I am not a great aficionado of Joseph Haydn. That said, he is
my favourite from the great triumvirate of classical composers, including
Beethoven and Mozart. Furthermore, I cannot recall hearing a piece of Haydn
that I did not enjoy or appreciate. When I play late 18th/early 19th
century piano music, I often battle my way through his Grade 3,4 and 5 sonatas.
So, I am enthusiastic about his music after all!
For the record, when I want to listen to one of Haydn’s
Sonatas, I typically turn to John McCabe’s definitive recording on Decca, dating
from the 1970s, and reissued in 1996 on CD.
For the record, when I want to listen to one of Haydn’s
Sonatas, I typically turn to John McCabe’s definitive recording on Decca, dating
from the 1970s, and reissued in 1996 on CD.
The five Sonatas are presented on this CD in chronological order, with the earliest dating from around 1767 and the final example appearing in 1780. Detailed comments about each Sonata in this review are superfluous: perfectly adequate notes are given in the booklet. Howell is right in characterising Haydn’s Sonatas as “intimate, conversational and [sometimes] improvisational.” This suggests that they are not potboilers for public consumption at a large recital, but are personal statements, designed to be heard in private or in the chamber. This subtle aesthetic has characterised this CD.
Three issues that Christopher Howell supplies notes on are the instrument, ornamentation, and the pedal. I am delighted that he has chosen to play these sonatas on a modern Steinway as opposed to a contemporary 18th century fortepiano. I have never bought into authentic instruments, even (especially) for Bach and Handel. Others will disagree strongly! Howell recognises that ornamentation may be a controversial issue, either too much or too little. He has chosen a light touch on this issue with these recordings. The playing always sounds clear rather than fussy. Finally, he has kept his foot well under the piano stool. Pedalling would seem to do more harm than good in Haydn’s piano music. Certainly, there is no smearing or blurring in this recital. Clarity is the order of the day.
The recording reflects the “intimate” nature of the music. The liner notes give a good introduction to the five sonatas, as well as a brief CV of the pianist. I could not work out the eccentric angles of the booklet cover. There is no mention as to where the snap/s was/were taken. Most likely it is a collage.
Many readers will associate Christopher Howell with his compendia of British music by Charles Villiers Stanford and Alexander Mackenzie. These include the complete piano works of both composers, as well as song and violin music by Stanford. They are essential listening for all lovers of British Music. There have been other adventures including the enjoyable An Englishman in Italy presenting British piano music inspired by Italy, songs by Chopin and Moniuszko with the mezzo-soprano Magdalena Aparta, Tosti and Friends with English songs by Italian composers sung by the soprano Ninny Nobile, and Passé which explores romantic song in Italy featuring the mezzo-soprano Elisabetta Paglia. Most recently, Howell has released a superb new recording of Claude Debussy’s masterpiece for piano, the two books of Préludes.
I enjoyed Christopher Howell’s performance of these five Haydn Piano Sonatas. Take them one (or two) at a time: they reward close listening rather than providing background music. It is not obvious if Howell plans any more discs of Haydn’s music: it would be good if he did. This disc presents a refreshing take on these accomplished piano works.
Track Listing:Joseph HAYDN (1732-1809)
Piano Sonata in A major Hob. XVI/12 (c.1767)
Piano Sonata in C sharp minor Hob. XVI/36 (1770-5)
Piano Sonata in F major Hob. XVI/23 (1773)
Piano Sonata in G minor Hob. XVI/44 (1771-73)
Piano Sonata in D major Hob. XVI/37 (1780)
Christopher Howell (piano)
rec. 21 June, 27 October, 24 November 2018 Studios of Griffa & Figli s.r.l., Milan, Italy.
SHEVA SH236
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