Franz Joseph HAYDN (1732-1809)
Piano Sonatas Complete
Performers: Riko Fukuda, Bart van Oort, Ursula Dütschler, Stanley Hoogland, Yoshiko Kojima
Label: Brilliant Classics 99671
Release Date: November 2001
Duration: Approx. 10 hours 41 mins
The recent release of Haydn’s complete piano sonatas on fortepiano by Brilliant Classics is a significant addition to the corpus of recordings that seek to illuminate this often-neglected facet of the composer’s oeuvre. Haydn, primarily acknowledged for his string quartets and symphonies, undertook a considerable exploration of the piano sonata form, producing 51 works that span his prolific career. While many of these sonatas adhere to a conventional three-movement structure, they are imbued with a spirit of experimentation that reflects Haydn’s evolving musical language and the instrument’s developing capabilities.
This 10-CD set, performed by a cadre of accomplished fortepianists, offers listeners an opportunity to engage with Haydn’s music in a manner that closely approximates its original context. The fortepiano, with its sharper sound and quicker decay compared to the modern concert grand, conveys a sense of intimacy that is particularly effective in the lighter textures of many of these works. This recording allows for a compelling comparison with other notable interpretations, such as Robert Hill’s recent harpsichord renditions, which, while illuminating in their own right, often lack the dynamic range and expressive capabilities that the fortepiano affords.
In examining the performances, it is remarkable how each pianist brings a distinct interpretative lens to Haydn’s sonatas. Bart van Oort’s readings of Sonata Hob. XVI/33 stand out for their buoyancy and rhythmic vitality. The opening Allegro, with its playful motifs, is executed with a delightfully light touch that captures the essence of Haydn’s humor. In contrast, Ursula Dütschler’s interpretation of Sonata Hob. XVI/49 reveals a depth of lyricism, particularly in the Adagio, where the melodic lines are allowed to unfold with a lyrical grace that resonates deeply with the listener.
Particularly intriguing is the Sonata Hob. XVI/46 in A-flat major, which is more virtuosic than many of Haydn’s other works. Here, Stanley Hoogland navigates the rapid runs of the opening Allegro moderato with agility, while maintaining a buoyant character that evokes a Mozartian elegance. The subsequent Adagio contrasts sharply with its melancholic, lyrical quality, showcasing Haydn’s ability to balance contrasting emotions within a single work. The finale, marked Presto, though significantly shorter, bursts forth with exuberance, a testament to Haydn’s knack for succinct musical statements that leave a lasting impression.
The recording quality is exemplary, with each fortepiano distinctly captured, allowing listeners to appreciate the subtle timbral differences between the various instruments employed throughout the set. The engineering avoids excessive reverberation, thus preserving the intimate nature of the performances, which is particularly important when engaging with music that thrives on nuanced dynamics and articulate phrasing.
From a historical perspective, Haydn’s piano sonatas serve as a fascinating reflection of the evolution of keyboard music in the late 18th century. While he was not a pianist in the modern sense, and many of his works were likely composed for amateur musicians, they reveal a sophisticated understanding of the instrument’s capabilities. The majority of Haydn’s sonatas are written in major keys, which contrasts with the more somber explorations found in the works of his successors. The prevalence of major keys underscores the celebratory and jovial spirit that permeates much of his music, even in the face of melancholy.
Perhaps one of the few criticisms of this collection is its organization; the sonatas are not arranged chronologically across the discs. A more systematic approach might have highlighted the evolution of Haydn’s style more clearly, allowing listeners to draw connections between the early and later works.
In conclusion, this comprehensive set of Haydn’s piano sonatas is a remarkable achievement, providing insights into both the composer’s innovation and the historical context of his work. The choice of fortepiano as the instrument of interpretation invites a fresh perspective on these well-loved pieces. For listeners familiar with Haydn’s symphonic and chamber music, this recording is an essential exploration that recontextualizes the sonatas, revealing their inherent charm, wit, and depth. The performances are universally strong, and the budget-friendly pricing of the set encourages both casual listeners and seasoned aficionados to delve into the multifaceted world of Haydn’s keyboard compositions. This release not only celebrates the composer but also enriches our understanding of the musical landscape of his time.
