|
tonybob
|
 |
« on: 06:50:23, 04-07-2007 » |
|
I'm currently reviving my piano technique - i hadn't played since i was 20, now i'm 33 - by playing early Haydn sonatas, and i must say i'm astonished at how assured and musical they are.
|
|
|
|
|
Logged
|
sososo s & i.
|
|
|
|
Chafing Dish
Guest
|
|
« Reply #1 on: 09:55:11, 04-07-2007 » |
|
I strongly recommend the A-flat sonata Hob XVI/46 -- though it doesn't count as early, I suppose. The last movement is not too remarkable, but the slow movement is certainly hair-raising. D-flat major is a crazy enough key, but when he moves to the parallel minor there, things get quite otherworldly http://imslp.org/images/a/a9/Haydn_-_Piano_Sonata_No_46_in_Ab.pdf |
|
|
|
|
Logged
|
|
|
|
|
time_is_now
|
|
« Reply #2 on: 15:37:39, 04-07-2007 » |
|
So otherworldly that we're not allowed in on the secret, eh? Hotlinking is not permitted; please link to the work page instead. Thanks! |
|
|
|
|
Logged
|
The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
|
|
|
|
oliver sudden
|
|
« Reply #3 on: 15:53:07, 04-07-2007 » |
|
You're a clever chap, tinners, I'm sure if I can find it you can... http://imslp.org/wiki/Category:Haydn%2C_JosephI was moved to go and hear the Schornsheim recording, although I'm afraid not exactly moved by the Schornsheim recording. I was reminded of what one of my Uni lecturers said anent the lute stop. 'A wonderful effect can be achieved with the lute stop. The wonderful effect is achieved by taking it off again.' Not that I'm saying she used it. It just reminded me. She does use a harpsichord for the said sonata. |
|
|
|
|
Logged
|
|
|
|
|
Chafing Dish
Guest
|
|
« Reply #4 on: 16:47:53, 04-07-2007 » |
|
The link works fine chez Dish.
|
|
|
|
|
Logged
|
|
|
|
|
tonybob
|
|
« Reply #5 on: 17:06:53, 04-07-2007 » |
|
She does use a harpsichord for the said sonata.
she plays it on a fortepiano. i love her clavichord performances myself. |
|
|
|
|
Logged
|
sososo s & i.
|
|
|
|
Evan Johnson
|
|
« Reply #6 on: 17:10:29, 04-07-2007 » |
|
Not that I'm saying she used it. It just reminded me. She does use a harpsichord for the said sonata.
You're going loopy, Ollie, she plays it on a "Hammerflügel/fortepiano/pianoforte (Ducklen)". Good to see you've ditched the LURK avatar, by the way; it was clear that it has become less and less applicable in recent days. |
|
|
|
|
Logged
|
|
|
|
|
trained-pianist
|
|
« Reply #7 on: 18:55:48, 04-07-2007 » |
|
It is very clever to start playing again with Haydn sonatas.
They are fun to play and need light touch and subtle pressure on keys, not too much legato and not too much emotions (which often leads to pushing keys or putting them down with a bang).
Lightness, intelligence, good humour, different colors, good nature - what could be better?
|
|
|
|
|
Logged
|
|
|
|
|
tonybob
|
|
« Reply #8 on: 19:10:02, 04-07-2007 » |
|
as ever, you are spot on tp!
i also like the way they progress technically; one sonata is just hard enough to push my technique a little, and when i can play that one, the next is just hard enough etc etc
|
|
|
|
|
Logged
|
sososo s & i.
|
|
|
|
trained-pianist
|
|
« Reply #9 on: 19:14:01, 04-07-2007 » |
|
My teacher always started her students on Haydn. We did not play heavy chords for a while (also we were children at a time and could not really play big chords).
But now I feel there is nothing better then develop finger sensitivity and not to push keys with light touch.
If you get tired with Haydn you could do a little bit of Schuman, or Mozart. Bach is very good (Inventions), they are so inventive.
May be people can suggest other light and delightful pieces.
I love to play Bach. There is nothing better to balance your mind and hands (and or arms).
A little bit of Scarlatti is always fun. Better start with easy ones.
|
|
|
|
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #10 on: 19:15:24, 04-07-2007 » |
|
You're going loopy, Ollie, she plays it on a "Hammerflügel/fortepiano/pianoforte (Ducklen)".
Der. Not loopy, just can't tell the diff between Sonata no. 46 and Sonata HobXVI:46. I should get out more. |
|
|
|
|
Logged
|
|
|
|
|
Chafing Dish
Guest
|
|
« Reply #11 on: 20:19:40, 04-07-2007 » |
|
You're going loopy, Ollie, she plays it on a "Hammerflügel/fortepiano/pianoforte (Ducklen)".
Der. Not loopy, just can't tell the diff between Sonata no. 46 and Sonata HobXVI:46. I should get out more. Diff? What diff? |
|
|
|
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #12 on: 20:35:30, 04-07-2007 » |
|
Diff? What diff? Er, between the sonata no. 46 HobXVI:31 (in Hard E, before 1776, played by CS on harpsichord, CD 7) and the sonata no. 31 HobXVI:46 (in Hard Ass, before 1768, played by CS on a Hummelflägger, CD 6). |
|
|
|
|
Logged
|
|
|
|
|
pim_derks
|
|
« Reply #13 on: 20:45:23, 04-07-2007 » |
|
Joseph Haydn: my favourite composer!
The man for all seasons.
Mental aspirin.
In one word: perfect.
|
|
|
|
|
Logged
|
"People hate anything well made. It gives them a guilty conscience." John Betjeman
|
|
|
|
increpatio
|
|
« Reply #14 on: 20:55:58, 04-07-2007 » |
|
Diff? What diff? Er, between the sonata no. 46 HobXVI:31 (in Hard E, before 1776, played by CS on harpsichord, CD 7) and the sonata no. 31 HobXVI:46 (in Hard Ass, before 1768, played by CS on a Hummelflägger, CD 6). Oh yes, those bloody numberings...*grumble*.... |
|
|
|
|
Logged
|
|
|
|
|
