Franz Josef HAYDN (1732-1809)
Piano Sonatas
No. 31 in A flat, Hob. XVI:49 (1767-70) [22:16]
No. 33 in C minor, Hob. XVI:20 (1771) [23:55]
No. 47 in B minor, Hob. XVI:46 (1774-76) [14:54]
No. 59 in E flat, Hob. XVI:49 (1789) [22:16]
Enrique Bagaría (piano)
rec. 14-16 July, 2015, Auditorio de Zaragoza, Sala Luis Galve, Spain
EUDORA SACD EUDSACD1601 [82:45]
This very generously filled (over 80 minutes) disc presents
the eminently heartfelt Haydn of the young Catalan pianist Enrique Bagaría.
Performed on a modern instrument (Steinway), these are tasteful and very alive
performances of four very contrasting sonatas. All repeats are observed, something
that certainly adds to the playing time; it also gives us a sense of the expansiveness
of these works. As one becomes immersed in these performances, one’s
appreciation of Haydn’s achievement in this genre grows and grows. In
the interview with Mònica Pagès that appears in the booklet, Bagaría even
states that he put a lot of thought into the timing of the gaps between movements,
and they certainly seem well judged. It is hard to imagine a finer recording,
also: the piano is superbly caught in both CD and SACD stereo layers (the
recording data supplied is incredibly detailed, from the Neumann and Schoeps
microphones to which headphones were used, including “custom made headphone
amplifier”). As a demonstration recording alone this disc has value.
The first sonata in the running order is the E flat of 1789, and the latest
on the disc in terms of composition. The performance is intensely commendable
for its perfect runs, its sense of drama (Bagaría is not above the occasional
slowing for emphasis) and its impeccable style. The central Adagio cantabile
is an incredibly interior statement, with flights of fantasy that sit perfectly
with the ongoing trajectory; only the finale is a tad anonymous. On Warner,
András Schiff is his usual personable and individual self (his way with the
opening gesture is very different, suggesting a different edition). Even more
searching in the Adagio e cantabile, Schiff holds the tension perfectly through
the music’s silences, while his somewhat clockwork final Tempo di minuet
is absolutely charming.
The C minor Sonata’s first movement could hardly be more different than
its E flat counterpart. Bagaría locates the heart of sadness at the heart
of the first movement; decorations are perfectly judged, and the crisp articulation
of the descending scales is delightful. Perhaps a greater degree of dynamic
contrast would be welcome: very few passages indeed duck below the mezzo-piano
line. One of the few Haydn Sonatas cast in the minor (and one of two on this
disc), this is a good performance. Certainly Pletnev (over on Virgin Classics,
a twofer of Haydn Concertos and Sonatas on VBD5 61881-2) has his own very
different way with this movement, finding layers of pathos unavailable to
Bagaría (Pletnev’s acoustic, St Martin’s Church, Newbury, Berkshire,
is rather too reverberant, unfortunately). The Andante con moto feels more
of an Adagio but again has its clear moments of fantasy; interesting to contrast
with Pletnev, as they almost sound like two different pieces at the opening,
with Bagaría smooth, Pletnev laudably differentiated in his articulation and
capturing the gentilité of this movement better. The finale gains its contrasts
via Bagaría’s crisp articulation, and here the honours are more evenly
spread between him and Pletnev.
Third up for Bagaría is the A flat major Sonata, with its very characterful,
witty acciaccaturas. In the interview, Bagaría refers to the writing in this
sonata as “rich, highly virtuosic,” and he certainly seems to
revel in the music’s challenges. Textures are always hyper-clean, even
when Haydn is at his most crowded. Bagaría’s Adagio is expansive but
feels rather too much so, despite his preternatural attention to detail. The
sprightly finale is lovely, although could hold that little bit more sunshine.
For this sonata, Emanuel Ax on Sony and that impeccable classicist Charles
Rosen (originally on CBS) remain favourites, in their different ways, each
with more character. Bavouzet on Chandos, whose Haydn is so consistently fresh
and imaginative, is another not to disappoint.
Finally, the Sonata No. 47 in B minor, the shortest of the crop here and a
sonata that holds a Menuet at its centre as opposed to a slow movement proper.
Yet Bagaría finds real pathos in the first movement; he shades the Menuet
so that it functions more as a slow movement than does, say, Bavouzet on Chandos;
Bavouzet’s Presto finale is decidedly more successful in its pecking
staccato and overarching sense of fun.
Bagaria has recorded on a number of labels previously both as soloist and
chamber musician: highlights are what looks like a stimulating programme on
a disc entitled “Carnaval,” coupling works of that title by Schumann
and Leonora Milà, sandwiching in between some of Liszt’s Années
de pelèrinage, on El Fa Blau-Limit Records; while on Columna Records,
there is a violin and piano disc of music by Messiaen, Franck and Toldrà (Columna
Música 1CM 2055). But in terms of Haydn, despite the omnipresent technical
polish and clear musicianship, the performances on this disc cannot come in
as first choices.
Colin Clarke
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