Keyboard Works, 1773-1779
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Elegant, sophisticated performances in this continuing series of Haydn sonatas.

Mozart and Beethoven were renowned pianists, while Haydn, in his own words "was not a wizard on any instrument." Yet recent research has emphasized the special significance of keyboard music and performance in the composer's life. Not only did he perform as soloist, organist and accompanist during his tenure at Esterhçzy but throughout his creative life Haydn cultivated the most respected genre of solo keyboard music - the sonata. The first three sonatas of this program were composed in 1773. They were published by Giuseppe Kurzback in Vienna in 1774, appearing in a set of six sonatas that Haydn dedicated to his patron Prince Nikolaus Esterhçzy. This was Haydn's first authorized publication, although copyists had been smuggling his works into print for some time. An obsequious dedication to Prince Nikolaus reminds us that Haydn's compositions were the official property of his patron. The last three sonatas in this program were written during the 1770s and published in Vienna by Artaria in 1780. A new contract between Haydn and his patron, dated 1779 reveals that Prince Esterhazy no longer had exclusive rights over Haydn's compositions. These sonatas appeared in a set of six dedicated to Katharina and Marianna von Auenbrugger, sisters who were celebrated fortepianists.
Contents:
Franz Joseph Haydn, composer
Sonata in D Major, No. 39, Hob. XVI-24
Lola Odiaga, fortepiano


Franz Joseph Haydn, composer
Sonata in E Flat Major, No. 40, Hob. XVI-25
Lola Odiaga, fortepiano


Franz Joseph Haydn, composer
Sonata in A Major, No. 41, Hob. XVI-26
Lola Odiaga, fortepiano


Franz Joseph Haydn, composer
Sonata in C Major, No. 48, Nob. XVI-35
Lola Odiaga, fortepiano


Franz Joseph Haydn, composer
Sonata in C Sharp Minor, No. 49, Nob. XVI-36
Lola Odiaga, fortepiano


Franz Joseph Haydn, composer
Sonata in E Flat Major, No. 51, Hob. XVI-38
Lola Odiaga, fortepiano

Review:
"...In the case of this group of sonatas, three from 1773 and three others from later in the same decade, in every instance, Odiaga proceeds with the same deeply disciplined appreciation of structure and therefore of line which has distinguished all her past performances. ...The humor in Haydn, often a matter of unexpected junctures, is allowed to speak for itself; underlining and italics are not in Odiaga's style book. Also consistent is the recording quality...open, finely detailed, absolutely unobtrusive in character. All the traits which led me a few years ago to place one of Lola Odiaga's first Haydn sonata CDs on an end-of-the-year want list are present here in full force and sharp focus. Urgently recommended!" (Fanfare)
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