097Booklet 22/2/07 21:32 Page 1 ALSO on signumclassics John Lill SIGCD075 Much loved pianist, John Lill, plays touchstones of the 19th century romantic piano tradition. Lill is at his sparkling best in this wonderful repertoire. “I can think of two reasons why this CD is an attractive purchase. John Lill is one of the world's finest interpreters of both Schumann and Brahms…I really hope this release is soon to be followed by more from John Lill, surely among the giants of English musicians.” Musical Opinion “There is enough searching, stout-hearted Brahms in the present release they make both CDs essential listening for Lill’s many fans.” International Piano Magazine “He again he is on top form, with playing of compelling conviction topped off with a magnificent final fugue.” Classic FM www.signumrecords.com Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 097Booklet 22/2/07 21:32 Page 3 HAYDN: PIANO SONATAS Haydn Piano Sonatas Haydn was not famed in his day for sublime skill divertimentos), were most likely used as didactic as an improvisor at the keyboard and, unlike his material for his pupils. Over three decades, it Sonata No.49 in C sharp minor Hob.XVI: 36 three peers in the musical stratosphere, Bach, seems that both his interest in the genre and the 1. Moderato [8.27] Mozart and Beethoven, there are no landmark virtuosity of his pupils grew exponentially. That at 2. Scherzando: Allegro con brio [3.01] concertos written expressly to show off his own least three of the four sonatas here are written for, 3. Menuetto & Trio [5.01] technique, whether at court, in the salon or at or dedicated to women should come as little subscription concerts. His generally modest surprise. It was simply part of the accepted Piano Sonata No.32 in G minor Hob.XVI: 44 character may also have contributed to the lack of educational lot for young ladies in the late 4. Moderato [7.59] such ostentatious displays of prowess at the Eighteenth Century to be proficient at the 5. Allegretto [4.39] keyboard yet despite this, his corpus of piano keyboard. Without the brilliance of these wives sonatas reveals him to be up there with the very and daughters of the great, the good and the Piano Sonata No.59 in E flat major Hob.XVI: 49 best. In recent decades it has been promoted that highly educated, Haydn’s talents may well have 6. Allegro [12.14] Haydn had no great skill at the keyboard, and been less focused on the genre. 7. Adagio e cantabile [8.37] while his manifold duties at the Esterházy court 8. Finale: Tempo di Menuet [4.34] mitigated against life as a virtuoso keyboardist, Sonata No.49 in C sharp minor Hob.XVI: 36 there is enough evidence to suggest that he Piano Sonata No.62 in E flat major Hob.XVI: 52 was a very fine player. As well as playing the 1. Moderato 9. Allegro [8.39] violin to concerto standard, he was apparently a 2. Scherzando: Allegro con brio 10. Adagio [7.47] fine singer and thought of himself ‘no mean 3. Menuetto & Trio 11. Finale: Presto [5.09] keyboard player’. The Sonata No.49 in C sharp minor Hob.XVI: 36 Total [76.09] Thankfully, he was far from retiring when it came was written for Katherina & Marianne von to writing great keyboard works for the many Auenbrugger as No.5 of a set of 6 Sonatas Op.30 talented amateurs that came his way for (comprising sonatas Hob.XVI: 48 - 52 & 33, JOHN LILL - PIANO instruction. His earliest sonatas, dating from the respectively), his first publication for Artaria & Co. early 1760s (Haydn knew them as partitas or in Vienna. Although written expressly for the www.signumrecords.com - 3 - 097Booklet 22/2/07 21:32 Page 5 sisters, as can be seen from Haydn’s many long. The movement veers between these short 1771, was by most accounts composed in thanks from the drawing room resolutely into the concert effusive letters to Artaria, the sonatas were not swashbuckling bravado moments, Baroque-style to the Virgin Mary for his recovery from a hall, at least in terms of approach and technical dedicated to them as in the 18th century sequencies and delicate, highly ornamented dangerous illness suffered the previous year. mastery. These sonatas are unabashed works that publishers often reserved the right to make such passages which retreat into veiled, inward-looking speak easily to a large audience while providing dedications themselves. The Auenbrugger sisters contemplation. The A major Scherzando comes as The two-movement Sonata is among the very first the seasoned concert pianist with much food for were the daughters of an eminent Austrian something of a shock after the intensity of the first to be actually named as a ‘Sonate’ in Haydn’s thought. It was composed for Maria Anna von physician and known in circles which included movement. It is a charming creation that has output, but there is no bold histrionic opening Genzinger, the wife of a society physician whose Salieri, Haydn and Mozart. Haydn was obviously something of the simple character of a musical statement here. Instead, a quiet, serious, delicate important clients included members of the much taken with the girls’ talent, writing to his clock - a favourite plaything of the day, and for and expressive Moderato ebbs and flows, built Esterházy family, Haydn’s own noble employers. publisher, ‘The approval of the Mrs von which Mozart, Beethoven and Haydn himself upon no more musical material than a few fragile From their surviving letters, it’s clear that Haydn Auenbrugger is of the utmost importance to me transcribed or composed pieces. The wistful wisps peppered with exquisite silences, a and Mme Genzinger maintained an intense, if since their manner of playing and their genuine closing Minuet & Trio retains some of the stark demeanour profound and serious, largely platonic, relationship that ranged from intimate understanding of the art of music equals that of qualities of the opening movement but is uplifted dispensing with the relief of humour and tending expression to quotidian practicalities. It was to the greatest masters’. by an unusual Trio section in C sharp major. more toward tender thoughts. Altogether she that he wrote from London on hearing of remarkable, this is one of Haydn’s most hypnotic Mozart’s death and, regarding the present sonata, Prior to 1780, relatively few letters and other Piano Sonata No.32 in G minor Hob.XVI: 44 movements. It is followed by a Minuet that further ‘I know that I should have written this sonata for documents survive for us to date Haydn’s keyboard develops the mesmeric hold on the listener. No your type of clavier, but it was just not possible, works with any great accuracy, therefore, possible 1. Moderato Haydn-esque spikey, tricky finishes this time. because I am not at all used to it any more’ - composition dates for the present sonata range 2. Allegretto Problems with dating still plague the work, and another reference to his preference for the from 1767 to 1775. By the time the group was while a rough guide might be 1770 - 1775, the fortepiano. published in 1780, one of their number included It is quite a surprise, given Haydn’s gargantuan enigma befits the mystery of the piece. dynamic markings, signifying Haydn’s preference ouput, that no more than a handful of his works of The sonata opens with a stentorian statement for the fortepiano over the comparatively limited any note were written in the key of G minor. A Piano Sonata No.59 in E flat major Hob.XVI: 49 which is treated to an expansive, almost harpsichord - and consequently these were the couple of symphonies and string quartets, a Salve symphonic work-out, occasionally harking both last to be sanctioned for use on both harpsichord Regina and the Piano Sonata No.32 in G minor 1. Allegro back in time through the use of Baroque-style and fortepiano. Hob.XVI: 44 are all that have come down to us. The 2. Adagio e cantabile sequences and leaping forward into the world of composer seems to have associated the key with a 3. Finale: Tempo di Menuet Beethoven’s mature piano sonatas - indeed The sonata opens with a brief figure which has all certain melancholy and takes a rather serious tone there are a multitude of Beethoven-esque the drama of a bold operatic overture - but not for when writing in it. The Salve Regina, composed in Haydn’s last handful of sonatas see him step out references. The Adagio cantabile is a heartfelt - 4 - - 5 - 097Booklet 22/2/07 21:32 Page 7 song without words - an exquisite aria, increasingly in England, becoming a much sought-after ornamented with extraordinary sensitivity. ‘It dancing master and soon had Therese and her means a great deal, which I will analyse for you brother studying with the great Clementi. when I have the chance’ wrote Haydn to Mme Although she appears not to have performed in Genzinger. Alas, no further letters have come to public, she was regarded as one of Clementi’s light to fill-in the tantalising details. Beethoven triumvirate of star pupils. It says a great deal for can be heard in the central section - foreshadows her abilities that the other two are still regarded of the famous ‘Moonlight’ sonata’s first movement as very fine composers, and among the greatest leap out.