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Haydn: The Complete Piano Sonatas, Vol. 7 / Bavouzet

Chandos

$21.99 Jul 20, 2018

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

Alongside an internationally acclaimed celebration of Debussy’s centenary, Jean-Efflam Bavouzet continues his sumptuous journey through Haydn, the installments consistently praised for their intelligent approach and clear and vivid interpretations. Recorded on a modern Yamaha CFX in the warm acoustic of Potton Hall in Suffolk, the series has now reached Volume 7, which showcases several rarely heard sonatas, some of which have been considered of dubious authenticity or outright apocryphal. With the exception of No. 13 (Hob. XVI: 6), absolutely and unarguably authentic, these sonatas survive only in the form of copies, and to establish a chronology is difficult, even impossible. But through Jean-Efflam Bavouzet’s playing, all these pieces are revealed in their purest essence and diversity, from the energetic, witty, and ironic to the graceful, tender, and intimate.

REVIEWS

Extremely well recorded in Potton hall in Suffolk, Bavouzet’s Yamaha enables him to bring ideal clarity to these elegant works.

--BBC Music Magazine

Jean-Efflam Bavouzet’s Haydn isn’t a comfortable ride but a vivid one. Take his stimulating approach to Sonata 58’s first movement; it has warmth, athleticism and a feel of being improvised while missing nothing of Haydn’s harmonic, rhythmic and dynamic twists. There’s a certain quirkiness about it, but that is exactly Haydn’s.

--MusicWeb International (Michael Greenhalgh)

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Haydn: The Complete Piano Sonatas, Vol. 7 / Bavouzet
Chandos Jul 2018
CD
$21.99

Haydn: Complete Symphonies, Vol. 22

Haenssler Classic

$20.99 Aug 12, 2014

Haydn’s Symphonies Nos. 98 and 103 come from his set of 12 "London" symphonies, written at the height of his mastery and celebrity. With these pieces, Haydn accomplishes the rare feat of writing works that are both intellectually demanding and perfectly delightful. The recordings of Thomas Fey and his musicians are highly praised around the world for their personal expression, and precision of execution as well as their innate ability to detect the internal characterization of each movement.

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Haydn: Complete Symphonies, Vol. 22
Haenssler Classic Aug 2014
CD
$20.99

Haydn: Symphonies Nos 26, 35 & 49 / Ward, Northern Co

Naxos

$19.99 Apr 23, 1993

Symphony No. 26 in D minor seems to have been written in 1768 or thereabouts and is scored for the usual Esterháza forces of pairs of oboes and French horns, bassoon, strings and cembalo. Haydn completed his Symphony No. 35 in B flat major on 1st December 1767, scoring the work for pairs of oboes and high B flat horns, bassoon, strings and cembalo. What starts light-heartedly enough assumes a graver air in the central development, where contrapuntal use of earlier thematic material introduces an element of stronger feeling, with the recapitulation marked by the ascent of the first horn to unusual heights. The E flat major slow movement is scored for strings only with music of considerable charm. The wind instruments return for the Minuet, but are excluded from the E flat Trio, with it's triplet rhythm handed from second to first violin. The symphony ends with a cheerful Finale and the tone of the whole work has led Robbins Landon to suggest that it might have been written to celebrate the return from Paris of Prince Esterházy, who had visited France in the autumn of 1767 with the presumed object of learning more about the Palace of Versailles that his own new palace at Esterháza was to imitate and rival. Symphony No.49, La Passione, was written in 1768 and is scored for pairs of oboes, French horns in F, bassoon, strings and originally cembalo. This work, in the key of F minor, belongs clearly to the dramatic mood of Sturm und Drang, although not so called until the publication in 1777 of Klinger's play of that name. Sturm und Drang (Storm and Stress), a self-explanatory title, describes well enough the current literary mode of extravagant expression of emotions, partly reflected in some of the music of the period. Haydn's symphony follows the old pattern of the church sonata, opening with a slow movement. A degree of tension is generated in the following Allegro di molto, not least by the wide leaps and syncopation of the first violin in the opening of the movement, leading to a calmer shift to the relative major key. The Minuet, in which first and second violins double one another for much of the time, frames an F major Trio that makes use of the high range of the first horn. The final monothematic Presto brings to an end a symphony that enjoyed very considerable popularity in Haydn's life-time, the culmination of a particular development of the symphony and the expression of a depth of feeling that ensured serious consideration for the genre. A symphony of this kind was no mere diversion. Northern Chamber Orchestra, Manchester Formed in 1967, the orchestra has established itself as one of England's finest chamber ensembles. Though often augmented to meet the requirements of the concert program, the orchestra normally contains 24 musicians and performs both in concert and on disc without a conductor. Their repertoire ranges from the baroque era to music of our time, and they have gained a reputation for imaginative program planning.

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Haydn: Symphonies Nos 26, 35 & 49 / Ward, Northern Co
Naxos Apr 1993
CD
$19.99

Haydn: Piano Sonatas Vol 5 / Jenö Jandó
Naxos Feb 1995
CD
$19.99

Haydn: The Complete Piano Sonatas, Vol. 4 / Bavouzet

Chandos

$10.99 ~~$21.99~~ Save 50% Sep 25, 2012

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

This is Volume 4 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. The last volume in the series was a Critic’s Choice in Gramophone, an Instrumental Choice in BBC Music, Editor’s Choice in Classic FM, and Recording of the Month in MusicWeb International.

In the words of Bavouzet himself: ‘Each volume of this ambitious, extended project will arrive over the years like a postcard, dispatched during my travels with scant respect for chronological considerations, but undertaken with the greatest passion for trying to convey as vividly as possible to twenty-first-century ears the boundless treasures of this sublime music.’

Jean-Efflam Bavouzet received a BBC Music Award in 2012 and a Gramophone Award in 2011 for his recording of works by Debussy and Ravel (with the BBC Symphony Orchestra and Yan Pascal Tortelier). His recording of Bartók’s Concertos (with Gianandrea Noseda and the BBC Philharmonic) was short-listed for a Gramophone Award, and he has won multiple awards for his recording of the complete works for solo piano by Debussy.

REVIEWS

Bavouzet doesn’t disappoint. He leans towards passion...but melancholy also surfaces through rubato, embellished repeats, control of line, pace and dynamics. This is a performance of stature with not a trace of the slick superficiality that mars matters elsewhere.

--Gramophone

These are marvelous works: every one of them has something inspired to capture your attention. In Sonata No. 38, that would have to be the central Adagio, one of those touchstone classical melodies that seem to sum up all that was most beautiful in 18th century music. Sonata No. 40 has only two movements, an intricate opening Moderato and a charming concluding Minuet.

Like No. 38, Sonata No. 30 is a substantial work in three movements[.] Bavouzet’s aptly spiky articulation of the main theme reminds us that Haydn’s early sonatas were likely composed with the harpsichord in mind, but they lose nothing (and gain much) from being played on a modern piano. This program also includes the moody Variations in F minor. Bavouzet’s interpretation is aptly pre-romantic...Haydn’s original, shorter cadenza/coda, without that astonishing tragic eruption that vaults the music forward into the 19th century...Haydn lovers are in keyboard heaven.

--ClassicsToday.com (David Hurwitz)

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Haydn: The Complete Piano Sonatas, Vol. 4 / Bavouzet
Chandos Sep 2012
CD
~~$21.99~~ $10.99

Haydn: Piano Sonatas, Vol. 1 / Rabinovich

First Hand Records

$29.99 Nov 16, 2018

This release is the first volume in a series of new recordings in which the illustrious pianist Roman Rabinovich will record all of the piano sonatas written by Haydn for FHR. Haydn was a prominent and prolific Austrian composer of the Classical period and composed 62 keyboard sonatas. Written over a 40 year period or so, and displaying a variety of styles, the earlier sonatas were written for harpsichord and the last for the newly developed hammer-action fortepiano. Rabinovich is a brilliant interpreter of Haydn. Indeed, The New York Times hailed Rabinovich’s Haydn performances as ‘admirable interpretations, performed with a rich, full-blooded sound, singing lines and witty dexterity’. Each album will feature artwork illustrated by the pianist. Rabinovich has earned critical praise for his explorations of the piano music of Haydn, which include his 42 sonata cycle at the 2018 Bath International Festival. Rabinovich has performed throughout Europe and the United States in venues such as London’s Wigmore Hall, Leipzig’s Gewandhaus, the Great Hall of the Moscow Conservatory, and the Millennium Stage of Kennedy Center in Washington DC. Lauded as ‘a master of tone-color’ (International Piano, 2018), Rabinovich made his Israel Philharmonic début under the baton of Zubin Mehta at age ten. He was a top prize winner at the 12th Arthur Rubinstein International Piano Master Competition in 2008.

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Haydn: Piano Sonatas, Vol. 1 / Rabinovich
First Hand Records Nov 2018
CD
$29.99

HAYDN, F.J.: String Quartets - Nos. 11, 21, 22 (Smithsonian
Sono Luminus Jul 2009
CD
$18.99

Haydn: Early Divertimento Sonatas For Keyboard, Nos. 1-20
BIS May 2003
CD
$39.99

Franz Schubert: Impromptus Op. 90 - Sonata in B flat Major,

Centaur Records

$18.99 Jan 17, 2020

The Schubert Impromptus Op. 90 and Sonata in B-flat Major are two of the greatest of Schubert's piano works. Winner of major competitions, Alexander Kobrin gives magisterial performances of these great works. Called the "Van Cliburn of today" by the BBC, pianist Alexander Kobrin has placed himself at the forefront of today's performing musicians. His prize-winning performances have been praised for their brilliant technique, musicality, and emotional engagement with the audience. The New York Times has written that Mr. Kobrin was a "fastidious guide" to Schumann's "otherworldly visions, pointing out hunters, flowers, haunted corners and friendly bowers, all captured in richly characterized vignettes." "This was a performance that will be revered and remembered as a landmark of the regeneration of exceptional classical music in Central New York."-critic wrote after Mr. Kobrin's performance of Second Piano Concerto by Johannes Brahms with Syracuse Symphony in Syracuse, NY.

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Franz Schubert: Impromptus Op. 90 - Sonata in B flat Major,
Centaur Records Jan 2020
CD
$18.99

Haydn, J.: Mass in B-Flat Major, "Harmoniemesse" / Mass in B
Haenssler Classic Feb 2009
CD
$20.99

Haydn: 10 Kleine Klavierstucke & 24 Menuetti / Jando

Naxos

$9.99 ~~$19.99~~ Save 50% Sep 14, 2018

In addition to some 47 keyboard sonatas, Haydn wrote a variety of other pieces including arrangements of earlier orchestral or chamber works, and dances intended for occasional use. The 10 kleine Klavierstucke (10 Little Piano Pieces) contain five symphonic movements- including the second movement from one of his most popular, No. 53 in D major, known as L’Imperiale- a single movement from a string quartet and three extracts from his witty Eszterhaza opera La vera constanza. The dance movements were popular in Vienna’s many ballrooms. This is the penultimate release in Jeno Jando’s project of recording the complete solo piano music by Joseph Haydn. Of the complete piano sonatas release, Audiophile Audition commented: “Jando is every inch the professional, his years of experience and his muscular playing full these [works] with vivacious life.”

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Haydn: 10 Kleine Klavierstucke & 24 Menuetti / Jando
Naxos Sep 2018
CD
~~$19.99~~ $9.99

Piano Music - Haydn, F.J. / Liszt, F. / Sciarrino, S. / Goos
Danacord Aug 2005
CD
$18.99

Haydn: Sonates et variations pour le pianoforte

Arcana

$20.99 Jan 01, 2009

If Joseph Haydn played a major role in the development of the symphony and string quartet, he was also and no less the virtual creator of the classical keyboard sonata. In wealth of musical invention and diversity of forms his sonatas surpass those of even Mozart and Beethoven. Although mostly less demanding technically, they are by no means easier to interpret. Their relatively modest demands in the way of virtuosity are more than made up for by the greater creative contribution they require from the player. Especially in the sonatas of his early and middle periods Haydn allowed considerable leeway to the interpreter in matters ranging from choice of ornaments to virtual invitations to interpolate free cadenzas. An intriguing challenge, but many pianists nowadays do not know how to cope with it. Schooled in later traditions, they cling to the printed text, never daring to make the contribution the composer took it for granted he could expect from the performer. Still, if Haydn placed considerable reliance on the player’s personal creative talent this never meant a blanket permission to alter the musical sense by changes foreign to the style of the time. In this release, legendary Viennese pianist Paul Badura-Skoda has recorded five piano masterworks by Joseph Haydn, on the occasion of the bicentenary of his death. His fortepiano from his own collection, which has been used for this recording and was built around 1790, is the most appropriate instrument available today for interpreting Haydn’s music.

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Haydn: Sonates et variations pour le pianoforte
Arcana Jan 2009
CD
$20.99

Yevgeny Sudbin Plays Haydn

BIS

SACD

$21.99 May 01, 2010

"Yevgeny Sudbin was born in St Petersburg and has lived in the UK since 1997. His previous outings on the BIS label, with recitals of Scarlatti (reviewed twice on these pages) and Scriabin have all been received to great acclaim, as has Sudbin’s concerto recordings for the same label...It is clearly apparent that Mr. Sudbin has established an enviable reputation, and for those to whom his name is already familiar, this release will be another shot in the arm of fine collections of piano recordings the world over.

There are quite a few rather special recordings of Haydn piano sonatas, but with 51 in the catalogue there are few pianists who would even consider tackling the whole lot, John McCabe on Decca being a distinguished exception, Jeno Jandó a highly competent if marginally less distinguished budget alternative on Naxos. There are a few fortepiano recordings both complete and ongoing, the Brilliant Classics one offers a different kind of Haydn to that on a modern grand piano, as does the excellent BIS complete set played by Ronald Brautigam. A pianist whose recordings have impressed me in recent years is Ragna Schirmer, and hers is the kind of cleanly unpretentious and witty playing with which I would compare Yevgeny Sudbin’s performances here. Schirmer gives Haydn every chance to shine and blossom in recordings which are crisp and full of colour, warm and clear at the same time, carrying us away with the music’s message, alive to the echoes of past music and the surprisingly potent emotional charge which can be surprising to find in this composer.

This is not so much a ‘better than’ kind of review, but I find it is useful to have a reference and a starting point from which to evaluate a new recording of an idiom which is familiar, even if the pieces don’t overlap. Yevgeny Sudbin has that lightness of touch which is essential for good Haydn, and especially good Haydn at the keyboard. The opening Allegro moderato movement of the Sonata No.47 in B minor says much about the rest of this programme, with richness of contrast and moments of drama fully exploited between music of almost naive simplicity. This simplicity is as important to Sudbin as every other aspect of this music. The thinning of texture to two-part lines which suggest harmony as much as proclaim it are all superbly rendered, sometimes held to the middle of the keyboard, sometimes turning the left hand into and orchestral bass section or a driving rhythmic leaping thing which serves multiple functions. The Minuet of this sonata is a development on this kind of purity of expression, and Sudbin knows exactly what he is doing, shaping phrases with elegance and a sense of proportion which seems to provide all answers: ‘yes, this is how it should sound.’

If I were to compare Sudbin and Schirmer then, by a small margin, Sudbin seems to explore depths ‘into’ or ‘within’ the notes a bit more, digging a little deeper where Schirmer sparkles and shines with a more twinkly kind of wit. This is all by a marginal degree however – Sudbin sparkles and Schirmer digs as well, just take the Finale: presto of this sonata for some crackling at the keyboard from Sudbin, with the minor key providing a reason for that extra layer of dark passion.

Following a minor key with a major, in this case the Sonata No.60 in C major is a good idea, and Sudbin lifts us high and carries us all the way in the opening Allegro, which is as full of smiles as a comedy turn by Michael Macintyre. His own booklet notes tell us something of how Sudbin approaches Haydn: “Is laughter the best medicine? I certainly hope so and would not hesitate to prescribe a healthy dose of Joseph Haydn twice daily.” Haydn’s humour is not to be found in heavy jokes, but in the very nature of the music itself. Any darkness is more often than not provided as a foil a contrast to those delightful moments of wit, and sometimes, as in this movement the ideas are so fun-filled that such moments need only be held for a few bars in the minor, or a segment of sublime beauty at 6:50 where the pedal suspends the music on a waft of mist for a mere moment. Sublime beauty is the essence of the Adagio of this sonata, and Sudbin traverses its measures with a good deal of freedom, creating a fascinating musical narrative in which you can become lost for what seems like a good deal longer than its 5:53 duration, but which you would gladly have last for a dreaming while longer. Sudbin has combined some of the original material from an earlier version of this movement, which was later revised to fit in with the outer movements of the sonata. I admire this kind of creative license and research based attitude, getting the best out of the music by exploring further beyond the notes on the page than would most musicians. The results certainly speak for themselves.

Elements of Scarlatti appear with the rippling passing ornaments thrown in with effortless ease by Sudbin in the Sonata No.53 in E minor. The contrast between the spectacular Presto and the almost invisible following Adagio could hardly be greater. Sudbin plays the Adagio with such transparency that light and air shine through the whole time: it’s like a single mote of dust floating down to land, slowly and gently, onto a crystal shimmering in a bath of late afternoon sunlight. The sunshine moods anticipate Beethoven in the final Vivace molto, with quicksilver harmonic twists and turns which are still pretty breathtaking even 230 years after they were conceived. About one minute in the mood shifts several gears at once, and we are taken on a journey far beyond expectations.

The Andante con Variazioni follows and refines the model of C.P.E. Bach, involving major and minor variations alternately. Some say this was written as a kind of memorial to Mozart for, although there are smiling moments, these are as poignant as they are jovial, and the mood of the music is certainly more tragic than comic. Refinement and poise, sensitivity and grace are all words which spring to mind for both the piece and this performance, which is given with admirable restraint, reserving the emotional core of the work for a penultimate outburst at 12:39.

To end the programme with a flourish, Yevgeny Sudbin gives us an encore in the form of his arrangement or ‘pianistic impression’ of the finale of Haydn’s String Quartet in D major, Op.64 No.5. “I find [the string quartets] all addictive. Just as his sonatas are incredibly communicative and chamber-music like, his chamber music strikes me as having a very pianistic potential.” Larking with Haydn is therefore Sudbin’s ‘affectionate tribute’ to the Great Master, and one which fits in very well with the vibrant nature of the release as a whole. In fact this whole disc is of course a fine tribute to Haydn, showing once again how alive and resonant his music even today. The entertainment factor is high with this disc, but superficial show is never the basis of the music or the playing. I’m a big fan of the St George’s pleasantly resonant acoustic, and it works very well for the solo piano and this music, with the SACD quality transplanting you straight to Bristol’s top chamber music location. Superbly recorded performances such as these do exactly what Sudbin hopes, seeing Haydn “taken much more seriously, in an unserious sort of way.”

-- Dominy Clements, MusicWeb International

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Yevgeny Sudbin Plays Haydn
BIS May 2010
SACD
$21.99

Haydn: Concertos For 2 Lira Organizzate / Müller-Brühl

Naxos

$19.99 Jan 27, 2009

HAYDN Concertos for 2 Lire organizzate: in C, Hob VIIh:1; in G, Hob VIIh:2; in G, Hob VIIh:3; in F, Hob VIIh:4; in F, Hob VIIh:5 • Helmut Müller-Brühl, cond; Daniel Rothert (rcr); Philipp Spätling (rcr); Benoît Fromanger (fl); Ingo Nelken (fl); Christian Hommel (ob); Cologne CO • NAXOS 8.570481 (73:31)

This absolutely delightful disc includes all five surviving concertos that Haydn wrote in 1786 for King Ferdinand IV of Naples for the lira organizzata, an oddball instrument combining the qualities of a street hurdy-gurdy with a small chamber organ. Maverick that he was, Haydn refused to let the instrument’s limitations circumscribe his compositional style, but rather allowed his imagination full rein while producing music of lightness and humor combined with strict divertimento form. With lire organizzate being unavailable in other cities, Haydn simply adapted the music to be played by two recorders or flutes and an oboe, simulating the high, reedy sound of King Ferdinand’s instrument.

Technical description of the music would take too much space and would be, I feel, unnecessary to anyone familiar with Haydn’s style. Needless to say, Haydn was a composer who never cheated his audience by writing “down,” even when commissioned to tailor his style to a specific instrument or player. Thus, the solo parts, though technically undemanding, are musically clever, complementing the more complex music of the string and horn orchestra that accompanies them. Indeed, he liked this music so well that he used the second and third movements of the fifth concerto (in F, Hob. VIIh:5) as a basis for his Symphony No. 89 (1787). It’s also interesting to note that the opening theme of this concerto’s first movement bears a close resemblance to the last movement of Mozart’s “Jupiter” Symphony, and in turn is a development of the beginning of the last movement of Haydn’s own Symphony No. 13 of 1763. Its development here, of course, is entirely different, given the nature of the thematic material and the instrumental texture.

I cannot say enough good things about the playing of either soloists or orchestra here. They are lively, charming, boisterous, elegant, and humorous in turn as the music progresses. Photos and bios of all the soloists are, thankfully, given in the booklet, and they are a lively, racially diverse, and well-schooled lot. Germans Rothert and Spätling, the recorder-players, are pupils of Günther Höller of the Cologne Music School. Frenchman Fromanger and Dane Ingo Nelken both studied flute with Jean-Pierre Rampal, though their other teachers are quite different, while oboist Hommel studied with the superb Heinz Holliger. Müller-Brühl, a name unfortunately unknown to me, is the oldest of the lot, which makes sense since his conducting style is evidently from the same school as my faves of the 1950s and 1960s, Woldike, Leitner, Münchinger, Rilling, and Ristenpart. Under his direction, this music for lire organizzate breathes the air of the streets of Naples as much as the concert halls of Austria. This music may not add particularly to your appreciation of Haydn or his musical lexicon, but it will not be a background disc for dinner parties, either. Trust me, people will stop talking and eating and just listen, that’s how good it is.

FANFARE: Lynn René Bayley

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Haydn: Concertos For 2 Lira Organizzate / Müller-Brühl
Naxos Jan 2009
CD
$19.99

Haydn: Complete Solo Keyboard Music, Vol. 8
BIS Sep 2002
CD
$21.99

Haydn: The Seasons / Muller-Kray, Wunderlich, Engen, Giebel

SWR

$13.49 ~~$26.99~~ Save 50% Apr 24, 2012

In April 2012, the Schwetzingen Festival celebrates its 60th birthday. On this occasion, a very special oratorio recording from the festival's early years has been selected - a vintage performance of Haydn's "The Seasons", featuring the immortal Fritz Wunderlich!

Haydn wrote his oratorio "The Seasons" between the years 1799 and 1800. The work is based on the poem "The Seasons" by James Thomson in the German translation of the Baron van Swieten. The contemporary descriptions of nature and genre scenes are a work of perfection, insuring the composition's enduring popularity.

This early festival recording is a true time-capsule, recorded on May 24th, 1959 featuring in addition to Wunderlich, the vocal artistry of Agnes Giebel, and Kieth Engen, who together bring Haydn's secular oratorio to vivid life.

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Haydn: The Seasons / Muller-Kray, Wunderlich, Engen, Giebel
SWR Apr 2012
CD
~~$26.99~~ $13.49

Haydn: Complete Solo Keyboard Music, Vol. 7 - Esterhazy Sona
BIS Mar 2002
CD
$21.99

Haydn & Kozeluch: The Johann Schantz Fortepiano

Gramola Records

$24.99 Jul 26, 2024

During his lifetime, Johann Schantz (1762-1828) was considered the most important and respected piano maker in Vienna alongside Anton Walter and Nannette Streicher. His instruments were widely appreciated by musicians and composers, including explicitly by Haydn and Beethoven. One of his early fortepianos were integrated into the collection of old musical instruments at the Kunsthistorisches Museum in Vienna in 1939 from private ownership due to the fact that it could not be restored without considerable investment. There it was painstakingly restored in several phases and finally brought to it's present, playable condition in 2009. On this recording, pianist Richard Fuller, renowned for his decades-long involvement with historical instruments, presents this fortepiano with the Sonatas for Fortepiano in E major, Hob. XVI:31 (1776) and E-flat major, Hob. XVI:49 (1790) by Joseph Haydn. The collaboration with the soprano Karoline Pilcz demonstrates that this instrument has unique sound characteristics not only as a solo instrument but also as an accompanying instrument. The Arette italiane, Op. 31 (1790) and the Cantata in Honor of Marie Theresie Paradis (1784) by Leopold Kozeluch also date from the time of the instrument's creation, as is characteristic of this KHM edition.

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Haydn & Kozeluch: The Johann Schantz Fortepiano
Gramola Records Jul 2024
CD
$24.99

Haydn: Piano Sonatas, Vol. 2 / Rabinovich

First Hand Records

$29.99 Jul 16, 2021

The present release is the second volume of Roman Rabinovich’s complete cycle of Haydn Piano Sonatas. Rabinovich has performed throughout Europe and the United States in venues such as London’s Wigmore Hall, Leipzig’s Gewandhaus, the Great Hall of the Moscow Conservatory, and the Millennium Stage of Kennedy Center in Washington DC. Lauded as ‘a master of tone-color’ (International Piano, 2018), Rabinovich made his Israel Philharmonic début under the baton of Zubin Mehta at age ten. He was a top prize winner at the 12th Arthur Rubinstein International Piano Master Competition in 2008.

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Haydn: Piano Sonatas, Vol. 2 / Rabinovich
First Hand Records Jul 2021
CD
$29.99

Haydn: Complete Symphonies Vol 17 / Fey, Heidelberg Symphony

Haenssler Classic

$20.99 Aug 28, 2012

In 2011 Thomas Fey was nominated for a Grammy for his world premiere recordings of the music of Antonio Salieri. Every new release of Haydn symphonies from Thomas Fey and his ensemble is greeted with enthusiasm; truly this is how Haydn should sound today. To bring this about, Fey's musicians bridge past and present, performing both on modern string instruments and replicas of authentic period woodwind, brass and percussion instruments.

There is nothing immature about the earliest Haydn symphonies, which in style straddle the older Italian overture and Baroque musical world while simultaneously looking forward to exciting new melodic and rhythmic developments of the Classical era.

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Haydn: Complete Symphonies Vol 17 / Fey, Heidelberg Symphony
Haenssler Classic Aug 2012
CD
$20.99

Haydn: Op. 33
Analekta Oct 2012
CD
$20.99

Haydn: Symphonies for the Esterhazy Court / Apollo Ensemble
Sono Luminus Mar 1990
CD
$18.99

Haydn: Complete Works For Lute And Strings
BIS Jan 1987
CD
$21.99

Haydn: String Quartets Nos. 1-3, Op. 33 / Chiaroscuro Quartet

BIS

SACD

$21.99 May 05, 2023

“Gut strings and classical bows are also the tools of a captivating quest for sonority”, French magazine Diapason recently wrote to describe the Chiaroscuro Quartet. After Op. 20, Joseph Haydn’s first major string quartet cycle, and Op. 76, his last, the internationally renowned ensemble is now embarking on the Quartets Op. 33, dubbed the “Russian Quartets” and dedicated to the Russian Grand Duke Paul, the future Tsar Paul I. Having earned a reputation as eccentric and non-conformist, sometimes downright offensive, Haydn felt the need to write music more in keeping with the public’s lighter, more ‘popular’, less ‘scholarly’ tone, with a livelier sense of rhythm. And while there is comedy in some of the scherzos, it would be wrong to reduce these works to what some dour critics have called ‘comic fooling’.

In Quartet No 1 in B minor, the comedy is cerebral, often disturbing. This is certainly not the case in Quartet No 2 in E flat major, nicknamed “The Joke” because of the sparkling tarantella that concludes it. In Quartet No 3 in C major, “The Bird”, Haydn invites us to a veritable bird concert before concluding brilliantly with its persistent refrain inspired by a wild Slavic folk dance.

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Haydn: String Quartets Nos. 1-3, Op. 33 / Chiaroscuro Quartet
BIS May 2023
SACD
$21.99