François-Adrien Boieldieu - Piano Concerto No. 1 in F major

Boieldieu by Louis Léopold Boilly, circa 1800 (Musée de Rouen).

 

(16 December 1775 – 8 October 1834) was a French composer, mainly of operas, often called "the French Mozart". Although his reputation is largely based upon his operas, Boieldieu also composed other works. Among them was his Harp Concerto in C, written in 1800–1801 and one of the masterpieces of the harp repertory.

Piano Concerto No. 1  in F major (c.1792)

Dedication: Louis Jadin (1768-1853)

1. Allegro (9:00​) 2. Pastorale con 5 variazioni (16:57​)

Natasa Veljkovic, piano and the Orchestra della Svizzera Italiana conducted by Howard Griffiths

 

The piano concerto was written when he was c. 17 years old (possibly earlier), a pleasing concerto, more of historic than musical interest.Martin Galling (piano), Innsbruck Symphony Orchestra, Robert Wagner (conductor)

 

“His Piano Concerto in F Major was composed when young. The work is bright, frothy and tuneful. A pastoral lyrical movement (Pastorale con variazioni) contrasts with the busy Allegro, which opens the work. A number of variations follow, first played solo and then accompanied by the orchestra. It is a well written work and shows considerable maturity for a young composer.” (Raymond Walker)

 

 

Born during the Ancien Régime in Rouen, François-Adrien Boieldieu received his musical education first from the choirmaster and then from the organist of the local cathedral. During the Reign of Terror, Rouen was one of the few towns to maintain a significant musical life and in 1793 a series of concerts was organised featuring the celebrated violinist Pierre Rode and the tenor Pierre-Jean Garat. It was during this time that Boieldieu composed his earliest works to texts written by his father (La fille coupable in 1793, followed by Rosalie et Mirza in 1795). They brought him immediate success. During the Revolutionary period, Boieldieu left for Paris and wisely started work as a piano tuner. At this time, the Opéra-Comique was the only theatre to offer opportunities for the hybrid works of the same name, close to classic opera, but containing spoken dialogue. The most typical work of the genre was Luigi Cherubini's Médée (1797). Opéra-comique, traditionally performed at the Salle Favart, was also staged at the Théâtre de Monsieur from 1789. In 1791, the company set up home in a new theatre, the Théâtre Feydeau, previously reserved for the troupe of the opera buffa. Over the course of ten years, the Favart and the Feydeau companies were rivals, the Favart beefing up its repertoire of patriotic spectacles and presenting the lighter works of Étienne Méhul, the Feydeau offering the heroic dramas of Cherubini or Jean-François Le Sueur. In 1797, Boieldieu offered the Feydeau La famille suisse and L'heureuse nouvelle. In 1798, he presented the Favart with Zoraime et Zulmare, which brought him extraordinary success. The spiritual heir of André Grétry, Boieldieu focused on melodies which avoided too much ornamentation, set to light but intelligent orchestration. Hector Berlioz described his music as possessing "a pleasing and tasteful Parisian elegance". In 1800, he scored a veritable triumph with Le calife de Bagdad. In 1825 he produced his masterpiece, La dame blanche.