Haydn's Sonata No. 60 exhibits a wide range of sonority, from just a few notes to full orchestral texture. It is easy to picture almost any section being played in the strings or on the horn, bassoon or oboe. One passage especially brings a smile as Haydn clearly indicates that the pedal should simply be held down as the tinkling sound of a wind-up music box resonates in the whole instrument. As he often did, Haydn wrote the closing rondo in the style of a village dance, with surprising shifts of register and contrasts between loud and soft. It is a good-humoured and original work, as Haydn makes complex structures from only a few notes.

When Beethoven's first biographer, Schindler, asked him what he intended to convey in the Sonata Op. 31, No. 2, Beethoven replied that Schindler should read Shakespeare's play, "The Tempest". Rather than rendering a literal interpretation, Beethoven stages opposing forces - a magical atmosphere, driving rhythms, and powerful chordal architecture. The sonata echoes more than a few Baroque characteristics, with its arpeggiated chords, dramatic tempo changes, cross-rhythms and recitatives. It is worth remembering that according to Czerny, Beethoven used to start his days by playing from Bach's "Well-Tempered Clavier".

Though born in Ireland, John Field spent much of his life outside of his country. While in England he developed a close association with the piano virtuoso and entrepreneur Clementi, and this in turn led him to St. Petersburg where he lived for many years. Near the end of his life, he returned to Britain, and after his departure he wrote the Nocturne in D, perhaps knowing that he would not see his homeland again. The ethereal Nocturne in B flat is exemplary of Field's poetic approach to the piano.

Two arrangements of anonymous Scottish folk songs conclude this recording. The antique mandolin, restored and played by Clive Titmuss, provides a striking complement to the sound of the antique Broadwood pianoforte.

More period instrument recordings played by Susan Adams and Clive Titmuss on the lute, theorbo, mandora, vihuela, harpsichord and Viennese piano are available on CD Baby and other providers. More information, photos and edited music scores are offered on www.earlymusicstudio.com.

1. Sonate in C Major Hob XVI-50 - Allegro molto (Joseph Haydn)
2. Sonate in C Major Hob XVI-50 - Allegro (Joseph Haydn)
3. Sonate in C Major Hob XVI-50 - Adagio (Joseph Haydn)
4. Sonate Op 31 no 2 The Tempest - Largo Allegro- Adagio (Ludwig van Beethoven)
5. Sonate Op 31 no 2 The Tempest - Allegretto (Ludwig van Beethoven)
6. Nocturne in D Minor (John Field)
7. Nocturne in B Flat Major (John Field)
8. Bagatelle in G Minor Op 119 (Ludwig van Beethoven)
9. The Bluebells of Scotland
10. Over the Sea to Skye

Listen to: the entire album.

Release date: 02/12/2022
Susan Adams lives in British Columbia Canada

Tagged as: Classical, Instrumental Classical, Piano, Composer: John Field, Composer: Joseph Haydn, Composer: Ludwig van Beethoven

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11. Les Larmes of Johannes Fresneau by Edward Martin: vihuela, renaissance and baroque lute
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13. The Airs of Wales by Cheryl Ann Fulton: World-class performer and teacher of Medieval, Baroque, Welsh triple, Celtic and Concert harps.
14. Toccata - Touched by Alex McCartney: Reflective, historically-informed performance on the lute
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18. Il Rossetto, Domenico Bianchini's Lute Book (1546) by Richard MacKenzie: Virtuoso English Lutenist and Guitarist
19. A Solo Piano Christmas by Chad Lawson: Multi-award winning pianist and composer who is not afraid to put his hat in anything
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