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Double Concerto for 2 Fortepianos
Salzburg Symphonies K.134 and K.199
Hamburg Symphony in G
Works from C.P.E. Bach and Wolfgang Amadeus Mozart
- Konzert für 2 Cembali, Streicher und Hörner F-dur Wq 46 Carl Philipp Emanuel Bach
- Allegro 9'12
- Largo con sordini 7'38
- Allegro assai 4'42
- Sinfonie Nr. 28 A-dur K 134 Wolfgang Amadeus Mozart
- Allegro 5'03
- Andante 4'17
- Menuetto 4'16
- Allegro 4'19
- Sinfonie Nr. 31 G-dur K 199 (=162a) Wolfgang Amadeus Mozart
- Allegro 6'14
- Andantino grazioso 7'36
- Presto 5'56
- 4. Hamburger Sinfonie G-dur Wq 183/4 Carl Philipp Emanuel Bach
- Allegro assai 3'11
- Poco andante 3'34
- Presto 3'21
- Alexei Lubimov Piano
- Juri Martynov Piano
Manfred Huss, Conductor- Haydn Sinfonietta Wien
VMS- VMS 155
"Concerto a 2 Cembali" was the title Carl Philipp Emanuel Bach (1714-1788) wrote on the autograph score of his Double Concert in F major in 1740. At the end of 1774, in a letter to his father's biographer, J.N.Forkel, he named the solo instruments as "flügel", but in the posthumous catalogue of 1790 they are "claviere". In his celebrated treatise on the art of playing the clavier - an important manual with which the young Mozart was familiar - Bach wrote in 1762, "The organ, flügel, fortepiano and clavichord are the claviere in most general use."
Given the confusion caused by these terms, and bearing in mind the increasing popularity of the fortepiano from the mid-18th century on, it cannot be said with certainty on what instrument a work of this period was actually played.
Typical of Bach's style in the fast, brilliant outer movements is the way in which the orchestra interrupts the soloist, thereby creating its own dramatic interest. The horns are employed in a more traditionally baroque manner to enhance the effect and support the harmonic structure, and within the string body the violas have an unusually important part to play.
Mozart wrote twenty of his total of 51 symphonies in Salzburg, mainly between 1772 and 1774, and the beginning of his middle creative period. The symphonies K 134 (his 28th, written in August 1772) and K 199/16a (his 31st, written in April 1773) about whose composition no more is known, were composed in the interval between two long journeys.
In many respects the Salzburg symphonies sound very like the serenades Mozart was also writing at the time: They are zestful, the slow movements often delicately light-footed, the minuets elegant. Only now and then does that more sinister ambiguity surface, with troublingly dark passages which are so out of tune with their times yet so typical of their composer.
Manfred Huss
Adapted from the CD-Booklet
Given the confusion caused by these terms, and bearing in mind the increasing popularity of the fortepiano from the mid-18th century on, it cannot be said with certainty on what instrument a work of this period was actually played.
Typical of Bach's style in the fast, brilliant outer movements is the way in which the orchestra interrupts the soloist, thereby creating its own dramatic interest. The horns are employed in a more traditionally baroque manner to enhance the effect and support the harmonic structure, and within the string body the violas have an unusually important part to play.
Mozart wrote twenty of his total of 51 symphonies in Salzburg, mainly between 1772 and 1774, and the beginning of his middle creative period. The symphonies K 134 (his 28th, written in August 1772) and K 199/16a (his 31st, written in April 1773) about whose composition no more is known, were composed in the interval between two long journeys.
In many respects the Salzburg symphonies sound very like the serenades Mozart was also writing at the time: They are zestful, the slow movements often delicately light-footed, the minuets elegant. Only now and then does that more sinister ambiguity surface, with troublingly dark passages which are so out of tune with their times yet so typical of their composer.
Manfred Huss
Adapted from the CD-Booklet
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