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 [log in to unmask]