This disc offers some entertaining music from early in Haydn's career but misrepresents its nature. The four "piano concertinos" contained herein weren't written for piano (likely dating from around the early 1760s, they are harpsichord works), and the term "concertino" is just one of several that have been applied to these hard-to-classify little three-movement pieces for piano, two violins, and, in a survival of the old trio-sonata terminology, "bass" (here played by a cello). They're not concertos in the usual sense of ...
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This disc offers some entertaining music from early in Haydn's career but misrepresents its nature. The four "piano concertinos" contained herein weren't written for piano (likely dating from around the early 1760s, they are harpsichord works), and the term "concertino" is just one of several that have been applied to these hard-to-classify little three-movement pieces for piano, two violins, and, in a survival of the old trio-sonata terminology, "bass" (here played by a cello). They're not concertos in the usual sense of the word; the keyboard dominates the texture, and there is only incidental contrast between keyboard and strings. They're more like keyboard sonatas accompanied by a string trio. And only one of the two "string trios" that appears on the disc actually merits that designation; the D major work here (tracks 4-6) is actually a baryton trio, written for the odd plucked-bowed instrument favored by Haydn's employer, Prince Nikolaus Esterházy, and cleverly set up so as to give him good...
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