Joseph Haydr I Plano Sc..-----

I
Joseph Haydr I Plano Sc..-----
The 1960 and 2007 recordings

Ian3 Leygraf, 196
histariska Muse

About the recordings
dB Productions has previously bd the great
trust and honour of releasing Ham Leygrafs
monumental rewrdings of Mozarfs complete
piano matas (dBCD75-79, dBCDIO8) and all
of Debussy's peludes for piano (dBCD107). The
Debussy album was quite rightly nominated for a
Swedish Grammis Award last year in the category
"Classical Solo of the Year'.
Naturally, I was very
interested when Hans told me of his old, 1 BBO radio
mrditqs of Joseph Haydn's piano sonatas. Copies
were ordered from the Swedih Broadcasting
Corporation's arahlve and - as I eqxcted - I entered
a fantastic world when I loaded the first CD-R into
the player. Despite the obvious nobe on thew
almost 50 year~ld rmrdings thew was no dwbt
that this was a fabulous musical wasurel 50 we
immediately began to ewlore the possiblltties of
releasing this material as soon ai possible, despite
dB Productions' already tight relexe xhedule.
It was not long, however, before Hans Lqgraf,
mepltulaus and selfsrldpltal as he Is, reallzed that
he w l d like to re-record the fast sonatas. I saw
of murw the possibilities and the uniqueness of
a prdudion which allows the listener to feel -
wkhout exaggerating - the wlng-strokes of history,
even if new recording wwld delay the proid.
I was also slightly worried. I had no doubt that
Om lnspalnlngarna
dB Produalonr har ddlgare fitt da nora
fbrdet 0th aran an ge ut Ham Leygrafs
monumertala inspelningar av Mmarts amtllga
pianosonater, ramt Debussyys alla preludier f6r
piano. IDehssy-CDn, dBCD107, nminerader
f6r Ivrigt, med ratta, till en Gramrnis ferra Bret
i kategorin 'Am Klassiska Dlo'). Jag blew
darf8r naturligtvis valdlgt inwesserad nar Haw
berlnade om slna pmla radlolnspelningar
frAn 1960 av Haydns planosmer. Koplci frin
Sveriges Radlos arkiv rkaffades fram 0th - snm
vintat- var deten fantanirkvlrld som dppnades
nar jag lade den f6rsta rkivan i CD-rpelaren.
Tmu dn patagliga bruset p4 der5a nlstan 50
Ir prnla upptagningar, var dei etngen tvckan om
art det hlr var Mga om en stor rnusikskattl Vi
bbrlade dlrfar genxt sklw pi mlljllghetema att
snarast ge ut dma material, trots dE Produalonr
prerrsde utplvninwlan.
Det driijde d ~ inte k linge fbnln Hans Leygraf,
naqgrann xh sjilukritirk rom han ar, Insag
att han gdrna ville spela in de rista sonata
pi nytt, lag dg ~turligtvis mbjlighm
bch det unika i en utglva dur Nsnaren, utan
an Bverdrlua, kan kanna hktorienr vlngslag.
Jag kande dock en viss om. Atl Lpygraf var en
lysande pianist och muriker annu vld 87 An
llkr var jag ju medueten om, eftrr atf ha njuWt

Leygraf, at 87, was still a brilliant live pianist and
musician, having enjoyed his pwfomna at a
couple of conceltr during his most recent tour of
Sweden. But how would he pwform in front of the
micmphonps?
My wonies were thoroughly unjustified. The
rwding sessions with Hans Leyqraf w e a joy
and an unhpthble experience. At thesame rime.
it was a healthy reminder for a music pwducerthat
if is amally the musician who 'gets the job he'
through praaice and preparation. Today, young
musicians are often spoiled by the pomibilitks of
fixing evetything in the ding process. Sometimes
tky do not even bother to play the whole piace
right through from bqinning to the end. In Hans
Leygmfs case the prdern was raher the ~ i t e .
On several mrrsions, alter p m almt
luminous, tdker of cnrnplete sonata mowmenis,
I had m explain to Hans that 'sure, I agree, you
played unimpeachably, but it might be a@ idea
to do at least one reserve take, in case there should
be a technkal problem with the audio tape...'. 50.
with a sigh of resignation, he would sit h n at the
piano again: 'OK. I guess I'll play it once more. But
it WAS m...".
When I mded Hans Leygraf in February and
April 2007,l was abut as old as Leygraf was when
he m& his Haydn mrdings in 1960, when i was
not yet born, llisis ~turally adinyingperspectiw.
av bnr muriwrande +id ett par bnrerter under
hanr swrarte bml i Swerige. Men hur iulle det
gi atl spela Kor mikmfonwna?
lag ha& d ~ inte k Iwhvt nroa rnig.
lmpelningsarbera rned Hans Lqgral blev en
fwd och ett mlme f6r l i och jilmtidigt en
nynig p3mlnnelre fiw en murikphent att
det faktirkt ir rnmikern sm zRa 'Nra jobbet'
genom att vara d l fiwbed. Oagens unga
muikerirofla ftakiimdadatt 'At g.31 mt
fixa wid redgeringen", &I berntdar slg lbld
ink em at spela in Ma stytlrep frAn Wrjan rill
slut. I Ham Leygrah fall var pmbW rraran
da nmvanda; jag fick vid Rera tillfilm, efter
perfekta, nastan rjiklpand! hela tagningar
au ronatsater, lrklara fir Wns att "visst jag
haller med der var oamastrg @at men det
kanske tun& vara bra an gBra atrnlnsme
en rerenrtagnlng, om da t ex. skulle MI
nigw teknlskt fel lju&anrkt..'. Vawd han
reclgnent ruckade och satte sig wd Rygeln igen:
'Ok, jag rpzlar det vil en gang till dB. Men &t
varju bra..'.
Nir jag spebde in Hans leygraf i februari och
april 2007 var jag lika ganrnal scm Waf var
nir han gjorde slna Haydn-Inspelfingar 1960,
dl jag alld lnte era var fhdd. Det Ir givetvir etl
hlvlande perspekliv. la(l hoppas att jag nirjag
ar 87 (om jag lwer 51 linge ...I har aminstone
eu bdiikdel av dm energi, vitalitet, humm o h

I can only hope that when I am 87 (if I live tong
enough ... ) I have at lext a fraction of the energy,
vitality, humour and boyihnss Ham Leygraf still
has today!
The selected Haydn sonatas
Erik Nilswn
Evwy era of art develop a5 a namral continurttion
of, and in conscious oppmition to, dd patterns
and ideak. When we talk of "dassical rnuic', it
can be regarded as the musical siyle that reached
its absdute perktion in the late 18th cmtuw
with Haydn and Mozalt The demarcation from
the baroque with its stylized dance movements
is sjgnficant - new forms and mrnbinatiom in a
never ending experimerrtation of musicians and
mnp~ers, filled with lnwntiw joy. The heavy
grauity of the baroque style was replaced by
grace, sensit~ty, harm and clarity -the so-called
emotwnal and gallant style following the passion
faith of ~e time. Music shwld move and absorb1
The mata form with in comasting elementr,
enposition, development and recapitulation became
the norm. The symphmy, the cyclic orchestra form,
b@ns itr bmlnatlng influence In the middle
of the centuly. Vienna bemmes rhe hvb of this
woluticxl although impukes from other sources are
important not least from Bohemia and Italy.
det pojksinne, som Hans Leygraf fwrfarande
besitter ldagl
Erik NIlmn
De utvalda Haydn-wnaterna
Vade stilepok inom konsterna har lrtvetkbts
i naturlig fortslttning o h i rnedveten
opprition mot gamla minster och ideal.
Talar vi om klassisk musik kan dirmed avses
den musikal~ska stil som nadde sin absoluta
fullbnrdan under da senare 17M-talet med
Haydn och Mozart.Awgrlnmlngen mot ba&n
med dess stilisemde damser ir marhot, nya
former DE~ nya kombinationer i ett oindligt
experirnenterande av rnusikw och kcmittare,
fyllda au elementar upptaclrarglidje, De Wnga
o h gravitetiska rtildragen i barodten avlriser
au da gracih, sinnllga, Ilkvarda od-t khra,
den d kallade klnclosamma ~h galanta stilen
enligt den da radande affekdlran. Musilren
rlollle riira ach engagera! Sonatformen med dess
kontrasterandeelernent exporition. gemrnflldng
och repetitionsdd. blir normgivande. 5ymfonin,
den cyklislra orkesterformen, inleder slit
dominerande inflytande i rniften av reklet Wlen
blir navet i dmna utveckliq Iwn om impulrer
frin andra hall Br ulrentliga, inte minst frln
B6hrnen och Italien.
En synnerlig@n betydande mll I utvecklingen

The famous orchestra of Mannheim, under the
Eohemian Johan Starnib and his sons Carl and
Anton, played a cluclal part in the development of
the new style from the 17% and for many decades
to mme. Mozart's dwotion to the orchestla and
fts musicians, among which he had personal
compmer friinds, is ckar in letten to his father
Impold in 1777: '... with one word: irr I love
Mannheim, Mannheirn also lwes me.". Tern such
"Mannheim crescendo' (a fxt dynarnicinwase
from pianissimo to forte) and 'Mannheirn rockets"
(bid figures with rapid, upward mwementr)?
broken hwds, clear ernphas~ on a second theme
and development pa% and the independent
6 elaboration of horns and h i n d were new
ideas that became imponant for central Europe's
mwlcal evolution. Dynamic-expressiw qulckslhw
flexibtli wkh competent rnmicians and composers
mmibuted to the high esteem of the Mannheim
orchesea at that time. Unfwtunately thisorchestra,
origlnafly musically healthy and full of experimental
lust kame stale with artificial attitudes. Leopold
Mozart writes already In 1777 in a letter to his son
of the "shallow Mannheim style".
Joseph Haydn was born during thls exiting
period of transition between barque and
clzssicnm. From a young age he had to earn his
living as a pradising entertainment musician in
Vienna, At the age of 27, he was employed as
w den nya nllen fran 1750-talet och Rera
decennler framat spefade den Kmda orkestwn
1 Mannheim under ledning av Whmaren Iohann
Starnib och hanr sene1 Carl och AnMn. Mozam
helhjurtede qagmng i ~ t e och m dPss
musiker, bland vllka han ha& personliga
tonsanarvinner frarngar klan av nagra brw
till fader Leopold 1777: '. .. med ett ord: som jag
llskar Mannheim, llskar ockri Mannheim mig."
Termer som empekis 'Mannheirncrercendo"
(fdn pianissimo till forte i snabb stegring) o h
'Mannheimraketer' (h-eklangsfigurer I hastlgi
upphtgaende mrehe), bnnna aclmrd, markant
behing avetr andra tema 0th genomfdrlngrdel,
rjilvstlndlg utveckllng avhornorhtrlblAsarevar
nya 1&r $om flck p3tagllg resonam i mwikens
utveckllng 1 Centraleuropa. Dynamisk-qrdv
kvldtsilverrdrli~het med dickliga musiker ~h
tonritkre bidmg till an just Mannheimorkertern
kom att Btnjuta higt anseande vld denraa old,
tyvinkomdennauqrungl~t runt murlkantirka
~h expwlmemglada orkener att rtelna i
fbrkonstlade attityder, Leopnld Mozart petalar i
at brw tlll sonen redan 1777 'den fnrllackade
Mannhelmnllen.'
Haydn flMdes under denna spannande
brytningstid mllan bard ~h kklclm.
Tidigt blw hen twngen att lrsdja slg som
praktiserande underhlllnlngsmusilrer I Wien o d ~
ehlll vid 27 drs Alder sin Mrsta anrtillning ram

conductor for the fl~t
time by Count Monin of
Bohemia, where he composed his fitst rymphmies.
In 1761 Haydn was appointed vice-conducmr and,
from 1768, first stductw in the Esterhky princely
hwse. The coma of ernplcyment Haydn signed
in 1761 commands the greatest re- fw his
duties: a heavy pragram as leadw of the orchestra
and singers plus the obligation to compose music
for the &stra and the local cpra. He remained
until the death of the musk-lwing Prince Nikolaus
in 1790, who= suwessw dissolved the orchema
but kept its famws anductor and gave him full
freedom to do whatever he wanted.
k a young creative murlcian, Haydn came
inta close contact with Austrian and Hungarian
folk music, which has richly marked many of his
most Imponant compositions. Among the leading
composers of the dme, whose wmpositions Haydn
eagerly studied vm the Viennese Georg Chrkwph
Wagenseil above all (1 715-1777, Errpress Maria
Therera's teacher), as well asMatthia Gmrg Mmn
(1717-1750) and Carl Phillpp Emanuel Bach (1714-
1788). The 'great Bach" of that time was active
as a rather well-paid hargichrdist at Frrdwick the
Greafs In Potsdam in 1738-1768. The gemus
Haydn claimed off~tally hat Carl Phillpp Emanuel's
sonatas had been a rwelatlw to him and that
'thore who know my works must malise h
imrnenwly indebtwl I am m Emanuel Bxhch".
kaperlmlstare tws en grew Morzin i Blhrnen
dir han brnpnerade rina k t a symfvnier.
1761 anstllldes Haydn mm vice, fran 176H som
fiinte kapellminare I-ms furstarna Estehlzy
till 1740 dl den rnusik~lslrande furn Nlkolaus
avled. Hans efterf8lIam upplhte kapellet men
behall sln berBrnde kapellmlnare mminelh
I sln tpnrt md full frihet an ~6ra vad han
ullle. Det anstlllningsbntrakt som Hqch
undertetknade 1761 in$er den djupaste respekl
f6r hans Bligganden: en ktungande hrnhet
mrn Mare fk kapellet o h slngam, dijamte
skyldighet att bmpnera musik fk den lobla
operan och orkestwn.
bm ung utwande murllrw bm Haydn I
mxlebar kontalrt med den drterriklska
och ungerska folkmuslkn, nAgot som
genomgaende satt rika rpdr i htrkilliga av
hans rnera betydandc bmpritbner. Bland de
tonsittan, 5om vid h n a tid var ledande namn
och van kmpositlmer den unge Haydn ivrigt
studerade, b8r frlmrt nlmnas wlenarna Gewg
Chrlstoph Wagensell (1715-17771, kejsarinnan
Marla Thereclar larare, Manhtas Georg Monn
(1717-1750) orh Cad Phlllpp Emanuel Bach
(1714-17881, den "Sore Bath' vld denna td.
fdn 1738 till t768 verkram rom ndgulunda
anstandlgt avldnad ambalr* hm Frdrik den
note i Potsdam. Den geeerh Haydn tilktd
dppet att Carl Phlllpp Emanuels so~tervaritsom

Thwe is no dwbt that Haydn was the majw
spearhead of Vienna classicism that reached its
abwlute perfection dwing the two last d m d ~
of the lSth cemry in him and his 24- ywnger
friend, Mmn. Getting there wm anything but
easy. "1 lived isolated fromthe widerwodd, nobady
around me could make me lose my self-confidenw,
thus I had to bmme original', Haydn once said
with justified pride after his two triumphant tours
!a London.
As with m t of the l%th century car-,
Haydn was exbernely prwhiue. His wolution
through the hinant stylps i5 fascinating: the
symphony, the string quanet, the piano sonab the
piano t~b, the oratory, the ma. Unlike Mozart
whose rnhrty a a composer grew incredibly
fast from wonder child to genius, Haydn's path to
absolute masmy follwved a calm, skdy pace.
His way of working wx also methodial: after
dressing in the morning he went to hi W r d
inmument and started improvising until a new
idea had taken shape and been written down. This
rnethwd of working shows he wly close connection
between irnprwisah, variation and treamwnt on
paper. From the first hesitating trim in the 17505
and 605 to the masferpiews of the 1790% Jwph
Haydn's wwks are one of wstern art murids mcd
excitlng chapte~! Hb wondwful, imrentiw joy also
resulted at timer in a choice of keys that we do
en uppenbareke fir honwn &I an "den sun
kimer mim verk n-&e inse hur oemdrr @a
jag har an mka h n u d Bach Hi'.
byin kan rveklmt stbet sam den store
vagmjam Mi wienklasrk'i~meb scrm med
hmm orh den 14 Ir yngre vinnwr Mmrt
nWe sln bluta fullidning under 1700-
taletr M a skta artionden. Vigen dit vat all;
annat in Iitt. 'lag M e arrkild Mn
stora
drldea inpm i min narha kunde fh mig att
hivla pA mig sjalv &I lrrltera mQ, silunda w
jag NUngen att bl Mghell' W d e thyh m d
inte oberartigd nolthet nir han pB 1793-talet
kk thma triumfer~r plral som resultat av &
bada tumkm ti! ioncbn.
I likhet med Rwtalet manare under
f700-talet vzw H e oehnn pmduktlu. Hans
utuerklin&ng arseende de dominwmde
genrerna %r falnermde: symfonin,
sWAkkvaMen, pianommh, Hamtiion,
oratoriet, missan. I mots%ts ti1 b a n wars
m g ~ scrm d tomittere Jredk med rekmdamd
snabbhet frin urderbam till geni gidc H q h
vlg till det abduta rnasmkapet I en lugn.
jimn takt. Hans ahan war otk5 metodi
genast efrer det an han p3 morgm klitt
pa slg glck han till sltt kbverinm ~h
bf+de Improvkera till derr att en ny id4 tagit
form cch teckuats ner. h n a arbeMMmd
visar en pataglit nira rammanhang melh

not find in Mozarfs music or in that of any of his
other mtemporaries (for example a symphony in B
Major, a @ano+io in E flat minor).
No fewer than some 5kty piano sonatx were
written by lweph Haydn. They can be divided
chronically into four general groups:
I. The early sonalx from ca 1750 until Haydn's first
years as first conductor in the Esterhlq princely
houie;
2. A mall number of xlrntas from the period that
can be dmcribed as Haydn's "break-through', ca
176&1771;
3. Three series uf sk sonatas each, along with a few
occasional ones, horn Haydn's 'mid perid" as a
composer, ca 1773-1780;
4. The fve late sonatas from the composer's
last years at Estehq'5 until the London period,
1'1881795.
Ham Leygraf's selenion gives a representative
wewiew of Haydn's dwelopmnt within the
genre over more than three decades. Already
In the early sonatas from 1766-68 (A Majw, D
Majw, A flat Major), Haydn show himelf to be a
mstw of the small format, with sweral momerm
of rleady prronal wkur, elegance, esprit and
iqaMe harm. In the A Majw sonata, with all the
rnwernents in the same key (a barque fernre)
one especially notices the beautiful minor key trio
of ahe rnenwt. These sonatas are written for the
improvisation, variation ach rkrifnig utarbetning.
Frdn de fnrsta trevande firsirken under 1M-
60-talen till de nora minerwken under
1190-tale1 ir Joseph Haydns verk err w $en
visterlandska lmnstrnuslkens mest splnnande
kap~tdl Ham underham upptickarglidje
resulterade dessumm ibland i twartrval m
varbn fBnkommer ha Mozart elk n@n
annan samtida (till exernpel en qmhni i H-dur,
en pianotrio i err-moll).
lnte mindre In ett wxtiaal pianos- har
Haydn till upphnusman. Rent generellt kan m
efter tilllmrnn lndela dem 1 fyra gruppr:
1. De tidlp smerna frh ca 1750 tlll de
Mrna iren sm Impellmastare hor Antema
Este1h6q.
2. Ett mindre antal ronatw fr&n den period
som kan betecknas sun Haydnr htnlrlqa
genombmn. ca 7766-1711.
3. Tre wier am vardera sex s o w jimte
nagra emtaka frdn Haydns 'dlanperbd" mrn
tonslnare, 1773-1780.
4. Oefem sena rhwna
fran tonsittarens skta
&pa Estehlza till Londontiden. 1788-1795.
Detta urval om ti0 mater ram Hans Leygraf vdt
att preremera ger en re~wntativbildavHaydrs
utwckling imrm genren underdrygt tremnk.
Redan i de har medtagna tidiga wmatQra frdn
1766-6E (A-dur, D-dur, Ass-dur) vlsar sig Haydn
ram en mistare idet lilla f o ~ rned t Btskillia

harpichord, which stam to be replaced by he
Hammwklavier in the 1770s. Duling this 'Smm
und Rang" decade, Haydn's music is characterid
by a tangible expwjmental urge with d chh,
sudden passages and pecullar mfnor key harmrmies
- tk dough stark to rise1 This Joseph Haydn is a
masfw of surprises. His nurnemus unexpecfed.
warmly srniliw humorous fancies, probably partly
ingred by the Mannhelm orcha's initially
genuine musical expwirnentation, always have a
personal touch and nww become stmotjpes. The
three sonatas from the end of the 17705 (A Major,
C harp rninw, D Major) are characterized by a clear
Increase in compkiiy and musical refinement.
1, The D Majw sonata is a wonder of playfulnerr
and brilliance. Tk C mlm w t a (one of Cue
sonatas in minor keys), wtth the deep gravity of
tB ffitst and sirqaUe -d themes. lmaginatin
development part, and a second movement with a
m*dy an of variation, is convinang pmof of the
breadth and strength of Haydn's perxrnal saiving
for expresion.
From the 17B(k, one can undwbtedly call
Haydn's cwnposltlonr comp4ete mast-,
particularly when it comes to symphonies, string
quartets, piano trim and sonatas.
The fin lnst plano xlnatipr, 1788-1795, are a
chapter of their own in this genre's histq. In the
two-mmnt C Major sonata (1788-89), Hay&
mMnent av kkt penmlig fly med dew,
esprit ah hbel him. I den tldga A-
dunonaten med sarmliga satrer I =ma toMt
(&I baroddrag) llgger man s$& m l h till
dm vackxa mohbn f menuetten. Derra samtu
ar skrlma fW ~ a l o ran , under $770-takt
Mrjar Aka aw hammarklaveret. Under detta
'Sturm und Drangm-Mium kinnetecknas
Haydn mudk aven pMaglig@mwnlusra med
firekmwl av udda adsor& pkllga Bvergawr
och mirldiga moll-lwmid~~ d q Mrjarjasal ~
Oenne Joseph Haydn Ir en bvemrkningwrr
manare, ham tabb wBmede, vam* leen&
humm-lsU&a Infall, dek mlikt inrpimak
av Mannheimork&ms qrurqligen
lkta Rwr*anti mperimenUvr& har
alRi peamliihetens pdgel oth blir afdrlg
$tmo@k& gedk. De tm sonatema #n
im-uetr slut (A-dur, W-~II, ~-dur)
uppvisar en kbrt Bbd kmplwitel oh
musW IrRnlng. D-dunmten Br ett under
av kkfullhet och spbltueliict. Ci-mllrumtm
(en av fem rmrllsmitw) med dcls alkdjup
lsta oh dngban andra &ma, fantarilulla
genmfiringrdel &I m anrfa rats med
mistdig wriatimkorrrt vlktnar m d e
om Haydm swht bdade, penmUga
uttqcksbeb.
Frdn ~h med 178t-taW kan m tueklbt
ram eplteta funandat mastwkap pB

dwelops an astonishing art of variation in the
first nwvmmt that evidem intensely deepening
feelings In the so called "Genzingw Sonata" (E
Rat Major, 1789-80, composed for pmrninent
pianist and tiend Marianne von Gem~rger) the
same rhythm as in the beginning of Beethoven's
C minw symphony appears sweral times, but
lesr accentuated - a rhythmic figure that appears
already in one of Haydn's quartets (Op. 20, 1772).
The slow mernmt is a wonder of beauty and
ardour. It is no erraggerathn to say one has the
feeling oi being at the gates of Romanticism.
Duhg his second London tour in 1794-95,
Haydn was In to& with pmrninent planlst T kse
JammBartolozzi, who impired his two late plano
sonatas, C Major and E flat Majw (nos. 50 ad
52). He alxl came to know the famw instrument
builder Sroadwood, wke Hammerklauien h d a
widw raw and stmnger sound than the Viennese
mes of ihe time. In these xlmtas the composer
xllldlfies his visions: a synthesis of supreme
lreedwn, humour, playfulness and Interpretative
will with lncrdlble know-how as its basis. The
slow rnwernents deviate often from the main key.
The Adagio of the E flat sonam Is In E Major with a
middle part in E minor, mating a new dlmension of
key contrast With these works, Maydn passes the
piano xlnata bamn to the young Beethoven whose
first three piano sonatas, Dp. 2, published in 1795,
komposirioner, slrskilt uad glller qmh&
stdkkvanmer, pianotrios mh mnater.
Oe fern sista pianmnaterra 1188-1795, uq61
at qet kapitel i genrens hismria. l den tvhtsiga
C-dunonaten (17M8-63) utvecklar Hayh i
infdningsmm en helt makal85 variatidwst
som vittnar om en intenrlv klerldiirdjupning. I
den 5.k. 'Genrlqerrmen' (Ess-dur, 1709-W
bmponerd f8r den framsthende pianiaen d
vannen Marlanne wn Genziqer) Rrehmer
i Mraa smren upprepade ganger samma ryrm
rorn 1 lnledningen till Beethwens c-mdlrymknl,
bar mindre skerpt amtuerad, en rytm~ursom
f.b. redan f6rekommer i en aw Haydns kvamtter
op.20 frhn 1772. Den IArqrarnma ratren Ir ett
under av omeMbr ~Mnhet ~h innerlighet.
Det ir ingen Bverdtift att man hir Iren tycka
rig sta framfbr romantikens port. Under sin
adra londonurrrul 1794-1195 fi& Hqdn
kontakt mpd den framstlende pianlsten herere
lansen-Battolani, som impirerade hmm
till de
tv8 sene pianmonaterna, C-dur IK~ EI-dur {nr
50 wh 52), Han hade demm h3r I2n k I n ~
den bemmde instrumentbyggaren Broadd,
varr hammarklaver hade rtBrre omfang 0th var
tanstarkare In de wlenrltavld den^ [Id. I dessa
sonater gestaltar mlttaren rlna vlrloner: em
syntes av suverln frlhet humor, lekfullhet o h
gertaknlngsvilja med oerhart kunmnde som
grunllernsnt. De Inpmma sauwM awikn

were qulte laatumlly dedicated to Haydn.
J~eph Haydn's finest variation work for piano,
the F minw variations - Andante con Variazicmi
- were cornpwed in Vienna in 1793. F minor
contrasts with F Major in not directly wnnected
split parts which, with a consistent increase,
end in a magnificent coda. An incredibly moving
work of light shadows, tension and relaxation*
a Watteau painting in tones. a musical -timciy
tp the philmophw Leibiz's so-called theodicy: the
best of all imaginable worlds whose dark shadows
only @Kist to ernphari~ the meaning and beauty of
nature. The horror of the Paris tenor d 1793 does
not rewund in Haydn's world of beauty.
ofta fren grundtonarten, Ess-dursonatens Adagio
sdr i E-dur rned en mellandel I e-moll orh skapar
en ny dlmenslon au tonanskomr~t. Med dessa
verk hverllmnar Haydn pianosonatstafetten
till den uwe Beethoven, van forsta tre
iianoranater. 0p.2, utkorn 1795 och naturligt
nog dedicwades till Haydn.
Sin Wrnamsta variationsuerk for piano, f-
mollvariationerna, Andante rnn varlazloni,
kompnerade Haydn i Wlen 1793. H3r
kontmsteras f-moll mot F-dur i inte dlrekt
rammanh6rande tvJdelade avrnitt som rned en
standig rtegring mynnar rrt i en lingre, grandias
coda. En oehirn gripande verk av Ijus, skuggor.
spanning orh arylannlng, en tavla av Watteau
I toner, ett musikallskt vinnesbdrd om fllosofen
Le1bnlz's.k. tecdirl: den blsta w alla tankbara
vlrldar, van morka rkuggor enbart finns till f6r
atl framhiva rneningdullheten och sbnheten i
skawlsen. Skrickvaldetr faror i Paris 1793 gav
inget eko i Haydns skbnheavirld.
Paul- Chrrstian Sjdberg

Hans Leygraf
Wodd-renowwd pianist and educator Hans Lqgraf
wz born of Geman-Austrian parentr in 1920, in
Stockholm Sweden. At age six, he staned piano
studies with Gottfrid Bm, a student of Artur
Schnabel. Leygraf mtinwd his studies with Anna
Hiael-langenhn in Swinerland. &sides piano
studies, his education in Stockholm and Munich
Included cwnposition and conducting.
For more than t hw quartm of a century Hans
Ceygraf has given contern for an unimaginably
large number of people. After his debm in 1930
with the Stockholm Philharmonic Orchestra he
went on to w10 recitals and radio rewrding until
his international breakthrough in 1947 in Zfirih
and Milan, among othw aties. After dm!, he made
annual concert tours throughout Europe, former
Zdet Union. East Asia, and North America. He
worked with famous orchestras and distinguistred
conductors, such as Blomstedt, Celibidache,
lhhnanyi, Dorati, Dutoit, Frimy, Gielen, Kempe,
Sawallisch. Skrwvacrewski, Solti, and Szell.
Leygraf has held pitbns as guest professor in
Darrnstadc Smdthdm, Hwnwer and Bedin, and was
granted full phsonhip in 1972 at the Mozalmm
Mlaic kademy in Sabburg, where he lead an
international aIoiEt dm until September 2007.
Hans Leygraf
Dm varldrbelrante planlnen oh pdagogm
H m Leygraf Wdldder I Stockhdm 1920 av tysk-
ktmlk'lla Rdlhr. Han bow vid rex BE Blder
la piarolekhm 6r Golfhid hn
tidigare elev
till Arhr SdmeM W a f h m sina swdier
for Anna Hind-1-
i Schwet. IJ~EWT
piarmwliiw shderade lm kornpmitlon 0th
dirigeing i S- mh Mhhen.
I mer In en ml]&I&k sekel har Hans
Ley@ gen kmmm t m ofanbilrt smd intal
fysm. Efter Ein debut 1930 med Sbtkholrnr
Fiiharmnnkka Mater fohatte han med
dohserter cd~ radioimpemingar tills han rlq
igenom internakndlr 1947 i bland anna Ziirih
d Milam. DS& fbljde Miga kormmumkm
j Ma Europa, davarande Smjetunloneo,
Ostaslen cd~ NNommerika Han framWl6 md
framslAende orkesh &I dirimter dsom
Blmstedt Celibidache, Dohnanyi. hai, Dutcit
Fitsay, Giden K m , Sawallidt Shaaemki
Wti dl SAI.
Leygraf har warit gktprofersar i Darmstadt
Smckhdm, Hannwerh chm och erkll1972 en
ordinade professur uU Murikhiigrkdan Modeurn
I Salzburg 1975, Br han sedan var verkrarn m
ledare fir en ~ntemtionell soli~tklas fram till
september 2007.

CD 1 (1 460)
Recorded by the Swedish Bmadcardng Corporation at Musikaliska Adadmiens
Stora Sal, Stockholm, in Septernberand December 1460 W
Pmducel: Olle Erlaon
Technician: Carl-Otto Valentin
Sound restoralian and mastering by Erik Nllswn in 2007
CD 2 (2007)
Recorded by Erik Nilsson at Musikaliska Adaderniem Stwa Sal, Stockholm in February and April 2007
Produced, edited, mi~d
and mastered by Erlk Nllsson
Photo on bz#k of CD box by unklwnvn photographer durlw Leygraf's Russian tcur in 1961.
All other phDt05 (except page 2) and graphic design: Erlk NIlrson
Translation: Erik Nilsson
Engllsh review: Greg Batcheller
Layout: dB Productions
dB Productions wantr to thank :
Joseph Haydn, Ham leygraf, Dorette Leygraf, Paul-Chrlsthn Sjhrg, and Jan Mlgren.
dB Productions Sweden
P. 0. BOX 60252
Sf - 216 09 Limhamn-Malma / SWEDEN