The piano sonatas of Haydn; Fifth program, part one

From Cincinnati the piano sonatas of Haydn in the series we present a cycle of Haydn sonatas including several newly rediscovered performance by Raymond Dudley who will also discuss the works Raymond Dudley is the pianist in residence at the University of Cincinnati College Conservatory of Music. Here now is Raymond Dudley with the fifth programme in the series. In the previous broadcast we saw the full blown results of Haydn storm and stress period and the climax of Heine's romantic crises and the great C minor Sonata of 1771 Urtext number 33. But he decided to temper his emotional outbursts will be seen in the less personal works that follow Haydn's compositions gradually assumed a more normal aspect though the after effects of the romantic crises were destined to be felt all through the 1770s Thus the crisis of the storm and stress period through which Haydn passed played a vital part in his development and in the attainment of full maturity.

The next two Sinatras Urtext number 34 and number 35 are assumed to be works of the early 1770s there is a similarity of style with the six Sonata is the Sonata as number thirty six to forty one dedicated to Prince Nicholas. Esther has a dated 1773 and the date of seventy eight it appears on the manuscript copies is only a date of copying and must be regarded as an upper limit date. Both Sinatras 34 and 35 were published in London in reverse order as number one and two of a series began jointly by Beardmore and Burchill. The third work in this series was the well-known Sonata in a minor number 53. The first Sonata number 35 in a flat was entered under both names at Stationers Hall London July 26 and in 83 and the second only under Birch L's name on November the 27

1783 after the partnership dissolved in the Sonata as you will hear today there is a tendency to make the form of the Sonata increasingly compact. There is less contrast in material used in all the first movements and a greater development and more varied treatment of the one or two main themes or ideas in the first movement of number 34 for example. The opening to bar motive is repeated in several different arrangements and the four note upbeat spirit is also used as the beginning of the second theme. Subsidiary parts of the two main themes are also similar and they are used for the development section. The second movement adagio is more personal with its contrast in major and minor moods and wide ranging scale passages. This moves straight into the last movement which is a charming set of variations that Haydn often uses finale's to his ears. The last movement is in the style of a temple dim.. Using a theme in major than a theme

in minor varied interring. I will play for you now or take Sonata number 34 in d Allegro adagio temple the minuet. In the Urtext Sonata number 35 in a flat Haydn develops his

broad opening theme throughout the entire movement by the continuous use of triplets both in broken chord accompaniment figures and melodic scale passages. There is a similar treatment to the earlier Sonata number 14 only here on a much grander scale. In fact the mood of the piece is one of elegance and the trumpet sounding minuet is one of the most majestic. The Princeton finale is one of the most humorous Rondo's we have heard so far. Here then is Sonata number 35 in a flat modern rock Minuet in Trio and presto. Haydn had been in the employ of the Esterhazy establishment since 761

and it is where he was to remain as music director for over 30 years. It was Prince Nicholas Esterhazy who was his greatest patron for the twenty eight years from 1762 to 1790. The number and variety of the duties expected from Haydn were staggering. Three different spheres of activity were entrusted to him. He was conductor which meant daily practice with the orchestra and singers and very frequent performances. He had to compose a great part of the enormous amount of music performed and finally he was an important officer of administration uniting in his person. The positions of the librarian supervisor of instruments and chief of the musical personnel. All this Haydn did and he performed his duties extremely well. He even liked to tune his own Klavier. Then he succeeded as a composer far beyond Prince Esther has his fondest hopes and need not be

emphasized here. So it was for Prince Nicholas Esterhazy that he wrote a charming set of six and not his. The next to Sana'a has from this series I am going to play our Urtext numbers thirty eight in F and thirty nine in D. They were written in 1773 and printed in typeset a year later by the Viennese bookseller and printer Joseph Kurtz Bach the Kurts Bach edition is the first authentic printed edition of Haydn Sonata. And the first edition of any of his works for which Haydn was personally responsible for both the composer and the publisher took the greatest pains with it and comparing the existing holographic manuscripts in the composer's autographs the Kurtz back edition proved thoroughly reliable. The F major Sonata is an outstanding example of Haydn's homogeny of musical thought. He uses basically one rhythmic pattern throughout each movement such as the 30 second note passage work of the first the

triplet 16s of the slow movement and the eighth note phrases of the third. This shows quite a change from the sonatas of the late 60s when Carl Philipp Emanuel Bach's influence was strongest with their dramatic contrasts and variety of figurative color. It is easy to see where Mozart could have been influenced by Haydn. The 17 year old Mozart must have learned a great deal from these and not his. Here then is the Sonata in F Urtext number thirty eight.