The piano sonatas of Haydn; First program, part one

From Cincinnati the piano sonatas of Haydn. In the series we present a cycle of titans and authors including several newly rediscovered performed by Raymond Dudley who will also comment on the works. Mr. Dudley Hughes Concert Artist in Residence at the University of Cincinnati College Conservatory of Music and has recently done considerable research on the piano sonatas of Haydn especially with the editor of The New Universal Urtext edition which he uses for his text numbering here for this first programme of items not his is Raymond Dudley in beginning this series of broadcasts devoted to the Haydn piano sonatas. I would like to say that the numbering system to be used is from the new Vienna Urtext EDITION. This is the result of several years of intensive research by the distinguished Haydn scholar and editor Christa Landon in this edition there are six and not his not previously published and a thematic listing of the seven lost and authors from Haydn's own holographic catalogue.

In 1961 a fragment of a sonata in Haydn's autograph was sold at auction from a private collection by the firm of J. A star guard in Marburg Germany. This is one of the sonatas thought to be lost and through the function it reappearance of this work. It is hoped one or more of the remaining lost Sinatra's may someday come to light. It was interesting for me to see recently in Vienna the various sources used such as numerous manuscript copies and early editions from various Museum Archives. A file on each Sonata might contain 5 or more copies of first editions and autographed copy of preserved and such handwritten copies as those of the Benedictine monks of the melk and got vague monasteries in Lower Austria. Although an attempt has been made to number the sonatas in chronological order with regard to the early works the order is only suggested and not definitely established.

Thus the first 900 Sonam has written through the early seventeen fifties to the 1760s can only be grouped as having been composed some time before 1766 while in his orchestra music the young Haydn favored the fast slow fast three movement form of the Sinfonia a type of piece used as a curtain raiser in Italian opera with slight influences from the Baroque dance suite His works for piano for it and his chamber music were based on the suite form with slight influences from the Sinfonia. For these early works the composer employed the diverter mento and the Partita sets of pieces in which the use of the same key and Dan's character prevailed with one or more movements displaying simple Salada form. In studying the early Sonata as one is impressed by the beauty of these youthful works. I cannot help thinking that the charming young and gifted merienda

Martine is who must have been Haydn his first pride and joy was the object for many of these charming early pieces when Haydn his voice changed his left the magnificence of the Stevens domed Cathedral. And after 10 years living the life of a choir boy he had to eke out his living as best he could by teaching and at the same time devoting himself to the study of music and the art of composing. He had a modest garret room with an old so called worm eaten Clavier and the top of the Mickey her house next to St. Michael's Church in Vienna. On the third floor of the Makino House live met a stage Zio poet laureate of the Hapsburgs and a well-known librettos who shared his apartment with the family of a Spanish friend Nicolo Demartini is meant to stay Zia was greatly interested in the development of the two martinis daughters and he range that Haydn should teach Marianne who was then but 10 years old.

For the next three years Haydn worked daily with the girl receiving freeboard in exchange for his labors. The lessons with Marianne had more over another result of still greater importance she received singing instruction from the famous Italian composer and singing teacher Nicola paparazzi who lived in Vienna from 17 53 to 17 57. Hyden acted as a company in these lessons and thus had the good fortune to meet the patriarch of melody from whom he was to learn so much. He acted as valet to poor POA in exchange for a promise correcting his compositions. And Haydn is said to have improved much in singing and Italian as well as having learned the genuine fundamentals of composition. So Marianne played an important part in the feat of Haydn's development and even as a mature master Haydn still maintained

contact with Marianne Martinez. Marianne was praised by all of Viennese musicians of the time and even play duets on the piano with Mozart. I would like to play for you know the first of these early sonatas the movements are short. The key is G-Major the movements are titled Allegro. I mean you at Dante and Allegro. No.

Oh.

I am. The second sonata in C is similar in character and style to the first sonata you just heard. With the exception of a more extended minuet and trio. The trio being in the tonic minor this sonata is three movements are called Allegro Moderato minuet and true in the finale and Allegro. The Third Sonata in three movements has slightly more development in the Allegro first movement in the

beautiful Minuet in Trio and is concluded with a short skirt so. I mentioned earlier that there were six and it is included in this edition that were not

part of the earlier complete sets of Sinatra's. And then next to Gene number four is the first of these to be included here. It is a short diverter mento and three movements. The Presto movement it appears is the first movement of number 5 also appears as the finale of number four where it seems to be more appropriate. Therefore we must consider it likely that sonata number 5 was merely a combination of three unrelated movements. Oh.

A.

I am. You have just been listening to sonata number four by Haydn.

The final movement of sonata number four is the same as the first movement of sonata number 5. So I will not repeat it for you again. The middle movement of sonata number 5 is a beautiful and Dotty and the tonic minor is the first of the lovely and the movements that appear in so many sonatas that it bears no connection with the previously heard Presto is easily apparent and the dominating minuet with its haunting E minor trio shows a slightly more mature and serious style. I am.

I am. I am.