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Haydn: Late Piano Sonatas, Nos. 59-62

Giovanni Mazzocchin

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Keyboard Sonata in E-Flat Major, Hob. XVI:49  
1
I. Allegro
Franz Joseph Haydn; Giovanni Mazzocchin
11:52
2
II. Adagio e cantabile
Franz Joseph Haydn; Giovanni Mazzocchin
8:25
3
III. Finale. Tempo di minuet
Franz Joseph Haydn; Giovanni Mazzocchin
4:42
Keyboard Sonata in C Major, Op. 79, Hob. XVI:50  
4
I. Allegro
Franz Joseph Haydn; Giovanni Mazzocchin
11:43
5
II. Adagio
Franz Joseph Haydn; Giovanni Mazzocchin
5:24
6
III. Allegro molto
Franz Joseph Haydn; Giovanni Mazzocchin
2:21
Keyboard Sonata in D Major, Hob. XVI:51  
7
I. Andante
Franz Joseph Haydn; Giovanni Mazzocchin
4:01
8
II. Finale. Presto
Franz Joseph Haydn; Giovanni Mazzocchin
1:49
Keyboard Sonata No. 62 in E-Flat Major, Hob. XVI:52  
9
I. Allegro
Franz Joseph Haydn; Giovanni Mazzocchin
8:07
10
II. Adagio
Franz Joseph Haydn; Giovanni Mazzocchin
6:55
11
III. Finale. Presto
Franz Joseph Haydn; Giovanni Mazzocchin
5:29
Total Playing Time    70:48
Nowadays most performers overlook Haydn's piano sonatas, mainly because over years these works have been deemed as less-interesting or duller than those by Haydn's fellow composers, namely Mozart and Beethoven. This unrighteous judgement stems definitely from a sloppy understanding of this composers's outstanding and unique skills.

(Franz) Joseph Haydn's highly experimental wit is pervasive throughout the evolution of his style, in particular in these last four grand sonatas, which should be doubtlessly considered 'concert pieces'.

A thorough analysis of these works showcases a relentless growth in terms of formal, harmonic and thematic ingenuity, which reaches its peak in the last and most difficult sonata, the second one in the key of E-flat major from this set. It's very likely that this sonata had a major influence in the young Ludwig van Beethoven, whose first sonatas present a huge amount of musical and technical discoveries by the old master.

Giovanni Mazzocchin strives to perform the works in question with a historically informed approach, insofar as this can be done on a modern concert grand. He always plays the repetitions with remarkable changes that range from slight modifications in terms of dynamics to ornaments and small cadenzas on the main fermatas.
88.2 kHz / 24-bit PCM – OnClassical Studio Masters

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