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That was the second and third moment of Haydn's Sonata number five. So not a number 6 in C is a delightful three movement Sonata which makes use of a simple sonata form for both the first and last movements. It is extremely light hearted and an innocent work of happy spirits that I am sure must have pleased the brilliant young merienda Martinez Haydn's brilliant young pupil. The movements are titled modern Ratto Minuet in Trio and the finale a presto. I am. I am. I am. I am. I.
I am.
I am. I am. I am I am. I am. We have just been listening to sonata number six in C
Sonata number 7 in d is the second edition o work to be included with this set Urtext EDITION. It was first listed by Anthony Hoboken with a miscellaneous Clavier Stuka in his complete Haydn catalogue of 1957. However despite its opening movement being a set of variations it is a work in three movements making it seem much closer to the Sonata than to the clavier Stuka and the justifiable reason for inclusion with the Sonata as the first movement is a theme in three variations. The second a simple minuet introducing a rather pompous and almost conceited finale. Oh.
That was so not a number seven although Sonata number
eight is included in this series largely because it is listed in Haydn's holograph catalogue of 18 0 3. It is doubtful whether it is by Haydn. It's unrelated phrases in the first and last movements do not suggest Haydn authorship. It is possible that in 18 0 3 it was difficult for the aging Haydn to recall each and every composition of early date. It was published in 1790 by Jay Cooper of London under play L's name. If any of the sonata is likely to be Haydn it would be the minuet and trio. It has strong characteristics of a harpsichord piece and we know that Haydn preferred to write for the clave year. In any case although I have performed a sonata many times I would like to bypass it with a question mark for this present series of broadcasts and go to the lovely Sonata number 9 in D major. It seems to me that it is in this two movements that we see the first
signs of Carl Philipp Emanuel Bach's influence on Haydn's keyboard works. Haydn said to his friend and first biographer Albert Dees after his discovery of the first six keyboard Sonata is by Philip Emmanuel Bach which opened a new world to him. I did not leave the Cleeve year until I had mastered them all to another writer biographer Friedrich Rochlitz. Haydn remarked innumerable times I played them for my own delight. His specially when I felt oppressed and discouraged by worries. And always I felt the instrument gay and in high spirits. One of the reasons for Haydn's reactions was the strong emotional appeal emanating from the works of the Hamburg Bach. Up to then he had been familiar with the gay and superficial idiom of the musical Roekel Coel. Here he found compositions the deeply stirred and excited him. Who knows me well he was elated to remark. I must have found out that I owe a great deal to Emmanuel Bach. But I have understood and diligently studied
him as a matter of fact. No other composer except Mozart influenced him as much as the North German master. Here then is Sonata number nine. The first movement the modern rattle and the second a minuet and trio. Oh.
Although we have touched on the beginning influence of CPE Bach in the previous
Sonata number 9. The closing work of this broadcast is typical of the Viennese piano style of the vocal cold period. Yeah Alberta the bases of the first movement. The minuet with true in minor key and the violin like melody of the second slow movement here then a sonata number 10 in C Allegro dash and Minuet in Trio. No.
That was the Haydn Sonata number 10 on this program in the series. The pianist and I supplied him. We have heard so not as one through seven pounds nine pounds down performed on commented on by Raymond Dudley a pianist in residence at the University of Cincinnati College Conservatory of Music for the text and numbering Mr. Dudley is using the new universal Urtext edition of
the Sonata as published in Vienna. This series is a production of the University of Cincinnati station WAGA U.S. recording and production by Myron Bennett. This is the national educational radio network.
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The piano sonatas of Haydn
First program, part two
Producing Organization
WGUC (Radio station : Cincinnati, Ohio), U. of Cincinnati
Contributing Organization
University of Maryland (College Park, Maryland)
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Episode Description
This program, the second of two parts, presents pianist Raymond Dudley performing sonatas composed by Joseph Haydn.
Series 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.
Media type
Performer: Dudley, Raymond
Producing Organization: WGUC (Radio station : Cincinnati, Ohio), U. of Cincinnati
Speaker: Dudley, Raymond
AAPB Contributor Holdings
University of Maryland
Identifier: 67-7-1 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:27:22
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Chicago: “The piano sonatas of Haydn; First program, part two,” 1966-11-14, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed December 8, 2023,
MLA: “The piano sonatas of Haydn; First program, part two.” 1966-11-14. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. December 8, 2023. <>.
APA: The piano sonatas of Haydn; First program, part two. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from