Thus ends the complete keyboard sonatas by Haydn, played on the piano by Jean-Efflam Bavouzet. Along the way, the Frenchman wished to juxtapose sonatas from different periods, to the point that, symbolically, volume 11 contains the first and the last two sonatas (61e and 62e), the 60e found on volume 10. Bavouzet takes great care to differentiate his pedal playing according to the aesthetic periods (also marking the evolution of the instrument), the 62e being very “Beethovenian”. On the aesthetic level, we can draw a parallel between this integral and the Bach recordings of Perahia: a form of evidence through elegance, naturalness, a lightness which retains a certain body and does not become “little lace”. . We also find the concern not to do, expressively, too much, so as not to fall into a “false romanticism”. With great spirit, Bavouzet completes the course with melancholy, in infinite resonance, with an allegretto for musical clock (Flotenuhr) transcribed for keyboard.
Click here for an excerpt.
To see in video