Joseph Wölfl: Piano Concerto No.1 in G major, Op.20,

Joseph Johann Baptist Woelfl (surname sometimes written in the German form Wölfl)

(24 December 1773 - 21 May 1812) was an Austrian pianist and composer.

 

Piano Concerto No.1 in G major, Op.20

 Yorck Kronenberg (piano), Rundfunkorchester Kaiserslautern des SWR, Johannes Moesus (conductor)
1. Allegro Moderato – 0:00
2. Andante – 15:48
3. Rondeau A La Polonaise – 21:53

Joseph Johann Baptist Woelfl (Joseph Wölfl ) (24 December 1773 - 21 May 1812) was an Austrian pianist and composer.

“Woelfl is one of the composers who still, like numerous other contemporaries of Mozart and Beethoven, suffers unspeakable slander today; a slander that could probably only be borne out of sheer ignorance and uninformed prejudice.
His prodigious talent at the keyboard could very likely have inspired the young Beethoven to hone his extraordinary pianistic skill even further; as from the fateful Viennese “duel” of 1799 (although he dedicated his 1798 sonatas op. 6 to Beethoven, the two were rivals. Beethoven however bested Woelfl in a piano 'duel' at the house of Count Wetzlar in 1799, after which Woelfl's local popularity waned).
Even though Haydn, Mozart and Beethoven - the revered pantheon as we associate classical music with now, shaped how we perceive the classical era in music; it was Woelfl and other neglected composers today, held in esteem in their days, that were the composers who shaped how classical music was as it was heard in THEIR TIME.

Having said, Woelfl's First concerto in G major (ca 1802-1803) is perhaps the best music to match any Regency-themed period drama. The witty dotted theme that pervades the entire movement not only pays homage to Mozart's Figaro, but lends motivic development to the piano writing. It is quite impossible not to think this albeit early work (if it still betrays more than a hint of his late master Mozart), not to be touched with a hint of genius. It steers clear from the militaristic and programmatic excesses of the subsequent concertos on the same disc, is simple, yet absolutely charming, has the right dose of pathos, is classically-balanced and taut in conception.” (Dexter Tay, Notes about album)