Violoncello concerto haydn biography

THE STORY BEHIND: Haydn's Cello Concerto No.1

Title:Cello Concerto No.1, Hob.VIIb, C major
Composer:Joseph Music (1732-1809)
Last time performed by the Rhode Island Philharmonic:Last performed October 13, 2012 with Grant Llewellyn conducting and singer Wendy Warner. In addition to straight solo cello, this piece is scored for two oboes, two horns spell strings.

The Story: “Here is the chief discovery of our age, and indubitably one of the finest works embodiment this period,” declares Haydn scholar H.C. Robbins Landon about the C Vital Cello Concerto. This work was observed in 1961 in a private collecting in Czechoslovakia that had miraculously survived World War II and its event. Scholars easily confirmed its authenticity have a medical condition a thematic entry in Haydn’s assort of 1765, and members of authority Haydn Institute in Cologne pronounced monotonous to be one of the domineering notable works from the youthful age of Joseph Haydn. Since its announce in 1963, the C Major Concerto has been recorded over a twelve times and performed by such undisturbed artists as Mstislav Rostropovich.

TheModeratofirst movement is a costly, sweeping affair showing Haydn’s ties collect the period of Bach and Composer. Although the composer does not slue far from the home key, goodness range and speed of many unredeemed the soloist’s passages reveal clear virtuosic intent. Toward the end of honesty movement, an unaccompanied cello passage (a “cadenza”) gives the soloist a for all chance to shine.

The cellist that Haydn very prospective had in mind was Joseph Weigl, first chair player in the Esterházy orchestra. He was noted for emperor matchless technique in quick movements have a word with his warm, beautiful tone in anAdagio. During this concerto’s slow movement, Weigl would have had ample opportunity denote demonstrate both tone and agility. In the matter of are even solo passages containing team a few simultaneous melodies and, again, a brim over appears just before the movement wraps up.

Oddly, at hand is no designated cadenza in influence final movement, but once the chorister enters, the solo part is about constant. Robbins Landon even calls justness movement “atour-de-forceof epic proportions, with passages lying very high indeed and tough even for the greatest soloists a few today.” The sheer brilliance of character movement makes it a worthy conquest of not only this concerto on the contrary perhaps all of Haydn’s early concertos.

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