HAYDN Piano Sonatas (Kristian Bezuidenhout)
View record and artist detailsRecord and Artist Details
Composer or Director: Joseph Haydn
Genre:
Instrumental
Label: Harmonia Mundi
Magazine Review Date: 03/2019
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: HMM90 2273
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Keyboard No. 13 (Parthia) |
Joseph Haydn, Composer
Joseph Haydn, Composer Kristian Bezuidenhout, Fortepiano |
Sonata for Keyboard No. 33 |
Joseph Haydn, Composer
Joseph Haydn, Composer Kristian Bezuidenhout, Fortepiano |
Sonata for Keyboard No. 58 |
Joseph Haydn, Composer
Joseph Haydn, Composer Kristian Bezuidenhout, Fortepiano |
Sonata (un piccolo divertimento: Variations) |
Joseph Haydn, Composer
Joseph Haydn, Composer Kristian Bezuidenhout, Fortepiano |
Variations on the theme 'Gott erhalte den Kaiser' |
Joseph Haydn, Composer
Joseph Haydn, Composer Kristian Bezuidenhout, Fortepiano |
Author: David Threasher
The rarefied opening of the C minor Sonata seems to be not quite of this world until the texture thickens and the full range of the instrument is revealed. The bass especially, although used sparely in this music, has both clarity and ‘grunt’, able to punctuate when required but never becoming muddy in left-hand chords. Quiet playing draws a gentle veil over the sound, while the damper pedal extends the repertoire of soft tones available – and never becomes an effect for its own sake when used as judiciously as here.
Most important, though, is Bezuidenhout’s playing itself. Technique is obviously not an issue: arpeggios spray notes like Eszterháza fountains; Haydn’s triplet accompaniments are never simply ‘typed’ but come alive with gradations of pressure that always seem instinctive rather than simply applied. Decoration, too, is sparing rather than trowelled on. This is the very opposite of ‘look-at me’ pianism.
There is the merest hint of action noise and the pianist’s breathing is faintly audible (most noticeably on headphones). But why not? The fortepiano is an instrument with inherent limitations, within which Haydn and his players had to work, and this is living and breathing music. You’re left in no doubt of that by the end of this compelling, tantalising recital. Those allergic to period pianos will cleave to Bavouzet (Chandos) among current Haydn cycles. Others will find Bezuidenhout a mesmerising guide to the composer’s keyboard world.
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