Hello rainer and thanks for your careful listening as always.
A general criticism here is that you insert a break or hesitation of typically one quaver's duration at the end of nearly every repeated section, both when going back (except in the case of first time bars 8 and 44) and when going on. I really think the rhythmic continuity should not be broken at these points.
The slight pauses between sections are to some extent deliberate because I like to give a bit of a breath when the material is new. I will think, however, about whether it may be too much.
You play almost all the turns as 5 notes starting on the main note. My preference is for them all to be 4 notes starting on the upper.
Yes, and I do have a rationale for this. The way I think about ornaments is that they should be played with the line in mind, according to the melodic direction. So, e.g. in bar 1, if the turn weren't there, the melodic note on which the turn is printed would be F-sharp. Since the accent for these ornaments naturally is going to be slated more to the first note of the ornament, I want to emphasize the F-sharp more as part of the melodic line. For the identical ornaments in bars 5 and 21, however, I start the ornament on the D, which I think is understood as part of the stepwise part of the line, but of course, not printed since the preceding third is of quarter-note duration.
More often than not, my feeling is that you hold pauses (fermatas) for too long. Bar 16 is a case in point. The 6-note flourish which leads into bar 17 acts as transition from the held chord, and makes less sense if the listener's memory of what it links from is all but lost. I feel that the moment at which the flourish notes start should be intuitively predictable from what came before, and I find that the rit which you make in the last half of bar 15 disorients me and makes me lose my place during the held chord in bar 16.
You make a good point here. In listening back, I thought maybe it was a bit too long too. Fermatas I had always thought were supposed to be roughly equivalent to doubling the original note values, though I confess to often not them counting that carefully
In bar 23 you have an extra decoration which isn't in my copy. I have just a turn on the last quaver, you add a mordent on the 4th. Personally I feel having both is too much, I'd omit the turn if putting in the mordent, but frankly I reckon the mordent is out of character with the rest of this movement.
Yes, my edition (Schott Universal editions) actually has a turn with a mordent above it in parentheses and I opt for the mordent. I do like the decoration, though it is rather difficult to get them all in (on the modern piano) and make it sound natural.
I guess you must have a fermata on the chord in bar 34.
No, but I deliberately wait a little extra time to emphasize the climax and dynamic contrasts.
At the end of bar 77, which is the one with the fast scale in it, I have a turn on the last note, which you play instead as a mordent.
Yes, I deliberately changed that to a mordent in my score, basically because a mordent seemed a bit better to precede the tied note (turns seeming more fluid and continuous to me).
In bars 78 and 79 you play the grace notes exactly as I have them printed, i.e. as acciaccaturas (before the beat, accenting the on-beat main notes). Despite what is printed, I would play them as appoggiaturas (on the beat, accenting the grace notes themselves). There even exists an objective reason for this, namely that the grace notes are in (double) octaves with the notes played by the left hand, but that's just an excuse, I'd play them that way even if this weren't the case. I would almost be tempted to play this sequence as triplets (but would probably manage to resist that temptation).
On this, I disagree. If you were to accent the grace notes, you would lose the D-C-C-B-B-A melodic line.
Bar 88 is the one where the repeated high Ds change from semiquavers to quavers. I have calando printed here, but I feel you are making too much rit and also dim in bars 89 and 90. Noting that part of the slowing down is already written into the music, it doesn't need you to add much more.
I can see your point here, but I think this is a place in Haydn (and there aren't all that many) for a little wistfulness,drama, and romanticism in the Lisztian sense (where sound itself becomes the issue). It also signifies the coda and breaking of the double variation form.
Bar 92 is of course a tempo, but I get the impression that you might feel by the end of bar 93 that you haven't sped up enough, and accordingly you now race ahead and play bar 94 (the one with the arpeggio chords) too fast. Now you're in trouble because your speed is too fast for the fast scale in bar 95. You control your panic well by putting the brakes on slightly for the scale, but this does result in your arriving a little late on the top D. I think that had you not played the chords bar so fast, you would have handled the scale just as well as you handled the one in bar 77.
Good point, I may just need to have worked on the scale passage a little more. I'm not sure the preceding arpeggiated chords were too fast, but that note grouping of thirty-second and 16ths is hard to get in completely.
The final chord is marked forte. Yours, especially the second time, sounds a bit apologetic. I think Haydn is being mischievous here and saying that this is really the end now.
Right, this is just my interpretation, despite what Haydn marked (I know I can sometimes be branded as a philistine for not always following the score exactly
). I, in fact, view this more as a perdendosi, an after-thought as a coda can sometimes be. This one seemed so different and novel compared with the norm and I wanted to emphasize that, almost an a reverie-like ending
Generally, I must say that the fact you don't care much for this movement doesn't show through at all in your delivery of it. It's nice and snappy, and I particularly like the absence of those inter-section hesitations I dislike in the first movement.
Thanks. I didn't like it so much when I was playing it but then liked it more when I listened back, which is good because it's usually the other way around
In bar 17 I have the last 5 RH notes all the same (Ds), just like in bar 16 (where they're all Es), but you play only 4 Ds with an E as the 5th last note.
Yes, my edition has 4 Ds and an E.
Do you have a fermata in bar 18? And in bar 41?
No. Bar 18 I think I do count correctly listening back (being an equivalent rest of four quarters and an eighth), but I think I wait a bit long in bar 41. It could be even the one in 18 (and 76, as you noted) are just a hair too long. It's a rather offbeat entrance, but I agree in this case that they should be exactly in time.
Thanks again for your comments. Much appreciated.