Franz Joseph HAYDN (1732-1809)
Piano Sonatas Volume 2
Piano Sonata No 50 in D major Hob XVI:37 [12:14]
Piano Sonata No 46 in E major Hob XVI:31 [12:00]
Piano Sonata No 6 in C major Hob XVI:10 [9:15]
Piano Sonata No 33 in C minor Hob XVI:20 [23:39]
Piano Sonata No 13 in G major Hob XVI:6 [15:05]
Piano Sonata No 11 in B-flat major Hob XVI:2 [13:37]
Piano Sonata No 35 in A-flat major Hob XVI:43 [16:36]
Piano Sonata No 12 in A major Hob XVI:12 [9:08]
Piano Sonata No 58 in C major Hob XVI:48 [11:20]
Roman Rabinovich (piano)
rec. 2-10 January 2019, Olivier Music Barn, Tippet Rise Arts Center,
Fishtail, Montana, USA
Reviewed as a digital download from a press preview
FIRST HAND RECORDS FHR072
[57:12+65:34]
I was hugely impressed by the Tashkent born Israeli pianist Roman
Rabinovich’s first volume of the Haydn piano sonatas back in 2018, so I
have been very much looking forward to this second instalment. As will be
clear from my review of that first volume (FHR071, pending), I rate Rabinovich extremely
highly in Haydn and this new set confirms and expands that view.
One of the most enjoyable aspects of this recording is Rabinovich’s ability
to tune into the specific character of each sonata. A superb example of his
way with this music is the first movement of the D major sonata.
Rabinovich’s tempo is fast, as befits an Allegro con brio marking, but he
doesn’t run away with the brilliance of the writing, preferring a slightly
more muted approach. The effect is of an overture to an opera buffa where
the comedy is about to burst out. I think of Don Alfonso in Cosė Fan Tutte muttering sotto voce ‘If I don’t laugh, I will
burst!”
Where others stampede through the finale of the C minor sonata, finding
sforzandi where none are indicated, in search of Beethoven avant la lettre,
Rabinovich finds almost Mendelssohnian lightness and, consequently,
surprising pathos. This is a masterly account of this sonata and is wholly
typical of the way Rabinovich trusts the music not to need any special
pleading. He takes Haydn’s tempo markings seriously where rivals settle too
frequently for a generic fast and a generic slow. The Andante con moto in
this sonata is lovely example: he applies just the right amount of mobility
to let the music flow without losing its character as a slow movement.
The E major sonata, No 46, blossoms in Rabinovich’s hands. He understands
that this is a rather introverted and graceful work for all the brightness
of its key. This leads him to resist the temptation to overplay the links
to Beethoven in the development. In the stately E minor middle movement his
balletic way with the tread of the bass turns it into a solemn dance and
draws out a quality of seriousness latent in the opening movement. It is
never overdone, because this is a movement with a hint of sadness rather
than hysteria and despair. Similarly, the more extrovert finale glitters
gently rather than dazzles.
Rabinovich clearly has a great deal of affection for the early sonatas, as
do I. Whilst they make lack the complexity of the later works, they are
ingenious and full of invention and emotion. Rabinovich is unafraid to
caress a melodic phrase, as if to remind us that Haydn’s was the age of
sentiment, of Rousseau and not just Voltaire. In terms of performances, all
of this means that Rabinovich lavishes as much care and passion on the
early sonatas as he does the later ones.
It will be noted that all the examples I have cited come from the first CD
of this two-CD set. I could just as easily have done the same with the
second disc. Every sonata on this remarkable set contains such subtleties
and delights. Anyone who fears that this music will involve an endless
procession of cheery D major allegros or F major minuets is in for a
wonderful surprise. Rabinovich’s belief in this music shines from every
note and I cannot recommend it more highly. In my review of Volume One I
noted that it seemed to me the best available recording of the Haydn
sonatas despite fine rival accounts by the likes of Leon McCawley, Markus
Becker and especially Ekaterina Derzhavina. Volume Two is, if anything,
even better and it will most definitely be amongst my Recordings of the
Year.
David McDade