In this lesson, Irish pianist John O'Conor guides you through the first movement of Haydn's C Major Sonata, Hob.XVI:50. O'Conor begins with an overview of Haydn's piano sonatas in the context of his larger output. An "underestimated" composer, Haydn—O'Conor insists—should be appreciated for the depth and variety of his work.

Diving into the exposition of the Sonata, O'Conor advises against playing the staccato notes to short. Turning to phrasing, he demonstrates how capturing the character of the music allows you to express the shape of the phrase much more easily. In the technically challenging passagework, O'Conor describes precisely how to hold the hand and arm, and how to shape the fingers, to achieve effects with facility.

Moving to the development, O'Conor stresses the important of expressing different key areas, as Haydn ventures away from the tonality of the piece. Dynamic contrast is also crucial to the development, and O'Conor shows how to achieve a proper fortissimo in the context of the character of the passage. In the famous open pedal passage, O'Conor makes the point that—depending on the room or hall—you may consider different strategies for collecting and releasing some of the acculumated sound. What matters is the effect, Haydn is getting across.

In the recapitulation, O'Conor focuses on balancing different voices and stresses finger strength. "Every pianist needs to get to know their body very well." O'Conor brings together the technique and character of the work, ensuring that your approach to the work will be without strain, and full of life.

In this lesson, Irish pianist John O'Conor continues to the second movement of Haydn's "big" C Major Sonata.

"Pianists are the worst listeners," O'Conor declares. His point is simple: pianists often fail to listen to the decay of a note once a key is struck. He demonstrates how to control the dynamics of successive notes by paying attention to the connection from the end of one tone to the next, just as string players do. He urges you to listen to Haydn's string quartets, as a pianist can learn a great deal from listening to the way string players control lines with their bow.

Continuing with the string quartet analogy, O'Conor stresses the importance of balancing voices as if each were being played by an ensemble in rehearsal. In this context, he reveals the expressive possibilities of the music as it transitions back to the opening material. There's never one right way to express the character of a passage. "So long as you make it sound good," O'Conor says, "I'm happy.

In this lesson, Irish pianist John O'Conor tackles the final movement of Haydn's C Major Sonata, Hob. XVI:50.

The movement is full of lively good humor, as O'Conor demonstrates. To find the joke in your sound, he shows how to physically approach the tricky motives and gestures so as to bring the wit and surprise of the movement.