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Viola Sonata E flat major op. 5 Nr. 3

About the Composer

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Johann Nepomuk Hummel

Composer and pianist, whose works are positioned stylistically at the transition from Classicism to Romanticism. They encompass nearly all genres, including six piano concerti, sonatas, chamber music, incidental music, and sacred works. Admired as a virtuoso during his lifetime, he showed his technical skills in a comprehensive course on the art of piano playing. He was a member of the Institut de France and the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna, among others.

1778Born in Pressburg (Bratislava) on November 14. His father, a professional musician, gives him his first music lessons.
1786–88The family relocates to Vienna, where he becomes the pupil of Wolfgang Amadeus Mozart.
1788–93With his father he undertakes a multi-year concert tour through Europe. In London he meets Joseph Haydn.
from 1793Back in Vienna, he becomes the pupil of Johann Georg Albrechtsberger, Antonio Salieri, and Joseph Haydn.
1804–11He is concertmaster of Prince Esterházy’s orchestra in Eisenstadt.
from 1811In Vienna he devotes himself primarily to composition and teaching.
1813He marries Elisabeth Röckel, a singer at Vienna’s Hoftheater.
1816–18He is Royal Württemberg Court Music Director in Stuttgart.
from 1819In February he becomes court music director in Weimar, and rises to become one of that city’s most important musical figures.
1827In Vienna he meets Franz Schubert. He participates in the funeral of Ludwig van Beethoven.
1828He publishes his Course of Instruction on the Art of Playing the Piano, which he had drafted in Weimar.
1831With André Hippolyte Chelard he directs the Thuringia Music Festival in Erfurt.
1837Dies in Weimar on October 17.

About the Authors

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Ernst Herttrich (Editor)

Dr. Ernst Herttrich, born in 1942 in Würzburg, read musicology, history, German and theology at the universities in Würzburg and Cologne. In 1970 he earned his doctorate in Würzburg with a study of the expression of melancholy in the music of Mozart.

From 1970 to 1990 he was an editor at G. Henle Publishers in Munich, after which he was Head of the Beethoven Complete Edition for over 15 years. In 1999 he took over as Head of the Beethoven-Haus Publishers, and from 2001 was made Head of the Beethoven-Archiv, the research centre at the Beethoven-Haus.

He has been a visiting professor at Meiji Gakuin University in Tokyo and has undertaken several lecture tours both there and to Kyoto. His research interests include source studies, editorial techniques and music history. Herttrich’s publications include “Beethoven. Liederkreis an die ferne Geliebte” (Bonn 1999) and “Ludwig van Beethoven. Biographie in Bildern” (Bonn, 2000). Herttrich has edited over 100 Urtext editions for G. Henle Publishers.

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Klaus Schilde (Fingering)

Prof. Klaus Schilde, born in 1926, spent his childhood in Dresden. There he was greatly influenced by Walter Engel, who taught him the piano (Kodaly method), composition and violin. From 1946–1948 he studied at the music conservatory in Leipzig with Hugo Steurer. After moving to the west in 1952 he studied with Walter Gieseking and Edwin Fischer, as well as with Marguerite Long, Lucette Descaves and Nadia Boulanger in Paris.

Schilde won numerous prizes. From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he also taught for decades as a professor. There are numerous radio and television broadcasts with Klaus Schilde as well as CD recordings. Schilde has contributed fingerings to almost 100 Henle Urtext editions.

Prof. Klaus Schilde passed away on 10 December, 2020.

Tabea Zimmermann (Fingering and bowing for Viola)

This new urtext Henle edition contains the expected clean engraving, legible spacing, and critical report. ... This is a welcome addition to Henle's growing catalog of standard viola repertoire.

American String Teacher, 2013

Diese Urtextausgabe von Hummels Bratschensonate ist besonders wertvoll, weil sie alle Fehler der Erstausgabe korrigiert und zusätzlich eine praktisch eingerichtete Stimme der bekannten Bratscherin Tabea Zimmermann liefert.

Schweizer Musikzeitung und ESTA Nachrichten, 2012

Die von Ernst Herttrich betreute Urtext-Ausgabe ist rundum gelungen. Vor allem liefert sie einen Notentext, der schon durch das Schriftbild die Struktur der Komposition aufschließt. Viola- und Klavierstimme sind hervorragend lesbar. Der Kommentar erläutert editorische Fragen. Die zusätzliche Violastimme, die von Tabea Zimmermann mit Angaben zum Notenstrich und Fingersätzen versehen wurde, geht sehr sensibel mit dem Urtext um; die Fingersätze in der Klavierstimme von Klaus Schilde erweisen sich als hilfreich und praktikabel.

Das Orchester, 2012

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