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Haydn Sonata, Hob. XVI/35

Discussion in 'Submission Room' started by jlr43, Dec 22, 2011.

  1. jlr43

    jlr43 Member Piano Society Artist

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    Hello,

    One of the better-known Haydn sonatas for a change. I was surprised to see there was only one other recording of this sonata on the site (actually, although the other one says "complete," it lacked the third movement the last time I checked:) ). The outer movements of this one are not the most subtle in the world, but they are particularly effervescent and fun to play. The Adagio has always struck me as especially melodic and Mozartean.

    Thanks for listening,

    Joe



    Haydn - Sonata in C Major, Hob. XVI/35 - 1: Allegro con brio (5:37)
    Haydn - Sonata in C Major, Hob. XVI/35 - 2: Adagio (5:07)
    Haydn - Sonata in C Major, Hob. XVI/35 - 3: Allegro (2:41)
     
  2. techneut

    techneut Active Member Piano Society Artist

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    Well done. A couple of ornaments are maybe a bit sluggish but good playing on the whole.

    But is is me or are there almost no dynamics here ? It all sounds a bit monochrome, and your LH triplets are far too obtrusive in the first
    movement. Also in other places, your LH is just a little too prominent. Could be a matter of balance, we've discussed this before. I would also welcome a little more agogics or even very restrained rubato.

    I'll put these on the site tonight, and check about that complete recording that isn't.

    And Joe, can you please start adding ID3 tags as per this sticky post: viewtopic.php?f=20&t=5114
    I'll start to nag everybody about this from now on. Over time, we will reject recordings with improper names or missing tags.
     
  3. jlr43

    jlr43 Member Piano Society Artist

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    Chris, thanks much for the comments.

    And sorry about the tagging. I'll try to do that from now on (you may have to give me some leeway the first time of course, in case I botch it :p )

    Joe
     
  4. techneut

    techneut Active Member Piano Society Artist

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    Ok these are up, and I've fixed that other table.
     
  5. jlr43

    jlr43 Member Piano Society Artist

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    Thanks, Chris. I would also like to add (I didn't have time at work earlier) that I very much appreciate your consistently taking the time to listen to and provide helpful comments on my recordings. I would certainly agree it's not just you. I've been trying to focus particularly on LH balance recently because I know it can be a weakness of mine. I think I've improved on it recently (thanks, in part, to your comments), but I still hear work to do in that regard as well when I listen back.

    Happy Holidays,

    Joe
     
  6. techneut

    techneut Active Member Piano Society Artist

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    Likewise, your feedback is often very useful to me too, Joe. We all like to hear that we're doing great but it usually is the more candid comments that make the difference :D
     
  7. rainer

    rainer New Member

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    Nicely played, Joe.

    I'd like to comment, if I may, on the pauses in the third movement. One is at bar 17, another 12 bars before the end, both of these involving octave Gs. You seem to be holding these pauses for 7 beats (in other words adding exactly two whole bars of time), which for my taste is too much. There is a similar pause on octave Gs just at the end of the minor section, to which you give the same treatment. Interestingly in my edition (Peters/Martienssen) only the first two pauses I mentioned are printed using fermatas, whereas the one at the end of the minor section has no such mark and is instead written out as four beats (a whole bar (dotted half notes) tied to the quarter notes). Ought perhaps the other two pauses to be played similarly? Not easy to answer. Perhaps somewhere inbetween, adding more than one but less than two bars of time? I can understand that you might be reluctant to add anything other than a whole multiple of pulses, which if you are feeling the movement's pulse in 1 rather than in 3, leads you to adding two bars if you think one is not enough. But I don't think Haydn requires metronomic continuity across pauses. Indeed I think that some flexibility of tempo might not go amiss, and that bar 16 and the bar 13 from the end could use a little rit.

    This leads me back to the first movement, where I don't understand why you are inserting a half-bar break at the end of the first section, both on the repeat and when carrying on. Forgive me if your edition has a pause marked there, but my own feeling is that in both cases it should just continue in time, especially since there is opportunity for a pause, should one be required, in the 4th bar of the development section, at the dotted half note E major chord, on which my edition has a fermata marked, but yours evidently not.
     
  8. jlr43

    jlr43 Member Piano Society Artist

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    Thanks for listening, rainer.

    I can see your point about the pauses in the third movement -- listening back in a couple of junctures they seem right to me but in a couple of others, they do seem too much. Also, I checked my edition, which also has a fermata in the fourth measure of the development. You're right that I didn't hold it quite long enough.

    Joe
     
  9. robert

    robert New Member Piano Society Artist

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    I was delighted to hear, especially the first movement, played with such lively and full of positive spirit! Very "mozartian" as I like it.
     
  10. jlr43

    jlr43 Member Piano Society Artist

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    Robert,

    Thanks very much for listening. I'm glad you enjoyed it.

    Joe
     

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