Haydn's keyboard concertos do not get anything like the exposure that Mozart's do. This is partly because the list of Haydn's concertos is rather tricky, only a few are regarded as genuine, but also because after the 1780s he stopped writing them. Some commentators see this as a response to his hearing Mozart's mature piano concertos and deciding to take a step back from the genre. Haydn had a great admiration for his younger colleague's music and in a letter of 1787 said:
‘If I could only impress on the soul of every friend of music, and on high personages in particular, how inimitable are Mozart’s works, how profound, how musically intelligent, how extraordinarily sensitive! … It enrages me to think that this incomparable Mozart is not yet engaged in some imperial or royal court! Forgive me if I lose my head. But I love this man so dearly.’
There is a chance to hear concertos by both composers side by side when Pawel Siwczak directs the Bach Club Soloists in Haydn's Concerto for keyboard and orchestra no 11 in D Major, Hob XVIII/11 (from 1780-1783) and Mozart's Concerto for fortepiano and orchestra no 9 in E flat K 271 "Jenamy" (from 1777) at St Mary's Church, Putney, SW15 1SN on 19 February 2022.
The Bach Club, creative director Pawel Siwczak, is a boutique label, concerts curator and masterclass creator, and home to the Bach Club Soloists. Performers at the 19 February concert include Catherine Martin violin, Leo Duarte oboe, Ursula Paludan Monberg horn, Jonny Byers cello, and Carina Cosgrave violone
Full details from the Bach Club's website.
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