Concertino op. 73 E-Book

Johann Nepomuk Hummel

• Herausgeber: Books on Demand
• Kategorie: Lebensstil
• Sprache: Deutsch
• Veröffentlichungsjahr: 2022

Seitenzahl: 21

Beschreibung

A child prodigy who received some of his earliest lessons from Mozart and today regarded as one of Europe's finest pianists, Hummel undertook several international tours as a youth and gained a reputation as a teacher of note. The Concertino first appeared as a concerto for mandolin 1799 but was later adapted for piano and is a significant example of the popular Viennese Classical style. ---- Bekannt als Wunderkind erhielt Hummel schon früh Unterricht von Mozart unternahm als einer der bedeutendsten Pianisten Europas viele internationale Konzertreisen und wurde als bedeutender Lehrer bekannt. Das Concertino ( op. 73 ) erschien zunächst 1799 als Mandoline - Konzert und wurde später für Piano adaptiert . Es stellt ein wichtiges Beispiel für den Stil der Wiener Klassik dar.

Leseprobe

Preface

The original cover carries this imprint:

The present source for this edition is held in the Herzogin Anna Amalia Bibliothek (HAAB) in Weimar Germany, and was released as an online resource in 2007, three years after a devastating fire which destroyed tens of thousands of manuscripts and books. Out of the 95 works by Hummel, only five survived the fire including this one which was among the 52 works of Hummel captured on microfilm.

The piece made its first appearance in Vienna C1816 and the ‘Concertino’ (Opus 73) as it is colloquially known today was an arrangement of a much earlier piece, the ‘Mandolin Concerto’ in G (s28) from 1799; a good seventeen years before its reincarnation for the piano-forte. The title of Concertino “Little Concerto" (or Konzertchen) added later, should not lead one to think of this work as being in any way inferior since in our opinion, it compares favourably alongside the piano concertos of Mozart; hardly surprising since Hummel received free lessons from Mozart up to 1788 and even lived with the Mozart family during this time.

The score itself is noteworthy since the piano part is in fact a realisation of the orchestral score and so represents an arrangement within an arrangement. This is excellent news for the soloist since it provides a valuable conceptual basis from which to perform the concerto, but it makes excellent business sense too allowing for a full performance of the work even in the absence of an orchestra. A sales feature which is sure to have pleased Hummel who was noted for his business acumen as much as his prodigious musical talents. The Piano part distinguishes between the ‘solo’ and ‘tutti’ sections by reproducing the ‘tutti’ sections on the treble stave with notes fractionally smaller than full sized with all notes (apart from grace notes) on the bass stave remaining at full size. This utilitarian aspect of the arrangement, may account for the different formats used for the piano and all other parts though this is far from certain, and the same set of plates were used for all.