"Haydn's 'Sonata in E minor, Hob. XVI:34', is of uncertain date, but was published in London in 1784 as one of a group of three keyboard sonatas. It seems that all three were derived from an earlier source. The sonata opens with a fast movement in 6/8, the ascending arpeggio in the left hand answered immediately by the right. It has a G major second subject and the central development starts in E major, making much of the opening figure before the final recapitulation. The following 'Adagio' in G major has elaborate figuration for the right hand and is linked by means of an unexpected cadence into E minor to the final 'Vivace' molto in that key, marked innocentemente and with contrasting melodies in the major and minor keys.
"The three sonatas Hob. XVI:40 - 42 appeared in 1784 and were dedicated to Princess Marie Esterházy, who had married the grandson of Haydn's patron Prince Nicolaus in the early autumn of 1783. It has been suggested that the set was in the nature of a wedding present to the wife of Haydn's future patron, the younger Prince Nicolaus. Each of the sonatas is in two movements. The first of the sonatas, in G major, is marked 'Allegretto e innocente', a suggestion of the feminine grace expected of their performer. The principal theme, each of its two sections repeated, is followed the two sections of a dramatic theme in G minor. A varied version of the G major theme returns, to be followed by a more elaborate version of the G minor material, leading to a more decorated re-appearance of the first theme. The second movement, marked 'Presto', is again in two repeated sections, the first of which returns after a brief interlude of drama, to end now in the tonic key. A section in E minor is followed by a more elaborate version of the principal theme. The second sonata, in B-flat major, has a principal theme in dotted rhythm, while a triplet accompaniment predominates in the subsidiary theme. Interesting twists of harmony, even in the second bar, are carried further in the central development, which opens in D-flat major. Much use is made of answering figures between right and left hands in the lively second movement. Again the two sections of the principal theme are each repeated, before a B-flat minor version of the material, leading to a more decorated version of the first theme in the tonic major key. The set ends with a Sonata in D major. The first movement is marked 'Andante con espressione' and the two sections of the principal theme are again each repeated before returning in varied guise, with changes of ornamentation and mode, the final version being one of some intricacy. The main theme of the lively second movement is one of the clearest possible texture in its first appearance and forms the substance of the movement.
"The 'Sonata in C major, Hob. XVI:48', first appeared in 1789 in the first number of the 'Musikalischer Pot-Pourri' published by Christoph Gottlob Breitkopf in Leipzig. It opens with a slow movement, marked 'Andante con espressione', and shows an attention to the dynamics of the new fortepiano that heralds the work of Beethoven. The two repeated sections of the principal theme are followed by a more complex excursion into C minor, before the return of the first theme in C major in embellished form, followed by a second version of the C minor episode. A wider range of the keyboard and its possible sonorities is explored in the final section, based on the main theme. The final 'Rondo' opens with a spritely main theme but goes on to exploit more grandiose keyboard effects in thicker lower register chords and octaves and a C minor section, after which the main theme returns, in its final guise using sonorities that Haydn had not used before in his sonatas and hence in notable contrast to the group of delicate sonatas for Princess Marie Hermenegild. Haydn's 'Variations in F minor, Hob. XVII:6', with the added title 'Sonata, Un piccolo Divertimento', were written in Vienna in 1793 for Barbara von Ployer, a pupil of Mozart and daughter of the Salzburg Court Agent in Vienna. The work was published in Vienna only in 1799, when it was dedicated to Baroness von Braun, wife of the director of the Vienna Court Theatres. These double variations start with the F minor theme, followed by a second theme in F major, the first of these then varied by syncopation, and the second with added trills. A rapid demisemiquaver version of the F minor theme follows with an F major variation of equal intricacy. The return of the F minor theme leads on to an extended section calling for some virtuosity, with considerable dynamic variety and a whispered ending in F major, spanning a wide range of the keyboard." (Frédéric Castello. From the liner notes.)
Performer: Jenő Jandó
1. Piano Sonata No. 53 In E Minor, Hob. XVI:34: I. Presto
2. Piano Sonata No. 53 In E Minor, Hob. XVI:34: II. Adagio
3. Piano Sonata No. 53 In E Minor, Hob. XVI:34: III. Vivace Molto
4. Piano Sonata No. 54 In G Major, Hob. XVI:40: I. Allegretto E Innocente
5. Piano Sonata No. 54 In G Major, Hob. XVI:40: II. Presto
6. Piano Sonata No. 55 In B-flat Major, Hob. XVI:41: I. Allegro
7. Piano Sonata No. 55 In B-flat Major, Hob. XVI:41: II. Allegro Di Molto
8. Piano Sonata No. 56 In D Major, Hob. XVI:42: I. Andante Con Espressione
9. Piano Sonata No. 56 In D Major, Hob. XVI:42: II. Vivace Assai
10. Piano Sonata No. 58 In C Major, Hob. XVI:48: I. Andante Con Espressione
11. Piano Sonata No. 58 In C Major, Hob. XVI:48: II. Rondo. Presto
12. Variations In F Minor, Hob. XVII:6 'Un Piccolo Divertimento'
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