Classical
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20th century
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Alto flute
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Haydn Johann Michael
Beethoven, Ludwig van
Cambini, Giovanni Giuseppe
Campagnoli, Bartolomeo
Devienne, François
Gluck, Christoph Willibald
Gossec, Francois-Joseph
Graf, Friedrich Hartmann
Grétry, André Ernest Modeste
Hartmann, Johan Peter
Haydn, Franz Joseph
Haydn, Johann Michael
Hoffmeister, Franz Anton
Hugot, Antoine
Hummel, Johann Nepomuk
Jadin, Louis-Emmanuel
Lebrun, Ludwig August
Mozart, Wolfgang Amadeus
Müller, August Eberhard
Nicolai, Johann Gottlieb
Piccinni, Niccolò
Pleyel, Ignace Joseph
Rault, Felix
Reicha, Josef
Romberg, Bernhard
Rosetti, Francesco Antonio
Schwindel, Friedrich
Stamitz, Anton
Stamitz, Carl Philipp
Wagenseil, Georg Christoph
Wendling, Johann Baptist
Wunderlich, Johann Georg
Concerto for flute, in D Major, MH 81
Michael Haydn: Concerto for flute, in D Major, MH 81 was written in 1764. While frequently recorded as "Concerto No. 1," Michael Haydn specifically titled the autograph Concertino. In the 18th century, this indicated a work of smaller proportions or fewer movements than a standard concerto. Like his later concerto (MH 105), this was written for Franz Deibl, the principal flautist of the Salzburg Court Orchestra and a close associate of the Mozart family. Since the autograph manuscript is dated May 20, 1764, the premiere most likely took place in May or June 1764 at the Prince-Archbishop's palace in Salzburg.
The year 1764 was a "honeymoon period" for Michael Haydn in Salzburg. He had recently been appointed Concertmaster (1762) and was eager to impress the Prince-Archbishop Sigismund von Schrattenbach. At age 26, he was successfully stepping out from the shadow of his brother Joseph, establishing himself as a more "modern" and "Galant" voice than the older generation of Salzburg musicians.
In May 1764, while Michael was finishing this Concertino, the Mozart family (Leopold, Wolfgang, and Nannerl) was in London during their famous "Grand Tour." Because the Mozarts were away, Michael Haydn became the dominant musical figure in the city. This allowed him to experiment with the Salzburg Court Orchestra's winds, leading to the "shimmering" woodwind style for which he became famous.
Up until 2019, the piece was known as two movement composition, consisting of 1. Adagio and 2. Allegro molto. According to the research of Wolfgang Brunner (director of Salzburger Hofmusik) and the critical commentary accompanying the Denkmäler der Tonkunst in Österreich (DTÖ), the version we present here is based on a reconstruction of the original 1764 Salzburg parts.
Linde Brunmayr-Tutz (flute), Wolfgang Brunner (conductor), Salzburger Hofmusik, Brilliant Classics / Kontor New Media
1. Allegro moderato
Linde Brunmayr-Tutz (flute), Wolfgang Brunner (conductor), Salzburger Hofmusik, Brilliant Classics / Kontor New Media
2. Adagio
Michael Haydn (1737–1806) was an Austrian composer, central figure of the Viennese Classical school, and a cornerstone of Salzburg’s musical life. While often overshadowed by his elder brother, Joseph Haydn, Michael was considered by contemporaries, including Wolfgang Amadeus Mozart, to be a master of both sacred and instrumental composition.
Born in Lower Austria, Michael was the son of Mathias Haydn, a master wheelwright and local magistrate, and Maria Koller, a former cook. His home was filled with Austrian folk music and singing, though neither parent read music. In 1745, following Joseph’s lead, eight-year-old Michael was recruited as a boy soprano for the Cathedral of St. Stephen in Vienna. He taught himself violin, keyboard, and composition during his tenure at the Cathedral school, often practicing long into the night.
By age 25, Michael had secured a position as a Concertmaster and Composer to the Prince-Archbishop of Salzburg. He held this position for 44 years, serving alongside Leopold Mozart. While Joseph Haydn worked for the wealthy Esterházy family in rural Hungary, Michael remained in the cultural hub of Salzburg. Joseph famously remarked that Michael's sacred music was superior to his own.
His most famous direct student was Carl Maria von Weber, and his liturgical works served as the primary model for Franz Schubert. He excelled in the Sinfonia Concertante and was a pioneer in writing for brass and woodwinds. His Requiem in C Minor (1771) is widely cited as the direct inspiration for Mozart’s own Requiem.