Franz Joseph HAYDN (1732-1809)
Keyboard Sonatas
No. 59 in E flat major, Hob. XVI:49 (1789-1790) [22:14]
No. 33 in C minor, Hob. XVI:20 (1771) [22:15]
No. 31 in A flat major, Hob. XVI:46 (1767-1770) [22:34]
No. 47 in B minor, Hob. XVI:32 (1774-1776) [14:14]
Enrique Bagaría (piano)
rec. 14-16 July 2015, Auditorio de Zaragoza, Sala Luis Galve, Zaragoza,
Spain
Reviewed as a stereo DSD128 download from
Eudora Records
Also available as EUD-SACD-1601
Pdf booklet included
EUDORA RECORDS EUD-DR-1601
[81:17]
Remarkably, the very first Eudora release I reviewed – Ricardo Gallén’s
splendid set of
Sor sonatas
– became one of my Recordings of the Year in 2014. Not only is the music
superbly played it’s also very well engineered; which is why I was
delighted when Eudora responded – with commendable swiftness – to my
request for access to their downloads. Their small catalogue offers a
number of high-res options, ranging from two-channel MQA to
stereo/multi-channel flac and DSD files. These recordings are also
available as hybrid SACDs.
Barcelona-born Enrique Bagaría, who won the Maria Casals International
Piano Competition in 2006, is new to me. However, the short booklet
interview – in which he explains his choice of programme – confirms his
abiding interest in these sonatas. The competition in this field is fierce,
though, with Marc-André Hamelin (Hyperion) and Ronald Brautigam (BIS) well
out in front. The latter’s 15-CD set of Haydn’s complete works for solo
keyboard – played on a Paul McNulty fortepiano – was much praised by
Kirk McElhearn. (Incidentally, my references here are to the standalone issues, not to
the repackaged ones in the big box.) Of Hamelin’s three twofers
Vol. 1
and
Vol. 2
– played on a modern piano – have also been well received on these pages.
Haydn wrote 62 keyboard sonatas – Nos, 21 to 27 are lost – the four played
here being were written between 1767 and 1790. Bagaría kicks of with No.
59, a work that, along with No. 31, he knows very well. Nos. 33 and 47 are
more recent additions to his repertoire. He gives a playful, pointed and
rhythmically pleasing account of the Allegro of No. 59. Poise and
clarity define his Adagio e cantabile, which also has admirable
shape and fluidity. As for the Finale it’s nicely phrased and
scaled, its recurring figures paraded before us with a palpable sense of
relish.
As expected the Eudora recording is wonderfully detailed and airy, its
timbres true. After that sonic treat it’s not surprising that Hamelin’s
account of No. 59 – from Vol. 2, recorded in 2008 – sounds a bit diffuse.
What is surprising, though, is the playing, which is
uncharacteristically reticent. Hamelin’s also mannered at times – even
awkward – and that’s quite at odds with the direct, open-faced nature of
the piece. Brautigam is much to be preferred here, and although the
pianoforte softens the music’s edges deftness or detail are pretty well
preserved.
I do like Bagaría’s emphasis on precision in No. 59 – that brings its own
rewards – but I find Brautigam’s easeful, affectionate approach much more
engaging. I’m not suggesting that Bagaría is aloof or lacks feeling, just
that Brautigam digs deeper, unearthing more colour and variety than either
of his rivals do. Indeed, he taps a wellspring of warmth that’s almost
Romantic in its expressive range and emotional intensity. Even if you’re
not a fan of the fortepiano – it’s a relatively small sound and the bass
isn’t so well rounded – you’ll find much to enjoy here. Ingo Petry’s 1998
recording, made in Sweden’s Länna Church, is very easy on the ear.
Bagaría’s performance of No. 33 is most attractive – the fretwork of the Moderato is beautifully executed – but his vocal accompaniment is a
distraction. Otherwise, he plays with intelligence and a sure sense of
style. The Andante con moto is lovely, despite the vocalising, and
in the Allegro I was struck by the Barcelonian’s attention to
balance and phrasal relationships. And how deft he is in the opening
movement of No. 31, the sound startling in its accuracy and presence. Any
caveats about the latter performance? A little more give in the Adagio perhaps. That said, I can’t fault his spirited Finale.
Despite Hamelin’s lacklustre response to No. 59 he makes amends with a
thoroughly agreeable account of No. 33 (Vol. 3). The Moderato and Andante con moto are elegantly done and the Finale has plenty
of sparkle. Then again that instalment – recorded in 2011 – sounds much
more assured than the earlier ones. Hamelin hasn’t recorded Nos. 31 and 47,
so direct comparisons aren’t possible here. As far as I know Hyperion have
no plans to record more of these sonatas with Hamelin, but I’ll be in the
queue if they do.
As for Brautigam’s performances of Nos. 31 and 33 – on Vols. 5 and 7
respectively – they’re utterly engrossing. How spontaneous the music
sounds, the period instrument giving the Adagio of No. 31 a soft
glow that’s just gorgeous. Indeed, the fortepiano lends an antic air to the
music that seems most apt. If anything, Brautigam’s performance of No. 33
has even more of the ‘clatter and clang’ that one associates with the
harpsichord. That won’t please those who prefer the sound of a modern
piano, but in mitigation the playing has an irrepressible energy that
neither Hamelin nor Bagaría can match.
Surprisingly Bagaría’s clean, very analytical approach to No. 47 is not
that different from Brautigam’s (Vol. 5). The Barcelonian may give the
music a brighter, more jewelled aspect, but both pianists bring out the
almost pedagogic rigour of this compact little piece (it lasts for 14-15
minutes). As before Brautigam is a little more pliant in the slow movement
– more expansive, even – but Bagaría always shines in the fast ones;
indeed, his coruscating sign-off to No. 47 is a joy to hear.
If you’re serious about your Haydn Bagaría’s four sonatas are well worth
acquiring. My only real criticism is the vocalising, but that may irk
others much less than it did me. Sonically, though, Eudora’s
up-to-the-minute DSD original is streets ahead of the otherwise decent BIS
and Hyperion issues. In terms of sheer illumination Brautigam is a
must-have; Hamelin probably has the broadest appeal.
Very likeable performances, superbly recorded; the vocal intrusions may be
a drawback, though.
Dan Morgan
Previous review (SACD):
Colin Clarke
