Sam Haywood: Beethoven on Haydn’s piano

 

In this clip, Sam Haywood performs Beethoven’s first piano sonata, which is dedicated to his teacher, Joseph Haydn.

 

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Joseph Haydn – Hob I:94 – Symphony No. 94 in G major “Surprise”- period instrument recording

Joseph Haydn – Hob I:94 – Symphony No. 94 in G major “Surprise”- period instrument recording

The symphony is set in 4 movements:
1. Adagio cantabile – Vivace assai (0:00)
2. Andante (8:48)
3. Menuetto: Allegro molto (15:30)
4. Finale: Allegro di molto (19:18)

Performers: The Orchestra of the 18th Century, conducted by Frans BrĂźggen.

One of my favourite Haydn symphonies! Enjoy the Surprise … 😉

Haydn’s Sonata in B Minor, Hob. XVI:32 on harpsichord

Haydn’s Sonata in B Minor, Hob. XVI:32 on harpsichord

Sabina Chukurova, finalist in the 2012 Westfield International Harpsichord Competition, performs Haydn’s Sonata in B Minor, Hob. XVI:32. This video was recorded on Saturday, August 18th, 2012 in the Gildenhorn Recital Hall at the University of Maryland, College Park.

Tom Beghin: The ‘Virtual Haydn’, a new experience in performance

Tom Beghin: The ‘Virtual Haydn’, a new experience in performance

Tom Beghin’s lecture about the bluray box set released on Naxos in 2009 with all the works for solo keyboard composed by Haydn.

Description from the web project:

Keyboardist/musicologist Tom Beghin, record producer Martha de Francisco, and virtual acoustics architect Wieslaw Woszczyk have joined forces to apply VIRTUAL ACOUSTICS for the first time to a commercial recording of this magnitude: a complete recording of Haydn’s works for solo keyboard. More than fourteen hours of music are performed in nine “virtual rooms.” These are actual rooms where Haydn or a typical player of his keyboard music would have performed. They have been acoustically sampled, electronically mapped, then precisely recreated in the recording studio. Featured rooms range from the most private to the most public, from Haydn’s own study in his Eisenstadt home to the Holywell Music Room in Oxford, England.

Further enhancing this unique experience of the Haydn repertoire are the seven historical keyboards on which the music is performed. All seven instruments, from a 1760s clavichord to a 1798 English grand piano, were built for this project by today’s leading artisans. Three of these—a 1755 harpsichord with an idiomatic “Viennese short octave,” a 1788 Tafelklavier, and a 1780 fortepiano with an early-Viennese stoss-action—are world premieres. Modern audiences can now hear these instruments again in the acoustical environments for which they were originally designed.

For Haydn’s “Six Prince EsterhĂĄzy Sonatas” (1774), for example, the team sampled and mapped the acoustics of EszterhĂĄza Castle’s Ceremonial Room, where Haydn would have presented his patron with a copy of the published sonatas. Back in the laboratories of the Centre for Interdisciplinary Research in Music Media and Technology of the Schulich School of Music at McGill University (Montreal, Canada), enveloped in a “sphere” of twenty-four loudspeakers, Tom Beghin performs these sonatas on a fresh-from-the-workshop French double manual harpsichord as if he is “in” the Ceremonial Room and as if we are sitting in the Prince’s own chair. By contrast, we experience Haydn’s sonatas for Princess Marie EsterhĂĄzy, played on a Kober square piano, in the intimate setting of a Prunkraum of Vienna’s Albertina. Or we embrace the more public eighteenth-century concert experience of the acoustically accurate yet virtual English concert hall for a performance on a Longman, Clementi & Co. piano of the two concert sonatas that Haydn wrote for the celebrated Theresa Jansen.

Musicking happens through instruments, in rooms, by people. No repertoire celebrates this experience more than Haydn’s keyboard works. This revolutionary recording project stands as a tribute to the timeless appeal of a composer whose life and career revolved around similarly experimental interactions with technologies and audiences.”

http://www.music.mcgill.ca/thevirtualhaydn/#

Haydn – Violin Concerto in C-Major, Hob. VIIa:1, period performance

Haydn – Violin Concerto in C-Major, Hob. VIIa:1, period performance

Concerto for Violin and Strings in C-Major, Hob. VIIa:1.

Freiburger Barockorchester, on period instruments. Gottfried von der Goltz, violin and direction. Composed by J. Haydn (1732-1809).

I. Allegro moderato (0:00)
II. Adagio (10:19)
III. Finale. Presto (14:55)

Joseph Haydn – Piano Concerto in D major, Hob. XVIII:11 (Andreas Staier, fortepiano)

Joseph  Haydn – Piano Concerto in D major, Hob. XVIII:11 (Andreas Staier, fortepiano)

With attractive and entertaining performances, Andreas Staier’s recording of three of Haydn’s concerto per il clavicembalo should win more converts to these unfortunately neglected works. Staier possesses the technique and temperament for the music: his playing is deft and agile and his interpretations are witty and affectionate. Gottfried von der Goltz is a wholly sympathetic accompanist, bending and weaving with Staier’s supple sense of tempo and dynamics. The players of the Freiburger Barockorchester adjust their touch and sound to the richer and warmer Classical sonorities, supporting and surrounding Staier’s pianoforte.

The instrument featured in this recording, a copy of a Walter instrument built in Vienna in 1785 built by Monika May in 1986, has an attack that may seem at first to lack clarity and a certain degree of depth. But if the listener can adjust to the tone and scale of the instrument, these performances will be very enjoyable. Harmonia Mundi’s sound may be a bit too recessed and reverberant for some tastes.