MUSICWEB:
Joanna Leach is now in her early sixties and one wonders where her career has gone. She studied with Peter Katin the doyen and most brilliant of British pianists of the last 50 years. She is an accomplished player and her choice of tempi is to be admired. The Variations of 1793 is one of Haydn's most popular works and it is played here with a compelling sense of continuity and a classical beauty that is missing from performances by more famous names. The C major Sonata has an elegance and charm of its very own and is a very rewarding piece to play. Ms Leach's tempi and choice of ornaments is very convincing. I have never felt that Haydn's finale here works - a minuet in an allegro tempo - particularly when you consider Haydn's brilliant finales. The finale of the next sonata is also a minuet, although a more conventional one.

The Sonata in E flat is of historical interest since it was written for Maria Anna von Gensinger, the wife of the physician to Prince Esterhazy. Haydn had a close friendship with her and when she died in 1793 the Variations were composed. She was a good pianist and this sonata is introspective; it is a conversational piece and is almost operatic in style. It is a very personal and mature work. The slow movement is akin to a soprano aria which may reveal Haydn's feelings for Maria Anna. It is a fine piece, both peaceful and lovely with a tender yearning on the one hand and high drama in the minor key on the other. It is rather too florid and decorated for some tastes. While I do not wish to enter the arena to debate musical authenticity I feel that this rather special sonata fares better on a modern instrument as it will heighten the drama and have a wider range of tone. The heartbeats at the end of this movement say it all. The concluding minuet might suggest Haydn wanting to dance it with Maria Anna and enjoy her closeness. The two-part writing hints at two people in private.

The Sonata in C minor, like the Sonata in C, was written for Katharina and Marianna Auenbrugger, two sisters who were pianists. The C minor is a dark work and abounds in character and quality. The slow movement is far too ornamented for my taste but that is what Haydn wanted. Nevertheless, it contains a beautifully thoughtful main theme. Again, Jo Leach plays it in a direct manner and does not allow it to become sweet or sickly. The finale is restless and has more of a hint of tragedy in it. And I am left wondering about what Haydn's real feelings were for Maria Anna and the Auenbrugger sisters.

The performances are thoughtful and reliable and it has proved to cause me to cogitate which must indicate Jo Leach's expert skill in communication. Performances Recording
David Wright

MUSICWEB (joint review of ATHCD2 and ATHCD22):
Comparison Recordings of keyboard music by Haydn:
Hob XVII:1, 7; Derek Adlam, clavichord Guild GMCD 7260
Sonata in D, Hob XVI: 49, Hob XVI: 51: Glenn Gould, piano CBS M2k 36947
Sonata in D, Hob XVI: 51: András Schiff Warner Elatus 2564 60807-2
Variations, Hob XVII:6 & 7. Ronald Brautigam BIS CD-1324

Leach plays three square grand pianos on these recordings, one of which has just the suggestion of a slight buzz in the low bass. Otherwise they are all very sweet sounding with a clean high and middle register, certainly sweeter sounding than Brautigam’s fortepiano, but every bit as supple. Compared to a baby grand piano the sounding board on a square grand is wider but smaller in area, and the strings are arranged nearly parallel to the keyboard so the instrument can sit close to a wall. Generally the bass strings are a little longer than on a baby grand, rather like those on an upright spinet. These instruments have essentially modern action and pedals, but due to restricted space in the case, a square grand is relatively difficult to work on so very few square grand pianos are currently in playing condition although at one time they were very popular. I was privileged to play the square grand at the Shepard museum in San Diego, California, and was as charmed by the beautiful tone as I was by the attractive wood case. Listened to from across a room, these pianos are quieter in sound than a modern piano; however, with the lid up, directing the sound right at the player, the player would experience a sound at least as loud as on a baby grand piano, and these sonatas were written more to be played personally than to be heard in concert, where, in any case, large instruments would have been available. Therefore, miniaturizing the sound of this music is in my mind a mistake and this performer gives us a strongly projected interpretation.

Leach plays cleanly and affectingly, but with less drama or imagination than Schiff, less sensuality than Ax, and with all the clarity and brilliance, but a little more heart than Brautigam. Adlam’s performance on his own copy of a clavichord of Haydn’s time effectively explores that instrument’s capabilities with imagination and verve. But since neither his instrument nor his technique explore the earlier clavichords’ legendary ability to produce a fluid singing line, one would mostly rather hear this music on a piano.

Leach brings out the similarity in style between Haydn and Schubert in Sonata #51, and I would like to hear her play Schubert. Schiff plays this same sonata with a more Beethovenian sense of drama, and a little more verve; clearly he is a more secure artist, but the music is served extremely well by both performers. Gould’s playing is tyically very staccato and crisp, with his customary and unique kind of energy, and just the suggestion of his usual singing along in the background. It is to Leach’s credit that there is no wide gulf between her playing and these fixtures of the modern virtuoso stage; they could all learn a little something from each other.
Paul Shoemaker