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Track(s) taken from CDA67882

Piano Sonata in E flat major, Hob XVI:25

published in Vienna by Kurzböck in 1774; dedicated to Prince Nicolaus Esterházy

Marc-André Hamelin (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: August 2011
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: June 2012
Total duration: 11 minutes 2 seconds


'The playing is outstanding for its crystalline tone, springy rhythms, lively tempos and integral handling of ornamentation. Hyperion's recording of the modern Steinway is cleanly focused … Hamelin is often at his most brilliant where Haydn is at his most eccentric … a sparkling collection' (BBC Music Magazine)

'The most immediately striking feature of the set is the unfailingly superb, crystalline clarity of Hamelin's sound … the performances are next to flawless' (International Record Review)
Alone among the ‘Esterházy’ sonatas, No 25 in E flat major has two movements only. Its march-like opening Moderato, texturally enriched by frequent octave doublings, is grand in aspiration, if rather discursive in effect. The finale, a sturdy Tempo di menuet, is written in strict canon virtually throughout, with the right hand taking the lead in the first half and the roles reversed in the second.

from notes by Richard Wigmore © 2012

Seule sonate «Esterházy» à ne compter que deux mouvements, la nº 25 en mi bémol majeur s’ouvre sur un Moderato dans le caractère d’une marche, à la texture enrichie par de fréquents redoublements à l’octave, et d’aspiration grandiose, malgré un effet plutôt discursif. Le finale, un vigoureux Tempo di menuet, est écrit en canon strict quasiment de bout en bout—la main droite commande dans la première moitié, la gauche dans la seconde.

extrait des notes rédigées par Richard Wigmore © 2012
Français: Hypérion

Als einzige der „Esterházy-Sonaten“ hat Nr. 25 in Es-Dur nur zwei Sätze. Das marschartige Moderato, mit dem sie beginnt, wird satztechnisch durch häufige Oktavverdopplungen bereichert und strebt nach großen Zielen, auch wenn es in der Wirkung eher weitschweifig ist. Das Finale, ein kräftiges Tempo di menuet, ist fast durchweg im strengen Kanon gehalten, wobei in der ersten Hälfte die rechte Hand führt und in der zweiten die Rollen getauscht werden.

aus dem Begleittext von Richard Wigmore © 2012
Deutsch: Arne Muus

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