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| ORIGINAL WORKS: SOLO CONCERTS | |  |
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| description | | | |
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Johann Nepumuk Hummel
(1778-1837)
Concert for Violin, Piano and Orchestra
G maj, op. 17
edited by John F. and Virginia F. Strauss
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This pocket score has a
yellow cover
with black print. |
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| size of the pocket score: | 22,4 x 16,6 cm |
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| all trade prices without tax! |
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| price of the pocket score: | No.08P/530 | EUR 14,53 |
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| From this work we have made the complete performing material! |
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| price of the full size score: | No.08D/530 | EUR 29,07 |
| (size: A4, 29,7 x 21cm, 101 pages, spiral binding) |
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| You can only buy the full size score by lending the complete performing material. |
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| lending fee for the orchestra material: |
| | 1 performance | EUR 365,- |
| | 2 performances | EUR 485,- |
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| These prices are meant for an audience till 300 visitors. If you expect more than this, please calculate with the fee for two performances! |
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| One further full size score is inclusive the lending fee! |
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| For further information please contact us! |
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Hummel's Concerto, op.17 in G maj for fortepiano, violin and orchestra is an excellent example of the late Viennese classical style, demonstrating the composer's mastery at every level: chord structure, voice leading, phrase shape, melodic contour, counterpoint, harmonic progression and formal construction. Hummel's inclusion of a figured bass line further emphasizes the classical concept that the underlying harmonic organization generates the form.
The first movement Allegro con brio combines elements of both sonata and ritornello forms like most classical concertos and has a clearly defined tonic/dominant harmonic structure. The first theme is of military character, popular in Napoleonic times, with repeated notes, dotted rhythms and triadic linear motion. The second theme is graceful with a classically balanced shape, and the closing theme juxtaposes a sustained, lyrical phrase with vigorous unison passage work and closing chords.
Hummel's themes, like Mozart's, are modular. As the movement develops, the modules are separated and rearranged for variety and flexibility of form, creating seemingly new themes. An example is the four-bar phrase first heard at measure 150, derived and condensed from the second theme (m. 33-53), which later becomes a tutti ritornello theme through the middle section and reprise. If at times the appearance of transformed material is thematically confusing, the movement is held together by its classical harmonic organization.
The second movement, Andante con Variazioni in the sub-dominant key, is reminiscent of Joseph Haydn. The simple, clock-like theme is in rounded binary form with short tutti interludes between variations. The texture is relatively thin and features additional solo instruments from the orchestra. The final variation uses the tutti ensemble in a grandiose style recalling the military character of the first movement.
The third movement is a rondo Allegretto with a superimposed A (tonic major) - B (tonic minor) - A' (tonic major) structure. The A-section is light-hearted and dance-like, while the B-section is stormy, introducíng its own tutti ritornello theme. Hummel continuously varies the rondo theme, abbreviating it in measure 137, transforming it with augmented rhythm and minor tonality in measure 213, and reharmonizing it in measure 284. As in the first movement the large-scale harmonic organization shapes the structure, integrating the two forms.
The solo fortepiano and violin parts are virtuosic for the period, attesting to the composer's intimate knowledge of both instruments. For commercial reasons Hummel wrote for the early, Mozart-era fortepiano with a range of FF to f''', but included many right hand ossia passages for a more modern instrument with a range extending upward to c''''. The two solo parts are given traditional concerto grosso roles within the tutti texture, and in their solo roles they function both independently and in support (accompaniment, obbligato) of each other. The first movement cadenza appears in the first edition, most likely written by the composer. It is mostly measured, but allows for some improvisation at the end.
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Dr. Heinz Anderle is the scientific adviser of the music publisher Wolfgang Kiess. He is the promotor of the present series of works.
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| Double Concert, G maj, Allegro con brio, score | |  |
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