Klasik Müzik - Haydn-Piano Sonata in Eb

12:00 ♥♥♥Листат играл в фильме

Does he have a bandaid on his thumb? LOL

Admirable el talento del ser humano, ojalá siempre se usará de esta manera

Bellissima sonata, grande interpretazione. Più l'ascolto e più mi piace. È un incanto. Il tempo lento ..una meraviglia. Grazie grazie.

I have been wondering for years what the IndGR piece was in civ 3. I always knew it had to be one of the greats. Thank you random commenter somewhere that let me know. Now I can imagine a three way standoff in the industrial era for 20 minutes.

this is performed so crystal clear - instant goosebumps @ 11:57

Truly a golden experience.

Sr. Brendel , su rostro no dice lo que su corazón y mente ejecutan...una magnífica ejecución e interpretación llena de sensibilidad y excelente ejecución!!...Me gustó el manejo de poliritmos , en una mano derecha un tipo de figura y en la izquierda otro. Este tipo de ejecuciones son difíciles de lograr ya que requieren de un gran independencia de manos y mente así como dominio de la obra.Muchas gracias , felicidades y Dios lo bendiga. Efrain Dávila Razcón.

The only way u can play like this is to.have those fat fingers

Exemplary playing from this fine artist. I play this sonata too. I find it a most satisfying work to play.

The 2nd movement is way too long

Zheng Hua Xia As an opinion, you are entitled to your view, but are mistaken; as a fact, you completely wrong and have not understood the structure of the movement. This particular movement, and indeed the whole sonata is perfectly balanced. The movement is little different in length from similar movements in many sonatas of the period by Mozart and Haydn.

The pianist is fabulous but I hate the publicity up to 4 times that interrumps the pianist!

Download AdBlock Plus. You won't be sorry. It blocks all of those ads/interruptions on YouTube. I love it. :)

@JohnE.M. Thank you very much! I'll try it!!

Brendel is a wonderful musician but he looks like a big kuala bear with glasses. Must be the hair.

The idea of Beethoven's 5th Symphony at 4:46. Assuming this piece was published before Beethoven's.

Sherlock Holmes Haydn’s sonata was 1789/90; Beethoven’s 5th Symphony almost 20 years later (1808). There are in Haydn a number of occasions where the famous opening ‘fate’ rhythm of the symphony is foreshadowed; this is just one.

Elaine Blackhurst thank you for the insight 😊

This rendition by Alfred Brendel of the Hayden sonata is a gift of joy to us and to posterity.

the glenn gould of Haydn

Herr Warum Gould’s playing was highly idiosyncratic, and in some composers’ music, not to everyone’s taste. Brendel’s performances of Haydn sonatas are almost universally acclaimed as peerless, even by those who may prefer other pianists for other composers. This is the single greatest Haydn sonata performance I know; the comments in this thread would seem to indicate that I am not alone in this view. I’m not sure how many people would use Glenn Gould as the gold standard of pianists!

@Elaine Blackhurst let me reformulate my thought in the following way. Glenn Gould: Bach= Brendel: Haydn. In the sense that they both breathed new life into their music. And also in the sense that they found in Bach and Haydn respectively the ideal expression of their temperament.

Herr Warum That’s much clearer and a thought provoking comment; thanks.

Who puts commercials in the middle of the movements ? !

YouTube does. But download AdBlock Plus. You won't be sorry.

Alfie knew what it was all about!

Increíble! El segundo movimiento me encanta!!

Spectacular!

Haydn Mozart, beethoven, ******

This sounds more like early Beethoven than Mozart. Listen to the Middle section of the slow movement, for example, you can hear Beethoven there for sure. The slow movement of Beethoven’s Opus 2 no. 3 comes to mind.

Steven Yourke Some interesting points again, but quoting Horowitz as a player of Clementi simply proves my point: Horowitz died 30 years ago and was very much an exception rather than the rule (he also played quite a lot of Scarlatti too which was quite unusual, but much less so than Clementi).Regarding Mozart’s sonatas, they are by Mozart’s standards a very variable body of works; largely I think because they were often written for pupils or particular people, unlike the concertos which were almost entirely written for himself and are therefore of a much more consistently high quality. The technical demands of the sonatas are very similar one to another, they were at the pinnacle of late 18th century technique so it is hardly surprising that Beethoven would find interesting things in Clementi who was writing in a more modern style. Beethoven’s piano writing style and technique arguably owes more to people like Clementi than to Mozart or Haydn; though as a composer, more to the latter two than the former.There are a string of Beethoven’s contemporaries such as Cramer, Dussek, Kozeluch, and indeed Clementi who I agree totally are well worth investigating; none however would I consider as composers on a par with Mozart, Haydn, Beethoven or Schubert - composers tend to earn their relative anonymity!Final thing I would say is that you sometimes need to be careful about accepting uncritically everything a composer says about another. The sour things Mozart said about Clementi almost certainly stemmed from his shock at being in competition with a piano player who he could see had a technique that was in some respects in advance of his own, in short - there was perhaps some evidence of envy, maybe even jealousy. Likewise, Beethoven’s silly comments about Haydn probably sprung from the same well; when he arrived in Vienna in 1790, he expected to become the most famous and admired composer of the time pretty rapidly. What actually happened was that the Haydn simply would not go away, in fact his fame grew to new heights over the next decade putting Beethoven in the shade, not a place from where he was going to be sending out pleasantries to anyone. In contrast, Haydn’s comments on both Mozart and Beethoven seem far more genuine, sincere and perceptive; in both cases he showed rather more critical acumen and recognition of genius, free from personal prejudice than either composer he was speaking about. In short, I think Beethoven’s comments on Clementi need to be considered very carefully, in context and with a degree of caution; I think I am clear in my own mind about the areas Beethoven admired most in Clementi, I do not think it was everything.Be interesting to hear from anyone else who might come across this thread; but thanks for your comments, they have given me some things to think about.

Elaine Blackhurst Hummel and Field are a couple of other composers of that period who who were well known and respected in their day and have unjustly suffered neglect. Beethoven certainly respected Haydn as a composer or he wouldn’t have studied with him and dedicated his first set of published piano sonatas to him, but he was very competitive by nature and perhaps was jealous of the older man’s enormous celebrity. As for the Mozart piano sonatas, I think they are excellent except for K 279-283 which are lovely but derivative. Starting with K 284, I think they are all of very high quality and distinctively Mozart. While they are not as central to Mozart’s total output as Beethoven’s sonatas are to his, they are still gems. My favorites are K 284, 310, 332, 457, and 576. I think Beethoven’s disparaging remarks about them were really very unfair.

Steven Yourke For anyone with an interest in the period between the end of Mozart/Haydn and the beginning of the Schumann, Chopin, Mendelssohn, Liszt era, a period so dominated by Beethoven (and Schubert), all these comparatively minor composers are of interest. In many respects, they fall into a similar ‘neglected’ category to the composers active between the end of the Baroque style of Bach, Handel, Vivaldi, Scarlatti et al and Mozart and Haydn.Beethoven made disparaging remarks about many people he met, taught, heard play, or took lessons from - it was part of his nature and many of his comments should be treated with some caution. Regarding his views on his two greatest predecessors, his debt to Haydn was so significant he simply could not bring himself to acknowledge it; until Haydn effectively retired from about 1803, Beethoven resented the old man’s position as the greatest living composer. His debt to Mozart was significant, but different; Mozart’s compositional techniques were different (much less motivic development for example), and Beethoven was less concerned with opera and the piano concerto and more interested in the areas such as the symphony, quartet and sonata where he constantly found Haydn as a ‘rival’. It helped too that Mozart was dead!Re: the Mozart sonatas. Almost everything Mozart wrote is attractive, tuneful and worth hearing. I do sometimes feel that because it is Mozart, he sometimes escapes proper critical scrutiny. Opinions in music are always subjective and personal rather than right or wrong, but the sonata K284 I would label neither ‘excellent’ nor ‘distinctly Mozart’ (except in its melodic shape). The allegro is reminiscent of works like JC Bach’s sonata Opus5 No2 with its quasi-orchestral figurations; the very limited development section apes French models; much of the writing is a succession of short sections, an exposition of themes one after another; the recapitulation is largely a repetition of the first part: it is not a ‘great’ sonata. That said, the work is very effective in performance.K309 originated as a music lesson for the 13 year old daughter of the director of the Mannheim orchestra and you can hear from the from the opening and in other places that it is another quasi-orchestral sonata with clear evidence of things pinched from the Mannheim box of tricks. Leopold Mozart whilst praising the work did note critically that it had caught something of the ‘affectations of the Mannheim taste’. Similar comments would be true of K311.K310 is interesting in an unusual way besides the normal view of it reflecting Wolfgang’s emotional state on the death of his mother. I think it is one of the most difficult of Mozart’s sonatas to play well on a modern piano as it was clearly composed as idiomatic fortepiano music. An example: the left hand chords at the beginning of the development of the slow movement absolutely do not work on a modern piano. I played this movement as an ABRSM Grade 7 piece many years ago and found the chords strange and difficult to get right, not technically (they are very straightforward), but to balance them with the right hand melody; I have since played this movement on a fortepiano and it works perfectly. Had Mozart encountered even the pianos that Haydn found in London, the music would have been written differently (the chords would have been thinned out). This highlights one of the problems with modern urtext editions, following the composers wishes is fine, so long as you are playing the instrument for which the music was conceived and composed. The other interesting speculation is whether or not Mozart’s technique would have evolved to the degree that Haydn’s did in London when confronted with new instruments and professional pianists developing new playing techniques. Works such as the Variations in f minor (Hob. XVII: 6), or the Sonata in E flat (Hob. XVI: 52), and the late trios were Haydn’s response - almost unrecognisable in technique from his pre-1790 keyboard works. I think that even before London, Haydn had already somehow picked up some ideas about a new style of piano writing as evidenced by the Sonata in E flat Hob. XVI: 49 written astonishingly in 1789, which contains some extraordinary piano writing throughout, but particularly in the central section of the slow movement which seems way ahead of its time and certainly of the similar passage in Mozart’s K 310. What would have been Mozart’s response had he too come to London? (Not so fanciful as you may think; it is quite possible Salomon when he ‘came to fetch’ Haydn may well have tried to get Mozart too).I do agree that Mozart’s sonatas are a wonderful corpus of works, but variable overall, though always appealing; in terms of keyboard works, his concertos to me, occupy a similar place in his overall oeuvre as the sonatas of Beethoven do in his.

Elaine Blackhurst Thanks for the thoughtful and well informed comments. I’m studying and playing the K 310 and K 457 at the moment. They both contain some very challenging passages. The second movement of the A minor is less satisfying than the two outer movements which I think are great. Mozart composes for a lighter, smaller instrument and we should bear that in mind when evaluating them. I still say that K 284 is a wonderful piece and far better then anything he wrote for piano previously, especially the first movement which is perfectly brilliant. The last movement goes on far too long but it does contain some beautiful music. It’s distinctively Mozart, not derivative at all - the other sonatas of that group are derivative but in 284, he finds his own voice. It’s Mozart, not KC Bach. See Einstein. I agree that Beethoven’s disparaging remarks should not be taken too seriously.

Steven Yourke I wouldn’t disagree with any of that; and I agree that K284 is the best of the group of six written 1774-1775 whilst he was in Munich. You are right that Mozart has found his voice; there is some clear evidence that Mozart knew Haydn’s set of six sonatas Hob. XVI: 21-26 published in February 1774 which can be seen and heard in the earlier ones, but barely a note of K284 owes anything to Haydn apart from the first eighteen bars of the ‘development’ ie all of it - this section is almost jarring in that it does not sit with the rest of the sonata, it is almost as though it has been written by Haydn! These few bars apart, I do think there is rather more of a whiff of Mozart catering to the current (largely French) fashion of the time...’Rondeau en Polonaise’ (what sort of polonaise is it exactly?), and a set of variations on something that sounds like a French chanson. As I said in my previous comment, it is a highly effective work (I played it through yesterday), and it reminded me in some ways of Mozart’s Paris symphony (1778), another well known and highly effective work from which I am withholding my ‘great work’ imprimatur for almost identical reasons!K310 and K457 are demanding sonatas, both technically and interpretively. It seems very probable that Beethoven heard Mozart play (in 1787); Czerny reports that Beethoven told him that Mozart had ‘...a fine, but choppy (German: ‘zerhachtes’) way of playing with no legato’. Some other reports are even more critical suggesting that in effect, Mozart had no modern piano playing technique; check out Clementi’s comments following the contest with Mozart in 1781, and indeed Mozart’s rather peevish comments about Clementi, probably made as he was confronted with a rather different, more ‘modern’ technique to his own. Given our previous comments about the state of evolution of Viennese fortepianos in the 1780’s, perhaps there are some clues here as to effective performance on a modern piano. The biggest mistake I often hear with amateurs playing Mozart is over-pedalling and trying to aim for a more massive Beethovenian sound; something which Beethoven himself did not recognise in Mozart’s own playing. If you do not know them and enjoy music of this period, you might like to take a look at two very profound Haydn sonatas rather in the mould of K310 and K457: the c minor Hob. XVI: 20 (1771), and the A flat Hob. XVI: 46 (c.1767/8). In the A flat sonata, the slow movement is in D flat but at one point in the coda you reach B double flat major! Together, they are exceptional keyboard works and like the Mozart sonatas, present similar technical and interpretative challenges, but are immensely worthwhile and rewarding.

nice...

He literally jumps out of his chair at 5:23-5:25

What happened to his jaw at 5:15 - 5:17

Je trouve que le doigté est un peu fort, sans subtilités. Les nuances ne sont pas bien maitrisé ou bien le pianiste a perdu de son oreille. Maladroit quoi.

Quien me escondió esta hermosura por 40años?

Brendel is just astonishing. Glad I got to see him live. Brendel has it all memorized and his interpretation is just--Wiener Klassik on the mark.

Fantastic

Соната для спокойствие души.

8:00 second movement 17:26 third movement

역시 초기 베토벤 소나타는 하이든의 영향이 컸었네.

Супершикарно

8:00 second movement

0:16 I thought that he's playing Chopin's scherzo from Sonata b minor

This is major, or minor?

the thumbnail is a hyper intelligent spider dfff

What you tell yourself is very important. I like "i am great"

Still baffling to me that he can play Haydn so wonderfully and other composers so drab. This is fantastic.

Unbelievable!

Just one more turn… ;)

Alfred plays with such feeling. Such a soft touch. Brilliant.

This piano's action seems so very crisp and responsive. There's very little, if any, bounce detected in the keys, even during fast passages. Closeup shots in this video are so very gratifying to watch!

Haydn, o que parece não ter envelhecido..., como isso é distante e belo, à frente de seu primeiro estilo.

Amazing, wonderful!

1080p... ;)

wow!um......so....wow!HaHaHa

tiene parches en los dedos pulgares.

THE best Haydn interpreter, I know of. Thank you Mr. Brendel

Beautiful!

Awesome

Mozart has been inspired by Haydn.

Wow Haydn knew about IV V I ....

Papa Haydn accompanied me growing up.

that's what you call "finger fuckin" a piano. Superb!

Maybe a bit heavy handed, but still enjoyable.

Великолепно!

도돌이 1:57 2악장 8:00 3악장 17:25

A truly amazing piece, overheard on a Glenn Gould cd out at track 12. Wish I could go back 50 years and begin practicing this 2 or 3000 hours, but at least I can appreciate the grandeur and the beauty of it. Best wishes, BubbaHaydn.

Muy bueno

wow master of Haydn

A sensitive sonata well çi_n the mood ans style of Haydn. The rendering of Brendel is an awsome

There are measures where Haydn peeks far into the future. Finest playing imaginable.

Magnificent.

Brendel has such a way with Haydn. Always a pleasure to hear his recordings.

140 people disliked interview lol. VwwV.

splendide 👍

The contrapuntal section at the beginning of the development in the first movement is played so well.

No hay palabras para describir tanta belleza!!!

A black friend who studied with Brendel at a few master classes told me he was racist or at least prejudiced. I have no idea of there's any truth to it but every time I see Brendel play I wonder if it's true.

Now that Brendel is dead and cannot sue you or your safely anonymous friend, I guess you feel it is safe enough to repeat your comments.

와..저 이곡 피아노로 치는데 이분은 넘 잘치신다..감동))

Alfred Brendel, My hero..

Brendel el maestro, en Haydn, en Beethoven, Mozart, Schubert y en todo lo que toca. Pianista de los GRANDES, así con mayúscula.

Great finger work!!

11:57 is where it's at. <3

I want to press the dislike button to dislike those who disliked but that would dislike the video which i dont dislike but dislike haters so who do i need to dislike before all 145 dislikes go awat, that would be something i wouldnt dislike.

Who knew the classical period could be so cool?

this was sooo inspirational for my daughter ! She performed first movement at the George Enescu Hall- last year- despite she has only 12 y.o; ! here it is: https://www.youtube.com/watch?v=I0Lvdt4SBtc&t=9s

20:04 WOW

11:50 heaven starts

I see some people complain about the middle section of the Adagio (11:57), namely that it feels out of place and is out of context. Of course Haydn, being an artist in the Age of reason, would never afford writing something just for effect and with no continuity and commitment to the form, especially in a late masterpiece like that.If you pay attention to the A section, which is also ternary form, the logic of the whole movement becomes evident - here the b is also in minor with a similar expression and thus foreshadowing the main idea, the core of the Adagio (and to the whole sonata for that matter) which is B. The model this surprising and abrupt contrast suggests is present throughout the whole sonata. The conclusion is that Herr Haydn knew exactly what he was doing, which comes as no surprise since he's a genius.Analysis is crucial when learning a piece - there's no point in playing music you don't understand.

Nice remark. It is quite schubertian in my mind and I think, it is pretty ok by Brendel to underline this.Haydn created the fundament of so many things. When I listen to opus 20 or opus 33 I already can imagine, that some decades later, the experiments with the sonata form ends up in the hands of Bruckner, Prokofiev, Shostakowitch...

Stephen Dedalus You have provided a useful and valuable comment which should help listeners understand better what is going on in this perfectly balanced movement (and sonata as a whole). The intensely lyrical and now post-Lestat, well-known central section is neither out of place nor out of context. A contrasting middle section (making an ABA structure), is quite common in Haydn, and in Mozart; a similar thing occurs in the third movement too.

This is the best interpration of haydn i've ever heard. this kind of sound is such amazing. Awesome Brendel

I’ve been having bad thoughts and somehow this video helps I don’t know how lol

Hurbii Same! It helps me too. Music can do amazing things :)

Sonata nr 59?! Haydn has 52 sonatas only

Eva Teppo It’s best to stick to the Hoboken catalogue numbers to avoid confusion; the numbering at the top of this recording is simply not helpful.This is the Sonata number 49 (Hob. XVI:49).The great Haydn scolar HC Robbins Landon (and his wife at the time - Christa, who edited an outstanding urtext complete edition of all the piano works), identified a total of 62 sonatas, but included six lost ‘sturm und drang’ sonatas and a small number of sonatas of doubtful authenticity, hence the larger number. Including these works pushed the number up to 62.To avoid confusion, simply stick to the Hob. numbers.

Haydn's wry and beautiful wit makes me smile, even straight out laugh. How he flooded the world with so much sunlight is a miracle. Bless him forever.

for god sake this is magnificent...i'm learning this for a diploma exam (it's not as effortless as this recording would make it seem). brendel has such a sense of the overall structure and it's played with such sensitivity to the classical style and how come it never sounds rushed..how the hell does he do that....as far as i'm concerned this is the acme of haydn piano sonata playing

Thomas Hanly A very perceptive comment; rarely have I heard a Haydn sonata performance that so clearly illuminates the difference between playing the notes and playing the music.

I love this piece so much! I’m glad I’m playing it right now

Amazing how Alfred Brendel always appeared to make the piano sing rather than simply knock off the notes.

17:27 if you're here from Civ 3.

WONDERFUUUUUUUUUUUULThanks

The who's better - Haydn or Mozart debate is a bit maddening since the subject is subjective - like discussing if an orange tastes better than an apple. They were both masters in their field and they are not supposed to be the same. I, for one, am in the Haydn camp, since his music speaks more to me. But to each their own.

Henrik Larsen just subject to taste, they are both wonderful

Henrik Larsen ‘...better’ is a pointless debate; the trick is to learn to understand and appreciate the differences between between these two A list composers, something that Mozart and Haydn did themselves at the time. Probably never in the history of music have two composers of this stature ever appreciated, respected and learnt from each other to the extent of these two.

Magnifique  interprétation romanesque !!!Merci  et  Bonsoir.

It's very beautiful. But i think this sonata is very dificult. He played very awesome.

The 'thumbs down' people are the hip hop' great unwashed' as we refer to them!

HAYDN compso numerosas sonatas para pianoforte.

Luv it! >o<

Who's here because of Civ III?