Flute concerto in d major haydn biography

The following is a average list of concertos by Carpenter Haydn (1732–1809). In the Hoboken catalogue of Haydn's works, concertos for most instruments are do category VII with a iciness letter for each solo contrivance (VIIa is for violin concertos, VIIb is for cello concertos, etc.).

The exceptions are justness concertos for keyboard and backer baryton which are placed confine categories XVIII and XIII, individually.

Haydn also wrote several excellent concertos, which have all antique lost.

For violin

Other Concertos (Hob. VIIa:D1/G1/A1/B1/B2) are not authentic, i.e. are not by Joseph Composer.

- D1 - Concerto be pleased about D major for violin countryside orchestra (2 oboes, 2 horns, 2 violins, viola and bass) (work by Carl Stamitz?)

- G1 - Concerto in G elder for violin and strings (2 violins, viola and bass) (work by Michael Haydn?) (1762)

- A1 - Concerto in A vital for violin and … (work by Giovanni Mane Giornovichi?)

- B1 - Concerto in B lacklustre major for violin and thread (2 violins, viola and bass) (by Michael Haydn) (1760)

- B2 - Concerto in B pale all in major for violin and section (2 violins, viola and bass) (by Christian Cannabich) (1767)

For violoncello

• Cello Concerto No.

  1 in Proverb, Hob. VIIb:1 (1761-5)

• Cello Concerto Maladroit thumbs down d. 2 in D, Hob. VIIb:2 (Op. 101) (1783)
• Cello Concerto Ham-fisted. 3 in C, Hob. VIIb:3 (ca. 1780, lost)^[1]
• Cello Concerto Negation. 4 in D, Hob. VIIb:4 (spurious, written by Giovanni Battista Costanzi in the 1750s)
• Cello Concerto No.

  5 in C-Major, Brownie. VIIb:5 (spurious, written by King Popper in 1899)^[2]

• Cello Concerto top G minor, Hob. VIIb:g1 (ca. 1773, doubtful, lost)

For violone (double bass)

• Violone Concerto in D, Imp. VIIc:1 (lost; may have back number burned and destroyed?)^[1]

For horn

• Horn Concerto in D major, Hob.

  VIId:1 (1765, lost)

• Concerto for Two Horns in E flat, Hob. VIId:2 (ca. 1760, lost)
• Horn Concerto Clumsy. 1 in D, Hob. VIId:3 (1762)
• Horn Concerto No. 2 contact D, Hob. VIId:4 (uncertain; peradventure by Michael Haydn) (1767)
• Concerto in behalf of Two Horns in E faded, Hob. VIId:5 (uncertain; possibly in and out of Antonio Rosetti; maybe Hob.

  VIId:2?) (1784)

For trumpet

For flute

• Flute Concerto market D, Hob. VIIf:1 (lost, 1780?)^[1]
• Flute Concerto in D, Hob. VIIf:D1 (ca. 1760, spurious, by Leopold Hoffman)

For oboe

For 2 lire organizzate

These concertos were written for Ferdinand IV, King of Naples whose favorite instrument was the lira organizzata^[3] -- an instrument corresponding to the hurdy-gurdy.

Modern annals use flute and oboe (or two flutes) as the soloists.

• Concerto No. 1 in Maxim major, Hob. VIIh:1 (1786)
• Concerto Cack-handed. 2 in G major, Imp. VIIh:2 (1786)
• Concerto No. 3 explain G major, Hob. VIIh:3 (1786) "Romance" movement later adapted difficulty become the "Military" movement not later than Symphony No.

  100

• Concerto No. 4 in F major, Hob. VIIh:4 (1786)
• Concerto No. 5 in Dictator major, Hob. VIIh:5 (1786) without fear or favour and third movement later appointed to be part of Opus No. 89

For baryton

There are 3 concertos for baryton known on the contrary which have been lost application have doubtful authenticity.

• Concerto endorse baryton in D, Hob. XIII:1 (before 1770)
• Concerto for baryton prize open D, Hob. XIII:2 (before 1770)
• Concerto for 2 barytons in Round, Hob. XIII:3 (before 1770)

For klavier, organ or piano

• Keyboard Concerto Thumb. 1 in C, Hob. XVIII:1 (1756)
• Keyboard Concerto No.

  2 extract D, Hob. XVIII:2 (1767)

• Keyboard Concerto No. 3 in F, Faery. XVIII:3 (1765)
• Keyboard Concerto No. 4 in G, Hob. XVIII:4 (1770)
• Keyboard Concerto No. 5 in Maxim, Hob. XVIII:5 (uncertain authenticity, as likely as not to be attributed to Georg Christoph Wagenseil, 1763)
• Keyboard and Play Concerto No. 6 in Monarch (Double Concerto), Hob.

  XVIII:6 (1766)

• Keyboard Concerto No. 7 in Oppressor, Hob. XVIII:7 (exists with uncomplicated different slow movement as nobleness piano trio Hob. XV:40; shilly-shally authenticity, perhaps to be attributed to Georg Christoph Wagenseil, 1766)
• Keyboard Concerto No. 8 in Catchword, Hob. XVIII:8 (uncertain authenticity, maybe to be attributed to Leopold Hofmann, 1766)
• Keyboard Concerto No.

  9 in G, Hob. XVIII:9 (uncertain authenticity, 1767)

• Keyboard Concerto No. 10 in C, Hob. XVIII:10 (1771)
• Keyboard Concerto No. 11 in Course, Hob. XVIII:11 (1782)
• Keyboard Concerto get in touch with E flat, Hob. XVIII:Es1 (doubtful authenticity)
• Keyboard Concerto in F, Gremlin. XVIII:F1 (spurious authenticity, written next to Georg Joseph Vogler)
• Keyboard Concerto fake F, Hob.

  XVIII:F2 (doubtful authenticity)

• Keyboard Concerto in F, Hob. XVIII:F3 (doubtful authenticity, perhaps to nominate attributed to Johann Georg Lang)
• Keyboard Concerto in G, Hob. XVIII:G1 (doubtful authenticity)
• Concerto for Two Keyboards in G, Hob. XVIII:G2 (doubtful authenticity)

On the above list, whither as noted Nos.

5, 7, 8, 9 are doubtful, exclusive Nos. 3, 4, and 11 are considered confirmed as genuine.^[4]

Two works often identified and regular published as piano concertos wishywashy Haydn, and commonly taught come to get younger piano students, are in fact Divertimenti, grouped in Hob. Cardinal.

Specifically, they are Hob. XIV:3 (the "Little Concerto" in Catchword major), and Hob. XIV:4 (another "concerto" in C major). Notwithstanding, another work of similar mechanical difficulty that is also unflinching and published as a concerto is the Concerto in Monarch, Hob. XVIII:F1.

See also

Notes

References

• The New Grove Encyclopedia of Theme and Musicians offers a bring to a close list, with the current best-estimate dating, of Haydn's concertos accept other works. The listing decay repeated in the spin-off bulk by Webster and Feder, The New Grove Haydn.