The Earliest Italian Keyboard Concertos

Abstract

T he preeminent importance of C. P. E. Bach and other north German masters in the early development of the keyboard concerto has gone unchallenged since the appearance early in this century of pioneer studies by Hugo Daffner1 and Hans Uldall.2 The influence of their work, especially that of Uldall, is reflected by the large number of studies now available on keyboard concertos of north German composers,3 and by the emphasis given these works in research on mid-eighteenth-century concerto form.4 While the artistic merit and historical significance of the north German keyboard concerto cannot be denied, it is clear that much more still can be learned about the origins and early history of the genre by examining works of composers active in other regions. For just as recent research has demonstrated the importance of Italian music in shaping the style of the Mannheim symphonists,5 so an examination of the very little-known repertory of early Italian keyboard concertos can contribute to a better understanding of the historical position of the keyboard concertos of north German masters.

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