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CHAN 10808
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CHAN 10808

Haydn: Piano Concertos

The Classical Shop
release date: September 2014

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2013


Gabor Takacs-Nagy

Jean-Efflam Bavouzet


Manchester Camerata


Royal Northern College of Music Concert Hall, Manchester


Rachel Smith


Jonathan Cooper

Rosanna Fish


Record Label




Total Time - 59:59
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Concerto for Piano and Orchestra, Hob. XVIII: 3

  in F major - in F-Dur - en fa majeur  
1 I Allegro 9:44
2 II Largo cantabile 7:38
3 III Finale. Presto 3:46

Concerto for Piano and Orchestra, Hob. XVIII: 4

  in G major - in G-Dur - en sol majeur  
4 I Allegro moderato 9:10
5 II Adagio cantabile 6:46
6 III Rondo. Presto 3:51

Concerto for Piano and Orchestra, Hob. XVIII: 11

  in D major - in D-Dur - en ré majeur  
7 I Vivace 8:07
8 II Un poco Adagio 6:43
9 III Rondo all'Ungherese. Allegro assai - [Minore] - 4:14
  TT 60:33      
 Jean-Efflam Bavouzet piano
 Gabor Takacs-Nagy
  14 and 15 October 2013  

Haydn: Piano ConcertosJean-Efflam Bavouzet, Manchester Camerata, Gábor Takács-Nagy

Jean-Efflam Bavouzet is recognised today as one of the world’s finest interpreters of Haydn’s piano works, International Piano describing him as ‘Haydn’s greatest contemporary keyboard exponent’. In the first five volumes of his ongoing series devoted to Haydn’s sonatas he has been applauded for his intelligent musicianship, crisp technique, and sheer sense of joy in the music. In this concerto recording he performs in partnership with the conductor Gábor Takács-Nagy, the two united by an admiration for Haydn’s infectious good humour and art of the unexpected.

Of the twelve keyboard concertos carrying Haydn’s name, the third, fourth, and eleventh, recorded here, are the best known. The publication history of the rest casts doubt on their authenticity; many imitations were attributed to Haydn by publishers wanting to cash in on his wild popularity in Europe during his life.

The concertos in F and G major are early works, in an early style, simply constructed, with graceful and clear keyboard writing. One finds plenty of Haydnesque charm and spirit in these scores, both of which feature specially touching slow movements. By contrast, the Concerto in D major is a work of the composer’s maturity, full of strikingly dramatic contrasts and characteristic wit. Certainly accounting for much of its enduring popularity, the infectious Hungarian Rondo finale brings the concerto to a rousing conclusion.

 “…As always. Bavouzet’s playing sparkles, every note gleams… The F-Major Concerto is a delight from start to finish…”

James H North – Fanfare – March/April 2015

                                                         *****       (Exceptional Album)

Luca Segalla – Musica magazine (Italy) – March 2015

                       *** Good Disc           *** Good Sound

Eric Taver – Classica magazine (France) – March 2015

 "... My thought is these are historic recordings, unlikely to be made again with the musical imagination and creativity of an artist such as Bavouzet, captured in the best of modern sound - music for the ages. Bravo to all concerned!"

James Van Sant - American Record Guide - November/December 2014

“…Bavouzet’s delivery is unfailingly crisp and he pinpoints the essence of Haydn’s gestures, from the cheeky to the most heartfelt… Bavouzet’s decorations of line are as stylish as they are fascinating and delightful; his cadenzas as intelligent as one might expect. He plays on a Yamaha, whose crystal tone seems perfect for this repertoire.”  *****

Colin Clarke – International Piano magazine – January/February 2015      

 "...Mr. Bavouzet plays three delightful, inventive works on this new recording: Concerto No. 3 in F, No. 4 in G and (the best-known Haydn concerto) No. 11 in D. Collaborating with the impressive Manchester Camerata, he gives stylistically insightful and beautiful performances, enlivened with his own cadenzas in all three pieces." 

Anthony Tommasini - New York Times - November 2014

 “… Bavouzet brings light, delicate joy and ‘Spielfreude’ to the concertos. Accolades to conductor Takács-Nagy, who makes the Manchester Camerata sound on top form.” *****

Marius Dawn – Pianist magazine – December 204 – January 2015


“… his [Bavouzet] performances reflect an acute awareness of the style, scale and expressive scope of eighteenth-century performance practice as it is understood today. The Chandos engineers have captured this compelling music-making in all its dimension and detail. Very highly recommended.”

Patrick Rucker – International Record Review – October 2014


 “… Bavouzet tackles three of Haydn’s best known concertos and brings to them his trademark insight and sparkle … Excellent sound.” *****

Guy Weatherall – Classical Music magazine – October 2014   

                         Performance ****          Recording ****

“… his[Bavouzet] rapport with Gábor Takács-Nagy and the sensitised strings of the excellent Manchester Camerata is complete.”
Bayan Northcott – BBC Music magazine – November 2014     

“…Never more than here, for Manchester Camerata and Gábor Takács-Nagy (The founder of the Takács Quartet) offer stylish, detailed and dynamic support to Bavouzet, and he is the asolute master of the solo parts, playing with relish, imagination, a range of touch and volume. And with devotion and affection, pointing up the crispness and shapeliness Haydn’s urbanity and his delicious surprises; and it’s Bavouzet who contributes the cadenzas, each a winner…  These are marvellous performances of very agreeable music and the sound quality is ideally  balanced between soloist and ensemble and also between warmth and clarity.”

Colin Anderson – – September 2014

 “Jean-Efflam Bavouzet adds witty ornamentation, throws in out-of-period cadenzas, and plays with irresistible exuberance. It is a disc that is hard to play without breaking into a smile.” *****

Richard Fairman – Financial Times – 5 September 2014

                         Editor’s Choice (Orchestral Section)

“…He [Bavouzet] now presents the three authentic keyboard concertos in performances that demonstrate his innate love and understanding of this music in performances of the expected vivacity and insight…”

David Threasher – Gramophone magazine – September 2014

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