Einav Yarden - Haydn: Six Piano Sonatas '2016

Tracks list

Tracklist

01. Sonata No. 44 in F Major, Hob. XVI:29: Moderato
02. Sonata No. 44 in F Major, Hob. XVI:29: Adagio
03. Sonata No. 44 in F Major, Hob. XVI:29: Tempo di Menuetto
04. Sonata No. 39 in D Major, Hob. XVI:24: Allegro
05. Sonata No. 39 in D Major, Hob. XVI:24: Adagio
06. Sonata No. 39 in D Major, Hob. XVI:24: Finale: Presto
07. Sonata No. 40 in E-Flat Major, Hob. XVI:25: Moderato
08. Sonata No. 40 in E-Flat Major, Hob. XVI:25: Tempo di Menuetto
09. Sonata No. 41 in A Major, Hob. XVI:26: Allegro moderato
10. Sonata No. 41 in A Major, Hob. XVI:26: Menuetto al Rovescio
11. Sonata No. 41 in A Major, Hob. XVI:26: Finale: Presto
12. Sonata No. 46 in E Major, Hob. XVI:31: Moderato
13. Sonata No. 46 in E Major, Hob. XVI:31: Allegretto
14. Sonata No. 46 in E Major, Hob. XVI:31: Finale: Presto
15. Sonata No. 47 in B Minor, Hob. XVI:32: Allegro moderato
16. Sonata No. 47 in B Minor, Hob. XVI:32: Menuetto
17. Sonata No. 47 in B Minor, Hob. XVI:32: Finale: Presto

The six keyboard sonatas selected for this CD are taken from Haydn’s
middle period, all written between 1773-1776 when he was loyally at the service
of Prince Nikolaus Esterházy (and to whom three of the sonatas are
dedicated). Even in the context of the vast development and change in his style
in 60 years of composition – moving from the early Classical period and
Style Galant, through the Empfindsamkeit and C.P.E Bach’s influence, to
establishing and refining what is now the essence of “The Classical
Style”- Haydn displays in a short period of 3 years an astonishing
diversity of compositional techniques, modes of expression, style and
characters. Most of the six selected sonatas are also quite rarely heard on the
concert stage, have not been recorded often, and surprisingly, few pianists have
been exposed to them. This CD sheds light on some of those wonderful
‘neglected’ sonatas, as well as aims at contributing to the growing
revival of interest in Haydn’s genius as a keyboard composer.
Re­creating a 1770’s Sonata requires not just an automatic follower of
direction signs, but a truly accomplished player. That is to say an imaginative,
cultured, sensitive, and genuine musician who is an active participant in
revealing the music’s structure, deep meaning and manifold beauty.

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