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From Cincinatti the piano sonatas of Haydn performed undiscussed by Raymond Dudley a concert artist in residence at the University of Cincinnati hit with a third program of the series is Raymond Dudley up to now. We have been listening to the earliest keyboards and not as of Haydn in the first two broadcasts we heard 15 of these early period works works that might be described as charming ingratiating and gaging and with a sense of humor all reflecting the style galon to the 1750s. Now we are going to move on to the transitional works so now that is number 17 and 18 are two works recently discovered by Dr. George fader chief of the Haydn Institute in Cologne and belong to the transitional period. These two Sonata has an E flat or part of a manuscript of early Haydn Sonata is copied in the former Benedictine monastery of Ray rod in Moravia. The
principal differences in these two works and from those that we heard previously are the more unified thematic content of the more extended first movements. The trio sections of the minuet and trio movements a number 17 which is in C minor and the number 18 trio in E-flat minor. A remote key indeed from the white keys and a has A C G and D that largely dominated the first Sonata has these trio sections continue from now on to show an increasing emotional involvement with musical expression and more than any other movements indicate Haydn's growth towards the greats and authors of his storm and stress period. The Starmen stressed period being in the middle to late 17th sixties when the dramatic and emotional feeling of CPE Bach's influence had developed to its fullest peak in Haydn. The composer had grown tired of the charm and gracefulness of rococo music so dear to him in his earlier days
and to express personal feelings and strong emotion seemed the main aims of Haydn's art. This reached its climax in the Sonata in C minor number 33 written around the years Time Team 70. We shall hear more about the works of this period in the following broadcast. But now let us return to Sanaa is number 17 and 18 of the transitional period. It is amazing to think that the Sonata has written more than 200 years ago and never having been published according to our knowledge but only circulated as manuscript copies. We are now able to hear for the first time Haydn wrote a Sonata has an E flat and three of the greatest Sonata has the number 33 in C minor. The GYN singer number 59 and the last London Sonata number 62 all had the key signature of three flags. The first movement of number 17 is a modern rattle followed by an end and
closing with a minuet and trio.
That was Sonata for Tex number 17 on a wall in the farmhouse where Haydn was born in the small country village of rah rah words to the effect that from such a humble dwelling grew such a great man. Which is a corral array of the Acorn and the oak tree. This lovely farmhouse built by Haydn's father is in Mecca and they preserve Today's a monument to the composer. And so it is that the seeds of Haydn's genius are sown in such works as the first movement of the Sonata number 18. They developed and grew into their more mature counterparts such as the opening movements of sonatas 29 through 33. In fact in comparing this movement with the great a flat number 31 first movement it is like looking at its junior predecessor. The basic themes are flowing and lyrical and in a similar manner they are developed by broken chordal passage work leading to a brilliant climax. Although the later a flat is a work of
maturity this movement is nevertheless full of an eloquent expression. The second movement of this movement Sonata is a minuet and trio.
That was Haydn's so not her or tex number 18 Sonata number 19 is a version in each of the Sonata number 57 in F. issued by the publisher R. tarea in seventeen eighty eight John Peter Larson found this version number 19 in our latest in the archives of the gazelle shaft. Dear Music freind in Vienna where it is in a manuscript containing other Haydn works as well. The version in is also in three movements but does not contain the rather curious opening movement of the printed version. A movement which is stylistically strikingly at odds with the rest of the work. The version any begins with an i get home here marked Adagio and then a minor and continues with the L.A. girl here in the Major. The final movement is a hitherto unknown tempo de minuet.
It appears that we are dealing with a work which was composed in the 1760s and which was altered later by Haydn for our Tarea tarea himself. Here are the two transposed movements which are essentially the same show considerable textual divergencies. The printed version in AM is no doubt a potpourri utilizing a single piano piece as a new beginning. Sonata 19 in adagio allegro and temple at.
I am.
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Series
The piano sonatas of Haydn
Episode
Third program, part one
Producing Organization
WGUC (Radio station : Cincinnati, Ohio), U. of Cincinnati
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-c24qpp8b
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-c24qpp8b).
Description
Episode Description
This program, the first of two parts, presents pianist Raymond Dudley performing sonatas composed by Joseph Haydn.
Other Description
Illustrated lecture series featuring 34 piano sonatas of Haydn as demonstrated by Canadian pianist Raymond Dudley, Concert Artist in Residence at the University of Cincinnati College-Conservatory.
Date
1966-12-19
Topics
Music
Media type
Sound
Duration
00:29:45
Credits
Performer: Dudley, Raymond
Producing Organization: WGUC (Radio station : Cincinnati, Ohio), U. of Cincinnati
Speaker: Dudley, Raymond
AAPB Contributor Holdings
University of Maryland
Identifier: 67-7-3 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:32
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Citations
Chicago: “The piano sonatas of Haydn; Third program, part one,” 1966-12-19, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 12, 2022, http://americanarchive.org/catalog/cpb-aacip-500-c24qpp8b.
MLA: “The piano sonatas of Haydn; Third program, part one.” 1966-12-19. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 12, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-c24qpp8b>.
APA: The piano sonatas of Haydn; Third program, part one. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-c24qpp8b