The new focus on Bohemian classicism inthe second half of the 18th century,manifested in recent recordings and articlesin professional journals, has amplydemonstrated the calibre of...

The new focus on Bohemian classicism in
the second half of the 18th century,
manifested in recent recordings and articles
in professional journals, has amply
demonstrated the calibre of these
composers and the quality of their music.
Among them, Josef Mysliveček enjoyed
considerable fame during his lifetime. He
was known to such important figures as the
soprano Caterina Gabrielli and was a friend
of Mozart’s, who esteemed him.
Mysliveček’s like many of his
contemporaries strove for musical success
and economic independence through opera
composition, a career that was high-profile
but also challenging in the late 18th
century. And he did not consider the
fortepiano to be as important a vehicle of
expression, unlike Mozart, as can be seen in
his meagre solo keyboard output.
The Six Divertimenti are single-movement
compositions, and while probably
intended as didactic, they are not sterile
exercises for amateurs but exquisite
pieces that satisfy the most discerning
palates. The Six Sonatas are short but
brilliant pieces, based on the galant style
transmuted into a pre-classicism very akin
to the Mannheim school, with energetic
first movements with a symphonic flavour
alternating with elegant and delicate
minuets.
Given the small number of Mysliveček’s
compositions for solo fortepiano, it was
decided to include two additional, rare
pieces worthy of this monograph: two of
his Wind Octets Op.1 in a contemporary
solo keyboard transcription by Václav
Vincenc Mašek. Mysliveček’s writing
features remarkable counterpoint,
compressed by Mašek into an exemplary
arrangement.
This recording is intended as the first on
historical instruments (there is already a box by
Clare Hammond on modern piano with the
Divertimenti for fortepiano, the six Sonatas and
the Concertos for fortepiano and orchestra).
The arranged Octets (most likely never
previously performed, let alone recorded) are
offered as world premieres.
Other information:
● Recorded April 2022 in Colloredo di Prato,
Udine, Italy
● Bartoccini plays a late-18th-century Venetian
fortepiano (Divertimentos) and a Paul McNulty
fortepiano after Anton Walter (Sonatas and
Octets)
● Booklet in English contains liner notes by the
artist and his biography