Composer: Franz Joseph HAYDN
Works: Keyboard Sonatas No. 35 in A flat, Hob. XVI/43; No. 36 in C, Hob. XVI/21; No. 37 in E, Hob. XVI/22; No. 38 in F, Hob. XVI/23
Performers: Ronald Brautigam (fortepiano)
Recording: Recorded in Länna Church, Sweden in August 1999 [DDD]
Label: BIS
Franz Joseph Haydn’s keyboard sonatas stand as a testament to the evolution of the sonata form in the late 18th century, reflecting the composer’s transition from the Baroque to the Classical idiom. This collection, featuring Ronald Brautigam’s interpretations of four significant works, including three from the so-called ‘Esterházy Sonatas,’ encapsulates the essence of Haydn’s stylistic innovations while also revealing the subtleties of his musical language. These sonatas, originally composed for Prince Esterházy, display a remarkable balance of wit, charm, and depth—qualities that Brautigam masterfully illuminates through his interpretation.
Brautigam’s choice of a McNulty copy of a late 18th-century Walter fortepiano imbues the recording with a vibrant tonal palette that resonates with Haydn’s intent. The clarity of the instrument is particularly effective in the Allegro of Sonata No. 36, where Brautigam’s articulation allows the predominantly two-part textures to breathe and develop organically. His phrasing is characterized by an expressive fluidity that draws attention to Haydn’s harmonic ingenuity. The nuanced tempo fluctuations throughout the movement not only maintain listener engagement but also enhance the thematic dialogue inherent in the piece.
The absence of a slow movement in Sonata No. 35 presents an intriguing challenge, and Brautigam navigates this with aplomb. The work’s Menuetto and Trio serves as a delightful diversion, where his deft handling of the registral shifts showcases a keen understanding of coloristic possibilities. This contrasts with the emotional weight of the Esterházy Sonatas, particularly evident in No. 37, where the Andante unfolds with introspective grace. Brautigam’s sensitivity in this movement stands out, as he creates a rich emotional landscape that invites deep reflection. The final ‘Tempo di Menuet’ of No. 37 is a testament to civility, eschewing a conventional vigorous finish in favor of a more refined conclusion, which he executes with poise.
Sonata No. 38 serves as a pivotal point in the disc, overlapping with Joanna Leach’s recent recording on the Athene label. While Leach offers a historical perspective on a Stodart square piano, Brautigam’s interpretation is compellingly authoritative. His Adagio breathes improvisatory life into the music, capturing the elusive essence of Haydn’s humor and pathos in a way that is both engaging and technically proficient. The Presto finale radiates joy and exuberance under his fingers, articulating the infectious spirit that defines Haydn’s best works.
The engineering of this recording, managed by Ingo Petry for BIS, stands out for its clarity and spatial depth, allowing Brautigam’s fortepiano to resonate within the warm acoustics of Länna Church. This sonic environment enhances the dynamic contrasts and tonal colors, ensuring that every nuance of Brautigam’s performance is captured with precision and clarity.
Brautigam’s thoughtful approach, grounded in scholarly understanding and a profound respect for the Wiener Urtext edition, results in interpretations that are both compelling and evocative. His playing embodies the multifaceted nature of Haydn’s expression, demonstrating a command of technical prowess that remains deeply musical. This volume of the Esterházy Sonatas is not only a significant contribution to the recorded repertoire but also a delightful exploration of a composer whose wit and emotional depth continue to resonate with audiences today.
