The symphonie concertante, the descendant of the Baroque concerto grosso with its opposition of orchestra and solo group, remains a fascinating but little-known genre of the Classical era, with only Haydn's single example and a pair by Mozart, one of them with a murky history, in common circulation. Viennese composers wrote a few, but in France there are hundreds of unexamined examples of the genre. Thus any recording of this pair by Haydn's student Ignaz Pleyel (who was one of a staggering 38 children) is welcome; his ...
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The symphonie concertante, the descendant of the Baroque concerto grosso with its opposition of orchestra and solo group, remains a fascinating but little-known genre of the Classical era, with only Haydn's single example and a pair by Mozart, one of them with a murky history, in common circulation. Viennese composers wrote a few, but in France there are hundreds of unexamined examples of the genre. Thus any recording of this pair by Haydn's student Ignaz Pleyel (who was one of a staggering 38 children) is welcome; his works share an effusive, intensely sweet tone characteristic of the genre. Pleyel, like his teacher, was not a prolific composer of concertos of any kind. The symphonie concertante accounts for four of his nine concerts; he wrote them for various combinations, but the two here are essentially double concertos, one for violin and viola and the second for two violins. They're basically strings of melodies; the first work has no slow movement at all, and the second only a short, rather...
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