To Ms. Andre: I am in awe of your stylish & graceful playing! The performance itself is technically flawless, but more to it is your genuine artistry and sensitivity to constantly speaking through the music. Absolutely wonderful!!
I agree with those who have commented favorably about the tempo of your play. Perfect! Faster is neither technically better nor more pleasing to the ear. Lovely! Thank you for sharing your talent with those too distant to see you in person.
After listening to quite a few, this is definitely my favorite version of this piece on UA-cam. At first I thought the tempo was slow, but the more I listened to it I realized I really like it this speed. I also love the voicing throughout, especially the 2nd movement! So amazing- this is really helpful for me as I'm learning this piece. Thanks for sharing!
As a junior in high school, I'm learning this as part of a five sonata memorization competition, and I love the way this is done! The tempo is doable yet still impressive and I HATED the second movement until I hear this! Thank you! Very inspiring :)
This is much the best of several performances of this brilliant Haydn piano sonata currently on UA-cam. The video would be a wonderful Christmas present for children, grandchildren, friends, schools libraries even parents or grandparents if they are not too deaf.
Finally, the right tempo and perfect expression that bring out all the colors of this sonata. Most current performances by the virtuosi are accelerated to a ridiculous tempo that would have been unthinkable on an 18-th century instrument.
You don't know how grateful I am that you don't play the first movement like a racehorse. It drives me mad when the music is trampled over by technical show-offs. Especially since I'm learning this first movement now. Your tempo really brings out the playfulness of it, and being able to watch over your shoulder as you play really lets me see the techniques involved from the beginning to the end, which helps me a lot (my first sonata. A daunting task at first) to feel more confident that I can learn to play this, too. Thank you very much for the upload.
I’ve listened to many different pianists playing Haydn. For myself your playing of the first movement, despite minor sequence hesitations, captures the soul of Haydn like Matsuko Ukida captures Mozarts. This is one of the most delightful performances of one of his sonatas I’ve heard. Bravo! I treasure this recording. Please keep it up forever.
It's Clara Haskil and Lilli Krauss who captures Mozart ; all Adagios of sonatas - concertis ' quatuors ..Mozart by Clara Haskil are all a piano that speaks a nostalgic language , slow movements of Mozart pieces by Haskil are a human who speaks to us not a keyboard , no comparison Haskil in Mozart with others since a half of century
Thank you very much! I often think on reflection that I played it too slowly, but I'm glad you're inspired. Keep playing and enjoy it. It's a great piece! :)
I disagree with those who think this music should be payed faster; I think all the movements can be played slower to advantage in order to highlight the drama in this music. The largo really needs the sostenuto, so we need to hear the notes dying away (though a modern grand sustains too long). The presto rondo is two in a bar and definitely non troppo if full weight is to be given to the minor key episode which recalls the largo. I would use this episode to determine the overall tempo. If you do not mind a bit of variation in the tempo, the major sections can be a touch faster, with a bit more urgency again for the final section. Interestingly Nadine André refers to Haydn's string quartets before she plays and I think that if the piece can be imagined as a string quartet the tempo will be right. Thank you for making this recital available
I am learning to play this piece by myself, and you sound just like what I imagined in my mind when I saw the score. Haydn himself must have intended it to sound like this I believe:)
althoug i m into electronic sounds, let me say, bravo! your touch is elegant, energic, and very accurate. thanks a lot for your superb interpretation of Haydn´s Sonata in Re major.
Nadine Andre - You would also like the early Joseph Haydn piano sonata in E major with Presto finale numbered Hob. XVI : 13 or in some numerations Sonata 15
Hi Nadine! Joe Moore here. I love this performance it flashed up when I was looking for Haydn sonatas and I found you :) Glad to see you are doing so well. Such a natural performer!
Well done, Nadine!!! Wonderful classical style, I'll show it my students (I'm teaching musical analysis and harmony) as an example of great playing and interpretation.
Thank you for the recommendation John. I've been busy recently learning more contemporary music, and involving myself in two fantastic trios, however when I return to Haydn, I will definitely consider this great piece!
I want to say hello around the third anniversary of your memorable Haydn sonata performance of November 2010. best wishes -John Barrett Forks Washington
+John Barrett Thank you for this - I'm being extremely slow to reply to everyone, but I appreciate your acknowledgement. It's almost the 4th anniversary now (and consequentially, also of my engagement to my husband who proposed to me after I played!)
Very nice, and it's a honor for me that the Fazioli Inc. is very close to where I used to live in Italy. Greetings from Colombia and keep up the good work.
Thank you! That question is like asking 'how long is a piece of string?' I started learning it 4 months before that concert and played it a couple of times informally first, but you could say it took me 22 years (from when I started learning the piano :) Keep playing - you'll keep getting better!
ughhh,.... the allegro con brio part is the bane of my existence for that song..... I play want I feel is at medium speed, my teacher says its too fast, I slow down, I start slipping on the 16th notes..... ughh...... but I enjoy this song
+Eli Snyder Yes I agree with you! At the time, the speed felt right for the acoustic and instrument but I do think it's too slow. Bear in mind that in a drawing room, on a small fortepiano, a faster speed would be much more convincing!
Next time put the microphone closer to the piano. The mic placement is full of reverb and reflections. Hard to hear your performance over that. Good job.
Sing along! If you find this tricky, just play the melody (wherever you think it is) and sing that, then gradually add in other parts. Explore as many different ways of voicing/balancing parts as you can and allow yourself to play spontaneously - don't get too hung up on 'fixing' phrasing and dynamics. Play it slowly lots and lots and listen carefully to what is actually coming out, not just what is going on in your head. Most importantly of all - enjoy the music EVERY time you play it. If you're not enjoying it, then stop and do something else.
It’s not fast, very thoughtful and analytical, but very thoughtful, although the dynamic range is a little bit more romantic But obviously she uses a lot of brains and the left and right hands are very clear in such a place with large reverberation, and the handover is very coherent, it sounds ancient and comfortable The pedal is very economical, and it is basically the reverberation caused by the venue The finger pedals are connected very well and practiced very finely
The tempo is probably the way it is because of the acoustics of the space she’s in. If you had to play in an echo chamber like that you could only go so fast before it sounds muddy as hell.
@@lalaaslzr go to IMSLP and look the autograph score from Haydn, it's an Allegro Con Brio, she played it in approximately 120 bpm, with a very articulate sounding, it's perfect
@@manu974aimwill I don't know if Maelzel's metronome was even invented at this time. I know Beethoven employed it notably in his piano works, but I'm not aware of Haydn or Mozart using it. Anyway the tempo seems entirely appropriate here.
@@timothythorne9464 You are absolutely right, and the debate on metronomics is endless. The allegro of one is different from another, but we have strong evidence today on play speeds, and it all depends largely on whether you count at 1/1, 1/2, 1/4. Here, it's very correct, the play is clear and precise. I recommend Wim Winter's channel, "AuthenticSound".
Hi, I am preparing for Piano Grade 8. Please can you tell me if I have to use sustain pedal for Haydn Sonata in D, Hob. XVI/37, 1st movt: Allegro con brio. Please do reply. Please. Thanks Tony
+Tony Thomas Hi, thanks for your message. Bear with me - I have some suggestions but won't have the time until Sunday or Monday. (You definitely don't have to use the pedal, but in places, and with stylistic awareness, it's a great addition!)
+Tony Thomas Hi again Tony. Apologies for the slow response - it's been a mad few weeks! Use of pedal in Haydn certainly isn't obligatory or expected, however it can enhance the music in certain areas. In Haydn't time, knee pedals were common (a sustaining pedal operated with the right knee rather than foot!), therefore slightly longer blocks of pedal tended to be used. I'd recommend applying this to the occasional bar that contains only one harmony. (In the 1st movt, there are a few places where broken diminished or major chords are played in the RH - these are good pedalled.) Otherwise, I would steer clear. You also need to bear in mind that modern pianos naturally sustain their notes for much longer, so pedal would only increase that. Minimal use prevents this. The only other application of pedal would be a slight dab to enhance the sound of a chord here and there; usually at the end of a section or major phrase. If you want any more information, let me know and I'll do my best to respond more quickly!! Best of luck!
9 months late, but the pedal is to be used rather sparingly during the first movement. Let me think to the last time I played it (6 days ago) - I tend to use the pedal at the end of the measures for emphasis but little more. it's mostly free hand. For intance, when starting the forte section of 16th arpeggiated notes, you'll want to hold the pedal for the first beat of the D A F# A for melodic and harmonic emphasis. It's mostly by ear. You can play it without any pedal but it would sound empty. The pedal is at libertum, basically. During the classical era most pianos did not have very good legato pedals. Mozart's had to be operated by his knees until he had a foot pedal built. So basically any music composed prior to 1800 uses sparing pedal at best. Beethoven was well-known for making the legato pedal a mainstay after 1800.
The pianist plays with the adequate disciline, but - it is a crime to use a space with such such an unadequate acoustics for the recording. Jesus said "those who have ears, may listen" - the people responsible or in charge for the recording obviously have no e a rs!!!
But she improvised a bit too much on the second movement (only the first chord and the e flat chord near the end), and on the first movement, the second section should also be repeated.
FINALLY SOMEONE WHO PLAYS ALLEGRO NOT BLOODY PRESTO
Lol British
345everything ñ
lol
IKR
But it’s more fun to play it faster lol
Starts at about 1:10
No no no start:1:06
No no no start 1:11
To Ms. Andre: I am in awe of your stylish & graceful playing! The performance itself is technically flawless, but more to it is your genuine artistry and sensitivity to constantly speaking through the music. Absolutely wonderful!!
+Pollinifan Thank you very much!
Thank you for your kind words!
Nadine Andre It is your??
Allegro con brio 1:11
Largo e sostenuto 6:16
Presto ma non troppo 9:16
10:30
I am teaching my piano student this piece and this is a great example!
+Joseph Kim hello
+Joseph Kim Thank you Joseph!
Joseph Kim didn’t you say that u didn’t like her style?
Little bit slow example
@nIcoLetHepIcKle yeah same
oh..this deserves such a better sound quality...
I agree with those who have commented favorably about the tempo of your play. Perfect! Faster is neither technically better nor more pleasing to the ear. Lovely! Thank you for sharing your talent with those too distant to see you in person.
After listening to quite a few, this is definitely my favorite version of this piece on UA-cam. At first I thought the tempo was slow, but the more I listened to it I realized I really like it this speed. I also love the voicing throughout, especially the 2nd movement! So amazing- this is really helpful for me as I'm learning this piece. Thanks for sharing!
You should've checked out the one by Top Classical Music, it may be better.
Ore Creeper
love the tempo and the style; bravo.
As a junior in high school, I'm learning this as part of a five sonata memorization competition, and I love the way this is done! The tempo is doable yet still impressive and I HATED the second movement until I hear this! Thank you! Very inspiring :)
This is much the best of several performances of this brilliant Haydn piano sonata currently on UA-cam. The video would be a wonderful Christmas present for children, grandchildren, friends, schools libraries even parents or grandparents if they are not too deaf.
Great job with the tempo for the first movement!
I love it! I am learning it right now and you play it with such happiness!
I come back to this video to help my son with this sonata. I really enjoyed the talk about Haydn at the beginning. By the way, that is a great dress!
Finally, the right tempo and perfect expression that bring out all the colors of this sonata. Most current performances by the virtuosi are accelerated to a ridiculous tempo that would have been unthinkable on an 18-th century instrument.
You don't know how grateful I am that you don't play the first movement like a racehorse. It drives me mad when the music is trampled over by technical show-offs. Especially since I'm learning this first movement now. Your tempo really brings out the playfulness of it, and being able to watch over your shoulder as you play really lets me see the techniques involved from the beginning to the end, which helps me a lot (my first sonata. A daunting task at first) to feel more confident that I can learn to play this, too.
Thank you very much for the upload.
This is like my third sonata.
This is really lovely to listen to. I love the speed of every movement and the wonderful musicality of the whole performance. Wonderful.
very intelligent commentary on the great Joseph Haydn. It is great to know that his music brings you joy, it sure does to me :).
Thank you for the beautiful example to show my students!
I'd like to hear you play this again with a decent recording set up. I loved the joy you exuded.
Hi everyone, thank you for all your kind comments. Joe - great to see you here - hopefully will in person before too long!
I’ve listened to many different pianists playing Haydn. For myself your playing of the first movement, despite minor sequence hesitations, captures the soul of Haydn like Matsuko Ukida captures Mozarts. This is one of the most delightful performances of one of his sonatas I’ve heard. Bravo! I treasure this recording. Please keep it up forever.
It's Clara Haskil and Lilli Krauss who captures Mozart ; all Adagios of sonatas - concertis ' quatuors ..Mozart by Clara Haskil are all a piano that speaks a nostalgic language , slow movements of Mozart pieces by Haskil are a human who speaks to us not a keyboard , no comparison Haskil in Mozart with others since a half of century
I love this
I am trying to play it now, and you gave me such a big inspiration!
Thank you very much! I often think on reflection that I played it too slowly, but I'm glad you're inspired. Keep playing and enjoy it. It's a great piece! :)
Vou tocar essa peça essa semana porém estava a estudar ela mais rápido. Achei interessante esse andamento. Parabéns pela apresentação.
I love the history behind the song and composer. ❤🎹
Im 15 years old and just learned this masterpiece!
Wow great performance 🙂
1:20 Incredible! The face the look, the emotion, identical to Wanda Landowska!
I disagree with those who think this music should be payed faster; I think all the movements can be played slower to advantage in order to highlight the drama in this music. The largo really needs the sostenuto, so we need to hear the notes dying away (though a modern grand sustains too long). The presto rondo is two in a bar and definitely non troppo if full weight is to be given to the minor key episode which recalls the largo. I would use this episode to determine the overall tempo. If you do not mind a bit of variation in the tempo, the major sections can be a touch faster, with a bit more urgency again for the final section.
Interestingly Nadine André refers to Haydn's string quartets before she plays and I think that if the piece can be imagined as a string quartet the tempo will be right.
Thank you for making this recital available
I love the last movement. Nadine Andre plays wonderfully. I like the E Major piano sonata 15 also.
I am learning to play this piece by myself, and you sound just like what I imagined in my mind when I saw the score. Haydn himself must have intended it to sound like this I believe:)
+유지선 That's very kind, thank you! I'm not sure that Haydn would have played it that slowly ;-)
i can imagine he would. his contemporaries could have been shocked by the musical overdose? ;-)
Best version in the world. Not too slow. Ideal
althoug i m into electronic sounds, let me say, bravo! your touch is elegant, energic, and very accurate. thanks a lot for your superb interpretation of Haydn´s Sonata in Re major.
great from scratch to next the best
Nadine Andre - You would also like the early Joseph Haydn piano sonata in E major with Presto finale numbered Hob. XVI : 13 or in some numerations Sonata 15
Hi Nadine! Joe Moore here. I love this performance it flashed up when I was looking for Haydn sonatas and I found you :) Glad to see you are doing so well. Such a natural performer!
I'm going to the competition with this song today!Cheer up, please.
Me too
Wonderful sensitive interpretation the composer would have loved...and yes the timing is perfect
Well done, Nadine!!! Wonderful classical style, I'll show it my students (I'm teaching musical analysis and harmony) as an example of great playing and interpretation.
Thank you for the wonderful introduction and playing, Nadine. Haydn is great to listen to when one needs a lift. Cheers!
for me is not too slow....people play this piece too fast.
the time is perfect.
Thank you for the recommendation John. I've been busy recently learning more contemporary music, and involving myself in two fantastic trios, however when I return to Haydn, I will definitely consider this great piece!
What a charming lady!
But the dynamics, clarity, and emotion are wonderful!
Yes, it could've been better if you did not have to play in a large room. The echoes aren't very nice.
One of the few pianists to play the Allegro at a musical speed, instead of blasting it out as fast as they can manage to show off.
1:11 where the magic starts
Yes. the tempo is well chosen for the purpose of allowing details to be played clearly and neatly.
Good video. She is great at panio
Very good panio
Haydn, sound music from a sane mind. Shared. The 2nd movement is magnificent!
I want to say hello around the third anniversary of your memorable Haydn sonata performance of November 2010.
best wishes -John Barrett Forks Washington
+John Barrett Thank you for this - I'm being extremely slow to reply to everyone, but I appreciate your acknowledgement. It's almost the 4th anniversary now (and consequentially, also of my engagement to my husband who proposed to me after I played!)
Very nice, and it's a honor for me that the Fazioli Inc. is very close to where I used to live in Italy. Greetings from Colombia and keep up the good work.
It sounds like singing powerful. I really enjoying your playing! Thx
This is so beatufil absolutely wonderful!!😍😍😍❤❤❤
YOU ARE AMAZING!BRAVOOO!!!👍👍👍
Excellent:D:)
Thank you! That question is like asking 'how long is a piece of string?' I started learning it 4 months before that concert and played it a couple of times informally first, but you could say it took me 22 years (from when I started learning the piano :) Keep playing - you'll keep getting better!
IL SECONDO TEMPO E' MERAVIGLIOSO-BRAVA L'INTERPRETE/GIUSTO FRANCO COMPOSITORE PIANISTA SAVONA I
I think this is too slow for me, but u played it very well.
Wonderful playing.
👏👏👏👏👏👏👏Linda interpretação ❤️
This is a good speed and not sure what Haydn intended but I'm sure this is it. Why do people play it so fast. This is really beautiful.
Just a reminder, the tempo marking is Allegro con brio, it could be a bit faster!
ughhh,.... the allegro con brio part is the bane of my existence for that song..... I play want I feel is at medium speed, my teacher says its too fast, I slow down, I start slipping on the 16th notes..... ughh...... but I enjoy this song
Eli Snyder agree
+Eli Snyder Yes I agree with you! At the time, the speed felt right for the acoustic and instrument but I do think it's too slow. Bear in mind that in a drawing room, on a small fortepiano, a faster speed would be much more convincing!
+Nadine Andre I think it's good enough.
Next time put the microphone closer to the piano. The mic placement is full of reverb and reflections. Hard to hear your performance over that. Good job.
Great!
Great piece, great pianist, horrible microphone and camera men :(
nice :)
She's so good :O
I think is a great performance!I am learning this peace by myself any advice!???
Sing along! If you find this tricky, just play the melody (wherever you think it is) and sing that, then gradually add in other parts. Explore as many different ways of voicing/balancing parts as you can and allow yourself to play spontaneously - don't get too hung up on 'fixing' phrasing and dynamics.
Play it slowly lots and lots and listen carefully to what is actually coming out, not just what is going on in your head.
Most importantly of all - enjoy the music EVERY time you play it. If you're not enjoying it, then stop and do something else.
Nadine Andre thank you very much!I have my concert in 1.02.2017
It’s not fast, very thoughtful and analytical, but very thoughtful, although the dynamic range is a little bit more romantic
But obviously she uses a lot of brains and the left and right hands are very clear in such a place with large reverberation, and the handover is very coherent, it sounds ancient and comfortable
The pedal is very economical, and it is basically the reverberation caused by the venue
The finger pedals are connected very well and practiced very finely
The tempo is probably the way it is because of the acoustics of the space she’s in. If you had to play in an echo chamber like that you could only go so fast before it sounds muddy as hell.
I can play the first two pages of this piece and I'm learning the rest but how long did it take you to learn Ito play it like that!! Ur so good!
yeah you have right people want a boast like they fast play
but this work is fun and she just this game
and this is awesome because for that matter
I play that song but you play it 100 times better great job
1:10 is the start
Sehr schön empfunden,sehr sympathisch!!
10/10
No the tempo is perfect, too fast is idiot and useless, but there you can listen all notes. Great Playing!
Emmanuel Hoarau I agree it extremely artistic.
The song is SUPER fast
@@lalaaslzr go to IMSLP and look the autograph score from Haydn, it's an Allegro Con Brio, she played it in approximately 120 bpm, with a very articulate sounding, it's perfect
@@manu974aimwill I don't know if Maelzel's metronome was even invented at this time. I know Beethoven employed it notably in his piano works, but I'm not aware of Haydn or Mozart using it. Anyway the tempo seems entirely appropriate here.
@@timothythorne9464 You are absolutely right, and the debate on metronomics is endless. The allegro of one is different from another, but we have strong evidence today on play speeds, and it all depends largely on whether you count at 1/1, 1/2, 1/4. Here, it's very correct, the play is clear and precise. I recommend Wim Winter's channel, "AuthenticSound".
Good
1:11 start
This British artist’s performance sounds inspired by a great British pianist Dame Myra Hess.
3:56
Nice
Sorry, this is Andantino, not Allegro.
Start:1:06
Hi, I am preparing for Piano Grade 8. Please can you tell me if I have to use sustain pedal for Haydn Sonata in D, Hob. XVI/37, 1st movt: Allegro con brio.
Please do reply. Please.
Thanks
Tony
+Tony Thomas Hi, thanks for your message. Bear with me - I have some suggestions but won't have the time until Sunday or Monday. (You definitely don't have to use the pedal, but in places, and with stylistic awareness, it's a great addition!)
thank you.
+Tony Thomas Hi again Tony. Apologies for the slow response - it's been a mad few weeks! Use of pedal in Haydn certainly isn't obligatory or expected, however it can enhance the music in certain areas. In Haydn't time, knee pedals were common (a sustaining pedal operated with the right knee rather than foot!), therefore slightly longer blocks of pedal tended to be used.
I'd recommend applying this to the occasional bar that contains only one harmony. (In the 1st movt, there are a few places where broken diminished or major chords are played in the RH - these are good pedalled.)
Otherwise, I would steer clear. You also need to bear in mind that modern pianos naturally sustain their notes for much longer, so pedal would only increase that. Minimal use prevents this.
The only other application of pedal would be a slight dab to enhance the sound of a chord here and there; usually at the end of a section or major phrase.
If you want any more information, let me know and I'll do my best to respond more quickly!!
Best of luck!
thank you so much.
9 months late, but the pedal is to be used rather sparingly during the first movement. Let me think to the last time I played it (6 days ago) - I tend to use the pedal at the end of the measures for emphasis but little more. it's mostly free hand. For intance, when starting the forte section of 16th arpeggiated notes, you'll want to hold the pedal for the first beat of the D A F# A for melodic and harmonic emphasis. It's mostly by ear. You can play it without any pedal but it would sound empty. The pedal is at libertum, basically.
During the classical era most pianos did not have very good legato pedals. Mozart's had to be operated by his knees until he had a foot pedal built. So basically any music composed prior to 1800 uses sparing pedal at best. Beethoven was well-known for making the legato pedal a mainstay after 1800.
Is this song piano level 8? Im asking cuz im only level six and a lot of ppl in the comments were saying it was level 8
I know im late af but im level 5 and i take it so it depends on ur skill
I went straight to ITunes.
A bit slower than others,but still quite amazing:)
I explain the first movement of this sonata in detail here (Sonata Allegro Form): ua-cam.com/video/cTjcNla0RL4/v-deo.html
The pianist plays with the adequate disciline, but - it is a crime to use a space with such such an unadequate acoustics for the recording. Jesus said "those who have ears, may listen" - the people responsible or in charge for the recording obviously have no e a rs!!!
존잘♥♥제가 이걸로 대회나가서 들어보려고 찾아봫는데 헣
1:10
Counting is not good and the tempo keeps changing
jana petrovic she did her best ☺️
Стильно! Но качество записи мешает, идет гул.
3악장 개좋다
But she improvised a bit too much on the second movement (only the first chord and the e flat chord near the end), and on the first movement, the second section should also be repeated.
Кто здесь из русских!?!)
더 빠르게 쳤으면 좋았을 걸...
Team việt nam đang tập bài này điểm danh