Wolfgang Amadeus Mozart composed his last three symphonies in the summer of 1788, and since then they've usually been regarded as a set, even though there's little reason to believe he intended them to be performed together. Unlike Nikolaus Harnoncourt, who came to regard these symphonies as a kind of symphonic oratorio in 12 movements, Richard Tognetti thinks of them as separate pieces that Mozart wrote opportunistically, possibly for a commission that fell through, though beyond that, he lets the music speak for itself.
As a glance at the titles for this release indicates, this is pretty much an album of reconstructions. In his learned and usefully comprehensive booklet notes, Geoffrey Burgess describes how Bach’s concertos for harpsichord can be shown to have had other intended solo instruments, the oboe in particular, in mind. Bach wrote more solos for the oboe into his cantatas than for any other instrument, and so the lack of concertante works for the instrument argues that several may have been lost or have only survived in other guises.
Youngest son of J.S. Bach, Johann Christian Bach rose to prominence in England during the early Classical period much the same as his father dominated the German Baroque. His writing was influenced by his father, of course, but also by the fashions being explored by Haydn. J.C. Bach also served as a bridge to Mozart, whose work and early writings were also influenced by the junior Bach. A total of 15, three-movement symphonies were published under Opp. 6, 9, and 18.
This is a very nice recording of bassoon concertos by the Mozart of Paris, Francois Devienne. Eckart Huebner is a masterful player with a nice sound, good interpretation, great intonation, and brings out the musicality which occasionally lacks or is absent in Devienne recordings. His notes are well written and provide background with thoughts and conjecture concerning each of the concertos and the mysterious 2nd bassoon concerto of Mozart which has been attributed to Devienne.