number 19 and becomes dramatic intensity and the D minor trio of number twenty eight. One of the discovered last Sonata is that is a work of the same period and so not as number 30 31 32 and 33 which I will play for you today. We reach a certain plateau in the keyboard works of Haydn all of them masterpieces wherein the formal restraints of the style are broken and passion and subjective feeling triumph. It has been said that Haydn was in the midst of a romantic crises romantic feeling is in abundance in these words.

The full resources of the keyboards of the time were used to their limits. The rich quality of sound emanating from the lower registers of the cleverer of the late 700 sixties stirred heightens imagination to the fullest with rich baritone like melodies and greatly increased keyboard activity in the lower registers of the piano. Well speaking of instruments I had the rare opportunity to play on many of the early instruments in the new Enberg Museum in Vienna recently. All of these instruments are beautifully preserved and maintained in excellent condition. This is the largest collection of its kind in the world and it gives tremendous insight into the kind of instruments Haydn Mozart and Beethoven used and wrote for their specific qualities of sound. Generally speaking to the rich sounding in the lower registers and more dry and thin but with a certain piercing quality on top. I found the claim of yours of shunts Hofmann and Konica all manufactured in the latter part of the eighteenth century say from

the late 17th sixties to the turn of the century to possess a lovely singing quality and very beautiful sound. It requires a superbly got to some old technique with great control at the fingertips to play these instruments in the manner in which they sound best. The sonata number 30 in d with which we begin today's broadcast was once considered by an English periodical of 1784 to be a parody of the style of the Hamburg Bach. According to the author of this article Haydn wanted the US to revenge himself for the unfriendly attitude that Bach had assumed toward him. However my refutation of this statement was made by Bach himself when he declared in an article for a Hamburg paper in 1785. That he and Haydn were the best of friends and that all assertions to the contrary were to be considered mere lies. However it cannot be denied that a certain similarity exists between this

particular Sonata and those of CPE Bach. But despite its Bach like changes of mood it has a certain strength and cohesion about it that were not so characteristic of the Sonata as of the elder Philip Emmanuel. We see here in these works Sanaa is number 29 333 where the CPE Bach influence is strongest. But Haydn proved to be the superior master. The mater out of first moment has great intensity of feeling is developed in a dramatic way. The instrument is used to its fullest resources and the rich melodies of the opening lead to a climax of great excitement. The second movement and he has a beautiful subsidiary theme in the baritone register and the melodies are often accompanied by the lowest notes of the keyboard. The quick spirited finale is a set of variations on a folk like tune.

No.

I.

That's was the D major Sonata. Or Text Number 30.

A flat Sonata number 31 is said Jewel by any standard. The following melodic statements of the Allegro modern rat hole interspersed with cascading runs lead to a brilliant climax a broken triplet figures we see in this sonata a flowering of Haydn's pianistic the poetic adagio with its beautiful melodic lines excusive trails and hints of counterpoint is one of the most inspired slow movements of the entire collection of sonatas. It is a fine example of Haydn's preference for the clave year and its singing that got to some of the delightful presto bubbles forth with brilliance making a perfect ending to a work of eloquence and compassion. Oh.