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Jan Křtitel Vaňhal (Johann Baptist Vanhal) - Piano Concerto in C Major, C4, Dianne Baar (piano), Ignaz Joseph Pleyel-Orchester, Johannes Klumpp (conductor) I. Allegro moderato – 00:00 II. Adagio – 07:26 II. Rondo. Allegretto – 13:34 Johann Baptist Wanhal (or sometimes written as Vanhal) was born in 1739 and lived until 1813. He was born in Nechanice, Bohemia, into a peasant family and first learned violin and organ from local musicians. He was eventually able to earn a living as a young man as a village choirmaster and organist. Under the patronage of Countess Schaffgotsch, he left for Vienna in 1760. Here he became a teacher of voice, violin, and piano to the nobility, and was invited to conduct symphonies for wealthy patrons as well. From Vienna he travelled to Italy in 1769 where he met up with composers Gluck and Gassmann, visiting both Venice and Rome. Wanhal continued to compose and perform in Vienna. While his lifestyle would have been modest on the income he made himself, he was able to stopping working for any patron for the last 30 years of his life. He stopped performing publicly around 1787 but continued to compose until close to his death in 1813. He had to be a prolific writer to meet the demands made upon him, and attributed to him are 100 quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal works. „Wanhal clearly favoured keyboard, violin and flute as the solo instrument in his concertos, with twenty, fifteen and eleven works assigned respectively to each instrument, other solo instruments he employs – viola, violoncello, oboe, contrabass and bassoon – occupy a marginal position in his output with no more than four concertos composed for any one of them. The dominance of keyboard concertos is consistent. The market for such works was virtually limitless, and as a composer of international renown, Wanhal had a good deal to gain financially from extending his writing for the instrument into the realm of the concerto. The composition and publication of these works represent a further proof of Wanhal’s professional acuity. The Keyboard Concerto IIa:C4 (1809) retains the retransitional function familiar from the earlier concertos, but the ever inventive Wanhal takes care to avoid being predictable by varying his approach to the reintroduction of the principal theme. But in the compact Concerto C4, Wanhal uses an entirely different approach. The retransition occurs at the end of Solo II, but the orchestra returns only with a two-bar forte affirmation of the dominant before the principal theme returns in the solo.” (from CHRONOLOGICAL SIGNIFIERS IN THE CONCERTOS OF JOHANN BAPTIST WANHAL by ALLAN BADLEY, University of Auckland, 31. 01. 2014)