There is a special genre type of symphonies with concertante instruments in Haydn’s early works. To this type belong the symphonies with а solo part or parts at least in the slow movement (in some cases the principle of concer- tante extends on other movements) — № 6, 7, 8, 72, 31, 36, 13, 24 (partly this type of instrumentation remains in two symphonies — № 30 and 41). The spe¬cial attention in this paper is given to the questions of genre attribution: instrumentation and form in Haydn’s early symphonies with concertante instruments are compared both to chronologically earlier baroque concerto, and to later classical concert symphony. Also a review of solo designations in Haydn’s scores is given and the composer’s choice of solo instruments and a character of solo parts is analyzed.
Abstract