Haydn never ceases to amaze me. Thankfully his music gets discovered by true music lovers and preserved. Bach the foundation (plus so much more), Haydn the architect (plus so much more).
Wonderful to have such an analysis, and so clearly explained. The education we get from it in terms of how to interpret, and deal with the piece is beyond price. What a marvellous gift of understanding to us pianists, and a real tribute to the great Haydn. Thank you very much!
Mr. Jean-Efflam is the main pianist I put on to listen anything Haydn! His recordings are masterful and it is nice actually seeing him and hearing him speak of Haydn!
Essential listening for anyone learning this interesting and rewarding movement, from a performer whose recordings of Haydn sonatas are outstanding. Many thanks.
Absolutely bang on. Alfred Brendel once gave a wonderful talk on BBC Radio 3 on humour, expectation and surprise in music. He would have agreed with every word you say. All art is about structure and structure is about affirmation and astonishment, surprise. What was it Schnabel used to say about him (Schnabel) being the only musician who could do justice to the silences?
Fantastic information here! With all due respect to Bavouzet-as I love his playing, especially his Debussy!-I’ve read the research and there is no account whatsoever of Haydn stating that he found the pianos of his time “lacking power” (9:37). Haydn approached his instruments (fortepiani) with much love, respect and adherence to their expressive capabilities. According to conversations with Haydn by A. C. Dies, and recent research by Bart van Oort; Mozart, Beethoven and Haydn successfully achieved their desired dramatic nuance and/or contrast in dynamics on the instruments of their time (being on either a Viennese or English piano). E. M. Ripin (1969) said that “English trebles were [known to be] particularly powerful” (remember this is from THEIR perspective and aesthetic preconceptions). Milchmeyer (1750, respected German pedagogue/musicologist of their time) said that the Viennese pianos had an “extremely strong” bass register. They were definitely not complaining about the lack of power in the instruments by the ‘great piano makers’. We live amongst modern pianos and are preconditioned to the loudness and power from our magnificent modern grand pianos. We cannot assume that the great composers thought their pianos were ‘weak’, it’s simply not true. Such an assumption was born out of our own aesthetic preconceptions and expectations of what volume and drama ‘should’ sound like. (To balance my argument, Beethoven as we know, composed music that pushed the boundaries of the pianos he was playing, he was always innovating. So yes, Beethoven towards his later works was wanting MORE from the instruments, but never in terms of sheer volume, more so in terms of quality of tone. [Skowroneck, Tilman. Beethoven the Pianist, 2010]).
@@horatiodreamt because films are literal depiction of reality with no hyperbole nor freedom for dramatic or entertaining purposes and they never say "based on" they always say "represents an accurate accounting"
@@Itemtotem The movie is based on a play. It's not a depiction of reality . It's a depiction of the author's mental concoction and re-arrangement of history.
@@LouisPereraPianistConductor Yours is not a correct argument, dear Louis. When you give classes like this, you provide correct and proper information. The E minor example at 1:57 is actually a Divertimento Hob.XVI:47, part of the Sonata Cycle. It is also used in the F major Sonata Hob.XVI:47/1 as a second movement, Larghetto transposed to F Minor. What was the point he wanted to get across?
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7:50-9:00, time freeze, “don’t move”, really! Very good reminder. Body and hands movements speak volumes!
Haydn never ceases to amaze me. Thankfully his music gets discovered by true music lovers and preserved. Bach the foundation (plus so much more), Haydn the architect (plus so much more).
Nice metaphors for Bach and Haydn! Hmm. What would Mozart be? The interior decorator perhaps (and, yes, much more)?
Wonderful to have such an analysis, and so clearly explained. The education we get from it in terms of how to interpret, and deal with the piece is beyond price. What a marvellous gift of understanding to us pianists, and a real tribute to the great Haydn. Thank you very much!
It is so great that the magnificent Haydn has such a learned and musical advocate in Maître Bavouzet.
Awww you left out one of my personal favorites- G minor, 44
That first movement is just sublime❤
Mr. Jean-Efflam is the main pianist I put on to listen anything Haydn! His recordings are masterful and it is nice actually seeing him and hearing him speak of Haydn!
Umwerfend gut! Alles paßt! Vortrag, Didaktik, Sprachmusik, Klarheit, Hilfe, danke!!
Great stuff, played this for over 25 years but never had a good teacher with it.
Essential listening for anyone learning this interesting and rewarding movement, from a performer whose recordings of Haydn sonatas are outstanding.
Many thanks.
Amazing! Provides depth in the Haydn piano sonatas!
Mentoring from one of the best. Thank you!
Absolutely bang on. Alfred Brendel once gave a wonderful talk on BBC Radio 3 on humour, expectation and surprise in music. He would have agreed with every word you say. All art is about structure and structure is about affirmation and astonishment, surprise. What was it Schnabel used to say about him (Schnabel) being the only musician who could do justice to the silences?
Brilliant Masterclass.Thank you Maestro.
What a wonderful pianist!
Thank you! Amazing analysis!
Helped me tremendously.
I am really enjoying this sonata recently.
I really enjoyed this video! I like watching it again and again, I always learn something new about this great piece!
I love the practice techniques.
Utterly brilliant video 👏
Wow! So many important performance/practice tips! I will probably learn this piece soon! Thank you!
This is very helpful! Thank you!
More!Svp!
up till now i see the connection of Haydn to Beethoven. thanks maestro!
Beethoven sonatas are very inspired on Haydn
Спасибо, очень полезные замечания!
Great ！very helpful ,merci maître.
Fantastic information here!
With all due respect to Bavouzet-as I love his playing, especially his Debussy!-I’ve read the research and there is no account whatsoever of Haydn stating that he found the pianos of his time “lacking power” (9:37).
Haydn approached his instruments (fortepiani) with much love, respect and adherence to their expressive capabilities.
According to conversations with Haydn by A. C. Dies, and recent research by Bart van Oort; Mozart, Beethoven and Haydn successfully achieved their desired dramatic nuance and/or contrast in dynamics on the instruments of their time (being on either a Viennese or English piano).
E. M. Ripin (1969) said that “English trebles were [known to be] particularly powerful” (remember this is from THEIR perspective and aesthetic preconceptions).
Milchmeyer (1750, respected German pedagogue/musicologist of their time) said that the Viennese pianos had an “extremely strong” bass register. They were definitely not complaining about the lack of power in the instruments by the ‘great piano makers’.
We live amongst modern pianos and are preconditioned to the loudness and power from our magnificent modern grand pianos. We cannot assume that the great composers thought their pianos were ‘weak’, it’s simply not true. Such an assumption was born out of our own aesthetic preconceptions and expectations of what volume and drama ‘should’ sound like.
(To balance my argument, Beethoven as we know, composed music that pushed the boundaries of the pianos he was playing, he was always innovating. So yes, Beethoven towards his later works was wanting MORE from the instruments, but never in terms of sheer volume, more so in terms of quality of tone. [Skowroneck, Tilman. Beethoven the Pianist, 2010]).
Wonderfully played...
certainly there is another sonata in minor mode-g minor XVI:32 with 2 -mov structure
Didn't he forget the g minor Hoboken XVI/44 or is that somehow proven to be by someone else?
❤thank you!! One of my favorites
thank you!!!
Very interesting, thank you: (the - presumably automatic - translation into French is sometimes a bit quirky, but that must not deter anyone)
👍🏼👍🏼👍🏼thank you .
brilliant
Excellent vid. Excellent teacher. Sometimes Haydn reminds me of D. Scarlatti.
except Haydn's music is good
and Scarlatti is in reality how pitiful they portrayed Salieri's music to be in Amadeus
@@Itemtotem "Amadeus" was a complete distortion of the real people in Mozart's life.
@@horatiodreamt because films are literal depiction of reality with no hyperbole nor freedom for dramatic or entertaining purposes and they never say "based on" they always say "represents an accurate accounting"
@@Itemtotem The movie is based on a play. It's not a depiction of reality . It's a depiction of the author's mental concoction and re-arrangement of history.
하이든은 정말 위대한 건축가입니다~!!
Well, there is also g-moll sonata, so six, not five.
❤❤❤
“homeopathic pedal”..brilliant
Maestro, you forgot the great G minor sonata...
And c minor
@@nimrodshefer3649 I think he mentioned 'the great C minor'
Does it matter, though? He got his point across, didn't he?
@@LouisPereraPianistConductor Yours is not a correct argument, dear Louis. When you give classes like this, you provide correct and proper information. The E minor example at 1:57 is actually a Divertimento Hob.XVI:47, part of the Sonata Cycle. It is also used in the F major Sonata Hob.XVI:47/1 as a second movement, Larghetto transposed to F Minor. What was the point he wanted to get across?
I do find it a little to fast for him to control. I feel there should be more lyricism.
Pity, though, that he's using a Yamaha, which I find lacking in warmth.
Encore un Français qui se fiche de sa langue. Le tout à l'anglais me met hors de moi.
So you are against people speaking more than one language?