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| ORIGINAL WORKS: SOLO CONCERTS | |  |
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Hyacinthe Jadin
(1776-1800)
Concert for Piano and Orchestra
d min, op posth
edited by Richard Fuller
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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.10P/535 | EUR 10,90 |
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| From this work, we did'nt make the performing material! |
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| price of the full size score: | No.10D/535 | EUR 23,26 |
| (size: A4, 29,7 x 21cm, 46 pages, spiral binding) |
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| If you are interested in the complete performance material of this work, please contact us. |
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An important part of the legacy of Hyacinthe Jadin were the three piano concerts, the one presented here had been printed only posthumously. The young master's d min concerto exhibits a skilled treatment of the instrument, and equally competent handling of the orchestra, symphonic contrasting of the strings and the woodwinds, and a particularly transparent manner, one might say even frugal expression intended by the ingenious composer.
Just as in architecture, where the exuberant ornaments of the baroque and the delicate decoration of the rococo style gave way to the ideal of the pure practical architecture parlante, Jadin's piano concerto is, especially in the first movement, revolutionary classical music, liberated of all superfluous decoration, and formally reduced to the elementary and necessary. The first movement is still in the classical concerto form, but with subtle formal treatment which, for example, renders the solo-development and recapitulation are almost indistinct from each other.
The second and the third movement correspond closely to the formal scheme used by Dussek in his early concertos. The Adagio as well is characterised by deliberate expression and solid craft. The rondo follows the scheme used by Dussek in his Concerto in F maj op. 14 (Fuller, 1999) which dates presumably from his Paris period. The dotted rhythm corresponds to the obstinate and passionate character of the d min key, and in the Maiore a considerable endurance is required from the pianist to sustain the rhythmic momentum.
Jadin's piano concerts would have been almost unthinkable as models for the post-Mozartean Viennese piano concerto, but his procedures were very much in the manner accepted in his day; there are, for example, no fermatas in the outer movements allowing the pianist to improvise cadenzas. In respect to style and time, the d-minor concerto was published quite late: It was announced by Érard on May 5, 1804, when the trend-setting romantic g min Concert of Dussek had already been available in print for three years (Fuller, 1997).
We can hardly imagine what Jadin might have achieved had he lived to artistic maturity; his piano music would perhaps have approached that of Mozart, Dussek or Beethoven in scope and content, and perhaps not only Vienna would have become the center of piano writing..
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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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| Piano Concert, d min, Allegro moderato, score | |  |
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