18 de agosto de 2012

Haydn Joseph - Piano Concierto N°11, Sinfonía Concertante Hob I: 105, Flüte Concierto Hob VII f: D1 (Hoffman) - Demus, Linde, Collegium Aureum - deutsche harmonia mundi - DHM


 Sorprende en el siguiente disco que todavía aparezca Haydn en la portada como autor del Concierto de Flauta en re mayor. Durante muchos años atribuido a Haydn, hoy día su autoría es ya rechazada en favor de la de Leopold Hoffmann, prolífico compositor vienés, contemporáneo de Haydn y hoy prácticamente desconocido. Su concierto es una obra amable de corte clásico sin grandes aspiraciones. 
"Of the four concertos on this recording D1 is easily the best known. Ironically, it owes its modest fame to a misattribution to Haydn which has been perpetuated by publishers and performers for over two hundred years. The rather chequered historical career of the work can be traced to an error in Supplement VI (1771) of the Breitkopf Catalogue where it is attributed to Haydn. The attribution was corrected in Supplement XIV (1781) and it is unlikely that the error had a great impact on the dissemination of manuscript copies as the Ringmacher Catalogue correctly attributed D1 to Hofmann as early as 1773. If anything, one might have expected a greater number of copies to have survived if the work was thought to be by Haydn. Only one manuscript, preserved in the Exner collection at Zittau, has come down to us as a 'Haydn' work and yet, in spite of the incorrect attribution and the absence of horn parts, this copy seems to have been the authority for most modern editions. A copy of D1 (as Haydn) appeared in Breitkopf und Härtel's Versteigerungskatalog of 1836 (Nr.1022) and Pohl mentioned this copy in his handwritten notes on Haydn preserved in the Gesellschaft der Musikfreunde in Wien. D1 attracted the attention of a number of scholars over the years but the question of Haydn's authorship was not finally settled until 1933 when the English scholar Carleton Sprague-Smith discussed the background to the long confusion over authorship in an article published in Music Quarterly and based his conclusion on the later, corrected entry in Breitkopf. Smith appears to have been unaware of any extant copies of the work attributed to Hofmann. In addition to the Zittau 'Haydn' source and a C major version of the work for oboe preserved in the Bartók Béla Zenemuvészeti Szakiskila Könyvtár in Budapest, only two copies of D1 are known: the first of these is preserved in the Staatsbibliothek zu Berlin and the second in the Thurn und Taxis'sche Hofbibliothek in Regensburg. Both copies agree in most details although the Berlin source contains a number of glaring errors in the orchestral parts. If the order in which Hofmann's flute concertos appeared in the Breitkopf Catalogue is in any way accurate then D1, along with G4 (1772) and el (1781) is probably one of the later works. It is certainly conceived on a larger scale than some of the other concertos and the complexity of the first movement and the symphonic sweep of the finale bring to mind works like the brilliant Cello Concerto in D (Badley D3) which was probably composed in the early 1770s for Joseph Weigl."