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From Cincinnati the piano sonatas of hiding in the series we present a cycle of Haydn sonatas including several newly rediscovered performed by Raymond Dudley a concert artist in residence at the University of Cincinnati who will also comment on the works here for the second programme in the series is Raymond Dudley. In the first broadcast of the present series devoted to the Haydn piano sonatas I played for you nine of the earliest sonatas I'm using from my numbering and text the new Vienna Urtext edition edited by Crystal land and I previously mentioned with regard to sonata number 9 the beginning influence of CPE Bach and we shall see more and more of this influence as we approach the mature works of the late 1960s. For instance in the next sonata that I will play the number 11 in B-flat. You will have the first full length slow movement. This is a Largo in G minor and that definitely has a north German
baroque style. And the emotional feeling is much more pronounced than in any of the previous works you have heard. We see here again in this slow movement the beginning influence of CPE Bach. Well the first movement is a typical Viennese style or the role Coco style got a lot of the times. And the third is a typical early Haydn minuet and trio. As I mentioned in the earlier broadcast an attempt has been made to put the sonata is in chronological order. However the establishment of an exact chronologically for the early works becomes especially difficult because while Haydn was striving to evolve new and more personal musical forms he apparently still continued to compose gallant pieces for his students and the delight Tante Here then is Sonata number 11 in B-flat modern Ratto Largo and Minuet in Trio.
The next Sonata number 12 a diverter mento for 10
Ballo with all three movements in one key and the Minuet in Trio middle movement was one of the two series of five works listed in the bright cough of Leipzig catalogue of 1767. These were not printed copies but manuscript copies available for distribution. Nothing is known of contacts between Haydn and at the time as to whether they were direct or through an intermediary and the listing in this catalogue does not necessarily indicate chronological order but rather an accidental compilation. The dating is the upper limit and probably all of these scenarios were written very much earlier. This number 12 was in the second series with sonatas 5 6 15 and 16. The first series was made up of numbers 1 2 3. Number 13 and number 7 the A major Sonata number 12 has a slow one down the first movement. The flowing melody of
triplets the Minuet in Trio and a fast Vacherie. I am.
That was Haydn's Sonata number 12 in a major although Haydn had to struggle for his existence since leaving this in Stephen's Cathedral he slowly but surely began to gain admission to the only circle in 18th century Vienna that could assure a composer's fortune. That of the nobility. They terming count his tune after coming across one of Haydn sonatas wanted to meet the composer about whom she probably had heard from her relative count her rock who was large overall wow in his castle Haydn played chamber music on occasional visits to his native village. When Johnson first stood before her it is said she was somewhat shocked by his appearance. Could this undersized dark complection do you through the face pitted by small pox and a large Aqua lined nose and legs too short for his body
really be the creator of such lovely and graceful tunes. However closer inspection revealed a noble forehead and dark grey eyes sparkling with humor and kindness which somehow made the Countess forget the young man's general ugliness. Awkward manners and shabby clothes when she was sure she was not being tricked by an impostor Countess toone began to study the Klavier and singing with Haydn and apparently with much success. Dr. Burney the great English musical historian in 1772 met the Countess and wrote this most agreeable and accomplished lady possessed as great a skill in music as any person of distinction he ever knew. That's quite a saying. The family of the countess who incidentally was on very friendly terms with the look Mozart and later Beethoven was able to do much for Haydn from this time on Haydn situation improved the number of his pupils grew and among them were Abba and Mickey
called director of the brothers of mercy and father Robert Kimberly of the Benedictine order subsequently connected with the monastery of Mel which is one of the important sources for the existing manuscript copies of Haydn's works. So we see that it is in this kind of atmosphere of outstanding pupils and noble friends. The sonata is take out a new wealth of greater expression on our somewhat more technically advanced. We might suppose such a Sonata as the number 13 in G being performed by the Countess tune in one of the stately rooms of an eighteenth century palace. It is one of the finest works of his early period. The sonata is in for moments rather than the usual three and begins Allegro followed by a minuet and beautiful trio in G minor. A hauntingly lovely adagio also in the tonic minor and the finale a molto Allegro. This Sonata is preserved in an undated
autograph. I am.
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The piano sonatas of Haydn
Second program, part one
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 first 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: 67-7-2 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:46
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Chicago: “The piano sonatas of Haydn; Second program, part one,” 1966-12-16, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed July 13, 2024,
MLA: “The piano sonatas of Haydn; Second program, part one.” 1966-12-16. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. July 13, 2024. <>.
APA: The piano sonatas of Haydn; Second 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