This is an especially attractive and calm violin concerto from the early Classical period. It makes a strong impression, primarily due to its excellent melodic qualities.

Michael Haydn was five years younger than his more celebrated older brother Josef. Michael was the better instrumental player of the two, with notable skills as a violinist. He found a secure position with the Prince-Archbishop the border town of Grosswardein (now Oradea, Rumania) as a violinist in the orchestra and then as Kapellmeister. This work appeared around Christmas, 1760.

The violin part, requires a quite skillful player, with a nicely carrying melodic quality. There are some flashy double stops, but not remarkably difficult ones, though they make an strong impression. Music was then in the transition between the Baroque and the Classical eras. The transition often took the form of a style called galant because the composer de-emphasized hard to listen to and ungrateful "learned" (i.e., contrapuntal, fugal, etc.) writing in favor of simple tunefulness and chordal accompaniment. However, by the time Michael wrote this concerto, his music has more individuality and variety of texture than the usual stile galant music.

The melodies and textures of the music are fully Classical, and at 25 minutes this three-movement concerto is Classical in dimensions. However, the structures of the music are quite close to those of the Baroque era, as, for instance, exemplified by Johann Sebastian Bach's solo violin concerti.

The opening movement, Allegro moderato, moves at a pace that is dignified but not pompous or dragging. Everything seems to grow out of the initial melody stated by the entire string orchestra. There is some development, most consisting of decorative touches added to the music, and a solo cadenza just before the end. True to a Baroque approach to aesthetic, the music mostly stays in the same mood, or Affekt, throughout.

The slow movement, Adagio, is, again, very Classical, and uses the orchestra's cellos to play obbligato passages in contrast to the violin soloist. The movement has a song rather than operatic quality. Again, it presents a solo cadenza just before the conclusion.

The finale, Allegro molto, is a bit more Baroque in texture, but it has the biggest musical surprise, a momentary jump from the home key to G minor.

© Joseph Stevenson, Rovi