MYSLIVEČEK Keyboard Concertos Nos 1 & 2 (Clare Hammond)
View record and artist detailsRecord and Artist Details
Composer or Director: Josef Myslivecek
Genre:
Orchestral
Label: BIS
Magazine Review Date: 05/2019
Media Format: Super Audio CD
Media Runtime: 76
Mastering:
DDD
Catalogue Number: BIS2393
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Keyboard No 1 |
Josef Myslivecek, Composer
Clare Hammond, Piano Josef Myslivecek, Composer Nicholas McGegan, Conductor Swedish Chamber Orchestra |
Six Easy Divertimentos |
Josef Myslivecek, Composer
Clare Hammond, Piano Josef Myslivecek, Composer |
Concerto for Keyboard No 2 |
Josef Myslivecek, Composer
Clare Hammond, Piano Josef Myslivecek, Composer Nicholas McGegan, Conductor Swedish Chamber Orchestra |
6 Easy Lessons |
Josef Myslivecek, Composer
Clare Hammond, Piano Josef Myslivecek, Composer |
Author: Patrick Rucker
The two concertos are thought to date from Mysliveček’s Munich sojourn in 1776 78 and, despite the considerable richness of the orchestral writing, the solo parts are considerably less demanding technically than Mozart or Clementi and less audacious than Haydn. Modest though their means may be, their charm is abundant, and both concertos are clearly the works of a supremely competent and gifted musician, if not of a keyboard virtuoso. To Hammond’s credit, she lets this appealing music speak for itself, never yielding to the temptation of burdening it with undue portent or extraneous affect. Nicholas McGegan and the Swedish Chamber Orchestra (which will celebrate the 25th anniversary of its founding next year) are her supportive collaborators. The exquisitely poignant Larghetto of the F major Concerto, with its delicately coloured accompaniment of muted violins and pizzicato lower strings, is alone worth the price of the disc.
The two solo sets are clearly intended for the amateur market. The longest of the Six Easy Divertimenti (1777) is just over three minutes. The more elaborate Six Easy Lessons (1780) are a set of two-movement sonatas which, with but one exception, join a lively opening movement with a more relaxed finale. Here too Hammond demonstrates that simplicity of utterance need not preclude either elegance or eloquence.
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