When these quartets were recorded, the Kodaly Quartet ("KQ") had been playing together for more than a quarter century. It shows. What is evident on these recordings is the perfect cohesion of these highly talented musicians; they clearly have an intimate knowledge of the score of each quartet and thoroughly enjoy playing together. The KQ's performance is fresh, truly conveys their love for this music, and fully brings to life the range of emotions contained in this musical microcosm - playfulness, elegance, sunny joy, and gentle reverie - with every movement of these quartets having a quality of refinement and graciousness that allows the listener to savor every note.

Kissin still looks very much the boy in the cover photo of this 1994 recital, one of the earliest follow-ups to his rapturously received Chopin recitals, also on RCA. He is jsut as phenomenal here. His commanding technique is reined in for the two Haydn sonatas, yet he presses just enough on the classical line to make it sound more vibrant and enticing. Richter made a great specialty of the Schubert A minor Sonata D. 784, yet Kissin steps up with his own less haunted, more heroic interpretation–it works extremely well. Both pianists rescue Schubert from his cliched role as a lyrical innocent, revealing his underlying Beethovenian aspirations.

This disc received the 2000 Gramophone magazine award for "Best Concerto Recording." It also received a Grammy Award nomination for "Best Classical Album" and "Best Instrumental Soloist(s) Performance (with Orchestra)." Franz Joseph Haydn made numerous contributions to the world of music. However, for a composer of his stature, he did not delve much into the realm of piano concertos. Of the 14 attributed to him, eight are probably the work of other composers. The three Haydn piano concertos on this album are all the more delightful for their rarity and beauty.

This disc is likely to have a specialised appeal it is not just Gould but Gould on unfamiliar territory. The disc contains Haydn's last 5 sonatas, extracted on to 1 CD from a set that has only 1 more piece in an expensive 2-disc format. If you know Gould's work you will not be surprised by anything here. He was the least 'romantic' in style of all the great virtuosi, his evenness of touch was legendary and he provides a certain amount of vocal obbligato (not something that bothers me). He uses a piano you could play Rachmaninov on and that does not bother me either Richter, Serkin and Horowitz used similar.

Among his favourite composers, Alfred Brendel has developed a long and fruitful partnership with Joseph Haydn. Exponent of the Viennese Classicism, Haydn seems to be one of the most suitable of composers to Brendel's playing style, from several reasons. Mainly, both the composer and his interpreter exhibit generously quite similar qualities when making music, such as: an unfailing wit, a refined sense of humour, and a tireless disposition to play - to play with emotions, with unanswered questions, even with philosophical or ethical themes.

Every work here is a delight for different reasons, and three of them are more than that: the sonatas #s 40 and 52 and the Andante con Variazioni. Two are brief: #37 (10:33) and #40 (12:14). #37 is a charmer,with a brief Largo amidst two an open Allegro con Brio and a closing Presto-ma non Troppo. The outer movements are effervescent and quite memorable-the Finale slightly more than the first movement. #40 is divided between a nine minute first movement (Allegro e Innocente) and a three minute Presto.

Joseph Haydn, often referred to as 'The Father of the Symphony', has an enormous 109 of these works to his name. Within his vast oeuvre of symphonies is a group of 12, written between 1781 and 1795, which are known as the 'London' symphonies, composed during or for his two visits to the English capital. Brimming with inspiration and character, the 'London' symphonies contain many of the legendary moments of Haydn's works, including the drumroll opening of No.103, the ticking of the clock in the Andante of No.101, the jubilant sound of the triangle in the finale of the 'Military', and that arresting interjection of the timpani in the 'Surprise'. This collection brings together these wonderful works, each of which contributed to Haydn's crafting of the symphonic form that would later be taken up by none other than his pupil and friend, Wolfgang Amadeus Mozart. The Austro-Hungarian Haydn Orchestra was formed by Adam Fischer in 1987 with the express purpose of performing the works of the revered composer.

Widely regarded as the definitive interpretation of the Elgar Cello Concerto, Jacqueline Du Pré's landmark 1965 recording of it is included in this unique compilation. Extending the musical range of the cello repertoire, from fine, exquisite cello suites by Bach to grand orchestral visions of Dvorák and Saint-Saëns, this CD set is not to be missed by fans of Du Pré's warm, brilliant interpretations. This collection, composed of the great works for the cello, is a must have in any serious classical music fan's library. It is an even better collection for the "newbie" to the genre. Jacqueline du Pre was undoubtedly one of the greatest artist of the century and her passion is well documented in this collection.

This is Volume 4 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. The last volume in the series (CHAN10689) was a Critic’s Choice in Gramophone, an Instrumental Choice in the magazine BBC Music, Editor’s Choice in the magazine Classic FM, and Recording of the Month in MusicWeb International. In the words of Bavouzet himself: ‘Each volume of this ambitious, extended project will arrive over the years like a postcard, dispatched during my travels with scant respect for chronological considerations, but undertaken with the greatest passion for trying to convey as vividly as possible to twenty-first-century ears the boundless treasures of this sublime music.’

Throughout this Warner Classics six disc set one remains impressed with Harnoncourt’s tightly controlled direction of his magnificent forces, employing tempi that always feel appropriate. The sound quality is of a high standard as is the interesting and informative annotation. A valuable set of Haydn sacred music that is perfect for dipping in and out.

Sometimes art is so simple and relaxed it seems to come from a place of utter mastery and command. This superb Sviatoslav Richter recording is like this. The presentation is easeful; there’s nothing forced. Richter just plays the music. These sonatas are reasonably easy for a pianist of his caliber, so the technical polish is perfect, which he makes sound effortlessly achieved. And Richter’s love for these Josef Haydn sonatas shows clearly. It results in a disc that is easily the best set of Haydn piano music in my collection.

The English pianist Paul Lewis has been known for detailed, intelligent readings of Beethoven in which he follows his own creative dictates rather than established patterns laid down by others. Now he brings his approach to Haydn, who might seem less suited to it: Haydn's keyboard sonatas, though often delightful, generally haven't been thought of as manifesting the broad public ambitions of his symphonies and string quartets. Yet Lewis, as usual, brings considerable insight to these pieces, and his fans should lap this up. Sample the first movement of the Piano Sonata in C major, Hob. 16/50, for a representative slice: Whatever may be lost in the light humor of many readings is counterbalanced by Lewis' intricate tracings of the unusual second-degree-to-tonic resolution in the main theme and its ramifications throughout the movement.

Alongside an internationally acclaimed celebration of Debussy’s centenary, Jean-Efflam Bavouzet continues his sumptuous journey through Haydn, the instalments consistently praised for their intelligent approach and clear and vivid interpretations. Recorded on a modern Yamaha CFX in the warm acoustic of Potton Hall in Suffolk, the series has now reached Volume 7, which showcases several rarely heard sonatas, some of which have been considered of dubious authenticity or outrightapocryphal.

These three quartets from opus 33 define the archetype of the 'Classical' string quartet, a genre that would henceforth blossom independently of its patrons. Haydn makes of it a music that is light, subtle, intentionally humorous, concise and radiant, capable of leaving private drawing rooms for popular concerts. Mozart immediately detected its originality as would the classic composers of the…20th Century.

Containing two World Premiere Recordings, this new recording on SACD celebrates Johann Simon Mayr (1763-1845). Revered and valued by Rossini and Verdi, for a long time he was known only as Donizetti's teacher. Happily, his oeuvre have undergone a welcome renaissance in recent years and these world premiere recordings are no exception. The Belgian-Israeli pianist Edna Stern and the Georgisches Kammerorchester (Chamber Orchestra) Ingolstadt under Ruben Gazarian present piano concertos nos.1&2.