Jean-Efflam Bavouzet teaches Haydn E Minor Sonata, Hob.XVI/34 

7:50-9:00, time freeze, “don’t move”, really! Very good reminder. Body and hands movements speak volumes!

Haydn never ceases to amaze me. Thankfully his music gets discovered by true music lovers and preserved. Bach the foundation (plus so much more), Haydn the architect (plus so much more).

It is so great that the magnificent Haydn has such a learned and musical advocate in Maître Bavouzet.

Amazing! Provides depth in the Haydn piano sonatas!

Umwerfend gut! Alles paßt! Vortrag, Didaktik, Sprachmusik, Klarheit, Hilfe, danke!!

Thank you! Amazing analysis! Helped me tremendously. I am really enjoying this sonata recently.

Wonderful to have such an analysis, and so clearly explained. The education we get from it in terms of how to interpret, and deal with the piece is beyond price. What a marvellous gift of understanding to us pianists, and a real tribute to the great Haydn. Thank you very much!

This is very helpful! Thank you!

I love the practice techniques.

certainly there is another sonata in minor mode-g minor XVI:32 with 2 -mov structure

Great ！very helpful ,merci maître.

thank you!!!

Maestro, you forgot the great G minor sonata...

“homeopathic pedal”..brilliant

Pity, though, that he's using a Yamaha, which I find lacking in warmth.

Encore un Français qui se fiche de sa langue. Le tout à l'anglais me met hors de moi.

Didn't he forget the g minor Hoboken XVI/44 or is that somehow proven to be by someone else?

Awww you left out one of my personal favorites- G minor, 44 That first movement is just sublime❤

Brilliant Masterclass.Thank you Maestro.

Mentoring from one of the best. Thank you!

Absolutely bang on. Alfred Brendel once gave a wonderful talk on BBC Radio 3 on humour, expectation and surprise in music. He would have agreed with every word you say. All art is about structure and structure is about affirmation and astonishment, surprise. What was it Schnabel used to say about him (Schnabel) being the only musician who could do justice to the silences?

Great stuff, played this for over 25 years but never had a good teacher with it.

Essential listening for anyone learning this interesting and rewarding movement, from a performer whose recordings of Haydn sonatas are outstanding. Many thanks.

What a wonderful pianist!

More!Svp!

Well, there is also g-moll sonata, so six, not five.

I really enjoyed this video! I like watching it again and again, I always learn something new about this great piece!

Спасибо, очень полезные замечания!

Utterly brilliant video 👏

Mr. Jean-Efflam is the main pianist I put on to listen anything Haydn! His recordings are masterful and it is nice actually seeing him and hearing him speak of Haydn!

Fantastic information here! With all due respect to Bavouzet-as I love his playing, especially his Debussy!-I’ve read the research and there is no account whatsoever of Haydn stating that he found the pianos of his time “lacking power” (9:37). Haydn approached his instruments (fortepiani) with much love, respect and adherence to their expressive capabilities. According to conversations with Haydn by A. C. Dies, and recent research by Bart van Oort; Mozart, Beethoven and Haydn successfully achieved their desired dramatic nuance and/or contrast in dynamics on the instruments of their time (being on either a Viennese or English piano). E. M. Ripin (1969) said that “English trebles were [known to be] particularly powerful” (remember this is from THEIR perspective and aesthetic preconceptions). Milchmeyer (1750, respected German pedagogue/musicologist of their time) said that the Viennese pianos had an “extremely strong” bass register. They were definitely not complaining about the lack of power in the instruments by the ‘great piano makers’. We live amongst modern pianos and are preconditioned to the loudness and power from our magnificent modern grand pianos. We cannot assume that the great composers thought their pianos were ‘weak’, it’s simply not true. Such an assumption was born out of our own aesthetic preconceptions and expectations of what volume and drama ‘should’ sound like. (To balance my argument, Beethoven as we know, composed music that pushed the boundaries of the pianos he was playing, he was always innovating. So yes, Beethoven towards his later works was wanting MORE from the instruments, but never in terms of sheer volume, more so in terms of quality of tone. [Skowroneck, Tilman. Beethoven the Pianist, 2010]).

up till now i see the connection of Haydn to Beethoven. thanks maestro!

👍🏼👍🏼👍🏼thank you .

brilliant

Wow! So many important performance/practice tips! I will probably learn this piece soon! Thank you!

Very interesting, thank you: (the - presumably automatic - translation into French is sometimes a bit quirky, but that must not deter anyone)

하이든은 정말 위대한 건축가입니다~!!

❤❤❤

Wonderfully played...