Jean-Efflam Bavouzet - Haydn: Piano Sonatas, Vol. 9 '2021

Tracks list

Tracklist

01. Piano Sonata No. 10 in C Major, Hob. XVI:1: I. Allegro
02. Piano Sonata No. 10 in C Major, Hob. XVI:1: II. Andante
03. Piano Sonata No. 10 in C Major, Hob. XVI:1: III. Menuet - Trio
04. Piano Sonata No. 44 in F Major, Hob. XVI:29: I. Moderato
05. Piano Sonata No. 44 in F Major, Hob. XVI:29: II. Adagio
06. Piano Sonata No. 44 in F Major, Hob. XVI:29: III. Tempo di menuet
07. Piano Sonata No. 41 in A Major, Op. 13 No. 6, Hob. XVI:26: I. Allegro
moderato
08. Piano Sonata No. 41 in A Major, Op. 13 No. 6, Hob. XVI:26: II. Menuetto al
rovesico - Trio
09. Piano Sonata No. 41 in A Major, Op. 13 No. 6, Hob. XVI:26: III. Finale.
Presto
10. Piano Sonata No. 2 in C Major, Hob. XVI:7: I. Allegro moderato
11. Piano Sonata No. 2 in C Major, Hob. XVI:7: II. Menuet - Trio
12. Piano Sonata No. 2 in C Major, Hob. XVI:7: III. Finale
13. Piano Sonata No. 52 in G Major, Op. 30 No. 5, Hob. XVI:39: I. Allegro con
brio
14. Piano Sonata No. 52 in G Major, Op. 30 No. 5, Hob. XVI:39: II. Adagio
15. Piano Sonata No. 52 in G Major, Op. 30 No. 5, Hob. XVI:39: III. Prestissimo
16. Piano Sonata No. 53 in E Minor, Hob. XVI:34: I. Presto
17. Piano Sonata No. 53 in E Minor, Hob. XVI:34: II. Adagio
18. Piano Sonata No. 53 in E Minor, Hob. XVI:34: III. Finale. Vivace molto


Following his acclaimed recording of Beethoven’s Concertos with the
Swedish Chamber Orchestra, Jean-Efflam Bavouzet returns to his exploration of
Haydn’s Sonatas, described by the magazine Gramophone as a major modern
recording landmark in the Haydn discography.
As in previous instalments, Bavouzet has programmed sonatas from Haydn’s
early, middle, and late periods, giving added interest to the recital. Sonatas
No. 10 and No. 2, dating from the 1750s and ’60s respectively, share the
key of C major, but differ in form. The short No. 2 was almost certainly written
for pupils whilst Haydn was working as a teacher. No. 10 is more ambitious and
extensive.

Sonatas No. 41 and No. 44 date from the early 1770s and show some influence from
C.P.E. Bach and the Sturm und Drang movement. More virtuosic than the earlier
sonatas, in these the trademark humour of Haydn is also more evident. Sonatas
No. 52 and No. 53 were composed a decade later and are conspicuously more
demanding, technically and musically. As in the case of the previous volumes,
this album was recorded at Potton Hall in Suffolk, on a Yamaha CFX Concert Grand
Piano.

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