I first discovered this wonderful set of variations through a concert pianist friend, who performed them in a salon concert some years ago. As a lifetime lover of Schubert’s music, I was struck by how “Schubertian” this music is, especially in the minor key variations, where Haydn finds great emotional depth and expression.
The piece was composed in 1793, and was described as a Sonata ‘Un piccolo divertimento’ in the autograph manuscript, written for a “Signora de Ployer” (probably the pianist Barbara Ployer, for whom Mozart composed the piano concertos K449 and K453). It was written at a time when the pianoforte was developing fast – Haydn would have encountered the new Broadwood piano with its more sonorous bass on his visits to London – and this piece really capitalises on the range and sonority of these bigger, stronger instruments.
The piece is a set of double variations, with the first theme in melancholy f minor and the second in warm F major. Two variations of each theme and an extended coda follow. While the music may look forward to Schubert’s lyricism and expressivity in its minor key episodes, it is also replete with Haydn’s characteristic wit achieved through articulation, dramatic pauses and embellishments, while his mastery of structure, harmonic innovation, and thematic development is evident throughout.
Haydn achieves a very effective and dramatic operatic dialogue as the music seamlessly transitions between passages of stark intensity and moments of delicate lyricism. For instance, the first variation introduces a more agitated character, with rapid figurations and abrupt dynamic shifts that inject a sense of urgency into the music. In contrast, the following variation may offer a more introspective mood, with subdued dynamics and lyrical embellishments suggesting a more intimate realm of expression.
Despite the relatively constrained harmonic palette, Haydn manages to infuse each variation with harmonic surprises and innovations that keep the player and listener engaged. Whether through unexpected modulations, chromaticism, or clever reinterpretations of harmonic progressions, Haydn demonstrates his ability to push the boundaries of tonal expression within the classical style. The result is a captivating, multi-faceted musical journey.
For the pianist, the music demands a high level of technical proficiency, particularly in terms of finger dexterity and agility. The variations encompass a wide range of technical challenges including rapid passagework and intricate ornamentation which require great precision. Minimal use of the pedal will ensure these passages retain their clarity. The music also requires sensitive dynamic shading to create contrast – from the softest pianissimo to dramatic fortissimo. A keen sense of the overall architecture of the piece will enable the player to balance the main themes with the diversity of the individual variations. Overall, this piece is very satisfying to play and its richness and complexity offers plenty of scope for expression.
Here is Alfred Brendel
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Olivier Messiaen is widely regarded as one of the most important composers of the 20th century, known for his unique approach to harmony, rhythm, and melody. His music is challenging for any performer, requiring not only technical skill, but also a deep understanding of his unique musical language.
The pianists presented here demonstrate a remarkable ability to capture the essence of Messiaen’s music, bringing out its intricate harmonies, colours, textures and rhythms, as well as its emotional depth.
Yvonne Loriod
Messiaen’s student, muse and second wife, Yvonne Loriod was a highly accomplished pianist in her own right. Many of his piano works were written with her in mind. The Vingt regards sur l’Enfant-Jésus (“Twenty Contemplations on the Infant Jesus”) were dedicated to Loriod, and she premiered the work at the Salle Gaveau in Paris in March 1945. Loriod’s playing is known for its clarity and precision, as well as her ability to capture the essence of Messiaen’s unique style. She recorded several albums of Messiaen’s piano music, including the complete set of Preludes and the Catalogue d’Oiseaux.
Pierre-Laurent Aimard
French pianist Pierre-Laurent Aimard is widely recognized as one of the foremost interpreters of Messiaen’s music. Aimard’s connection to Messiaen’s work runs deep, as he was a student of the composer and worked closely with him and his wife Yvonne Loriod. Aimard’s recordings of Messiaen’s piano music are considered some of the most authoritative, and he has performed Messiaen’s works all over the world to critical acclaim.
Angela Hewitt
Canadian pianist Angela Hewitt is perhaps best known for her interpretations of Baroque and Classical music, but she has also made a name for herself in more contemporary repertoire, including Messiaen’s piano music. Her recordings of Messiaen’s music are admired for their technical precision and attention to detail, as well as her ability to bring out the emotional depth of the music.
Steven Osborne
Scottish pianist Steven Osborne has performed Messiaen’s music all over the world, including the Vingt regards and Turangâlila Symphonie. Osborne expertly navigates the intricate harmonies and rhythms in Messiaen’s music with ease, bringing out the complex textures and polyrhythms that are hallmarks of the composer’s style. At the same time, he captures the emotional breadth and spiritual intensity that are crucial features of Messiaen’s music. His performances of the Vingt regards in particular are extraordinarily absorbing, meditative and moving, combining musicality, virtuosity and commitment. (I’ve heard Osborne perform this monumental work twice in London and on both occasions it has been utterly mesmerising and profoundly emotional.)
Tal Walker
For his debut disc, the young Israeli-Belgian pianist Tal Walker included Messiaen’s Eight Preludes. Composed in the 1920s, they are clearly influenced by Debussy with their unresolved or ambiguous, veiled harmonies and parallel chords which are used for pianistic colour and timbre rather than definite harmonic progression. But the Preludes are also mystical rather than purely impressionistic, and look forward to Messiaen’s profoundly spiritual later piano works, Visions de l’Amen (for 2 pianos) and the Vingt regards. Tal Walker displays a rare sensitivity towards this music and his performance is tasteful, restrained yet full of colour, lyricism and musical intelligence.
Other Messiaen pianists to explore: Tamara Stefanovic, Peter Hill, Jean-Yves Thibaudet, Ralph van Raat, Benjamin Frith, Peter Donohoe
This article first appeared on InterludeHK
The Cross-Eyed Pianist 