| Johann Nepomuk Hummel: Trumpet Concerto
Trompette, Piano [Set de Parties séparées] Kalmus
Composed by Johann Nepomuk Hummel (1778-1837). Brass - B-flat Cornet (Trumpet) S...(+)
Composed by Johann
Nepomuk Hummel
(1778-1837). Brass -
B-flat Cornet (Trumpet)
Solo; Masterworks; Solo;
Solo Small Ensembles.
Kalmus Edition. Classical
Period. Set of
performance parts
(includes separate
pull-out trumpet part).
With solo part and piano
accompaniment. 33 pages.
Kalmus Classic Edition
#00-K04550. Published by
Kalmus Classic Edition
(6)$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Johann Nepomuk Hummel - Easy Piano Pieces Piano Facile - Facile EMB (Editio Musica Budapest)
Composed by Johann Nepomuk Hummel (1778-1837). Edited by and Ãgnes Lakos. Fo...(+)
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
and Ãgnes Lakos. For
Piano. EMB. Softcover. 48
pages. Editio Musica
Budapest #Z14802.
Published by Editio
Musica Budapest
$20.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in Eb Major Trompette, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Johann Nepomuk Hummel: Concerto in Eb Major, S. 49 - Eb Trumpet
Trompette, Piano [Partie séparée] IMC (International Music Co.)
(in place of the solo Bb Trumpet part) Composed by Johann Nepomuk Hummel (1778-1...(+)
(in place of the solo Bb
Trumpet part) Composed by
Johann Nepomuk Hummel
(1778-1837), edited by
Roger Voisin. S. 49.
Performance part for Eb
trumpet solo. With solo
part and standard
notation. Eb Major.
Composed 1803. Published
by International Music
Company.
(2)$9.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Trumpet Concerto in E-Flat Trompette, Piano Leduc, Alphonse
Music for Brass No. 801 Version for Trumpet and Piano. Composed by Johann Nep...(+)
Music for Brass No. 801
Version for Trumpet and
Piano. Composed by Johann
Nepomuk Hummel
(1778-1837).
Robert King. Classical.
CD
only. 44 pages. Alphonse
Leduc #AL28564. Published
by
Alphonse Leduc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatas and Pieces, Volume I Piano seul [Partition] Kalmus
Volume 1. Opus 11, 13, 18, 20, 55. Composed by Johann Nepomuk Hummel (1778-1837)...(+)
Volume 1. Opus 11, 13,
18, 20, 55. Composed by
Johann Nepomuk Hummel
(1778-1837). Masterworks;
Piano Collection. Kalmus
Edition. Form: Sonata.
Classical; Masterwork.
Book. 88 pages. Kalmus
Classic Edition
#00-K09894. Published by
Kalmus Classic Edition
$12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hummel: Leichte Klavierstücke Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ14802 Composed by Johann Nepomuk Hummel. EMB Musical Ex...(+)
Piano SKU:
BT.EMBZ14802 Composed
by Johann Nepomuk Hummel.
EMB Musical Expeditions.
Educational Tool. Book
Only. Composed 2012. 48
pages. Editio Musica
Budapest #EMBZ14802.
Published by Editio
Musica Budapest
(BT.EMBZ14802).
Johann Nepomuk
Hummel is a key figure of
the transition period
between Viennese
classicism and
Romanticism: a pupil of
Mozart, a contemporary of
Beethoven, and a model
for the composers of the
next generation,
especially Chopin. He was
not only a composer but
also one of the greatest
virtuoso pianists of that
time, who gave enormously
successful concerts all
over Europe, and wrote
one of the most important
piano tutors of the first
half of the 19th century
(Ausführlich
theoretisch-practische
Anweisung zum Pianoforte
Spiel). The majority of
the pieces that feature
in this collection are
from that piano
tutor.
Johann
Nepomuk Hummel ist eine
Schlüsselfigur der
Ãœbergangsepoche
zwischen der Wiener
Klassik und der Romantik:
Er war Schüler von
Mozart, Zeitgenosse von
Beethoven und das Vorbild
der nachfolgenden
Generation,vor allem von
Chopin. Er war nicht nur
Komponist, sondern einer
der größten
Klaviervirtuosen seiner
Zeit, dessen Kunst
europaweit gefeiert
wurde. Er schrieb eine
der wichtigsten
Klavierschulen in der
ersten Hälfte des 19.
Jahrhunderts:
Ausführlich
theoretisch-practische
Anweisung zum Pianoforte
Spiel. Der Großteil
der Stücke in dieser
Sammlung stammt aus
dieser
Klavierschule.
Joh
ann Nepomuk Hummel est
une figure clé de la
période de transition
entre classicisme
viennois et romantisme :
il fut l'élève de
Mozart, le contemporain
de Beethoven, et un
modèle pour les
compositeurs de la
génération
suivante, notamment
Chopin. Il était non
seulement compositeur,
mais aussi l'un des plus
grands pianistes
virtuoses de l'époque,
ayant donné des
concerts succès dans
toute l'Europe.
Éminent professeur de
piano, sa méthode
Anweisung zum
Pianofortespiel remporta
un vif succès tout au
long de la première
moitié du 19e
siècle. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto in E Major Trompette Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet SKU:
CF.W2682 For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major. Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key. The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467). $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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