Abstract
In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn?s era. This is an account of the project written from the performer?s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer?s preparations (of various musical and technical kinds) for the recording.
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