Brendel was awe inspiring on these performances! Though recorded in 1979, 1982, 1984, and 1985, the sound quality of all four CDs is excellent! The 1979 disc, recorded on analogue tape, sounds different than the other three CDs, but its sound quality is every bit as good as the others. Very nicely recorded performances on the big Steinway. System: Jays Audio CD Transport, Denafrips Pontus II DAC, Decware CSP3 Preamp, LFD NCSE and First Watt J2 Amps, Pure Audio Project Quintet 15 Speakers.
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Haydn: 11 Piano Sonatas
Classical
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Product details
- Is Discontinued By Manufacturer : No
- Package Dimensions : 5.55 x 4.97 x 0.54 inches; 7.48 ounces
- Manufacturer : Philips
- Date First Available : January 15, 2007
- Label : Philips
- ASIN : B00000E36W
- Number of discs : 4
- Best Sellers Rank: #154,236 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #185 in Classical Fantasies
- #366 in Classical Sonatinas
- Customer Reviews:
Customer reviews
4.2 out of 5 stars
4.2 out of 5
19 global ratings
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- Reviewed in the United States on September 10, 2024
- Reviewed in the United States on December 7, 2014Brendel, as usual, looks deep into Haydn's sonatas and plays them if they deserve the attention he gives them. After hearing these works you might wonder why we know Mozart's piano sonatas so well, when Papa's are every bit as good.
- Reviewed in the United States on August 15, 2017A MAGNIFICIENT COLLECTION. A MUST HAVE !
- Reviewed in the United States on October 10, 2016This might be the best Haydn piano set, period. I own several sets of the Haydn solo keyboard works, including Ekaterina Derzhavina and Ronald Brautigam. Derzhavina and Brautigam are both recommendable, the former on pianoforte, the latter on fortepiano (got that straight?). Brautigam has wonderful command of the fortepiano, eliciting from it a range of colors that make other attempts to work this difficult instrument sound rather hollow and repetitive. Derzhavina is consistently enjoyable—very fine—and the story seems to be that although she uses a conventional pianoforte, she treads lightly on the pedals, taming the keyboard to sound more like the fortepiano. Great results. Brendel by contrast is more expressive. These more conventional recordings were engineered from 1979 to 1986, and the first are therefore ADD. Gramophone has rather a lot to say about the variable recording quality, and the fact that the miking is too close for Brendel's "projective" style. Actually, I do have an excellent system in my home, and will testify that this is some of the finest piano recording I’ve heard, very fluid, open, and present. I listen predominantly to historically informed performance, and although to my ears that approach not only wins the day overall, but trains the ear to hear modern approaches as simply “off” and “acrylic,” the exception again and again being the pianoforte. For some reason I do not understand, the pianoforte seems to be the all-purpose instrument. It can adapt to any music written for the keyboard, not just fortepiano but harpsichord, an instrument which I cannot endure for extensive listening. All I hear is the plink plink plink and not the music. I felt very differently listening to Wanda Landowska when I was a child, on my parents’ fold-out GE stereo. There and then, I heard magic. And magic is the word for Brendel here. Oh sure, maybe it’s more Brendel than Haydn—others would know better—but this will be my go-to recording for these works. Brendel plays with great joy, focus, and finesse.
- Reviewed in the United States on June 10, 2010Among his favourite composers, Alfred Brendel has developed a long and fruitful partnership with Joseph Haydn. Exponent of the Viennese Classicism, Haydn seems to be one of the most suitable of composers to Brendel's playing style, from several reasons.
Mainly, both the composer and his interpreter exhibit generously quite similar qualities when making music, such as: an unfailing wit, a refined sense of humour, and a tireless disposition to play - to play with emotions, with unanswered questions, even with philosophical or ethical themes. Yet, in this intelligent game nothing gets strident. Neither dark-hued accents nor colours of despair arise. A smile is never missing, even though the mood of a slow movement in a certain sonata or some variations could be entirely serious. Everything is light, though - or rather for - deep settled in tradition. The equilibrium comes from a special disposal of the musician with regard to inner and outer worlds. Brendel feels and knows how to convey these particular features, like no other Haydn performer. To better understand what I mean, listen to the slow movement of the Sonata in E flat major Hob. XVI: 49 (Andante cantabile) or enjoy the sparkling finale of the C major Sonata Hob. XVI: 50 (Allegro molto).
Furthermore, one can easily notice that Brendel and Haydn share the musical pleasure of professing the classical poise with elegance and gusto. The harmonies seem simple and obvious, whilst the melodic lines breathe an air of inevitability. This deceptive simplicity seduce first. Nevertheless, the lively finger-work displayed by Brendel makes Haydn gain more distinction, more appeal and potentiates glowing facets of his music (like in from Sonata in C minor Hob. XVI: 20).
The coherence of the story and its clarity valuate (in these recordings) Brendel's flair of narration at an unprecedented extent, rivaled only by his accounts for some of the Beethoven sonatas. It is not a casual fact, for instance, that Andante con variazioni in F minor Hob. XVII: 6 figured in Brendel's valedictory recital program (in 2008 when, aged 77, he decided to retire from concert platform, being in full command of his artistry).
Alfred Brendel recorded for Philips all the four discs in this set some thirty years back (1979 - 1986).
Concluding, this CD box set intensifies our joy that we have been contemporaries with such a great musician and delighted witnesses of his concerts. But also the regret that Alfred Brendel chose to retire from performing at a moment when he could still charm his worldwide audiences.
Highly recommended!
- Reviewed in the United States on August 10, 2011While I agree that Brendel is outstanding and perhaps the best at Haydn - just like at Mozart, Beethoven, and Schubert's Impromptus -, I must say Mr. P. Adrian's all other statements, and not only the expressions "Haydn's omnipresent smile" and "classical poise", are empty (and sometime untrue) truisms. "Dark-hued accents or colours" do arise all along the Sonata in B minor, in that in C minor, and occasionally elsewhere.
- Reviewed in the United States on March 21, 2010VIVIEN SCHWEITZER has good things to say about this collection in the excellent article of September 10, 2009, in the New York Times entitled Haydn Recordings: A Legacy Reconsidered. The whole article is an omnibus review of favorite Haydn recordings by NY Times reviewers.
Top reviews from other countries
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CamReviewed in Canada on July 28, 2020
5.0 out of 5 stars Découverte de belles inconnues
Haydn est important d'abord pour ses symphonies ensuite pour ses quatuors.Mais j'ai découvert que ses sonates pour piano sont très agréables à écouter. Et jouées par Alfred Brendel, c'est un grand plaisir. Elles n'ont rien à envier à celles de Mozart que l'on connait mieux. Alors, n'hésitez pas...
Cam
- CustomerReviewed in the United Kingdom on July 19, 2020
5.0 out of 5 stars Fine work
Fabulous
- david weissmannReviewed in the United Kingdom on January 8, 2023
4.0 out of 5 stars Pris och kvalite.
Very good interpritation.