J. Haydn :: Sonata n°53 in E minor Hob XVI/34 :: Wim Winters, Clavichord

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J. Haydn :: Sonata n°53 in E minor Hob XVI/34 :: Wim Winters, Clavichord 2017-04-15T12:53:48+00:00

J. Haydn :: Sonata n°53 in E minor Hob XVI/34

First of all a warm thank you to Ted Forbes of "The Art of Photography" (https://www.youtube.com/channel/UC7T8...) and my fellow followers of that beautiful channel which supported this channel the last days!
I thought about how to interact with this highly skilled photographic audience, to add a little extra to our main occupation here, which obviously is music. But since filming is one of the ever ongoing challenges here, with direct light sources, perfect for clear light and obscure environment, or dimmed candle light, giving a nice atmosphere but adds a lot of ambient light and "problems", well, that it might be of interest to show you the settings (at the end of the description) and set-up of each film I make. I therefore, from 1st of March onwards will include at the end some pictures of the set-up, maybe a small film within the other thumbnails, so to share with you the way I filmed it.
I currently am thinking of adding a 2d camera to give some more possibilities (and problems...!) and will talk certainly about that too.
Thanks again, Ted!

Let me give you the index of this beautiful Haydn sonata, in case you would like to jump to a specific part:

0:14 Presto
5:14 Adagio
11:00 Vivace molto (innocentemente)

Haydn, Haydn, Haydn...
I don't know what it is, it might be age (I'm almost 43 if someone thinks their might exist a correlation), but I do like the keyboard music of Haydn more and more. And so, I take the liberty of playing it here for you!
Why? you might ask. I mean: Why only now come closer to Haydn?
I wish I knew the answer to that. What I do know, is that his world is different to that of Mozart, Beethoven, CPEBach, ... but at the same time seems to have elements of all others implemented. CPEBach, of course, must have been a great source of inspiration, but Haydn changes the baroque texture into something that leaded the way for Mozart and Beethoven, and many others. They called him in those day "father" Haydn, and I think I'm starting to understand why.

The similarities between e.g. his sonata's written in the '70 and the München sonata's of Mozart, are remarkable. We'll come back to that when recording an earlier sonata of Haydn, where the middle section (f minor) must have been a direct inspiration for Mozart's second 'large' sonata.

The sonata is written in E minor, a rather dramatical key, which Haydn emphasise by the feel of hurry he lies into the first movement. It has "presto" as indication, but, as we stated often, this term always comes at the end, after notation, harmonic density, character. Without "presto", one could imagine this first movement of a smoother allegro-character, whit more and 'thicker' accents, whereas now, the bass sets in with a kind of mechanical restless movement, that gets reflection from the right hand, being pressed constantly by the left hand, forced to change the ritme into sixteenths.
The adagio is the complete opposite of this. it is of the kind of beautiful story-telling as is so typical for the classic period. To be honest with you: you will notice after two bars and again in the repetition of the first section, a crossover in the video. That has to do with the fact that I only realised after the recording, that I added a rest at the end of the 2d bar. Actually, I liked that very much and in a concert I definitely would give that a try. But... it is not what Haydn had in mind obviously, and so I made a small cut in postproduction, easy to do in sound, but difficult with one camera angle!
The third part should not be played too fist, to my feeling. It must be playful, innocent (as is indicated). It is difficult, however, may be not the notes technically, but to put every renewed rondo theme in the right context, I mean, timed in a way that you as a listener are a little bit off that what easily can be expected. Timing is the essence in music, I believe, but in pieces like this, it is world changing. I can enjoy playing this last part for an half hour, it gives endless joy... hopefully also to you all!

Thanks for listening and subscribing!


Here are the camera settings for this video:

Camera: Fujifilm X-Pro1
Lens: 28mm (equiv) lens, at 2.8
Iso: 3200 (thank you, Fuji...)

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