Franz Joseph HAYDN (1732-1809)
Sonata no. 50 in D Major, Hob. XVI:37 (1780) [10:37]
Sonata no. 54 in G Major, Hob. XVI:40 (1784) [11:49]
Sonata no. 19 in E Minor, Hob. XVI:47 (1774-1776) [12:51]
Sonata no. 47 in B Minor, Hob. XVI:32 (1774-1776) [11:00]
Sonata no. 58 in C Major, Hob. XVI:48 (1780) [11:19]
Sonata no. 59 in E-flat Major, Hob. XVI:49 (1789) [19:35]
Leon McCawley (piano)
rec. 2018, Turner Sims, University of Southampton
SOMM RECORDINGS SOMMCD0602 [77:02]
The piano sonatas of Franz Joseph Haydn functioned as a kind of musical testing ground for the composer. Each sonata was a laboratory in which he was free to try new pianistic effects, and more importantly, to explore sonata form and its close relations, the rondo and variation forms. Haydn’s sheer delight in the piano always seems to infect any pianist who puts his hand to the sonatas, and Leon McCawley is no exception.
There are many ways to approach these works, and Mr. McCawley has chosen the attractive path of elegance and wit. His buoyant renditions are a stark contrast to what for many is the reference recording for the sonatas, the complete set made by the late John McCabe for London records in the 1970s. To make a clear comparison between the two pianists: McCawley is a sleek racehorse, light of foot and ready to run, while McCabe is a Clydesdale, heavier and down-to-earth. The latter pianist digs in, emphasizing the drama in these works, savoring the slow movements and underlining the imaginative compositional textures utilized by Haydn. McCabe’s set is notable for its emotional depth and comprehension of the mechanics of Haydn’s compositional techniques. McCawley’s nimbler take is no less legitimate, and is probably more immediately ingratiating to those unfamiliar with the works.
In his hands, the sonatas bubble and sparkle, and Haydn’s wonderful sense of humor is thrust to the fore. Take the last movement Presto of the G Major Sonata (no. 54). His tempo flies along at an impressive clip (♩ = 152), every note securely in place. He makes it sound effortless, but I can assure you, it is not an easy thing to play so quickly with such even articulation, each note set apart with clarity. The quirky off-beat interjections chirp like a cartoon cuckoo with exactly the right sense of irreverence, while the unexpected silences are gauged with precision. Best of all, McCawley doesn’t “do” anything to the music. There are no gimmicks, no uncalled-for dynamic shifts or outsized rubato to wink at or nudge the listener. He’s playing the notes on the page with sensitivity and imagination, but allowing Haydn to speak directly to his audience.
To be clear, my characterization of McCawley as a racehorse is not at all meant to suggest that he lacks profundity in the slow movements. The Adagio e cantabile of the E-flat Major Sonata (no. 59) sings out with a great deal of subtle shading. The ornamentation is presented as an integral part of a vocally-oriented melodic line, rather than merely an annoying feature of the classical style. This is not always the case; many pianists play these sorts of ornaments impatiently, twiddling through the turns quickly to get to the “important” notes. The first movement Adagio of the E Minor Sonata (no. 19) is a similar display of understanding on the part of the pianist, whose operatic shaping of the melody brings to mind the slow movements of Haydn’s younger colleague Muzio Clementi, a parallel I had not previously heard.
This is a wonderful addition to McCawley’s projected traversal of the complete sonatas. If listeners are searching for a modern recording to put alongside the McCabe set, McCawley’s Haydn would make an excellent foil.
Richard Masters
