DOCSLIB.ORG

INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China Catskill Mountain Foundation presents INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China Hosted by the Academy of Fortepiano Performance in Hunter, NY SATURDAY MAY 22, 2021 @ 9 pm (Eastern Daylight Saving Time) (Sunday, May 23, 2021 @ 9 am China Time) Hosted by Yiheng Yang and Maria Rose Founders and faculty of the Academy of Fortepiano Performance in Hunter, NY Guest Hosts: Audrey Axinn (Tianjin) Yuan Sheng (Beijing) Yuehan Wang (Beijing) Also Featuring: Michael Tsalka, Zijun Wang, and Jing Tang PROGRAM Wolfgang Amadeus Mozart Rondo in F major, K.494 Audrey Axinn, Anton Walter fortepiano (replica by Paul McNulty) Frédéric Chopin Waltz in A-Flat Major, Op. 69, No. 2 Nocturne in D-Flat Major, Op. 2 Yuan Sheng, 1836 Pleyel piano Wolfgang Amadeus Mozart Sonata in E-flat Major, K.282 Adagio, Menuetto Yuehan Wang, Anton Walter fortepiano (replica by Paul McNulty) Franz Schubert Impromptu in G-Flat Major, Op. 90, No. 3 Johann Baptist Wanhal Capriccio in E-Flat Major, Op. 15, No. 2 (1786) Michael Tsalka, 1838 Conrad Graf piano; ca. 1785 Johann Bohack fortepiano Franz Schubert Sonata in C Minor, D.958 Allegro (4th movt.) Zijun Wang, Graf fortepiano (replica by Paul McNulty) Wolfgang Amadeus Mozart Fantasy in D minor, K.397 Jing Tang, Anton Walter fortepiano (replica by Paul McNulty) BIOGRAPHIES A sensitive and compelling performer and educator, Audrey Axinn is currently Associate Dean and faculty at the Tianjin Juilliard School. She is also on faculty at New York Juilliard and Mannes School of Music. She has performed widely at venues such as the Boston Early Music and Edinburgh Festivals and taught master classes at almost two dozen conserva- tories in Asia, Europe and North America. Together with Maria Rose and Yiheng Yang she is a co-founder of the Acade- my of Fortepiano Performance in Hunter, NY. In addition to his achievements in modern piano, Yuan Sheng has gained wide recognition in the field of historical keyboard performance. He is equally at home with harpsichord, clavichord and pianos built before the 20th century. He teaches both modern piano and historical keyboards at the Central Conservatory of Music in Beijing, China. Jing Tang was born in 1999. She is currently a student at the Central Conservatory of Music in Beijing, China, studying piano, fortepiano and harpsichord with Yuan Sheng. At the age of 15, she won second prize at the Zhuhai International Mozart competition for young musicians. Pianist and Early Keyboard performer Michael Tsalka has won numerous prizes in Europe, the United States, the Middle East, Asia and Latin America. A versatile musician, he performs repertoire from the early Baroque to the present day with equal virtuosity. Dr. Tsalka recorded 27 CDs, and is currently head of the keyboard department at the Vanke Meisha Arts Academy (VMAA) in Shenzhen, China. Yuehan Wang gives fortepiano recitals and lectures at different venues in China. Her articles on various topics of forte- piano performance practice are serialized in the professional magazine, Piano Artistry. She also teaches fortepiano at Central Conservatory of Music in Beijing. Zijun Wang is a lecturer in the piano department of Wuhan Conservatory of Music. She studied at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) and the Royal Conservatory at The Hague, with profes- sors Patrick Cohen and Bart van Oort. In 2014, she won First Prize at the Fortepiano Concerto Competition co-orga- nized by the Brussels and Paris Conservatories..
Load more

Recommended publications
  • 1785-1998 September 1998
    THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods.
    [Show full text]
  • NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
    Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error.
    [Show full text]
  • Robert Levin Selected Reviews
    Robert Levin Selected Reviews Beethoven Piano Concerto No. 3 Scottish Chamber Orchestra (November 2017) “Playing along quietly in the normally orchestra-only exposition, adding in his own improvised lead-ins and interruptions, pedalling freely, stretching rhythms and inserting impromptu melodic embellishments, he treated what we normally hear as nothing more than the Concerto’s bare bones, a framework for spontaneous, in-the-moment creation – all backed up by serious historical scholarship, of course. The result was edge-of-your-seat stuff, sometimes raising a smile, often raising eyebrows, but carried through with utter conviction and brilliant, sometimes rather hard-edged clarity. Most captivating, though, was the breathtaking immediacy of Levin’s account, and its disarming honesty – maybe this’ll work, maybe not, he seemed to say, but we’ll do it anyway.” – David Kettle, The Scotsman **** “Robert Levin, who has just celebrated his 70th birthday, brought his renowned erudition to the solo part, as well as the flair of his own improvised cadenzas, always staying clearly within the embrace of Beethoven’s own themes.” – Keith Bruce, The Herald **** Alte Oper Recital Mozart Saal, Frankfurt (May 2017) “Erfolgreich Musik machen und erfolgreich über sie reden können wenige. Ein solcher Universalkünstler, bekannt auch als Vollender berühmter Fragmente wie etwa Mozarts Requiem, ist der Pianist Robert Levin.” – Gerhard Schroth, Frankfurter Allgemeine Zeitung Hilary Hahn Recitals European and US Tour (March 2017) “A Mozart sonata, K. 481, followed. Again it was Levin whose dynamism collared our ears… it was clear that our musicians were enjoying a conversation. …Levin’s solo turn followed in Hans Peter Türk’s Träume , another welcome UK premiere.
    [Show full text]
  • Tobias Koch Pianist
    TOBIAS KOCH PIANIST TERMINE 2013 13.-15. Januar 2013 BAYREUTH 17. Januar 2013 BR Klassik Radiosendung 15.05-16 Uhr Einstündige Sendung in der Reihe "Pour le Piano - Tastenspiele" mit Tobias Koch. Werke von Ferdinand Hiller, Franz Liszt, Mendelssohn, Schumann und Mozart. 17.-23. Januar 2013 MÜNCHEN BR-Produktion mit Werken von Richard Wagner: Klaviersonaten, Lieder und Faust-Gesänge. Koproduktion mit cpo. 19. Januar 2013 MÜNCHEN BR Studio 1 im Funkhaus, 20 Uhr "Der frühe Wagner". Extra-Konzert im BR mit Klaviermusik und Liedern. Mit u.a. Magdalena Hinterdobler (Sopran), Mauro Peter (Tenor), Peter Schöne (Bass), Madrigalchor der Hochschule für Musik und Theater München und Falk Häfner (Moderation). Tobias Koch spielt auf einem Flügel von Eduard Steingraeber (Bayreuth 1852, Opus 1). Das Konzert wird für Radio und TV aufgezeichnet und zu einem späteren Zeitpunkt gesendet. 28. Januar 2013 COTTBUS 29. Januar 2013 HANNOVER NDR Landesstudio, Funkhaus 01. Februar 2013 GREIFENBERG (Oberbayern) Greifenberger Institut für Musikinstrumentenkunde, 20 Uhr Franz Schubert: "Die schöne Müllerin", mit Markus Schäfer. Hammerflügel Louis Dulcken, München 1820 aus der Sammlung der Greifenberger Werkstatt für historische Tasteninstrumente. 02. Februar 2013 BAD NAUHEIM Waldorfschule, 17 Uhr Ludwig Berger: "Die schöne Müllerin" und Franz Schubert: "Die schöne Müllerin". Mit Markus Schäfer, Tenor 04.-07. Februar 2013 WEIMAR Stadtschloss Aufnahme von Schuberts "Schöne Müllerin" mit Markus Schäfer (Tenor) für DLR Kultur. Fortepiano Johann Fritz (Wien um 1830) aus der Sammlung von Prof. Ulrich Beetz. 15. Februar 2013 Preis der Deutschen Schallplattenkritik / Bestenliste 1/2013 für die Aufnahme von Kammermusikwerken August Klughardts (s. CDs) 22. Februar 2013 FREIBURG im Breisgau 02./03.
    [Show full text]
  • Wolfgang Amadeus Mozart Ludwig Van Beethoven Franz Schubert
    Die Frage, wie kommt Riedlingen an zwei so hochkarätige Solisten für die doch kleinen Galeriekonzerte, muss beantwortet werden. Zentrale Stelle ist Prof. Dr. Edward Swen- son (USA), der schon wiederholt in Riedlingen war und mit seinem Vortrag „Conrad Graf und seine Kundschaft in Europa“ die Besucher begeisterte. Begleitet wurde er damals von Stefania Neonato, die sich aus der Zeit bei Malcolm Bilson an der Ithaca Universität kannten. Prof. Malcolm Bilson, der sich auf einer Europareise befindet und. in Wien und Budapest konzertiert, konnte für die Idee gewonnen werden, zusammen mit Stefania Neonato in der Geburtsstadt des Conrad Graf auf einem Original- Instrument zu konzertieren. Die beiden Künstler stellten speziell für Riedlingen und den vorhandenen Hammerflügel ein fulminantes Konzert - Programm für zwei- und vier Hände zusammen. Wolfgang Amadeus Mozart Bei allem Bemühen kann man zwischen Mozart und Riedlingen keine Verbindungen nachweisen. Mozart gehört zu den Pionieren der vierhändigen Klavierkomposition; die Anregung dazu erhielt er zweifellos durch das gemeinsame Musizieren mit seiner Schwester am Cembalo. Bereits als Neunjähriger schreibt Mozart Stücke für sich und seine fünf Jahre ältere Schwester und er gilt weithin als Erfinder dieser Gattung – auch wenn tatsächlich schon Komponisten vor ihm, etwa Johann Christian Bach, sich diesem Genre widmeten. Die B-Dur Sonate KV 358 zählt zu den ersten nachweisbaren echten Werken Mozarts für Klavier vierhändig. (Anja Renczikowski) Ludwig van Beethoven Gegen Ende 1825 hat Conrad Graf Beethoven leihweise einen vierchörigen Flügel zur Verfügung gestellt. Nach Beethovens Tod hat Graf sein Instrument wieder zurückgenommen und später verkauft (heute im Beethovenhaus Bonn). Vielleicht hat Beethoven für die Überlassung seines Flügels Graf insofern gedankt, als er ihm das Autograph seiner Klaviersonate in e-Moll, Op.
    [Show full text]
  • Museum and Digital Beethoven-Haus a Brief Guide
    BEETHOVEN’S BIRTHPLACE Beethoven-Haus Bonn museum and digital beethoven-haus a brief guide BEETHOVEN-HAUS BONN BEETHOVEN’S BIRTHPLACE museum Beethoven – oRiginal anD Digital digital beethoven- haus The Beethoven family lived for some years in the yellow house on the left­hand side in the courtyard of the set of buildings which today comprise the Beethoven­ Haus. Ludwig van Beethoven was born here in Decem­ ber 1770. Since 1889 the Beethoven­Haus Society has maintained a commemorative museum in the birthplace, which today houses the world’s largest Beethoven collection. The exhibition rooms contain a selection of more than 150 original documents from the time Beethoven spent in Bonn and Vienna. The hi­ storical building adjoining on the right (the white rear building), in which Beethoven’s christening was once celebrated, has since 2004 accommodated the “Digital Beethoven­Haus”. Modern methods of presentation lead the visitor on a journey of exploration through Beethoven’s life and work (Studio of Digital Archives). His music is interpreted in a completely new way as audiovisual art and for the first time it is presented virtually (Stage for Musical Visualisation). TOUR You may begin your tour as you wish with: • Beethoven’s Birthplace (museum), the yellow house, entered from the courtyard • the Digital archives studio (multimedia­based Beethoven), the white house (ground floor), entered from the Sculptures Courtyard • the stage for Musical visualisation (virtual theatre), performance times available at the ticket office, meeting point
    [Show full text]
  • Wlimr(Cer Concert
    - The Jfusfcal-Poetfcal Club (The Fortepfano Society) presents its Wlimr(cer Concert. Sunday. February 17. 1991. 3:00 p.m. Brechemin Auditorium School of Music University of Washington ----.....-~----.~............. ~---~-- ................ ---­ '0 Program {, 'Z ('7, S lcle. I\­ -t S-l ~oU-. G e I~cte y-­ CD Three English Songs _. , Franz Joseph Haydn ON.e!-~1 No.VlL'f W,lh",WlScrn ~ Wa/1"e{ &-T~,,,,I'Ic) 'I (1732-1809) (\)tT-T IV ,-\J 3 aPastoraI Song, Hob. XXVIa:27 (Anne Hunte!J)( 3 -_ -;; I) (t>A-TID 3; z.. The Wanderer, Hob. XXVIa:32 (Anne Hunter) (::;-: 3~) ,., "-:. (b,4.cT ,p 2-1 I The Lady's Looking-Glass, Hob. XXXIc: 17 (anon.)( I , 5"0) Cynthia Beltmen, mezzo-soprano George Bozarth, John Broadwood & Sons square fortepiano (1816) :41- , ' (/~ '.1"1)- Wo1fgang Amadeus Mozart ,y ~T0- IV' GW'G\J<r(":K;;LTCj(I~4c1) (1756-91) o (j)tn I 0 "j-) -A11cl.~te eantabtle --A11egrette gaz1 SQ.. It-' k,rlo " .~(A.V'lR- I1-lk~ vo " James Fete1'8OQ, Anton Walter grand fortepianO (ea. 1795) :TuW\"'.--'" Fr-1-edww.. V1, Four Lteder Franz Schubert (1797-1828) An die Muslk, Op. 88 No.4 (Schober) Lachen und Weinen, Op. 59 No.4 (Riickert) Du blst die Ruh, Op. 59 No. 3 (ROckert) Gretchen am Splnnrade, Op. 2 (Goethe) Alison Guay, soprano Dwight Beckmeyer, Walter fortepianO (j) Sonata in C major, Hob. XVI:48 (,. ') Haydn (DII-Tll) 51 Or 5<t Andante con expresslone - Allegro Tamara Friedman, Walter forteplano @ Six Duets, Op. 63 (1'-1:03» Felix Mendelssohn ,_/ (]),4-J Ii)')) (1809-47) Ich wollt, mein Lteb ergOsse slch (Heine) Abschledsl1ed der ZugvOgel (Hoffmann von Fallersleben) Gru~ (E1chendorft) Herbstlied (Kl1ngemann) Volksl1ed (Burns) MatglOckchen und die Bliimele1n (Hoffmann von Fallerslebenl Nancy W1ll1amson, soprano Cynthia Beltmen, mezzo-soprano George Bozarth, Walter forteplano • Program Change James Peterson will not perform the Mozart Sonata in F major, K.
    [Show full text]
  • Learn More About the Steinway N°1 Replica
    Tradition, Innovation, Perfection From Instrument No. 1 to Today Inventing the Piano »A Steinway is a Steinway and there is nothing like it in the world.« In 1700, Italian Bartolomeo de Francesco Cristofori (1655-1731) made musical history when fortepianos began to be fitted with a “hammer” action. When piano builder John Broadwood Arthur Rubinstein he presented the first fortepiano to Prince Ferdinando de Medici. The pianoforte was born, became the first person to extend the keyboard from Cristofori’s original four octaves to six, the name being derived from its ability to produce different levels of sound—both “piano” another significant milestone in the piano’s development had been achieved. Two other (quiet) and “forte” (loud). By around 1726, Cristofori had refined the instrument to such an important inventions were the work of Sebastian Erard, in the shape of the patented agraffe, extent that it already contained the components still used in piano building today. Word of through which strings were threaded, and the repetition action. Today’s grand piano actions this new keyboard instrument reached Germany in the are still built according to Erard’s design. early 18th century. Gottfried Silbermann, for instance, By the early 19th century, it was clear that the fortepianos unveiled his first fortepiano in 1726, after much experi- had become firmly established. Now fashionable, it was mentation. Johann Andreas Stein was another pioneer, found in affluent private homes as well as concert halls. working tirelessly on developing a sort of “escapement” When the piano industry was experiencing this boom action, which created a sensation in 1750 and led to the in 1800, Heinrich Engelhard Steinweg was a mere three development of the Viennese action.
    [Show full text]
  • OLGA PASHCHENKO.Pages
    OLGA PASHCHENKO - - harpsichordist, pianist, fortepianist, organist. Olga Pashchenko is a young artist who has already established a reputation as a versatile performer with her own individual style of performance notable for sensitiveness toward different musical styles, virtuosity, wealth of color and special approach to each instrument she plays. Olga Pashchenko was born in 1986 in Moscow. She began her musical studies at the age of six in the Children’s Myaskovski Music School in the piano class of Sofia Genis. 1993 became laureate of the All-Russian Young Pianists’Competition. In 1993 Olga entered the Moscow Special Gnessin Music School where she studied piano with Tatiana Zelikman and harpsichord with Olga Martynova. She gave her first piano recital in New York at the age of 9. In 2002 was granted the scholarship of the fund “Russian Performance Art”. In 2003 became laureate of the Third International Gnessin Young Artists Competition and the Third International Beethoven Festival of Chamber Music.. In 2005 Olga Pashchenko graduated with honors from the Gnessin School and entered the Moscow State Tchaikovsky Conservatory. 2010 she graduated with honors from two departments of the Moscow State Tchaikovsky Conservatory - Department of Historical and Modern Art Performance where she studied with professor Alexei Lubimov (piano), Olga Martynova (harpsichord, fortepiano), and Organ Department – class of Alexei Shmitov. In 2010 Olga Pashchenko has entered the postgraduate studies of the Moscow Tchaikovsky Conservatory – class of professor
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Moschos, P. (2006). Performing Classical-period music on the modern piano. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8485/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] PERFORMING CLASSICAL-PERIOD MUSIC ON THE MODERN PIANO Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts (DMA) Petros Moschos ýý*** City University Music Department June 2006 Contents Acknowledgements ................................................................................. iii Abstract ................................................................................................ iv List figures
    [Show full text]
  • Wolfgang Amadeus Mozart: the Piano Concertos with Ronald Brautigam, Fortepiano Kölner Akademie Michael Alexander Willens, Conductor BIS -2544 SACD (12 Sacd’S)
    Wolfgang Amadeus Mozart: The Piano Concertos with Ronald Brautigam, fortepiano Kölner Akademie Michael Alexander Willens, conductor BIS -2544 SACD (12 sacd’s) CD 1 Piano Concerto No. 3 in D major, K 40 Piano Concerto No. 1 in F major, K 37 Piano Concerto No. 2 in B flat major, K 39 Piano Concerto No. 4 in G major, K 41 Cadenzas: Mozart (K 40), Brautigam (K 37, 39 & 41) Instrument: Paul McNulty 2007, after Johann Andreas Stein 1788 Recorded: August 2015, Deutschlandfunk, Kammermusiksaal, Cologne CD 2 Piano Concerto No. 5 in D major, K 175 Piano Concerto No. 6 in B flat major, K 238 Piano Concerto in D major after J.C. Bach, K 107 Piano Concerto in G major after J.C. Bach, K 107 Piano Concerto in E flat major after J.C. Bach, K 107 Cadenzas: Mozart, Brautigam (K 175, third movement; K 107 II/III) Instrument: Paul McNulty, after Walter c. 1792 (K 175 & K 238); Paul McNulty 2007, after Johann Andreas Stein 1788 (K 107 I/III) Recorded: December 2014, Deutschlandfunk, Kammermusiksaal, Cologne CD 3 Concerto in E flat major for two pianos, K 365 Concerto in F major for three pianos, K 242 (London Concerto) Concerto in E flat major for two pianos, K 365 (version with clarinets, trumpets and timpani) Cadenzas: Mozart With Alexei Lubimov, fortepiano (piano 1 in K 365, piano 2 in K 242); Ronald Brautigam, fortepiano (piano 2 in K 365, piano 1 in K 242); Manfred Huss, fortepiano (piano 3 in K 242), Haydn Sinfonietta Wien Instrument: Paul McNulty, after A.
    [Show full text]
  • Review Essay Haydn Recordings in the Bicentennial Year
    Review Essay Haydn Recordings in the Bicentennial Year SYLVIA BERRY N ANTICIPATION OF THE 200TH anniversary of the death of Franz Joseph Haydn (1732-1809), a number of early keyboard specialists embarked upon Icomplete recordings of Haydn’s keyboard works, all but one of which was released before the Haydn Year 2009. These recordings include not only the complete solo keyboard works, but also the complete keyboard trios — a wonderful and often neglected facet of Haydn’s keyboard output. In a real marriage of performance and scholarship, every keyboard work Haydn wrote (including some contemporary arrangements of works by Haydn in other genres) has now been committed to disc on a stunning variety of instruments. Thus, in 2009, we can finally hear Haydn’s keyboard music performed on a veritable constellation of clavichords, harpsichords, and fortepianos, reflecting the wealth of keyboard instruments available to Haydn during his life-long career as a composer of keyboard music. Previous to this recent crop of recordings, there were very few interpretations on disc of Haydn’s works on the harpsichord, and only a small number of recordings by a handful of fortepianists of a variety of programs, very few of which included the early works. Expanding on the fortepiano interpretations of the standard programs by Malcolm Bilson and Paul Badura-Skoda, we now have four complete sets of Haydn’s keyboard sonatas, two complete sets of the miscellaneous or non-sonata works (henceforth called Klavierstücke), a number of readings of assorted Klavierstücke, and a complete set of the keyboard trios. Taken together, these sets employ twenty-one instruments, of which a number are antiques.
    [Show full text]