Johann Nepomuk Hummel Dissertation

AN EDITION FO R STUDY AND PERFORM ANCE O F

THE GRAND CONCERTO FO R BASSOON A ND ORCHESTRA

BY J . N . HUMMEL (1778-1837)

AND

FO U R SONATAS FOR BASSOON AND KEYBOARD, OPUS 26

BY J . B . BOISMORTIER (1 6 9 1 -1 7 6 5 ? )

by-

R onald Wayne T y ree

V olum e I

P a r t 1

A d is se r ta t io n subm itted in p a r tia l fu lf illm e n t-of the req u irem en ts fo r the d eg ree of D octor of P h ilo so p h y , in the D epartm ent

of M u sic in th e G raduate C o lleg e of the S tate U n iv e rs ity of Iowa

A ugust 1957

Chairm an: P r o fe s s o r H im ie Voxm anR ep ro d u ced with p erm issio n o f th e copyrigh t ow n er. Further reproduction prohibited w ithout p erm issio n .

COPYRIGHT BY

RONALD WAYNE TYREE

1958

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

TABLE OF CONTENTS

Volume I, P a r t 1Page

F o r e w o r d .............................. iv

C larine t R ecita l P ro g ra m ................................................. . .....................................v

Bassoon R ecital P r o g r a m .....................................v

Saxophone and O rc h e s tra P ro g ra m . vi

THE GRAND CONCERTO FOR BASSOON AND ORCHESTRA

by J. N. Hum m el (Full O rc h e s tra Score) ......................................................

P re fa ce . ........................................... ..................................... ...................................

The C om poser and the M a n u sc r ip t. . . .

E d ito ria l P r o c e d u r e s ...........................................................................................

The F u ll O rc h e s tra Score. ......................................................

Appendix .......................................... 3

Volum e I, P a r t 2


by J. N. Hum m el (Piano Reduction Score) ........................

P re fa c e . ...............................

The C om poser and the Ma nus c r i p t . . . . . . . . . . . .

E d ito ria l P ro c e d u re s ..........................................

The P iano Reduction Score ........................

Volume II

FOUR SONATAS FOR BASSOON AND KEYBOARD, OPUS 26

by J. B. B o ism o rtie r .............................. 1

P re fa c e . . . . . . . . . . . . . . . . . . . . . . . 1

Sonata No. 1 in D M ajor . . . . . . . . . . . . . . . . . . 3

Sonata No. 2 in A M i n o r .............................. 11

Sonata No. 3 in G M ajor ................................................................... . 18

Sonata No. 4 in E M inor ............................................... . . 25

iii


FOREWORD

The sea rch fo r additional l i te ra tu re fo r the bassoon has led to nam es som ew hat obscure in

m usic h is to ry . Johann Nepomuk Hummel (1778-1837) and Joseph-B odin B o ism o rtie r (1691-1765?)

a re two such figu res who wrote excellent com positions fo r the bassoon. The H ungarian-born Hummel< ,

was renow ned in his day as a concert p ian ist and com poser. One of h is m any com positions was the

Grand C o n certo fo r Bassoon and O rc h e s tra . T h is concerto , apparen tly never published, should attain

a position am ong the outstanding w orks for the bassoon. Using a photographic rep roduction of the

aiJtograph, the author has edited and p rep a re d the C oncerto for perfo rm ance in the o rig ina l o rc h e s

tr a l fo rm , and in a version in which the accom panim ent is reduced fo r piano. The ed ito ria l p ro c e

du res a re p resen ted in a m anner which ind icates w here they occur.

Joseph-B odin B o ism o rtie r was a F re n ch com poser of the f i r s t half of the eighteenth century.

His w orks, to taling m ore than one hundred opus num bers, w ere p r im a rily in the a re a of cham ber

m usic. ,In 1724 he took up resid en ce in P a r is and began publishing h is own w orks th e re . Among

Be u m o rtie r 's com positions fo r bassoon a re two se ts of six sonatas. Opus 14 and Opus 40, fo r two

bassoons, and one se t of five sonatas for cello , o r viola, o r bassoon, and figured bass, Opus 26,

The sonatas p resen ted here a re the f ir s t four of the la t te r se t. The figured b ass has been rea lized

by the p re se n t w rite r in an app rop ria te sty le , and the oaccasional in stances of editing follow the p ro

ce d u res outlined in the p reface to the four sonatas.

T h is d isse rta tio n accounts for p a r tia l fu lfillm en t of the req u irem en ts es tab lished fo r the

Doctor of Philosophy degree in M usic with a m a jo r in M usic L ite ra tu re and P erfo rm a n ce . The

additional req u irem en ts include perfo rm ance of two re c ita l p ro g ram s and a fea tu red appearance with

the S tate U n iversity of Iowa Symphony O rc h e s tra . One re c ita l each w as given on the bassoon and the

and the c la r in e t, and the appearance with the U n iversity Symphony O rc h e s tra w as on the alto saxo

phone. In addition to these re c ita ls , the p re se n t w rite r has p rep a re d and perfo rm ed the Hummel

C oncerto (full o rc h e s tra accom panim ent version ) in a sem i-pub lic reco rd in g session . The prin ted

p ro g ram s fo r the re c ita ls a re en tered on the following pages.

F o r th e ir extensive a ss is ta n ce in th is study, the author e x p re sses his apprecia tion to P ro

fe s s o rs H im ie Voxman, A lbert T . L uper, John S im m s, R ichard H ervig, Dr. M arvin Thostenson and

M r. Ja m es Dixon. Acknowledgment is m ade a lso to the T ru s te e s of the B ritish M useum fo r p erm issio n

to photograph and publish the autograph sc o re of H um m el's C oncerto (B rit. M us. Add. MS 32218),


S T A T E U N I V E R S I T Y O F I O W A

D e p a r t m e n t o f M u sic

of the

School of F in e Arts

1 /Q e c ita l

Sunday, January 20, 1957 a t 7:30 P.M. N orth M usic H all

RO NA LD W . TYREE, clarinet

assisted by

H ans Koelbel, cello N onna Cross, piano

Sonata, Op. 120, No. 2 Allegro am abileAppassionato, ma non troppo Allegro A ndante con rnoto Allegro non troppo

Trio in B flat m ajor, Op. 11 Allegro con brio AdagioTem a con V ariazioni ( A llcg re tta )

Sonatinc (1927)T ies rude L en tTres rude

N ote ; T his program has b een prepared b y Ronald VP. T yree in partial ju ljillm en t o f the requirem ents for the D octor o f Philosophy degree w ith a m ajor in M usic Literature a n d Performance.

Student Series No. 19,1956-57 Season

Brahms

Beethoven

M ilhaud

S T A T E U N I V E R S I T Y O F I O W A

D e p a r t m e n t o f M u sic

of the

School of F ine Arts

R e c i t a l

W ednesday, July 31,1957, a t 1:00 p.m. N orth Music Hall

RONALD TYREE, bassoon

N orm a Cross, piano

Kammertrio, Nr. 24 Adagio Allegro Largo Allegro

assisted by Robert Humislon, oboe Eldon Obrecht, string bass John Knoernscbild, harpsichord

Concerto in B flat, K. 191 AllegroAndante ina Adagio Rondo

(cadenzas by J. Waller Cuetter)

Sonata (1938)I Leicht bewegt

II LangsamMarschPastorale

Handel

Mozart

Hindemith

Concertino (1948) Marcel BitschAndante Allegro Vivace

Student Series No. 95,1950-57 Season

NOTE: This program has been presented by Ronald W. Tyree in partial fulfillment of the requirements for the Doctor of Philosophy degree with a major in Music Literature and Performance.


VEighteenth Annual Fine Arts FestivalState University of Iowa

Department of Music School of Fine Arts

presents the

1956 Summer Session

C O N C E R Tby the

University Symphony Orchestra

J a m e s D ix o n , Conductor H e r a l d St a r k , Tenor

R o n a l d T v r e e , Saxophonist

Thursday, June 28, 1956E igh t oClock Iow a M emorial Union

Iow a City, Iowa

vi


P R O G R A M

Symphony No. 2 in D Major, Op. 36 . . . Ludw ig van Beethoven Adagio m olto Allegro con brio (1770-1827)Larghetto Scherzo Allegro molto

W ritte n d u rin g th e a u tu m n o f 1802, a t a tim e w h e n B ee th o v e n w a s e x p e rie n c in g n u m ero u s tro u b les o f b o th a p h y s ic a l a n d em o tio n al n a tu re , th e S eco n d S y m p h o n y n ev erth eless show s th e co m p o ser in a jo y fu l m ood .

T h e e n th u s ias tic A llegro o f th e firs t m o v e m e n t is p re c e d e d b y a slow in tro d u c tio n in th e m an n e r o f J Ia y d n , b u t lo n g er a n d m ore p e rso n a l in fe e lin g th a n th e re serv e d in tro d u c tio n s o f th e o ld e r m aster . T h e w a rm , ly rica l L a rg h e tto , a b o u n d in g in m elod ics, h as been te rm e d "o n e o f th e m o s t lu x u rio u s j Jo w m o v em e n ts" e v e r w ritten . In th e lig h t, w h im sic a l th ird m o v em en t B ee th o v e n em ploys th e t i tle S ch erzo fo r th e first tim e , th is te rm re p la c in g th e " M e n u c tto u se d in h is F irst S ym p h o n y a n d in m ost sy m p h o n ies o f h is p re d ece sso rs . T h e su n n y m ood pers is ts in th e fin a l m o v em en t, a fo r th r ig h t ro ndo .

Concertino da Cam era for Alto Saxophone andCham ber O r c h e s t r a ............................................................Jacques Ibert

(b . 1890)I. Allegro con molto

II. Larghetto Animato molto

Soloist; Ronald Tyree

T h e saxophone , m ost o ften asso c ia ted w ith p o p u la r m u s ic , w a s th e m id -1 9 th - c e n tu ry in v en tio n o f th e B elg ian c ra ftsm an , A d u lp h e Sax. T h o u g h it w as soon w id e ly a d o p te d in F re n c h m ilita ry b a n d s a n d la te r fo u n d its w a y occasionally in to sy m p h o n ic scores, its use as a c o n c e rt so lo in s tru m e n t is la rg e ly th e re su lt o f th e ac tiv itie s o f th e D a n ish v irtuoso , S ig u rd R aseh e r, w h o u n d e r to o k to e le v a te its s ta tu s a n d p e rsu a d e d p ro m in e n t co m p o sers to w r ite fo r th e in s tru m en t.

Ib e rt 's "L itt le C h a m b e r C o n c e r to " w a s p ro d u c e d fo r R a.ieher in 1934. It is in th re e m o vem en ts ( f a s t-s lo w -fa s t) , th e las t tw o b e in g c o n n e c te d . T h e b rillia n t o p en in g , in th e lig h t s ty le ty p ic a l o f th e w o rk o f m a n y F re n c h m e n d u r in g th e tw en ties a n d th irtie s a n d su g g e s tin g so m e w h a t th e a tm o sp h e re o f P a ris ian music- halls , is fo llow ed b y a ly rica l, ev o c a tiv e slow m o v em en t th a t o p en s w ith a b rie f re c ita tiv e fo r th e solo in s tru m e n t. T h e sec tio n lea d s w ith o u t b re a k in to th e c o n c lu d in g A n im ato m olto , w h ic h d isp la y s a B aro q u e -lik e to c c a ta f ig u ra tio n as its p rin c ip a l th e m a tic e le m e n t. T h e to n al a n d te c h n ic a l c h a ra c te r is tic s o f th e solo in s tru m en t a re fu r th e r ex p lo ited in a c a d e n z a , a f te r w h ich th e w ork e n d s in a c o n c erte d p assa g e fo r th e en tire en se m b le .

Songs of a W a y f a r e r ........................................................... Gwsfflt; Mahler(1860-1911)

Soloist: H erald Stark, tenor

M ah le r co m p o sed th e L ie d e r vines fa h ren d en G esellan to h is o w n poem s in 1883, a t th e a g e o f tw e n ty -th re e . T h e p re v a ilin g m elan ch o ly to n e w a s p rovoked by a n u n h a p p y love a ffa ir. T h e poem s, d iv id e d in to fo u r sec tio n s in th e m usical s e ttin g , express th e fee lings o f a y o u n g m an w hose u n h ap p in e ss a t th e loss o f his b e lo v e d to a n o th e r m a n d riv es h im to w a n d e r across fields a n d h e a th . In th e first song h e says th a t h is s w e e th e a r t 's h a p p y w e d d in g b rin g s h im on ly sorrow . In th e sec o n d , h e is ex h ila ra ted b y th e b e a u ty o f th e so u n d s a n d co lors of th e field , b u t e v e n th ese a re u n a b le to p u t an ,-nd to h is u n h ap p in e ss . T h e th ird song exp resses his u n ce as in g to rm en t in a n o u tb u rs t o f alm ost in co h e ren t an g u ish . A gain a n d a g a in h e utters, th e c ry o f p a in , O , W e ld O , W e ld T h e last so n g te lls how his sw e e th e a r t 's tw o b lu e eyes fo rced h im o u t in to th e w id e w o rld ; he d e p a rte d at n ig h t across th e h e a th , w ith n o c o m p a n io n b u t love a n d p a in .

T h e firs t a n d fo u rth songs la te r su p p lie d m ate ria l for M ah ler 's F irs t Sym p h o n y .

Suite from Der R o s c n k a v a l ie r ........................................... liichard Strauss(1864-1949)

S in ce its first p e r fo rm a n c e in 1911, D vr llo scn ka va lier ( " T h e K night of th e Rose ) lias d e se rv e d ly re m a in e d th e m ost p o p u la r G e rm an o p e ra w r itte n since W a g n e r. S trau ss h a d c o m p le te d F.hk tra in 1909, a n d it w as his d esire to p ro d u c e a l ig h te r p iece th a t w o u ld se rv e as an a n tith es is to th e p rev ious w ork , som eth ing in th e sp irit o f M o zart. T h e l ib re ttis t, th e n o ted V iennese p o et a n d d ra m a tis t H ugo v on H o fm a n n s th a l, u n d e r to o k to p ro v id e a text m od elled in g en e ra l ch a rac te r a f te r M o za rts T h e M arriage o f F igaro.

T h e sto ry is co n c ern e d w ith th e n o b ility o f 1 8 th -ce n tu ry V ienna . Its lively p lo t, w h ic h m ixes h u m o r w ith a to u ch o f pa thos, in sp ired m u sic o f g re a t vigor, ch a rm , a n d sp irit . T h e s u ite , a r ra n g e d b y th e com poser h im se lf, is m a d e up of ex tra c ts fro m th e o rc h estra l m u s ic in tro d u c in g a n d ac co m p an y in g th e ac tion , and is p a r tic u la r ly n o te w o r th y fo r th e w a ltz es w h ich es tab lish th e V iennese setting .

S o le s htj A lb ert T . L u p c r a n d F rederick II. C rane

I N T E R M I S S I O N



BY J . N. HUMMEL (1778-1837)

P a r t 1. The F ull O rc h e s tra Score

PREFACE

The C om poser and the M anuscrip t

Johann Nepomuk Hum m el (1778-1837) is m ost widely known as a piano v irtuoso and com poser of the ea rly

n ineteenth cen tu ry . In h is day he won fam e and es teem considered by many to be equal to tha t of Beethoven. H is m u si

ca l c a r e e r began e a r ly when at the age of nine he gave h is f ir s t public perfo rm ance under the sponsorsh ip of M ozart,

with whom he lived and stud ied fo r a b r ie f tim e . Following se v e ra l concert to u rs which took him to London (where he

studied piano with C lem enti) and as fa r e a s t a s St. P e te rsb u rg , Hum m el undertook a se rio u s study of com position with

such renowned te a c h e rs as A lb rec h tsb e rg e r , Haydn, and S alie ri. In 1D04 he w as engaged as the su c c e sso r to Haydn

at E isen stad t (the co u rt of E ste rh azy ), w here he rem ain ed until 1811. A fter holding v ario u s positions b rie fly in Vienna

and S tu ttgart, H um m el w as em ployed a s K ap e llm e iste r at W eim ar, w here he rem ain ed un til he died.

C om paratively lit tle de ta iled in form ation is known concern ing the G rand Concerto for B assoon. Catalogues

of H u m m e ls w orks om it any re fe re n c e to it, and the autograph, iocated in the B ritish M useum (Add. MS 32818), gives

no opus num ber o r date. The in sc rip tio n in d ica tes that Hummel dedicated the C oncerto to a ce rta in G riesbacher.

P o sitiv e iden tification of th is p e rso n has not been possib le , since apparen tly no au th o ritie s make mention of a bassoon

p lay er of th is nam e. The only G rie sb a ch e r of th is period who enjoyed wide accla im was a d istinguished c la r in e tis t of

V ienna, in the se rv ic e of P rin c e Grassalkowitz.*- It is likely that H um m el knew th is G riesb ach er, the d ire c to r of a

ch o ir and wind band, since the co m p o ser w as located in V ienna at se v e ra l tim es . The Grand Concerto fo r B assoon

w as w ritten probably during the la t te r of these p erio d s (1811-1816), since the in scrip tion d isc lo ses that l l umm. l was

then fro m V ienna (though he had been born in P re s sb u rg , Hungary, f

E d ito ria l P ro c e d u re s

The G rand C oncerto fo r B assoon is h e re p resen ted in the o rig ina l v ers io n fo r so lo instrum ent and sm all _

o rc h e s tra (Volume I, P a r t 1), to g e th er with a v e rs io n in which the accom panim ent has been reduced fo r piano (Vol

um e I, P a r t 2). The fu ll sc o re has been p re p a re d in such a m anner as to indicate w here ed ito ria l p ro ced u res have

a l te re d the o rig ina l v e rs io n as found in the autograph. W henever m ark ings such as dynam ic sym bols o r a c c id e n ta l

appear in p a re n th ese s , they have been supplied by the ed ito r. The te rm s im ile a lso has been introduced when an ex

tension of the sam e sty le of p e rfo rm an ce se em s ap p ro p ria te . In the accom panim ent, s lu rs which appear in dotted lines

have been added ed ito ria lly , and s lu r s which ap p ear in dashes (or p a rtly so) a re m eant as c o rrec tio n s which should r e

p lace apparen tly c a r e le s s and in co n sis ten t m ark ings by Hummel. In ca se s w here p assag e s which included obvious

1. E rn s t Ludwig G erb e r , N eues h is to r is c h - b iog raph isches Lexikon d er Tonkiinstler (Leipzig, 1612), Vol. II, col. 409.

2. The so u rce s from which the above b iograph ical m a te r ia l is taken include the following: F . J . F e tis , B iographle u n iv e rse lle des m u s ic ie n s , 2nd ed. (P a r is , 1862), Vol. IV, p. 385ff; E rn s t Ludwig G erb er, A lexandre Choron (and o th e rs), A D ictionary of M usicians (London; Sainsbury and C o ., 1824), Vol. I, p. 38lff; and G ro v e 's D ictionary of M usic "and M usicians, 5th ed. (New York: St. M artin ' s P re s s , 1954), Vol. IV, p. 406ff.


2w rong notes have been c o rre c te d in the sc o re , the o rig inal fo rm of such passag es is given in the low er m argin . A box

of dotted lines is used to enclose fragm en ts of the s c o re which w ere com pletely m issing in the autograph.

The autograph contains many in stances of rew ritin g in both the solo p a rt and the accom panim ent. In some

c a se s Hum m el provided two v e rs io n s in the solo p a r t, e ith e r of which may be played. The te rm o ssia denotes the op

tional v e rs io n of the passage. In the solo p a r t the m ajo rity of s lu r s a re supplied by the ed itor, and those which are

enclosed in b rac k e ts a re taken from the autograph; both types should be played. It should be recognized that in supply

ing th is fo rm of editing, the ed ito r does not offer his v e rs io n as the only solution possib le . Due to the ex trem e diffi

culty of the C oncerto , the p e r fo rm e r may w ish to vary the a rticu la tio n at c e rta in points in accordance with h is ta s te

and p erfo rm an ce ability . The t r i l l s and m orden ts should p resum ab ly begin with the p rin c ip a l note if H um m el's views

on o rnam entation a re to be resp e c te d .0 Hum m el u se s both long and sh o rt g race notes, the long appoggiatura appearing

with no line draw n through the note stem . T his la t te r type should rece iv e em phasis as it is played on the beat and takes

its value from that of the m ain note (usually a half). Throughout the C oncerto occur exam ples of p h rase s which are

im m ediate ly rep ea ted with little o r no change. The ed ito r suggests that many of these repeated passag es be considered

as echoes, and fo r th is purpose the re p e a ts a re m arked p ian issim o (pp) with a dotted line indicating the length of the

echo. The second m ovem ent p rov ides the only opportunity fo r a cadenza, which in th is edition is supplied by the ed itor,

since Hum m el chose not to provide one. A few o ther m a rk s o r c o rre c tio n s of an obvious natu re (such as signs for t r ip

le t passag es) have been added without sp e c ia l e d ito ria l identification .

The p assag e m arked "Appendix" (p ol below) o ccu rs in the autograph on a page n ear the end of the Concerto.

Its purpose is sub ject to con jec tu re since no specific d irec tio n s as io its use w ere provided by Hummel. C arefu l con

sid e ra tio n has shown that it m ay logically be used as a rev ision of the fo u r-b a r passage beginning at the fifth m easu re

(all r e h e a r s a l le t te rs have been supplied by the edito r). In the autograph, both p assag es bearof re h e a rs a l le tte r M

the sym bol IB, a con traction of N. B. (Nota Bene).

The g en e ra l sty le of the G rand Conc e rto fo r B assoon b e a rs continual evidence of H um m el's assoc ia tions with

Haydn and M ozart as te a c h e rs and with Beethoven a s a con tem porary . The solo p a rt is v ery flo rid , and p laces dem ands

upon the p e rfo rm e r which a re generally quite se v e re fo r th is period (or fo r any other),, The. C oncerto w ill be m ost

faith fu lly and effectively p erfo rm ed with a sm all o rc h e s tra of four winds and about twenty s tr in g s . Hummel used the

sonata a lleg ro fo rm fo r the f i r s t and second m ovem ents, and the rondo fo rm fo r the final m ovem ent, while M ozart in

h is C oncerto in B^ 3 M ajor fo r B assoon had s im ila r ly used the sam e fo rm al design, with only the second m ovem ent (an

abridged sonata form ) d iffering slightly . Though the f i r s t m ovem ent of M ozart's C oncerto is ra th e r flo rid , it is

gen era lly hot n ea rly so com plex techn ically as is H um m el's work.

3. See his p ianoforte m ethod, K lav ie rsch u le : ausfiih rliche th e o re tisc h - p rac tisc h e Anweisung zum P iano fo rtesp ie l vom e rs te n E le m e n ta r-U n te rr ic h t an b is zu r vollkom m en Ausbildung (Vienna; H aslinger, 18211).


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AN EDITION FOR STUDY AND PERFORMANCE OF


BY J. N. HUMMEL (1778-1837)

AND

FOUR SONATAS FOR BASSOON AND KEYBOARD, OPUS 26

BY J. B. BOISMORTIER (1691-1765?)

by

Ronald Wayne Tyree

Volume I

Part 2

A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, in the Department

of Music in the Graduate College of the State University of Iowa

August 1957

>:; Chairman: Professor Himie Voxman


Copyright by

Ronald Wayne Tyree

1958

ii

R ep ro d u ced with p erm issio n o f th e copyrigh t ow n er. Further reproduction prohibited w ithout p erm issio n .

THE GRAND CONCERTO FOR BASSOON AND ORCHESTRA 1

BY J. N. HUMMEL (1778-1837)

Part 2. Piano Reduction Score

PREFACE

The Composer and the Manuscript

Johann Nepomuk Hummel (1778-1837) is most widely known as a piano virtuoso and composer of the early

nineteenth century. In his day he won fame and esteem considered by many to be equal to that of Beethoven. His musi

cal career began early when at the age of nine he gave his first public performance under the sponsorship of Mozart,

with whom he lived and studied for a brief time. Following several concert tours which took him to London (where he

studied piano with Clementi) and as far east as St. Petersburg, Hummel undertook a serious study of composition with

such renowned teachers as Albrechtsberger, Haydn, and Salieri, In 1804 he was engaged as the successor to Haydn

at Eisenstadt (the court of the Esterhazy), where he remained until 1811. After holding various positions briefly in

Vienna and Stuttgart, Hummel was employed as Kapellmeister at Weimar, where he remained until he died.

Comparatively little detailed information is known concerning the Grand Concerto for Bassoon. Catalogues

of Hummel's works omit any reference to it, and the autograph, located in the British Museum (Add, MS 32218), gives

no opus number or date. The inscription indicates that Hummel dedicated the Concerto to a certain Griesbacher.

Positive identification of this person has not been possible, since apparently no authorities make mention of a bassoon

player of this name. The only Griesbacher of this period who enjoyed wide acclaim was a distinguished clarinetist of

Vienna, in the service of Prince Grassalkowitz.1 It is likely that Hummel knew this Griesbacher, the director of a

choir and wind band, since the composer was located in Vienna at several times. The Grand Concerto for Bassoon

was written probably during the latter of these periods (1811-1816), since the inscription discloses that Hummel was

2then from Vienna (though he had been born in Pressburg, Hungary.)

Editorial Procedures

While there is much evidence of rewriting and other changes to the Concerto in the autograph, it has been

necessary to edit the Concerto in terms of correcting obvious wrong notes and various other inconsistencies. Dynamic

markings and a few other changes that have been editorially inserted are enclosed in parentheses. For explanation of

the editorial procedures followed in the accompaniment, consult the Preface to the full orchestra score.

1. Ernst Ludwig Gerber, Neues historisch- biographisches Lexikon der Tonkiinstler (Leipzig, 1812), Vol. II, col. 409.

2. The sources from which the above biographical material is taken include the following: F. J. Fetis, Blographie unlverselle des m usiciens, 2nd ed. (Paris, 1862), Vol. IV, p. 385ff; Ernst Ludwig Gerber, Alexandre Choron (and others), A Dictionary of Musicians (London: Sainsbury and Co., 1824), Vol. I, p. 381ff; and Grove's Dictionaryof Music and Musicians, 5th ed. (New York: St. Martin's Press, 1954), Vol. IV, p. 406ff.


In some cases Hummel provided two versions in the solo part, either of which may be played. The term

ossia denotes the optional version of the passage. In the solo part the majority of slurs are supplied by the editor, and

those which are enclosed in brackets are taken from the autograph; both types should be played. It should be recognized

that in supplying this form of editing, the editor does not offer his version as the only solution possible. Due to the ex

treme difficulty of the Concerto, the performer may wish to vary the articulation at certain points in accordance with

his taste and performance ability. The trills and mordents should presumably begin with the principal note if Hummel's

views on ornamentation are to be respected/ Hummel uses both long and short grace notes, the long appoggiatura

appearing with no line drawn through the stem. This latter type should receive emphasis as it is played on the beat and

takes its value from that of the main note (usually a half). Throughout the Concerto occur examples of phrases which

are immediately repeated with little or no change. The editor suggests that many of these repeated passages be con

sidered as echoes, and for this purpose the repeats are marked pianissimo (pp) with a dotted line indicating the length

of the echo. The second movement provides the only opportunity for a cadenza, which in this edition is supplied by the

editor, since Hummel chose not to provide one. A few other marks or corrections of an obvious nature (such as signs

for triplet passages) have been added without special editorial identification.

The passage marked "Appendix" occurs in the autograph on a page near the end of the Concerto. Its pur

pose is subject to conjecture since no specific directions as to its use were provided by Hummel. Careful considera

tion has shown that it may logically be used as a revision of the four-bar passage beginning at the fifth measure of

rehearsal letter [hi] (all rehearsal letters have been supplied by the editor). In the autograph, both passages bear

the symbol IB, a contraction of N. B. (Nota Bene).

The general style of the Grand Concerto for Bassoon bears continual evidence of Hummel's associations with

Haydn and Mozart as teachers and with Beethoven as a contemporary. The solo part is very florid, and places demands

upon the performer which are generally quite severe for this period (or for any other). The Concerto will be most

faithfully and effectively performed with a small orchestra of four winds and about twenty strings. Hummel used the

sonata allegro form for the first and second movements, and the rondo form for the final movement, while Mozart in

his Concerto in B^ Major for Bassoon had sim ilarly used the same formal design, with only the second movement (an

abridged sonata form) differing slightly. Though the first movement of Mozart's Concerto is rather florid, it is

generally not nearly so complex technically as is Hummel's work.

3. See his pianoforte method, Klavierschule: ausfuhrliche theoretisch-practische Anweisung zum Pianofortesplel vom ersten Elementar-Unterricht an bis zur vollkommen Ausbildung (Vienna: Haslinger, 1828).


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