Problems of Authenticity and Style in the Concerto in E-Flat major for Two Horns and Orchestra (Murray C 56Q)

Questions of authenticity remain a persistent and frustrating problem for scholars and students of late eighteenth-century music. Although untangling complex webs of misattribution has been for many years a high priority, there remain a number of compositions edited, performed, and studied as the work of different composers. The present study focuses on the problems of authenticity and style in one such work: a Concerto for Two Horns and Orchestra in E-Flat major attributed to both Joseph and Michael Haydn, which is here referred to as the “Wallerstein Concerto.” 

Dr. Sterling Murray, foremost Rosetti scholar, lectures on the authenticity of the Double Concerto Murray C 56Q, attributed to Michael Haydn. Stylistic features as well as compositional techniques and attributes are discussed. The lecture recital includes a performance of the work conducted by Dr. Andrew Yozviak. In addition the double concerto has been arranged for a chamber setting and published for double woodwind quintet by Dr. Yozviak. The performance features Dr. Elizabeth Pfaffle, Dana Cullen, and Dr. Sterling Murray. The lecture recital highlights historical information included in Dr. Murray’s recent publication: The Career of an Eighteenth-Century Kapellmeister, Antonio Rosetti.  

Antonio Rosetti (1750-1792): Concerto in E-flat Major for Two Horns, Murray C56 (18’)
Allegro maestoso
Romance
Allegretto

Dr. Sterling Murray, lecturer
Dr. Andrew Yozviak, conductor
Dr. Elizabeth Pfaffle, horn
Dana Cullen, horn

West Chester University Chamber Winds
Jessica Schury, flute
Kaysey Davis, flute
Samantha Schools, oboe
Joseph Harkins. oboe
Jack Hontz, clarinet
Jamal Reddick, clarinet
Joshua Oldham, bassoon
Tyler Austin, bassoon
Katherine Stewart, horn
Adam Gillen, horn