A previously unnoticed concerto for two horns and strings published anonymously in London probably in late 1757 or 1758 is attributable to Richard Mudge (1718–63), a clergyman-composer best known for his Six Concertos in Seven Parts. The print names it A Concerto Principally Form'd upon Subjects Taken from Three Country Dances, and there is evidence to suggest that it is identical to the Medley Concerto listed elsewhere under Mudge's name. The concerto can in turn be linked to so-called ‘Medley Concerts’ that took place in London in 1757. The country dances, on whose material Mudge draws with obvious respect for the originals, are all Scottish tunes found in James Oswald's slightly earlier collections. Mudge's original and attractive work testifies to the great interest in Scottish, in particular ‘Highland’, music in mid-eighteenth-century London, prompting reflection on the many-sided and surprisingly intimate relationship that then existed between traditional music and art music.

中文翻译：

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马奇的混合协奏曲

可能于 1757 年末或 1758 年在伦敦匿名出版的一首以前未被注意的两支圆号和弦乐协奏曲应归功于理查德·马奇（Richard Mudge，1718-63 年），他是一位牧师兼作曲家，以他的七部分六协奏曲. 印刷品命名它以三种乡村舞蹈为主题的协奏曲，并且有证据表明它与混合协奏曲在其他地方以 Mudge 的名义列出。这首协奏曲又可以与 1757 年在伦敦举行的所谓的“混合音乐会”联系在一起。乡村舞蹈，其素材 Mudge 明显尊重原作，都是在詹姆斯奥斯瓦尔德稍早的收藏中发现的苏格兰曲调. Mudge 的原创且引人入胜的作品证明了人们对 18 世纪中期伦敦的苏格兰音乐，特别是“高地”音乐的极大兴趣，促使人们反思传统音乐和艺术音乐之间存在的多方面且令人惊讶的亲密关系。