András Schiff Explores Haydn - Lecture Part 1

The year 2009 marked the bicentenary of the passing of Joseph Haydn (1732-1809), one of the most eminent composers of the classical era. To commemorate the occasion, the Wigmore Hall in London organised a lecture-recital series with Sir András Schiff to explore some of Haydn's piano works.
For more information on the event, visit the website: wigmore-hall.org.uk/podcasts/.... The lecture is divided into three parts and each part can be downloaded as separate MP3s.
This first part explores two piano works:
Capriccio in G "Acht Sauschneider müssen seyn" Hob. XVII:1
Piano Sonata g minor Hob. XVI:44

[@quaver1239]

András Schiff, his musicianship, dedication and teaching methods - second to none. Have heard the Haydn talks a few times, and each time with greater enjoyment. Thank you 🙏.

[@eytonshalomsandiego]

high point of my life was hearing Schiff 8 years ago...amazing...

[@elaineblackhurst1509]

This is a valuable contribution towards the better understanding of Haydn’s keyboard works, probably at least twenty of which really not as well known as they should be, including the two pieces Schiff is discussing here. Schiff speaks with knowledge, understanding and as a pianist; he offers insights into what the composer is doing whilst keeping the essential musical grammar accessible and relevant to everyone. The comments on programming and repeats should be essential learning for all students and he deftly places Haydn in a proper, meaningful context, for example, referring to the composer’s easy contrapuntal facility (ie from the past), whilst pointing out very modern scrunching chords, all within pieces written in a highly individual, personal and idiosyncratic style. Schiff is clear about the composer’s stature, something that does sometimes need stating explicitly. The references to Mozart, Beethoven and CPE Bach were all relevant and enlightening, the latter in particular was really the only composer who influenced the young Haydn (you can hear this clearly in both pieces), until he met Mozart much later - but that influence was a very different matter. An excellent discussion from which I learnt much - thank you.

[@1Ferretti]

Beeeautiful! Schiff is deep in every note and every word. Beethoven lectures were amazing and now also these. I'm dying to the moment in which Sir Schiff will do the same with Schubert, his sonatas and piano works.

[@zinam5795]

Thanks very much! A.Schiff 's great Musician--that always interesting & very talented us a lecturer

[@Barbapippo]

Thank you very much for uploading, Schiff is really a treat, both as a pianist and as a lecturer.

[@mrnarason]

Thanks, loved the Beethoven sonatas series, haven't heard Haydn lectures

[@Capajazz]

Wonderful listening, thanks for posting it!

[@MrInterestingthings]

I don't always enjoy the simpler harmony ,fewer voices,less angularity except for C.P.E.ach and a few othersof the classical period . Baroque music has the complexity that has depth and meaning for us . And of course today's music . There is much I have noticed in Hadyn's character before but not e,nough to endear him to me beyond a few sonatas ,symphonies and that one DM concerto out of 11! he wrote . I hope I will appreciate the qualities of Hadyn more now after these series of lectures .

[@elaineblackhurst1509]

One thing I often suggest that is helpful to both understanding and appreciating Haydn better is to think of Mozart as being more interested in the sound of the notes, whilst Haydn - and later Beethoven - are both more interested in what they can do with them. Mozart and Haydn are more different than most suspect: listening to Haydn expecting Mozartian cantabile melody will leave one as disappointed as listening to Mozart expecting the instrumentally conceived invention of Haydn (and again, Beethoven as well). Mozart’s music is vocal in conception, even when writing for instruments; Haydn and Beethoven’s music is instrumental in conception, even when writing for voices. Hope that helps.

[@MAURICAFonenantsoa]

33:55 Sometimes I wish that professionals would be more amateur in spirit.

[@Aezandris]

Was this recorded in 2009 ? Never heard of those ! Thanks

[@coolmuso6108]

Yes! 2009 was the 200th anniversary of Haydn's death. To commemorate the occasion, Schiff presented these lecture-recitals at the Wigmore Hall that year. Glad you enjoyed them!

[@jean-jacqueskaselorganreco6879]

"Sturm und Drang" is not to be translated by "storm and pressure", but "Storm and Urge", sorry Maestro

[@CosmasZachos]

Stress is closer

[@jean-jacqueskaselorganreco6879]

@@CosmasZachos No!. Urge in the sense of anarchy against the period of Enlightenment that caracterized literature in the years 1760-1795.The young writers wanted more freedom,creativity and emotions and less laws and constraints in Art, in Litterature and in life.Nothing to do with stress, an word or attitude that certainly did not exist back in the day

[@CosmasZachos]

@@jean-jacqueskaselorganreco6879 You are misreading "stress". It is "physical strain on a material object" from mid-15c, used metaphorically, as the German Romantics did. You still "stress" an idea, unlike the dufus pompous "emphasize".

[@jean-jacqueskaselorganreco6879]

@@CosmasZachos I am not misreading stress at all, as German is one of my 3 native languages and i publish, teach in the idiom of Goethe, so I know what I am speaking about.

[@CosmasZachos]

@@jean-jacqueskaselorganreco6879 I thought the fuss was about English, not German usage. I gather anyone appreciates "Drang".