Movement 1: Allegro
Movement 2: Adagio
Movement 3: Rondo: Presto
With its lean scoring for strings alone, Haydn’s concerto has none of Mozart’s melodic and colouristic richness. Paradis may even have found it slightly old-fashioned by the standards of 1784. Yet on its own terms it is a delightful, inventive work, more memorable in its ideas and more adventurous in its keyboard writing than the F major. The powerful modulating sequences at the centre of the opening Allegro recall the sonatas and fantasias of C P E Bach, which Haydn studied avidly after they circulated in Vienna in the mid-1760s. Strings are muted for the florid, rhapsodic C major Adagio, capped by a touching little orchestral coda. But the most arresting movement is the rondo finale, full of Haydnesque zest and wit (the refrain keeps popping up in unscripted keys), and one of his earliest flirtations with the Hungarian gypsy style.
from notes by Richard Wigmore © 2013