Divertimento for 2 oboes, 2 horns, bassoon & strings in F major, H. 2/20
Keyboard Concerto in F major, H. 18/3
Haydn's keyboard concertos combine two of his weaknesses: at best an adequate performer, he didn't write for the keyboard especially idiomatically, and for much of his career he didn't think in the dramatic terms that pushed the concerto forward as a form. This program of two harpsichord concertos, written around 1770 and 1766, respectively, with an intervening five-movement Divertimento in F major, Hob. II:20, is less compelling for the average listener than other releases of Classical-period music by the Dutch historical ...
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Haydn's keyboard concertos combine two of his weaknesses: at best an adequate performer, he didn't write for the keyboard especially idiomatically, and for much of his career he didn't think in the dramatic terms that pushed the concerto forward as a form. This program of two harpsichord concertos, written around 1770 and 1766, respectively, with an intervening five-movement Divertimento in F major, Hob. II:20, is less compelling for the average listener than other releases of Classical-period music by the Dutch historical ensemble La Petite Bande or keyboardist Ewald Demeyere. It has fine moments, mostly in the high-spirited and entirely characteristic divertimento, where leader Sigiswald Kuijken picks up many humorous details revealed by his clear textures. The divertimento is an especially early work, composed between 1755 and 1760, and its compact structures clearly marked Haydn as a composer to watch. The two minuets already have his trademark drollery. The harpsichord concertos are not on the...
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