Franz Joseph Haydn(1732-1809)
       Solo Keyboard Works

Haydn composed fifty-two numbered keyboard sonatas and a string of various
other solo piano pieces.  The keyboard sonatas from his maturity are
considered his most supreme, but even his earliest keyboard works are
delightful confections.

This review project will have many Parts and will concentrate on one
or two artists in each Part.  A few of the artists covered are Alfred
Brendel, Andras Schiff, Ronald Brautigam, Mikhail Pletnev, Gilbert Kalish,
Garrick Ohlsson, Jeno Jando, Zoltan Kocsis, Alan Curtis, etc.  There are
dozens of Haydn solo piano discs on the market, and I'll try to cover
all of them.  Also, fortepiano and harpsichord recordings such as from
Curtis and Brautigam will be included.

I'm starting out with Emanuel Ax.  There is no grand scheme involved
here, just spontaneous selection.  Here are the particulars on the two
Ax discs:

Emanuel Ax
Sony 44918
Recorded 1988
TT 63:57
Program:
Sonata No. 58 in C major(Hob.XVI:48)
Sonata No. 33 in C minor(Hob.XVI:20)
Sonata No. 60 in C major(Hob.XVI:50)
Sonata No. 38 in F major(Hob.XVI:23)

Emanuel Ax
Sony 53635
Recorded 1993
TT 61:02
Program:
Sonata No. 47 in B minor(Hob.XVI:32)
Sonata No. 53 in E minor(Hob.XVI:34)
Sonata No. 32 in G minor(Hob.XVI:44)
Sonata No. 59 in E flat major(Hob.XVI:49)

Comparisons: Brendel/Schiff/Reisenberg/Planes

Admin. Notes - The significant admin. issue relates to the identification
of each sonata.  For many decades, the identification was based on the
work done by Anthony van Hoboken who was born in 1887; the "Hob." reference
in the above disc listings is van Hoboken.

As time went on, it became apparent that the Hoboken identification
system was not of high reliability.  Harold Robbins Landon entered the
field at this point and came up with what is considered the far better
accounting method.  For this review project, I am using the numbers of
both Hoboken and Landon; although Landon is more accurate, some record
companies have had much trouble listing the Landon numbers correctly
while others don't list them at all.  So, I give you the best of both
worlds.  My apologies if this seems confusing, but all is fine as long
as the same works are being compared.

My other admin. note concerns the use of a harpsichord for some of the
sonatas.  Given the dates of Haydn's earlier sonatas and the style he
employs, the harpsichord is entirely appropriate as the instrument of
choice.

Emanuel Ax has been a major figure on the classical music scene for a
few decades.  He seems to be a pianist who is either loved or hated.  Up
to this date, I can recall only reviewing his Sony version of the Brahms
Variations and Fugue on a Theme by Handel.  Sad to say, I found it the
least rewarding interpretation of the work on record.  However, I have
enjoyed other recordings from him, and my memories of his two Haydn discs
are very positive.

Does the favorable opinion still apply after extensive listening and
comparison?  No, and here is why:

Sonata No.58 - By the late 1780's, Haydn had developed quite an improvised
style which is best exemplified by this Sonata's 1st Movement Andante.
With irregular rhythms, the improvisation comes through clearly and also
creates a wonderful enhancement of expressiveness and rhetorical
declarations.  Conversations between voices are stunning as is the
aristocratic nature of the movement.  Given the prevalence of multi-layered
emotional themes, the 1st Movement is a feast of possibilities.

The 2nd and concluding movement is a Rondo of great drive and exuberance.
It also has an infectious lightness and pristine quality which enhances
the piece's playful nature; excitement and good cheer are the priorites
of the day.

On its own, the Ax version of the C major is very good.  When Alfred
Brendel enters the picture, the difference between genius and excellence
becomes apparent: Brendel sparkles and jokes with us, he offers the most
emotionally rich and rhetorical performance on record, and the patrician
element rings through.  Also, you won't find a more exciting version of
the 2nd Movement; Brendel zips along with a flow which is so natural.
Essentially, everything that Ax does, Brendel does much better.

There's also the issue of decay time concerning the 1st Movement which
has some mighty wide intervals.  Brendel is recorded up-front with a
sound that carries, while Ax is much further back in the soundstage with
notes that quickly die.  With this in mind, the Ax intervals occupy some
empty space compared to the Brendel which is always commnicating.  The
fact that Brendel pedals and articulates better than Ax gives more points
to Brendel.

Well, I suppose I've been critical of Ax's C major.  It is as fine as most
on the market; it's just that Brendel is so magnificent that all others
pale in comparison.

Sonata No.33 - Ax takes a nose-dive in the C minor's 1st Movement; he
gives it a sunny and relaxed reading.  What's the problem?  This sonata
is from Haydn's Sturm und Drang years, is in a minor key, and has extreme
dynamic contrasts.  Ax flattens those contrasts which leads to a flattening
of the emotions and makes the music somewhat boring.  Switch to Andras
Schiff on Teldec and listen to the same brilliance, sparkle, and emotional
richness that Brendel brings to Haydn's music.  Again, Ax is an also-ran.
Making matters worse, the somewhat 'pretty' playing that I noticed from
Ax in the C major seems even more pervasive in the C minor's 1st Movement.
More virility and demonstrativeness from Ax would be appreciated.

How about some variety of tempo and dynamics?  We sure don't get it from
Ax in the 2nd Movement of the C minor; he plays it in a dead-pan fashion,
sucking out most of its vitality.  Although Ax's 3rd Movement admirably
comes to life, it doesn't matter much coming after the previous two
lack-luster movements.

Sonata No.60 - Now I remember why I had fond memories of Ax's Haydn.
For whatever reason, he does a turn-around and invests this C major
Sonata with all the vitality and exuberance found lacking in the C minor.

To keep comparisons fresh, I used Nadia Reisenberg's version on Ivory
Classics.  Her soundstage is on the dead side, and she doesn't overcome.
The 1st Movement is highly rhetorical, the 2nd improvisatory in nature;
she isn't close to conveying those features as well as Ax.  Also, Ax
gives the poignant 2nd Movement much more strength and drama than
Reisenberg whose performance is a bit too relaxed.  I don't want to leave
the impression that Ax is better than Brendel or Schiff in Sonata No.60,
but he's in the ballpark.

Sonata No.38 - Not one of Haydn's most performed sonatas, it has two
energized and emotionally light movements sandwiching a long 2nd Movement
of sadness and beauty.  Very memorable is the 1st Movement's sudden
attack of descending chromatic lines and the 3rd Movement's excitement-filled
humor.

Ax just isn't sufficiently demonstrative in either of the outer movements.
From my view, it's when he becomes soft-spoken that his playing is pretty
and a little precious; that's not good.  Fortunately, Ax gives us a
hearfelt 2nd Movement with plenty of sparkle.  For three excellent
movements in a row, Alain Planes on Harmonia Mundi is a much better
muscial representative than Ax.

Second Disc(in better sound):

Sonata No.47 - Alfred Brendel also reigns supreme in this restless work
with a fiery conclusion and demonic edge.  I want to concentrate on the
2nd Movement Menuet, because this is the spot where Ax is not competitive
at all.  The Menuet starts with a comforting 1st section of great beauty
and reflection; then the 2nd section offers the drama and hard demonic
utterances.  Ax is much faster than Brendel in the 1st section; he can't
possibly reflect as he rushes to the 2nd section where he's merely loud.
The depth of tension in Brendel's 2nd section is light years ahead of
Ax's.  This Menuet just might be Haydn's best, and Ax shoots it dead.

Sonata No.53 - Ax acquits himself well, but his phrasing is a little
stilted compared to Brendel.  Also, the bass chords in the compelling
1st Movement Presto should be majestic, and Ax's are on the coarse and
unattractive side.

Concerning the last two Sonatas on Ax's disc, they are performed in an
exemplary manner.  Ax comes to life fully and in demonstrative fashion.
It's a pity he didn't do so throughout the two discs.

Don's Conclusions: The Ax recordings have a number of problems, but the
most significant is the tendency to prettify Haydn's music and sap it
of its virile nature.  He doesn't do this all the time, but it happens
often enough to dampen enthusiasm.  Add in recorded sound, particularly
in the first disc, which really isn't up to snuff and I do not recommend
adding these two discs to your library.  I won't be keeping my copies
as house space is at a premium.  If you gotta have some Haydn Piano
Sonatas by Ax, go for the second disc which has improved sound and
performances.

There is better to come in Part 2; actually it will be the best of all
Haydn pianists, and the amazing thing is that the recordings are not
currently being distributed in the USA.

Don Satz
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