Haydn: Piano Sonata No. 54 in G major, Hob.XVI:40

“These are landmark recordings, thanks to the French pianist’s stylistic command and sheer delight in the music. The latest disc is dominated by the jolly Sonata No 15 in E, the tripping ornamental motifs of which tumble out with a mixture of nonchalance and elegance...Bavouzet reveals the music’s expressive charm and craftsman-like ingenuity.” Financial Times, 6th April 2013 ****

“Everything in this Haydn collection is cleanly articulated, judiciously pedalled and expressively varied in colour and touch.” BBC Music Magazine, February 2010 ***

“Anne Queffélec… uses the full resources of the piano and her response to the Variations is both thoughtful and richly analytical. She is totally involved, and is just as involved in her interpretation of the Sonata traditionally considered Haydn's last but placed third from the end by scholar Georg Feder. Fine rhythm and articulation illuminate her playing.” Gramophone Magazine, February 2010

“A French pupil of Alfred Brendel, Queffelec plays with a delightful lightness of touch, coupled with intellectual penetration. She shares the master’s love of Haydn...though Queffelec’s playing is more feminine and feline.” The Times, 5th December 2009 ****

“Hamelin kicks off with the late C major Sonata, H50, nailing his virtuoso credentials firmly to the mast with a mercurial account of its opening movement. Some may prefer Schiff's more measured approach, but Hamelin's playing is dazzling, and his 'presto' finale is no less witty than Schiff's.” BBC Music Magazine, April 2007 *****

“Hamelin’s gift for making light of complex textures and technically taxing writing is here harnessed to music of Classical clarity and economy. It is without doubt one of his finest achievements—and that’s saying something. This cleverly chosen selection of diverse character is played with masterly resourcefulness. Hamelin can do deadpan humour (the finale of No 40) and brilliant note-spinning (No 32) like few others, but also finds a truly affecting wistfulness in some of the slow movements. Superbly recorded, this is a life-enhancing release” Classic FM Magazine

“The ever-phenomenal Marc-André Hamelin breaks out into the light with a two-disc set of Haydn sonatas … these are astonishing performances … Hyperion’s sound and presentation are, as always, immaculate” Gramophone Magazine

“For long confined to the by-ways of the repertoire, the ever-phenomenal Marc-André Hamelin now breaks out into the light with a twodisc set of Haydn sonatas. And unlike Haydn who considered himself less than a wizard of the keyboard, Hamelin is a prodigious virtuoso. Here, he remains one, in a full if not entirely inclusive sense, often susceptible to Haydn's wit, to vertiginous music which can veer to the right just when you expect it to turn left, and vice versa.
He is brilliantly alert to the first Menuetto from No 43, to a dance at once perky and serious, almost as if the composer with his toy fanfares was trying unsuccessfully to keep a straight face. And he can be hauntingly limpid and serene, as in the alternately calm and troubled Adagio from No 46. However, in No 23 one longs for Hamelin to relax his virtuoso prowess.
Here, there is an unmistakable sense of hurry, of Haydn's riches glimpsed rather than savoured, of a composer's piquancy nearly bustled out of existence. Others, too, have achieved greater grandeur in the final E flat Sonata or made the storm clouds scud more menacingly across the B minor Sonata's finale (Andsnes, Ax and, most of all, Brendel). None the less, these are astonishing performances. Hyperion's sound and presentation are, as always, immaculate.” Gramophone Classical Music Guide, 2010

“In one particular way, these performances of Haydn's Sonata Nos 59 in E-flat Major, 54 in G Major, 47 in B Minor and 40 in E-flat Major are the antithesis of scholarly. Well, they are scholarly in the best sense, but are also free of any stuffiness or dryness, as Geoffrey Lancaster unleashes two reproductions of late 18th¬century fortepianos to bring out as much of the diversion, wit and unceasing drama that can be summoned from these scores. These are very free readings, seeking to express Haydn's amazing reservoir of lively inventiveness. As part of his musical adventure, Lancaster reverts to a very old musical practice of adding a short Prelude before each sonata. Some of these are based on old original preludes from other hands; some are composed by Lancaster himself at the keyboard. And in another reversion to historical practice, he resiles from a literal reading of the score to add appropriate improvised embellishments.” Anthony Clarke, Limelight, January 2012

“Lancaster’s brand of lyricism is unusual: hard-edged, hard-fought and hard-won, making for a different kind of expressiveness. It’s not beautiful but it holds your attention. A continually wayward individuality is stressed.” MusicWeb International, July 2012

“Her readings cover a full gamut of expression from the poised to the brilliant, making much of the colour contrasts offered by her main instrument, a fine-toned c1795 Schantz fortepiano...Stylistically her added decorations are always well considered.” BBC Music Magazine, May 2010 ****

“…like many players approaching the instrument from the direction of the harpsichord, she appreciates its special qualities and realises them with a relish and originality that releases this wonderful music from the "warm-up" status it often endures in "traditional" piano circles. Quite simply, she restores its colour, expressiveness and grandeur. This is fortepiano-playing of true distinction.” Gramophone Magazine, March 2010

“Cerasi matches Haydn's invention in articulation of infinite variety, judicious use of the secretive timbre of the fortepiano's soft pedal, and subtle application of rubato.” The Independent on Sunday, 3rd January 2010

“Haydn is given his own voice. You cannot expect anything less from Alfred Brendel who rarely fails to make you listen, think and feel - as indeed he does. An elite musician.” Gramophone Magazine, March 2006