Johann Nepomuk Hummel Dissertation

A N EDITION F O R STU D Y AN D PERFO R M A N C E O F
THE G RAND CONCERTO F O R BASSOON A N D ORCHESTRA

B Y J . N . HUM M EL (1 7 7 8 -1 8 3 7 )
AND
F O U R SONATAS FO R BASSOON AN D K EYBO ARD, OPUS 26
BY J . B . BOISM O RTIER (1 6 9 1 -1 7 6 5 ? )
by-
R on ald W ayne T y r e e
V olu m e I
P art 1
A d is s e r t a t io n su b m itted in p a r tia l f u lf illm e n t -o f th e r e q u ir e m e n ts

f o r th e d e g r e e o f D o cto r of P h ilo s o p h y , in th e D ep artm en t
of M u sic in th e G rad uate C o lle g e of th e S ta te
U n iv e r s ity of Iow a
A u g u st 1957
C hairm an:
P r o f e s s o r H im ie V oxm an
R e p r o d u c e d w ith p e r m issio n o f th e co p y r ig h t o w n er . F urth er rep ro d u ctio n p roh ib ited w ith o u t p e r m issio n .
COPYRIGHT BY
RO NALD WAYNE TY REE
1958
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout p erm ission.
T A B L E OF CONTENTS
V olum e I, P a r t 1
P age
F o r e w o r d ..............................
iv
C la rin e t R e c ita l P ro g r a m
..................................................
.....................................v
B assoon R e cital P r o g r a m ..................................... v

Saxophone and O rc h e s tra P ro g r a m
vi
THE GRAND CONCERTO FO R BASSOON AND ORCHESTRA

by J. N. H um m el (F u ll O rc h e s tra S co re)
P re fa c e .
...........................................
......................................................
..................................... ...................................
The C o m p o ser and the M a n u s c r ip t.
E d ito ria l P r o c e d u r e s ...........................................................................................

T he F u ll O rc h e s tra S co re.
A ppendix
......................................................
..........................................
V olum e I, P a r t 2
THE GRAND CONCERTO FO R BASSOON AND ORCHESTRA
by J. N. H um m el (P iano R eduction S co re)
P re fa c e .
........................
...............................
The C o m p o ser and the Ma n u s c r i p t .
E d ito ria l P r o c e d u r e s
..........................................
T he P ian o R eduction S core
........................
V olum e II
FOUR SONATAS FOR BASSOON AND KEYBOARD, OPUS 26
by J. B. B o is m o rtie r
P re fa c e .
..............................
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S onata No. 1 in D M a jo r .
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S onata No. 2 in A M i n o r ..............................

S onata No. 3 in G M a jo r
Sonata No. 4 in E M inor
11
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18
25
iii
FOREWORD
The s e a rc h fo r additional lite r a tu r e fo r the b asso o n h as led to n am es som ew hat o b sc u re in

m u sic h isto ry .
Johann Nepomuk H um m el (1778-1837) and Jo sep h -B o d in B o is m o rtie r (1691-1765?)
a r e two such fig u re s who w rote ex c ellen t co m p o sitio n s fo r the basso o n .

w as renow ned in his day as a c o n c e rt p ia n ist and c o m p o se r.
T he H u n g aria n -b o rn H um m el
<,
One of h is m any co m p o sitio n s w as the
Gran d C o n c e rto fo r B assoon and O rc h e s tra . T h is c o n c e rto , ap p a re n tly n ev e r published, should attain
a p o sitio n am ong the outstanding w orks fo r the basso o n .
U sing a p hotographic re p ro d u c tio n of the
aiJtograph, the author has edited and p re p a re d the C o n c erto fo r p e rfo rm a n c e in th e o rig in a l o r c h e s
tr a l fo rm , and in a v e rsio n in which the ac com panim en t is red u c ed fo r piano.
T h e e d ito ria l p r o c e
d u re s a r e p re se n te d in a m a n n e r which in d ic a te s w h ere they o ccu r.

Jo se p h -B o d in B o is m o rtie r w as a F re n c h c o m p o se r of th e f i r s t half of th e eig h teen th cen tu ry .
H is w orks, to talin g m o re than one hundred opus n u m b e rs, w ere p r im a rily in th e a re a of ch am b er
m u sic. ,In 1724 he took up re sid e n c e in P a r i s and began p u b lishing h is own w o rk s th e re .
Among
Be u m o r tie r's com positions fo r b assoon a r e tw o s e ts of six so n a ta s. Opus 14 and Opus 40, fo r two
b asso o n s, and one s e t of five so n a ta s fo r cello , o r v io la, o r b assoon, and fig u re d b a s s, Opus 26,
The so n a tas p re se n te d h e re a re the f ir s t fo u r of the la tte r se t.
The fig u red b a s s h as been re a liz e d
by the p re s e n t w r ite r in an a p p ro p ria te sty le , and th e o ac ca sio n a l in sta n c e s of ed itin g follow the p r o
c e d u re s outlined in the p re fa c e to the fo u r so n a tas.
T h is d is s e rta tio n accounts for p a r tia l fu lfillm e n t of the re q u ire m e n ts e s ta b lish e d fo r the
D octor of P h ilosophy d eg re e in M usic with a m a jo r in M usic L ite ra tu r e and P e rfo rm a n c e .
The
ad d itional re q u ire m e n ts include p e rfo rm a n c e of two r e c ita l p ro g ra m s and a fe a tu re d a p p e aran c e with

the S tate U n iv e rsity of Iowa Symphony O rc h e s tra .
One r e c ita l each w as given on the b asso o n and the
and th e c la r in e t, and the a p p e aran c e with the U n iv e rsity Symphony O rc h e s tra w as on the alto sa x o
phone.
In addition to th e se r e c ita ls , the p r e s e n t w r ite r has p re p a re d and p e rfo rm e d the H um m el
C o n certo (full o r c h e s tr a accom panim ent v e rsio n ) in a se m i-p u b lic re c o rd in g se ssio n .
T he p rin te d
p ro g ra m s fo r the r e c ita ls a r e e n te re d on the follow ing pages.

F o r th e ir ex ten siv e a s s is ta n c e in th is study, the au th o r e x p re s s e s h is a p p re c ia tio n to P r o
f e s s o r s H im ie Voxman, A lb ert T . L u p er, John S im m s, R ich a rd H erv ig , D r. M arvin T h o sten so n and
M r. J a m e s Dixon.
A cknow ledgm ent is m ade a lso to th e T ru s te e s of the B r itis h M useum fo r p e rm issio n
to p h o tograph and publish the autograph s c o re of H u m m e l's C o n c erto (B rit. M us. Add. MS 32218),
STATE
UNIVERSITY
OF I OWA
D e p a r t m e n t o f M u s ic
of the
S T A T E
U N I V E R S I T Y
O F
I O W A
School of F ine Arts
D e p a r t m e n t o f M u s ic
of th e
R e c ita l
School o f F in e A rts
W ednesday, July 31,1957, a t 1:00 p.m.

N orth M usic H all
1 /Q e c ita l
R O N A L D TY R EE, bassoon
Sunday, Jan u a ry 20, 1957 a t 7:30 P.M .

N o rth M usic H all
N orm a Cross, piano
R O N A L D W . TY R EE , clarinet
H ans K oelbel, cello

N o n n a Cross, piano
Sonata, O p. 120, No. 2

A llegro am abile
A ppassionato, m a non tro p p o A llegro
A ndante con rnoto
A llegro non troppo
Trio in B flat m ajor, O p. 11
A llegro con brio
A dagio
T em a con V ariazioni ( A llc g re tta )
S onatinc (1 9 2 7 )
T ies ru d e
L ent
T res ru d e
Handel
Kammertrio, Nr. 24
Adagio
Allegro
Largo
Allegro
assisted by
B rahm s
B eethoven
assisted by
Robert Humislon, oboe
Eldon Obrecht, string bass
John Knoernscbild, harpsichord
Sonata (1938)
I Leicht bewegt
II LangsamMarschPastorale
M ilhaud
Mozart
Concerto in B flat, K. 191

Allegro
Andante ina Adagio
Rondo
(cadenzas by J. Waller Cuetter)
Concertino (1948)
Andante
Allegro Vivace
Hindemith
Marcel Bitsch
Student Series No. 95,1950-57 Season

N o te ; T h is program has b e e n p rep a red b y R onald
VP. T y ree in partial ju ljillm e n t o f th e req u irem en ts for
th e D octor o f P hilosophy d eg ree w ith a m ajor in M usic
L iterature a n d Perform ance.
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 Liter
ature and Performance.
Student Series No. 19,1956-57 Season
R ep ro d u ced with p erm ission o f th e copyright ow ner. Further reproduction prohibited w ithout perm ission.
Eighteenth Annual
Fine Arts Festival
State University of Iowa

D epartm ent of Music
School of Fine Arts
presents the
1956 Summer Session
C O N C E R T
by the
University Symphony Orchestra

Conductor
Tenor
T v r e e , Saxophonist
J a m e s D ix o n ,
H e ra ld Sta r k ,
R o nald
Thursday, June 28, 1956

E ig h t oC lock
Iow a M em orial Union

Io w a C ity, Iow a
vi
P R O G R A M
Sym phony No. 2 in D Major, O p. 36 . .
A dagio m olto A llegro con brio
L arghetto
Scherzo
Allegro m olto
L u d w ig van B eethoven
(1770-1827)
W r itte n d u rin g t h e a u tu m n o f 1 8 0 2 , a t a tim e w h e n B e e th o v e n w a s e x p e rie n c

in g n u m e ro u s tro u b le s o f b o th a p h y s ic a l a n d e m o tio n a l n a tu re , t h e S e c o n d S y m
p h o n y n e v e rth e le s s s h o w s th e c o m p o s e r in a jo y fu l m o o d .
T h e e n th u s ia s tic A lleg ro o f th e firs t m o v e m e n t is p r e c e d e d b y a slo w in tro
d u c tio n in th e m a n n e r o f J Ia y d n , b u t lo n g e r a n d m o re p e rs o n a l in fe e lin g th a n
t h e re s e rv e d in tro d u c tio n s o f th e o ld e r m a s te r. T h e w a rm , ly ric a l L a r g h e tto ,
a b o u n d in g in m e lo d ic s, h a s b e e n 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 e
m e n ts " e v e r w ritte n . In t h e lig h t, w h im s ic a l th ir d m o v e m e n t B e e th o v e n em p lo y s
t h e title S c h e rz o fo r th e first tim e , th is te rm re p la c in g t h e " M e n u c tto u s e d in
h is F irst S y m p h o n y a n d in m ost sy m p h o n ie s o f h is p re d e c e s s o rs . T h e s u n n y m o o d
p ers is ts in th e fin a l m o v e m e n t, a fo r th r ig h t ro n d o .
C oncertino d a C am era for Alto Saxophone and

C ham ber O r c h e s t r a ............................................................Jacques Ib ert
(b . 1890)
I. Allegro con molto
II. L arghetto A nim ato molto
Soloist; R onald Tyree
T h e sax o p h o n e , m o st o fte n a s s o c ia te d 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 e n tio n o f th e B elg ian c r a fts m a n , A d u lp h e S ax. T h o u g h it w a s 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 o cc asio n ally
in to s y m p h o n ic scores, its u se as a c o n c e rt so lo in s tr u m e n t is la rg e ly th e re s u lt o f
th e a c tiv itie s o f th e D a n is h v irtu o s o , S ig u r d R a s e h 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 r s u a d e d p ro m in e n t c o m p o s e rs to w r ite fo r th e in s tru m e n t.
I b e rt's " L ittle 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.ieh e r in 19 3 4 . It is
in th re e m o v e m e n ts ( f a s t- s lo w - f a s t) , t h e la s t tw o b e in g c o n n e c te d . T h e b rillia n t
o p e n in g , in th e lig h t s ty le ty p ic a l o f t h e w o r k o f m a n y F r e n c h m e n d u r in g th e
tw e n tie s a n d th irtie s a n d s u g g e s tin g s o m e w h a t th e a tm o s p h e r e o f P a ris ia n musich alls, is fo llo w ed b y a ly ric a l, e v o c a tiv e slo w m o v e m e n t th a t o p e n s w ith a b rie f
re c ita tiv e fo r th e solo in s tr u m e n t. T h e s e c tio n le a d s w ith o u t b re a k in to th e c o n
Songs of a W a y f a r e r ........................................................... Gwsfflt; M ahler

(1860-1911)
Soloist: H erald Stark, tenor
M a h le r c o m p o s e d th e L ie d e r vin e s fa h r e n d e n G e sella n to h is o w n p o em s in
1883, a t th e a g e o f tw e n ty -th r e e . T h e p re v a ilin g m e la n c h o ly to n e w a s p ro v o k e d b y
a n u n h a p p y love a ffa ir. T h e p o e m s, d iv id e d in to fo u r s e c tio n s in th e m usical
s e ttin g , ex p ress th e fe e lin g s o f a y o u n g m an w h o se u n h a p 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 e s h im to w a n d e r ac ro ss field s a n d h e a th . In th e first
s o n g h e say s 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 o n ly so rro w . In th e
s e c o n d , h e is e x h ila ra te d b y th e b e a u ty o f th e s o u n d s a n d co lo rs o f th e field,
b u t e v e n th e s e a r e u n a b le to p u t an ,-nd to h is u n h a p p in e ss . T h e th ird s o n g ex
p re s s e s his u n c e a s in g to rm e n t in a n o u tb u rs t o f alm o st in c o h e re n t a n g u is h . A gain
a n d a g a in h e utters, th e c ry o f p a in , O , W e l d O , W e ld T h e last s o n g te lls how his
s w e e th e a r t's tw o b lu e e y e s fo rc e d h im o u t in to th e w id e w o rld ; h e d e p a rte d at
n ig h t ac ro ss 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 s o n g s l a te r s u p p lie d m a te ria l for M a h le r's F irs t S ym
phony.
Suite from D er R o s c n k a v a lie r ........................................... liichard Strauss

(1864-1949)
S in c e its first p e r fo rm a n c e in 1911, D v r llo sc n k a v a lie r ( " T h e K night of th e
R ose ) lias d e s e rv e d ly re m a in e d th e m o st p o p u la r G e rm a n o p e r a w r itte n sin ce
W a g n e r. S tra u s s h a d c o m p le te d F.hk tr a in 1909, a n d it w a s his d e s ire to p ro d u c e
a lig h te r p ie c e t h a t w o u ld s e rv e as a n a n tith e s is to th e p re v io u s w o rk , so m e th in g
in th e sp irit o f M o z a rt. T h e lib re ttis t, th e n o te d V ien n e se p o e t a n d d ra m a tis t H ugo
v o n H o f m a n n s th a l, u n d e r to o k to p ro v id e a text m o d e lle d in g e n e ra l c h a ra c te r
a f te r M o z a rts T h e M a rria g e o f F igaro.
T h e sto ry is c o n c e rn e d w ith th e n o b ility o f 1 8 th -c e n tu ry V ie n n a . Its lively
p lo t, w h ic h m ixes h u m o r w ith a to u c h o f p a th o s, in s p ire d m u s ic o f g re a t vigor,
c h a rm , a n d sp irit. T h e s u ite , a r ra n g e d b y th e c o m p o ser h im se lf, is m a d e u p of
e x tra c ts fro m t h e o rc h e s tra l m u s ic in tro d u c in g a n d a c c o m p a n y in g t h e a c tio n , a n d
is p a r tic u la rly n o te w o r th y fo r th e w a ltz e s w h ic h e s ta b lis h th e V ie n n e se settin g .
S o l e s htj A lb e r t T . L u p c r a n d F re d e r ic k II. C rane
c lu d in g A n im a to m o lto , w h ic h d is p la y s a B a ro 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 a l a n d te c h n ic a l c h a ra c te ris tic s o f th e solo
in s tru m e n t a r e fu r th e r e x p lo ite d in a c a d e n z a , a f te r w h ic h th e w o rk e n d s in a
c o n c e rte d p a s s a g e fo r th e e n tire e n s e m b le .
I N T E R M I S S I O N
TH E GRAND CONCERTO FOR BASSOON AND ORCHESTRA

BY J . N. HUMMEL (1778-1837)
P a r t 1.
T he F u ll O rc h e s tra S core
PR E FA C E
T he C o m p o ser and the M a n u scrip t

Johann N epom uk H um m el (1778-1837) is m o st widely known a s a piano v irtu o so and co m p o ser of the e a rly
n in eteen th ce n tu ry .
In h is day he won fam e and e s te e m co n sid ered by m any to be equal to th a t of B eethoven.
H is m u s i
c a l c a r e e r began e a r ly when at th e age of nine he gave h is f ir s t public p e rfo rm a n c e u nder th e sp o n so rsh ip of M ozart,
with whom he lived and stu d ied f o r a b r ie f tim e .
Follow ing s e v e ra l co n c ert to u rs w hich took him to London (w here he
stu d ied piano w ith C lem enti) and a s f a r e a s t a s St. P e te rs b u rg , H um m el u n d erto o k a s e rio u s study of co m p o sitio n with
such renow ned te a c h e r s as A lb re c h ts b e rg e r, Haydn, and S a lie ri.
In 1D04 he w as engaged a s the s u c c e s s o r to Haydn
at E ise n sta d t (the c o u rt of E ste rh a z y ), w here he re m a in e d u n til 1811.
A fter holding v a rio u s p o sitio n s b rie fly in Vienna
and S tu ttg a rt, H um m el w as em ployed a s K a p e llm e iste r at W eim ar, w here he re m a in e d u n til he died.
C o m p arativ ely little d e ta ile d in fo rm atio n is known c o n c ern in g th e G ran d Co n c e rto fo r B a sso o n .
C atalo g u es
of H u m m e ls w ork s o m it any r e f e r e n c e to it, and the autograph, io cated in th e B ritis h M useum (Add. MS 32818), gives
no opus nu m b er o r date.
T he in s c rip tio n in d ic a te s that H um m el d ed icated the C o n certo to a c e rta in G rie sb a c h e r.
P o sitiv e id e n tifica tio n of th is p e rs o n h as not b een p o ssib le , sin c e ap p a ren tly no a u th o ritie s m ake m ention of a bassoon
p la y e r of th is nam e.
T he only G rie s b a c h e r of th is p e rio d who enjoyed wide a c c la im w as a d istin g u ish ed c la r in e tis t of
V ienna, in the s e rv ic e of P rin c e G rassalkow itz.*- It is lik ely th at H um m el knew th is G rie sb a c h e r, the d ir e c to r of a
c h o ir and wind band, sin c e th e c o m p o se r w as lo c ate d in V ienna at s e v e ra l tim e s .
T he G rand Conce rto fo r B a ssoon
w as w ritte n p ro b ab ly d u rin g the la tte r of th e se p e rio d s (1811-1816), sin ce the in sc rip tio n d is c lo s e s that l l u mm. l was
th en fro m V ienna (though he had b een born in P r e s s b u r g , H ungary, f
E d ito ria l P ro c e d u r e s
T he G rand C o n c erto fo r B assoon is h e re p re se n te d in the o rig in a l v e rs io n fo r so lo in stru m e n t and sm a ll _
o r c h e s tr a (Volume I, P a r t 1), to g e th e r w ith a v e rs io n in which the ac co m p an im en t h a s been red u ced fo r piano (V ol
u m e I, P a r t 2).
T he fu ll s c o re h as been p r e p a re d in such a m a n n e r a s to in d icate w here e d ito ria l p ro c e d u re s have
a lte r e d the o rig in a l v e rs io n a s found in th e auto g rap h .
W henever m a rk in g s such a s dynam ic sym bols o r a c c i d e n ta l
a p p e a r in p a re n th e s e s , they have been sup p lied by th e e d ito r.
T he te rm s im ile a lso has been intro d u ced when an ex
te n sio n of the sa m e sty le of p e rfo rm a n c e s e e m s a p p ro p ria te .
In th e acco m p an im en t, s lu r s which ap p e ar in dotted lin es
have been added e d ito ria lly , and s lu r s w hich a p p e a r in d ash es (o r p a rtly so) a r e m eant a s c o rre c tio n s which should r e
p la ce ap p a ren tly c a r e le s s and in c o n siste n t m a rk in g s by H um m el.
In c a s e s w here p a s s a g e s which included obvious
1.
E rn s t Ludw ig G e rb e r, N eu es h is to r is c h - b io g ra p h isc h e s L exikon d e r T o n k iin stler (L eipzig, 1612), Vol. II, col. 409.
2.
T he s o u rc e s fro m w hich the above b io g ra p h ic a l m a te r ia l is ta k en include the follow ing: F . J. F e tis , B io g ra p h le

u n iv e rs e lle d es m u s ic ie n s , 2nd ed. ( P a r is , 1862), Vol. IV, p. 385ff; E rn s t Ludw ig G e rb e r, A lexandre C horon (and
o th e rs), A D ictio n ary of M u sic ia n s (London; S ain sb u ry and C o ., 1824), Vol. I, p. 3 8 lff; and G ro v e 's D ictio n ary
of M usic "and M u sicia n s, 5th ed. (New Y ork: St. M a rtin ' s P r e s s , 1954), Vol. IV, p. 406ff.
w rong n o tes have been c o r r e c te d in the s c o re , the o rig in a l fo rm of such p a s sa g e s is given in the lo w er m arg in .
A box
of dotted lin e s is u sed to en c lo se fra g m e n ts of the s c o re which w ere co m p letely m is sin g in the autograph.
T he autograph co n tain s m any in sta n c e s of re w ritin g in both the solo p a rt and the accom panim ent.
c a s e s H um m el p ro v id ed two v e rs io n s in the solo p a r t, e ith e r of which m ay be played.
tio n a l v e rs io n of the p a ssag e .
In som e
The te rm o ssia den o tes the op
In the solo p a r t the m a jo rity of s lu r s a re supplied by the ed ito r, and those which a re
en clo sed in b ra c k e ts a r e tak en fro m the autograph; both ty p es should be played.
It should be recognized that in supply
ing th is fo rm of editing, the e d ito r does not o ffer his v e rs io n as the only solution p o ssib le .
Due to the ex tre m e d iffi
cu lty of the C o n certo , the p e r f o rm e r m ay w ish to v a ry th e a rtic u la tio n at c e rta in p o in ts in ac co rd an ce with h is ta ste
and p e rfo rm a n c e ab ility .
The t r i l l s and m o rd e n ts should p re su m a b ly begin with the p rin c ip a l note if H u m m el's views
on o rn a m e n ta tio n a r e to be re s p e c te d .0 H um m el u s e s both long and sh o rt g ra c e n o tes, the long ap p oggiatura ap p earin g

w ith no lin e draw n th ro u g h the note stem .
T h is la tte r type should re c e iv e em p h asis a s it is played on the beat and tak es
its value fro m th a t of the m ain note (usually a half).

im m ed ia te ly re p e a te d with little o r no change.
T hroughout the C o n certo o ccu r ex am p les of p h ra s e s which a re
The e d ito r su g g e sts that m any of th e se re p e a te d p a s sa g e s be co n sid ered
a s ech o es, and fo r th is p u rp o se the r e p e a ts a re m a rk e d p ia n issim o (pp) with a dotted line in d icatin g the length of the
echo.
T he second m ovem ent p ro v id e s the only o p portun ity fo r a cadenza, which in th is edition is supplied by the ed ito r,
sin c e H um m el chose not to p ro v id e one.
A few o th e r m a rk s o r c o rre c tio n s of an obvious n a tu re (such a s sig n s fo r t r i p
le t p a s sa g e s) have been added w ithout s p e c ia l e d ito ria l id en tificatio n .

T he p a s s a g e m a rk e d "A ppendix" (p ol below) o c c u rs in the autograph on a page n e a r the end of the C oncerto.
Its p u rp o se is su b je ct to c o n je c tu re sin ce no sp e cific d ire c tio n s as io its use w ere pro v id ed by H um m el.
C a re fu l con
sid e ra tio n has show n th a t it m ay logically be used as a re v isio n of the f o u r- b a r p assag e beginning at the fifth m e a su re
of r e h e a r s a l le tte r M (all r e h e a r s a l le tte r s have been supplied by the ed ito r).
In the autograph, both p a s s a g e s b ear
the sy m b o l IB, a co n tra c tio n of N. B. (Nota B ene).

T he g e n e ra l sty le of the G rand Conc e rto fo r B asso o n b e a r s co n tin u al evidence of H u m m el's a s so c ia tio n s with
Haydn and M o z art a s te a c h e r s and with B eethoven a s a c o n te m p o ra ry .
The solo p a rt is v e ry flo rid , and p la c e s dem ands
upon the p e r f o rm e r which a r e g e n e ra lly quite s e v e re fo r th is p erio d (or fo r any other),,
The. C o n certo w ill be m o st
faith fu lly and effec tiv e ly p e rfo rm e d with a sm a ll o r c h e s tr a of four winds and about tw enty s tr in g s .
H um m el used the
so n a ta a lle g ro fo rm fo r the f ir s t and second m ov em en ts, and the rondo fo rm fo r the fin al m ovem ent, while M ozart in
h is C o n c erto in B^3 M ajor fo r B asso o n had s im ila rly u sed the sa m e fo rm a l design, with only the second m ovem ent (an
ab rid g e d so n a ta fo rm ) d iffe rin g slig h tly .
Though the f ir s t m ovem ent of M o z a rt's C o n certo is r a th e r flo rid , it is
g e n e ra lly hot n e a rly so com plex te c h n ic a lly a s is H u m m e l's w ork.
3.
See h is p ia n o fo rte m ethod, K la v ie rs c h u le : a u sfiih rlich e th e o re tis c h - p ra c tis c h e Anweisung zum P ia n o fo rte sp ie l vom
e r s te n E le m e n ta r -U n te rr ic h t an b is z u r vollkom m en A usbildung (Vienna; H aslin g er, 18211).
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AN EDITION FOR STUDY AND PERFORMANCE OF

THE GRAND CONCERTO FOR BASSOON AND ORCHESTRA
BY J. N. HUMMEL (1778-1837)
AND
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 e p r o d u c e d w ith p e r m issio n o f th e co p y rig h t o w n er . F u rth er rep ro d u ctio n p roh ib ited w ith o u t p e r m issio n .
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 m usi
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 tim es.
The Grand Concerto for Bassoon
was written probably during the latter of these periods (1811-1816), since the inscription discloses that Hummel was
then 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 term s of correcting obvious wrong notes and various other inconsistencies.
markings and a few other changes that have been editorially inserted are enclosed in parentheses.
Dynamic
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 C o., 1824), Vol. I, p. 381ff; and Grove's Dictionary
of Music and Musicians, 5th ed. (New York: St. Martin's P ress, 1954), Vol. IV, p. 406ff.
In some cases Hummel provided two versions in the solo part, either of which may be played.
ossia denotes the optional version of the passage.
The term
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 tr ills and mordents should presumably begin with the principal note if Hummel's
views on ornamentation are to be resp ected / Hummel u ses 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 m easure 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
upon the performer which are generally quite severe for this period (or for any other).
very florid, and places demands

The Concerto w ill be most
faithfully and effectively performed with a sm all 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, K lavierschule: ausfuhrliche theoretisch-practische Anweisung zum Pianofortesplel vom
ersten Elem entar- Unterricht an bis zur vollkommen Ausbildung (Vienna: Haslinger, 1828).
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I M O C P f N M NT
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ST
No. 102
12-6CTAVO
213 49
MUSIC
FUlllSHCtS
N T l, O S.A.
AN EDITION FOR STUDY AND PERFORMANCE OF

BY J. N. HUMMEL (1778-1837)
ANDFOUR SONATAS FOR BASSOON AND KEYBOARD, OPUS 25
by
Ronald Wayne Tyree
Volume II
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
CONTENTS TO VOLUME H
Page
Preface
Sonata No. 1 in D Major

Moderato
Gavotta
Adagio
Allegro
Sonata No. 2 in A Minor

Vivace
Allemanda - Allegro ma non tropo
Adagio
Giga
11
Sonata No. 3 in G Major

Allegro ma non tropo
Corrente
Adagio
Minoetto Primo
Minoetto Secondo
18
Sonata No, 4 in E M i n o r ...................................................................

Adagio
Allegro
Largo
Gavotta Prima
Gavotta Seconda
25
ill
PREFACE
During the reigns of Louis XIV and Louis XV, the musette (a French bagpipe) and the vielle (the hurdy-gurdy)
became popular in French society,
Joseph-Bodin de Hilas Boismortier (1691-1765?), in his large musical production,
wrote pieces for these instruments called divertissem ents. Also among his works are compositions for bassoon, in
cluding two sets of six sonatas for two bassoons, Opus 14 and Opus 40, and a group of five sonatas, Opus 26, for solo
cello, or viola, or bassoon, with figured bass.*
The four sonatas presented here belong to the latter group for bassoon and figured bass, Opus 26, published
in 1729. The fifth sonata of the group is omitted since it has already been published with the figured bass realized.2
The source of the present edition is a photocopy of the original, from the example in the British Museum (Cat. No. g.
11. a. [2.] ).
Any corrections, such as supplying a m issing accidental, are here enclosed in parentheses to indicate
a slight departure from the original edition.
The editor has introduced slurs (in dashes) into several passages where
additional articulation seem s advisable. The sm all cross commonly signifies the Baroque trill which should properly
begin with the upper, auxiliary note,1* and the vertical dash above the note head suggests a short, staccato note
4
length.
The grace notes are usually the long note type of appoggiatura, which should be played on the beat, reducing
the following main note by one-half.
When the grace note connects the interval of a descending third, and the harmonic
structure warrants such an execution, the grace note should be treated as the exceptional short grace note which is
5
played before the beat, An example of this type occurs in measure 12 of Sonata No. 1, A minimal number of dynamic
markings have been added to those provided by Boismortier, whose dynamics in this edition appear in parentheses.
Throughout the sonatas occur examples of phrases which are repeated with little or no change. The editor suggests
that many of these repeated passages be considered as echoes, and for this purpose the repeats are marked
1.
The source of this information is B oism ortier's own statement in his published edition of Opus 26.
2.
J. B. Boism ortier, Sonate No. 5 pour Basson et Clavier, with figured bass realization by Fernand Oubradous
(Gen&ve: Editions du SiScle Musical, 1950).-
3.
Michel Pignolet de Mont^clair, Principes de muslque divisez en quatre parties (Paris, 1736), as cited in Jane
Arger, L es agrlm ents et le rythme (Paris: Rouart, Lerolle et C ie ., 1917, p. 91).
4.
Franqois Couperin, P ieces de clavecin, Book 1 (Paris, 1713),
5.
F. W. Marpurg, Die Kunst das Clavier zu spielen (Berlin, 1750), Other principal sources consulted on questions
of ornamentation Include: Grove's Dictionary of Music and M usicians, 5th ed. (New York: St. Martin's P ress, 1954),
Vol. VI, p. 384ff-., and Arnold Dolmetsch, The Interpretation of the Music of the 17th and 18th Centuries (London,
1915).
2
pianissim o (pp) with a dotted line indicating the length of the echo.
Following the common practice of the period,
Boism ortier used the symbol for a flat to cancel a sharp occurring in the key signature.
These have been replaced by
the "natural" sign in accordance with present-day practice.

The stylistic traits of these sonatas are common to those of much other instrumental music in France during
the first half of the eighteenth century.
In the use of ornamentation these sonatas bear resemblance to the works of
Frangois Couperin. The movements include the characteristic dance forms of Allemande, Courante, Gigue, Gavotte
and Minuet.
In two instances Boism ortier uses a pair of gavottes or minuets in the arrangement which later was
common in the minuet and trio, i . . , the first gavotte (or minuet) is repeated after the second one is played.
sonatas generally follow a plan of four movements, most of which fit the binary formal pattern.
ment titles are only tempo designations, such as Adagio, Allegro, and Largo.
The
Many of the move
An Adagio or Largo occurs as the
third movement in each of the sonatas, and the style of these movements is sim ilar to the corresponding movements
in some of the flute sonatas of Bach or Handel, L e . , these movements have the character of Sicilianos (Sonata No. 4),
or slow melodic airs (Sonata No. 1), In the Fourth Sonata this slow movement is abbreviated, as in some of the
bassoon sonatas of Johann Galliard, a contemporary of Boism ortier,
between the preceding and following movements.
These short Adagios serve as interlude passages
The first movement of Sonata No. 1 is entitled Moderato.
of the music suggests a type of prelude, and a broad tempo seem s most suitable.
The style
Sonata No, 4 opens with an Adagio
movement followed by an Allegro that is semi-fugato in style, and thus resem bles a French overture. It differs from
most French overtures, however, in that the opening Adagio is cast in binary form with two repeated strains and in
triple meter, in contrast to the more common arrangement of only one Adagio repeated strain, pompous in style, and
in duple meter.
Certain characteristic features of the use of binary form during this period, such as cadence rhyme and
transposition of the opening m aterial at the beginning of the second repeated strain (usually to the dominant or relative
major key), are utilized by Boism ortier.
In two of the sonatas (No. 3 and No. 4), the main tonality is retained as the
key center for all four movements, while in the others a single departure in the case of one movement is made.
In
Sonata No. 2 in A Minor, the third movement is in the relative major key (C), and in a sim ilar fashion, the third move
ment of Sonata No. 1 in D Major is in the relative minor key (B). In two of the sonatas there is a harmonic relation
ship, such as the dominant or mediant to tonic, between the close of the Adagio and the following movement ( g .g .,
Sonatas No. 3 and 1).
In general term s, one may say that these sonatas blend together the features normally associated with both
the sonata da camera and sonata da chiesa; i. e . , Boism ortier combines free movements, such as the Adagio or
Allegro, with the dance movements of the sonata da camera (e .g ., Allemande and Gavotte).
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Johann Nepomuk Hummel Dissertation

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A N EDITION F O R STU D Y AN D PERFO R M A N C E O F

THE G RAND CONCERTO F O R BASSOON A N D ORCHESTRA

A d is s e r t a t io n su b m itted in p a r tia l f u lf illm e n t -o f th e r e q u ir e m e n ts

R e p r o d u c e d w ith p e r m issio n o f th e co p y r ig h t o w n er . F urth er rep ro d u ctio n p roh ib ited w ith o u t p e r m issio n .

B assoon R e cital P r o g r a m ..................................... v

THE GRAND CONCERTO FO R BASSOON AND ORCHESTRA

The C o m p o ser and the M a n u s c r ip t.

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

The C o m p o ser and the Ma n u s c r i p t .

T he P ian o R eduction S core

S onata No. 2 in A M i n o r ..............................

The s e a rc h fo r additional lite r a tu r e fo r the b asso o n h as led to n am es som ew hat o b sc u re in

Johann Nepomuk H um m el (1778-1837) and Jo sep h -B o d in B o is m o rtie r (1691-1765?)

a r e two such fig u re s who w rote ex c ellen t co m p o sitio n s fo r the basso o n .

U sing a p hotographic re p ro d u c tio n of the

d u re s a r e p re se n te d in a m a n n e r which in d ic a te s w h ere they o ccu r.

The fig u red b a s s h as been re a liz e d

ad d itional re q u ire m e n ts include p e rfo rm a n c e of two r e c ita l p ro g ra m s and a fe a tu re d a p p e aran c e with

One r e c ita l each w as given on the b asso o n and the

In addition to th e se r e c ita ls , the p r e s e n t w r ite r has p re p a re d and p e rfo rm e d the H um m el

C o n certo (full o r c h e s tr a accom panim ent v e rsio n ) in a se m i-p u b lic re c o rd in g se ssio n .

p ro g ra m s fo r the r e c ita ls a r e e n te re d on the follow ing pages.

A cknow ledgm ent is m ade a lso to th e T ru s te e s of the B r itis h M useum fo r p e rm issio n

School of F ine Arts

W ednesday, July 31,1957, a t 1:00 p.m.

Sunday, Jan u a ry 20, 1957 a t 7:30 P.M .

N orm a Cross, piano

H ans K oelbel, cello

Sonata, O p. 120, No. 2

Concerto in B flat, K. 191

Student Series No. 95,1950-57 Season

NOTE: This program has been presented by Ronald W.

Student Series No. 19,1956-57 Season

Fine Arts Festival

State University of Iowa

School of Fine Arts

1956 Summer Session

University Symphony Orchestra

Thursday, June 28, 1956

Iow a M em orial Union

W r itte n d u rin g t h e a u tu m n o f 1 8 0 2 , a t a tim e w h e n B e e th o v e n w a s e x p e rie n c

C oncertino d a C am era for Alto Saxophone and

Songs of a W a y f a r e r ........................................................... Gwsfflt; M ahler

Suite from D er R o s c n k a v a lie r ........................................... liichard Strauss

c lu d in g A n im a to m o lto , w h ic h d is p la y s a B a ro q u e -lik e to c c a ta f ig u ra tio n as its

TH E GRAND CONCERTO FOR BASSOON AND ORCHESTRA

T he C o m p o ser and the M a n u scrip t

In h is day he won fam e and e s te e m co n sid ered by m any to be equal to th a t of B eethoven.

Follow ing s e v e ra l co n c ert to u rs w hich took him to London (w here he

In 1D04 he w as engaged a s the s u c c e s s o r to Haydn

at E ise n sta d t (the c o u rt of E ste rh a z y ), w here he re m a in e d u n til 1811.

A fter holding v a rio u s p o sitio n s b rie fly in Vienna

T he in s c rip tio n in d ic a te s that H um m el d ed icated the C o n certo to a c e rta in G rie sb a c h e r.

T he only G rie s b a c h e r of th is p e rio d who enjoyed wide a c c la im w as a d istin g u ish ed c la r in e tis t of

T he G rand Conce rto fo r B a ssoon

T he fu ll s c o re h as been p r e p a re d in such a m a n n e r a s to in d icate w here e d ito ria l p ro c e d u re s have

a lte r e d the o rig in a l v e rs io n a s found in th e auto g rap h .

W henever m a rk in g s such a s dynam ic sym bols o r a c c i d e n ta l

a p p e a r in p a re n th e s e s , they have been sup p lied by th e e d ito r.

T he te rm s im ile a lso has been intro d u ced when an ex

te n sio n of the sa m e sty le of p e rfo rm a n c e s e e m s a p p ro p ria te .

In th e acco m p an im en t, s lu r s which ap p e ar in dotted lin es

In c a s e s w here p a s s a g e s which included obvious

T he s o u rc e s fro m w hich the above b io g ra p h ic a l m a te r ia l is ta k en include the follow ing: F . J. F e tis , B io g ra p h le

>MoifNWN' mimic n tiiiix r '