PROGRAM NOTE The Cello Concerto No. 1 in C major, Hob.VIIb/1, by Joseph Haydn was composed around 1761-65 for longtime friend Joseph Franz Weigl, then the principal cellist of Prince Nicolaus's Esterházy Orchestra. The work was published 1800-1900 Although the full work was discovered in 1961, Haydn had written the beginning of the principal theme of the first movement in his draft catalogue of 1765. This early work, contemporaneous with symphonies 6, 7 and 8and predating his D major cello concerto by around twenty years, already shows Haydn as a master of instrumental writing. The solo cellopart is thoroughly idiomatic. The concerto reflects the ritornello form of the baroqueconcerto as well as the emerging structure of the sonata-allegro form. As in the baroque concerto grosso, the accompanying ensemble is small: strings, two oboes, and two horns. It is possible that Weigl was the only cellist in the Esterházy Orchestra when Haydn composed the concerto, since there is only one cello line in the score, marked alternately “solo” and “tutti.” There is also, however, a basso continuoline, that might have been played by another cellist, or by Haydn himself on the harpsichord, or by a string bass player.
Mendelssohn strings Symphony in B minor N 10 Symphony No. 10 in B minor, precedes the years of the composer's greatest fame. It was completed in May of 1823 by a boy of 14. Only one movement has survived, and it is uncertain whether the symphony was conceived as a single- or a multi-movement work. Felix was studying with Zelter during its composition and the teacher's conservative musical leanings are reflected in the choice of form and style; the string symphonies of Carl Phillipp Emanuel Bach (1714-1788), second eldest son of Johann Sebastian, clearly were an inspiration, and the slow introduction is reminiscent of Haydn. The dramatic dash that follows, however, is pure Mendelssohn.
F. J. Haydn program note cello concerto N.1 Haydn wrote the C major concerto between 1761 and 1765. The rediscovered materials indicate the piece was written for and dedicated to cellist Joseph Franz Weigl, a close friend who worked with Haydn at the Esterhazy Court. The main theme of the Moderato is the best sort of melody: cheerful, hummable, an earworm that one wouldn’t mind running through their head for most of the day. The Adagio is gorgeously ecclesiastic, reminiscent of Baroque-era slow movements in its harmonic progressions and breathy phrasing. The Finale: Allegro molto is 4
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