Carolus Antonius Fodor - Concerto for Forte Piano in G minor, Op. 12 (c. 1790)

Carel Anton Fodor or Carolus Antonius Fodor (12 April 1768 - 22 February 1846) was a Dutch pianist, conductor, and the most prominent composer of his generation in the Netherlands, writing in the manner of Joseph Haydn.
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Concerto pour le clavecin ou forte piano en sol mineur (c. 1790)
1. Allegro con fuoco (0:00)
2. Adagio non tanto (13:09)
3. Rondo alla turque (18:49)
Arthur Schoonderwoerd, forte piano and Ensemble Cristofori
Pianoforte Poletti & Tuinman (1795)
Fodor was born in Venlo. He accompanied his older brother, Carolus Emanuel, to Paris at the age of thirteen, to complete his musical studies, perhaps visiting Russia, but returning to Amsterdam in 1790. Concertising in Amsterdam and The Hague, he built a solid reputation in Dutch musical circles as a pianistic virtuoso.
In 1798 he married Geertruida Tersteeg. At the death of Bartholomeus Ruloffs in 1801 he was named conductor of the orchestra of Felix Meritis, which he was to lead for twenty-five years. In the following year he was nominated to the position of the orchestra Eruditio Musica. In 1808 Louis Bonaparte appointed him to head the Instituut voor Wetenschappen, Literatuur en Schone Kunsten, precursor of the Koninklijke Nederlandse Academie van Wetenschappen, the Royal Netherlands Academy of Arts and Sciences. In 1811 he established, with Johann Wilhelm Wilms and some others the series of Tuesday concerts. He died, aged 77, in Amsterdam.
Anton Fodor published three symphonies (Opp. 5, 12 and 19), eight piano concertos, and a considerable output of chamber music in which the piano plays the leading role, as well as songs on Dutch texts. His opera, Numa Pompilius, has been lost

[@notaire2]

Es ist meine erste Gelegenheit, dieses Konzert anzuhören. Erstaunlich fein komponiert und wunderschön interpretiert mit klarem doch warmherzigem Klang des technisch perfekten Fortepianos sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt echt schön und auch bezaubernd. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Wahrhaft hörenswert!

[@thesoulofthehero468]

Last movement is impressive, so based on ryhtm, so elemental , funny and special

[@christophedevos3760]

Fascinating. It lacks a bit orchestral substance to be the equal of Mozart but harmonically and melodically certainly interesting. I like to hear some symphonies of this composer. Thanks for uploading.

[@erika6651]

His G Major and C Minor symphonies were just recently downloaded on KZbin. They are splendid!

[@gjs9366]

Delightful, thanks for posting.

[@andreagriseri7656]

The models are for sure Viennese composers , Mozart and Haydn ( who didn't compose remarkable piano concerts) but I find some hints of early romantic style like in the italian composer Giambattista Viotti ( beautiful violin concerts' author, appreciated by romantic composers like Brahms)

[@123Joack]

Mozart’s concerti are not remarkable in your opinion?

[@undisclosedmusic4969]

No, they are mostly pretty bland to be honest. D minor is superb, a major is nice, c minor does something, c major is a clever piece, the rest, not so sure

[@bartjebartmans]

@123Joack. I think he means Haydn, although Haydn's D major is a fun, clever piece. It also gets lots of views on my channel. Mozart's concerti are remarkable according to Bartje no matter what some naysayers are trying to tell.

[@erika6651]

Haydn only wrote two or three of em lol His D Major is a great piano concerto.

[@andreagriseri7656]

@@123Joack Mozart's concerts are outstanding, masterworks! Haydn's concerts are not at the same levels of his 104 symphonies

[@PushkaryovVsevolod]

Это гениально!

[@leofu97]

Is there a timpani part to this? And it sounds like the strings are one to a part? I wonder if that why it sounds a little more bare than it might supposed to be

[@marcosPRATA918]

O último mov. Alla turca é bem interessante.

[@kofiLjunggren]

Mozart minor vibes!

[@danielwaitzman2118]

This sounds as if it might have been written in the opening decades of the 19th century, when the style had grown more popular, but the older dialects were still in place. Are the alternate versions for those who might not have had the additional keys on their pianos? One notes the use of Turkish pedals on this Viennese fortepiano-not indicated in the score, apparently-in the Turkish Rondo. A very artful performance of a fine piece, which piece, however, shows the decline of taste, which manifested itself after the French Revolution. P.S.: The title page suggests a date of ca. 1802, with its mention of harpsichord or pianoforte, and its use of the long S.

[@Pikpus2357]

You can see the extra stave on the score, that is designed specifically for the pianos that did not benefit from supplementary keys (and seems to be followed by performer here). Not sure whether it’s from the hand of composer or editor though. Such practice indeed lasted until first years of 19th century and is found for instance also in the score of Dussek’s concerto in the same key (which actually features some interesting similarities in character than Fodor’s concerto, at least in first mvt, but displays more harmonic and melodic inventiveness in my opinion ).

[@gregoryborton6598]

This is definitely in the style of the "Sturm und Drang", which is generally considered to be the forerunner of the styles of Beethoven and the later romantics. Proto-romantic is the term typically used. The way we describe music is in broad strokes of course, composers kept their individual styles, and what we might call gallant style music co-existed with the dense polyphony of Bach (in fact, in that regard Bach was very old-fashioned for his time, more like Buxtehude than Handel or Vivaldi), and gallant music co-existed alongside the early romantics. The influence of Haydn, who also wrote in this Sturm and Drang style (basically all of his minor mode symphonies fall within the style) is very obvious in Beethoven's early works (Sonata 1 in F Minor comes to mind) which of course went on to inspire the romantic era as we classify it.

[@danielwaitzman2118]

@@gregoryborton6598 This is not really in the Sturm und Drang style of CPE and WF Bach, Müthel, Zelter, and-yes-Schubert, even though it exhibits elements of that constellation of styles. It is too blithe and popular for that. One of my teachers characterized Haydn’s so-called Sturm und Drang period as Sturm without the Drang. Even old Bach’s music exhibits galant elements. There were Northern and Southern galant dialects, roughly represented by Mozart/Haydn and CPE Bach et al respectively. 19th-century romanticism was a kind of fusion of the two, with a new popular, non-aristocratic strain. Anyway, romanticism goes back to the Glogauer Liederbuch. To complicate matters, even Schubert and his contemporaries continued to write learned style fugues. PS: I liked your Sinfonia.

[@BsktImp]

00:38 Not sure why I expected a chorus to enter a M. 6 of page!

[@kofiLjunggren]

Reqium vibes?

[@BsktImp]

​@@kofiLjunggren Yes, probably! 😂

[@donmigueldecuenca]

The very definition of a minor composer.

[@erika6651]

except it's in g minor . . .

[@foolim1]

Vivaldish

[@Rockingbart]

This is not Vivaldi Baroque style at all. It is based on J.C. Bach, early Joseph Haydn etc. Rococo style, which was already old fashioned when Fodor wrote this.

[@emanueletagliabue6335]

@@Rockingbart It reminds me of Mozart, in certain rythmic passages. very early and late Classical mixture, in my modest opinion.

[@danielwaitzman2118]

@@emanueletagliabue6335This work is more akin to Dussek than to Mozart, Haydn, or JC Bach.

[@bartjebartmans]

@danielwaltzman Rockingbart wrote JC. Bach, early Joseph Haydn, etc. Could have mentioned Clementi, Eybler, Abel. Dussek's stormy style is completely lacking in Fodor's music. Besides the passage work Fodor's style is very simple with little thematic development. The alla Turque movement is very slight but fun, undoubtedly popular with the audiences.

[@gradwhan]

​@@bartjebartmansIt does resemble Haydn's Symphony 39 in G minor sometimes. It does really sound like early Haydn!