The piano sonatas of Haydn; Sixth program, part one
From Cincinnati the piano sonatas of hiding in the series we present a cycle of Haydn Sonata as performed and discussed by Raymond Dudley. Here is Raymond Dudley. Although we have concentrated on the earlier works for this series of broadcasts including the first twenty eight Sonata which comprise the first volume of the new Vienna Urtext edition which has been my text and numbering system for this series it seems only fitting that to show the full extent of Haydn's growth in regards to his keyboard works that we should move from the middle period works of the last broadcast to his last four Sonata has for the sixth and final program. These fine works which display the full maturity of classical style step straight into the Beethoven period. They are magnificent examples of the composer's invention and power of thematic development. The first of the sonata is the E-flat Sonata number 59.
It was written between 1789 in 1790 and was dedicated to Marianne von gan to his devoted friend began singer Sonata is one of the most beautiful slaughters and if one were to give an example of the young Mozart influencing the elder Haydn it is in the slow movement of this sonata the first movement Allegro is a fully developed sonata form heralding the young Beethoven even to the single note triplets motif of the Beethoven Fifth Symphony. The Mozart in slow movement adagio Hobley follows with what might also be described as an almost middle section. The finale is an eloquent minuet Oh. Now I will play the Haydn Sonata and the flatter text number 59 Allegro adagio a tempo of the minuet.
The years between 70 91 and 18 0 3 comprise Haydn's last great period of composition. And in this he reached the summit of his artistic achievements. He had accepted the invitation to go to London and the results of this change of atmosphere and the overwhelming acclaim by the British people had a remarkable effect on Haydn's creative output. Even though he was nearly 60 years old he started to write composition surpassing in both accomplishment and daring enterprise. Anything he had previously attempted. The beautiful balance of the classical style was noticeable in these works. Their quality surpassing even that of his best achievements in the 80s fundamentally Haydn remained a classical composer. But again and again episodes are to be found in his music in which expressiveness and passionate feeling breakthrough classical composer he seem to revive characteristic features of his storm and stress period. But we shall be nearer the
truth if we consider the little irregularities in his later music to be the first indications of a movement that was shortly to exercise a profound influence over the whole artistic world romanticism. The last three Sonata as were written during Haydn's second London sojourn in 1794 and were composed for the pianist to Riza Jansen who married gay town. Actually Haydn was one of the witnesses at their wedding in May 1795. The chronological order of these an artist cannot be precisely determined. We know that the second movement of number 60 was printed by our tarea in Vienna in Tempe 94 and the autograph of number 62 is dated 1794. The Urtext number 60 Sonata in C has a first movement of almost symphonic proportions. Its wide rolling chords the intricate development of the first theme with its counter theme in various
registers the subito piano and 40 effects are all treated on a very grander scale. In this first movement Haydn uses pedal marks for the first time and suggests two blurred passages. The first is a pianissimo parallel octave statement of the opening theme in the bass and then a similar passage high in the treble of the first theme in a cardinal statement which creates a misty chime effect. How is the pedal down for four bars. But on our modern piano I shuffle effect for this passage is necessary. These both occur in the development section. The last movement Allegro is again one of Heine's most witty and humorous pieces one that definitely suggests laughter and an infectious gayety that brings his happy work to a conclusion. Because of the many Sonata is in C that Haydn wrote this one being the largest is sometimes known as the London C major Sonata.
- The piano sonatas of Haydn
- Sixth program, part one
- Producing Organization
- WGUC (Radio station : Cincinnati, Ohio), U. of Cincinnati
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- 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.
- 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: 67-7-6 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “The piano sonatas of Haydn; Sixth program, part one,” 1967-01-13, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 9, 2022, http://americanarchive.org/catalog/cpb-aacip-500-j9609w0q.
- MLA: “The piano sonatas of Haydn; Sixth program, part one.” 1967-01-13. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 9, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-j9609w0q>.
- APA: The piano sonatas of Haydn; Sixth 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-j9609w0q