Joseph HAYDN (1732-1809)
Harpsichord Concerto in D major, Hob. XVIII:11 [20:02]
Violin Concerto in G major, Hob. VIIa:4 [19:42]
Concerto for violin and harpsichord in F major, Hob. XVIII:6 [19:35]
Stefano Montanari (violin); Ottavo Dantone (harpsichord)
Accademia Bizantina/Ottavo Dantone
rec. Sala Dantesca, Biblioteca Classense, Ravenna, February 2009. DDD
L’OISEAU-LYRE 478 2243 [59:20]
It is something of a surprise to hear Haydn’s keyboard concertos - particularly
the D major work - played on the harpsichord. But in these hands it proves
to be a pleasant and revealing surprise.
Although the CD’s sleeve-notes put forward the case that the D major
concerto was intended for harpsichord as much as for fortepiano, this is unlikely.
Composed in the early 1780s and bearing Mozart’s influence, the work
seems fit for the ‘modern’ fortepiano. Besides, it was clearly
referenced as a piano piece by Haydn in correspondence with his publishers.
Nonetheless, Dantone’s decision to present it as a harpsichord showpiece
does it no harm at all. Rather, it reveals more of the delicacy of the solo
writing and helps to rebalance the orchestral accompaniment.
Dantone starts as he means to go on, attacking the opening allegro with gusto.
A complex and dazzling cadenza by Dantone himself skilfully blends Haydn’s
thematic material. But Accademia Bizantina are not passive bystanders. Their
ethereal string sweeps in the first movement recall Mozart, while some fine
woodwind interventions in the central adagio add extra dimension to Dantone’s
refined, subdued playing. Theirs is a racy rendition of the well-known ‘Rondo
all’ungarese’ finale. Although soloist and orchestra sound a little
over-hasty, even coarse, in parts, this is a self-conscious decision to trace
the music back to its rustic Hungarian roots.
By placing the grander D major concerto first, there is a slight sense of
anti-climax with the other works on the disc - Haydn’s violin concerto
in G and his violin and harpsichord concerto in F. These are lighter works,
but thanks to skilful and appreciative playing by Dantone and violinist Stefano
Montanari, their beauty and sensitivity are fully displayed.
Almost certainly written for the Esterhàzy orchestra’s leader
Luigi Tomasini, the violin concerto is full of Italianate touches which Montanari
lovingly develops, adding two of his own cadenzas in the first and second
movements. He is ably partnered by Dantone in the final double concerto. The
two musicians are clearly as one in their appreciation of this simple but
elegant work, especially in the high-spirited presto finale.
John-Pierre Joyce
The two musicians are clearly as one in their appreciation of this music.