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HAYDN, J.: Keyboard Concertos (Hoeren, Haugsand, Muller-Bruhl)

Composer(s):Haydn, Franz Joseph
Period(s) Classical (1750-1830)
Genre Classical Music
Category Concertos
Catalogue 8.570486
Label Naxos
Quality   320kbps
Download and Stream

Joseph Haydn’s concertos for keyboard instruments contain some of his most personable and readily enjoyable music. Their lively fast movements framing lyrical Andantes, Adagios and Largos, never fail to delight with their unaffected virtuosity and galant charm. Composed at a crucial juncture in the keyboard concerto’s development as a popular genre, Haydn’s contributions recall comparable works by Baroque masters such as Handel, match the Rococo grace of J. C. Bach, and occasionally point towards the larger-scale Classical piano concertos of Mozart.


Review By Giv Cornfield,The New Recordings, Cliffs Classics,December 2008

These concertos are on CD5 of the 6-CD set of the Complete Haydn Concertos, scheduled for release in 2009, I am told. It is nice to have a preview, though (as was the case of Vol. 34 of the Complete [108!] Symphonies, since released as CD22 in the boxed set of the complete symphonies). If this is somewhat confusing, it’s all in a good cause and adds to the fun of Naxos’ great Haydn-fest. The concertos (three for organ and two for harpsichord) are delightful rococo romps. Both soloists play stylishly, the baroque organ used is a sweet-sounding instrument that does not overwhelm, and the harpsichord almost prominent enough to satisfy my near-chronic complaint of under-recording. As an old fan of Helmut Mueller-Bruehl’s work with his Cologne Chamber Orchestra, I was


Review By David Denton, Naxos,December 2008

Uncertainty still surrounds the authenticity of all eleven keyboard concertos accredited to Haydn, but he would surely have been happy to accept ownership of the three works here recorded as organ concertos. Conjecture would place them in the period when he was employed as an organist and church musician, which gives credibility to the use of that instrument. Compare them with existing recordings played on the harpsichord where they do sound pretty thin by comparison. The two played here as concertos for harpsichord are numbered 5 and 7, and were at one time attributed to the composer, Wagenseil, and I would be much happier to accept them as being from his hand. The harmonies simply do not add up to music of Haydn. That is particularly the case in the opening



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