CCSH Sonata Hob XVI 51.Edizione: Breitkopf & Härtel 1800-1806 Play Play
Alfred Brendel
Piano
Recorded on 12/25/2011, uploaded on 12/25/2011
Musician's or Publisher's Notes
Istituto Europeo di Musica. Dipartimento di pianoforte. Ciclo completo delle Sonate di Haydn
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly european).
Haydn’s Piano Sonatas: a Philosophy of Taste
The CCSH (Ciclo Completo delle Sonate di Haydn per pianoforte) is a major publishing undertaking of the european publisher Istituto Europeo di Musica Press. IEM-Piano Department carried out a long research (1997/2002-2005/2011) into the Haydn’s Piano Sonatas (“Cinquantadue Sonate per pianoforte di Joseph Franz Haydn”) and into disk-recording, tape recording and Live Recording. In 52 Piano Sonatas, Joseph Franz Haydn’s views on aesthetic theory and the Forma Sonata are to be found in his work on Taste. His Music-theory of “Forma Sonata” is not entirely original, but his arguments generally display the keen analysis typical of his best work. In 52 Piano Sonate, Haydn retains the idea that the values within the scope of criticism are essentially pleasures of the human imagination. For Handel the “Forma Sonata” is a manifestation of music-taste that is immediate and spontaneous, yet the application of“good sense” and “reason” improves it. Music-Taste is not improved by reasoning from a priori normative principles. The “Forma Sonata” involves reason in the sense of “sound understanding,” which ultimately depends on imaginative associations of ideas. Haydn defends the centrality of sentiment with the following reasoning. If the discriminations of Music-taste took place without these sentiments, we would lack any motivation to do what we regard as moral. In Haydn’s Piano Sonata, moral and aesthetic judgments have practical consequences that mere reason lacks. Haydn's contrast of vulgar and refined taste parallels his general treatment of the doxastic positions of the vulgar. Vulgar thinking is dominated by the first influence of general rules upon the mind. For Handel, the “Forma Sonata” is a contributing excellence and not the sole focus of aesthetic discrimination.
Next Publication in April 2012: Sonata Hob XVI: 1
Hob:XVI:51 Sonata in re maggiore
Andante
Finale. Presto
Organico: clavicembalo o pianoforte solo Edizione: Breitkopf & Härtel, Lipsia, 1800-1806 in Oeuvres complètes de J. Haydn Dedica: probabilmente a Teresa Jansen-Bartolozzi
Classical Music | Piano Music
Franz Joseph Haydn
CCSH Sonata Hob XVI 51.Edizione: Breitkopf & Härtel 1800-1806 Play
Recorded on 12/25/2011, uploaded on 12/25/2011
Musician's or Publisher's Notes
Istituto Europeo di Musica. Dipartimento di pianoforte. Ciclo completo delle Sonate di Haydn
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly european).
Haydn’s Piano Sonatas: a Philosophy of Taste
The CCSH (Ciclo Completo delle Sonate di Haydn per pianoforte) is a major publishing undertaking of the european publisher Istituto Europeo di Musica Press. IEM-Piano Department carried out a long research (1997/2002-2005/2011) into the Haydn’s Piano Sonatas (“Cinquantadue Sonate per pianoforte di Joseph Franz Haydn”) and into disk-recording, tape recording and Live Recording. In 52 Piano Sonatas, Joseph Franz Haydn’s views on aesthetic theory and the Forma Sonata are to be found in his work on Taste. His Music-theory of “Forma Sonata” is not entirely original, but his arguments generally display the keen analysis typical of his best work. In 52 Piano Sonate, Haydn retains the idea that the values within the scope of criticism are essentially pleasures of the human imagination. For Handel the “Forma Sonata” is a manifestation of music-taste that is immediate and spontaneous, yet the application of“good sense” and “reason” improves it. Music-Taste is not improved by reasoning from a priori normative principles. The “Forma Sonata” involves reason in the sense of “sound understanding,” which ultimately depends on imaginative associations of ideas. Haydn defends the centrality of sentiment with the following reasoning. If the discriminations of Music-taste took place without these sentiments, we would lack any motivation to do what we regard as moral. In Haydn’s Piano Sonata, moral and aesthetic judgments have practical consequences that mere reason lacks. Haydn's contrast of vulgar and refined taste parallels his general treatment of the doxastic positions of the vulgar. Vulgar thinking is dominated by the first influence of general rules upon the mind. For Handel, the “Forma Sonata” is a contributing excellence and not the sole focus of aesthetic discrimination.
Next Publication in April 2012: Sonata Hob XVI: 1
Hob:XVI:51 Sonata in re maggiore
Andante
Finale. Presto
Organico: clavicembalo o pianoforte solo
Edizione: Breitkopf & Härtel, Lipsia, 1800-1806 in Oeuvres complètes de J. Haydn
Dedica: probabilmente a Teresa Jansen-Bartolozzi
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CCSH Sonata Hob XVI 6. Edizione: Breitkopf & Härtel 1800-1806 in Oeuvres complètes de J. Haydn
Sonata in A Major Hob. XVI:30
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Sonata in A-flat Major Hob. XVI:46
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Concerto for Cello no 2 in D major, Op. 101/H 7b 2.mv.
Sonata No. 47 in B minor Hob. XVI: 32
CCSH Sonata Hob XVI 36. Dalle sei sonate Edizione Artaria 1780
Piano Concerto in D Major, Hob. XVIII
String Quartet op. 20, No. 4
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