Haydn and Mozart

For 5 octave fortepiano

Haydn admired Mozart. To Mozarts father he said that Wolfgang was ‘the greatest composer he had ever had ever met’. Mozart continued on the path laid out by Haydn. They had played string quartets together and also together they brought the classical style to its summit.

Haydn Sonata in C major, Hob XVI/50

Haydn Fantasy in f minor, Hob XVII/6

Haydn 12 Variations in Eb major, Hob XVII/3


Mozart 12 Variations on Ah je vous dirai Maman, K. 265

Mozart Fantasy in c minor, K. 475

Mozart Sonate in c minor, K. 457

Classical Dramas

For 5 octave fortepiano (FF-a’’’)

In 1792 Beethoven went to Vienna in order to receive - in the words of his protector, the Count of Waldstein - “Mozart’s spirit from the hands of Haydn”. He conquered Vienna with his fantastic and powerful performances, his overwhelmingly dramatic works. But drama had always been there; Haydn and Mozart were masters of rhetorical drama and Beethoven knew his classics…

Beethoven Rondo in G major, op. 51/2

Haydn Fantasy in f minor, Hob XVII/6

Mozart Sonata in A minor, KV. 310


Haydn Sonata in b minor, Hob XVI/32

Mozart Rondo in a minor, KV. 511

Beethoven Sonata in C major, op. 53 “Waldstein

Mozart’s Golden Years

For 5 octave fortepiano

Mozart’s first overwhemingly succesful years in Vienna brought him fame and fortune. His solo works show a perfect balance between music for those brought up with an intimate knowledge of music and for the less trained music lovers, or as they were called “Kenner” and “Liebhaber”.

Overture to Die Entführung, K. 384

Sonata in F major, K. 332

Fantasie in c minor, K. 396

Variations on Salve tu Domine, K 398


Little Suite in C major, K. 399

Fantasy in d minor, K. 397

Sonata in A major (with the Turkish March), K. 331

Beethoven, Genius on the Rise

For 5 octave fortepiano

Haydn had a difficult time with his genius student Beethoven, who later claimed that he ‘never learned anything from Haydn’. How seriously do we have to take this recalcitrant remark? Beethoven’s early works present a different picture. They show a masterful, doubtlessly haydenesque structure. The glowing tone, the hidden sense of humour, the flawless control over the instrument all betray Haydn’s influence. But the progressive harmonies, astounding virtuosity, and the for Haydn shocking dynamics are the fruits of Beethoven’s own genius.

Sonata op 10/1 in c minor

Sonata op 10/2 in F major


Sonata op 10/3 in D major

Sonata op 27/2 in c# min, “Moonlight”

Nocturnes and Waltzes

F. Chopin
Waltz no 3 in A, Op. 34 no. 2
Waltz no. 6 in Des, Op. 64 no.1
Waltz no. 7 in cis, Op. 64 no.2

G. Karganoff
Nocturne in Des, Op. 18 no.1

A. Borodin
Nocturne in Ges (Petite Suite no.6)

P.I. Tsjaikowski
Nocturne in cis, Op. 19 no.4

C.M. von Weber
Aufforderung zum Tanze, Op. 65

R. Schumann
Faschungsschwank Aus Wien, Op. 26 (allegro)

H. Bertini
Nocturne in b, Op. 102 no.1

G. Fauré
Nocturne in es, Op. 33 no.1

C. Debussy
Nocturne, Lésure 82

F. Chopin
Nocturne in Es, Op. 9 no.2
Nocturne in Cis, Op. 27 no.1
Nocturne in Es, Op. 62 no.2