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1. Hamburg Symphony
Concerto in a for Flute
Violin Concerto in C
Works from C.P.E. Bach and Joseph Haydn
- Konzert a-moll Fassung für Flöte und Orchester Wq 166 Carl Philipp Emanuel Bach
- Allegro assai 9'43
- Andante 5'44
- Allegro assai 7'10
- Konzert für Violine und Orchester in C-dur Hob.VIIa:1 Joseph Haydn
- Allegro moderato 9'17
- Adagio 4'39
- Finale.Presto 4'17
- 1. Hamburger Sinfonie in D-dur Wq 183/1 Carl Philipp Emanuel Bach
- Allegro di molto 6'01
- Largo 1'18
- Presto 2'46
- Reinhard Czasch Flute
- Simon Standage Violin
Manfred Huss, Conductor- Haydn Sinfonietta Wien
VMS- VMS 166
"... and anyone who knows me well must realise that I am greatly indebted to Emanuel Bach, and that I understood him and studied him diligently ...", Haydn told his biographer Griesinger in about 1800.
The esteem was mutual. Haydn was also appreciated by Carl Philipp Emanuel, who in 1784 expressed the opinion that Haydn had put his theories into practice better than anyone else and that he was the most important composer of the age. When Haydn went to Vienna from London in 1795 he wanted to visit Philipp Emanuel in Hamburg to get to know him personally at last - but in vain. The "great Bach", as Philipp Emanuel was nicknamed, had died some years previously, but the news had not reached Haydn.
In the thirty-odd years since the A minor concerto Philipp Emanuel's style had altered noticeably: the 1. Hamburg Orchestral Sinfonia is indebted to the "Sturm und Drang" period of early classicism, all traces of baroque gestures have disappeared, and Bach finds himself on the way to true classicism.
Haydn's Violin Concerto in C major, written almost twenty years before Mozart's, this work is still written in the style of early classicism, strongly influenced by late Italian baroque music, and cannot therefore be compared to Mozart's more famous ones. The virtuoso passages, in a much higher register than that used by Mozart, and with a great deal of double-stopping, are still strongly reminiscent of Locatelli or Vivaldi. The slow movement, however, is typical Haydn - a wonderfully broad, expressive arioso, with pizzicato accompaniment: a miniature serenade like those found in the early divertimenti.
Manfred Huss
adapted from the CD-Booklet
The esteem was mutual. Haydn was also appreciated by Carl Philipp Emanuel, who in 1784 expressed the opinion that Haydn had put his theories into practice better than anyone else and that he was the most important composer of the age. When Haydn went to Vienna from London in 1795 he wanted to visit Philipp Emanuel in Hamburg to get to know him personally at last - but in vain. The "great Bach", as Philipp Emanuel was nicknamed, had died some years previously, but the news had not reached Haydn.
In the thirty-odd years since the A minor concerto Philipp Emanuel's style had altered noticeably: the 1. Hamburg Orchestral Sinfonia is indebted to the "Sturm und Drang" period of early classicism, all traces of baroque gestures have disappeared, and Bach finds himself on the way to true classicism.
Haydn's Violin Concerto in C major, written almost twenty years before Mozart's, this work is still written in the style of early classicism, strongly influenced by late Italian baroque music, and cannot therefore be compared to Mozart's more famous ones. The virtuoso passages, in a much higher register than that used by Mozart, and with a great deal of double-stopping, are still strongly reminiscent of Locatelli or Vivaldi. The slow movement, however, is typical Haydn - a wonderfully broad, expressive arioso, with pizzicato accompaniment: a miniature serenade like those found in the early divertimenti.
Manfred Huss
adapted from the CD-Booklet
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