HAYDN, Joseph 1732-1809

[Hob. I:104]. Grande Sinfonie ... [# 5] Composeé pour le Concert de Mr. Salomon à Londres Arrangeé pour le Forte Piano avec Violon & Violoncelle Prix f3-:-. [Piano part only]

Amsterdam: A. Kuntze [PN 9], [ca. 1800].

Folio. Disbound. 1f. (recto title, verso blank), [1] (blank), 2-16 pp.

Publisher's facsimile handstamp to lower outer corner of title.

Moderate browning; some soiling, primarily to lower outer corners; title slightly soiled and foxed.

OCLC 1461784514. Worldcat (one copy only, at the Staatsbibliothek zu Berlin).

The last of Haydn's "London" symphonies.

"Haydn’s London symphonies (nos. 93–104) crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically, but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. ... No. 104 begins with a massive dotted motif on the 5th D–A, which some commentators describe as dominating the entire symphony; the first movement is one of Haydn’s freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online

Johann Peter Salomon, a German-born violinist, impresario and composer, "played a leading part in English musical life, not only in London but in the provinces as well. Having made his name as a brilliant violinist, he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts. He mounted subscription concerts from 1783, featuring such international artists as the soprano Mme Mara, and his greatest triumph was to secure Haydn's visits to London in 1790–91 and 1794–5, for which the two sets of six ‘Salomon’ or ‘London’ symphonies (h I:93–104) were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies (for example, the phrase marked ‘Salomon solo ma piano’ in the trio of no.97, and the florid violin part of no.103, second movement); the Concertante in B♭ (h I:105) was composed for Salomon, who played the solo violin part; and the six string quartets opp.71 and 74 (h III:69–74), written between the two London visits in 1793, though dedicated to Count Apponyi, were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation." Hubert Unverricht in Grove Music Online.

Item #40144

Price: $250.00  other currencies