Hummels “Potpourri” for Violoncello and Orchestra op. 95 is part of every violoncello player’s core repertoire, especially in its shortened version, the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited, newly composed passages, the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Sebastian Hess has provided fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Hummel produced this version in addition to the original edition for viola. The version presented here was out of print for many years, but we have now made it available again.
- Potpourri (Fantasy) for Viola and Orchestra (version for Violoncello) op. 95
“While I should have devoted my greatest efforts to pleasing the connoisseurs, I nevertheless sought to please non-connoisseurs as well. For there is no audience anywhere in the entire world that consists solely of connoisseurs [...]; they would have to be very pedantic, obstinate connoisseurs who would never feel the occasional urge to enjoy something that appeals to a mixed … 続き
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.
|1778||Born in Pressburg (Bratislava) on November 14. His father, a professional musician, gives him his first music lessons.|
|1786–88||The family relocates to Vienna, where he becomes the pupil of Wolfgang Amadeus Mozart.|
|1788–93||With his father he undertakes a multi-year concert tour through Europe. In London he meets Joseph Haydn.|
|from 1793||Back in Vienna, he becomes the pupil of Johann Georg Albrechtsberger, Antonio Salieri, and Joseph Haydn.|
|1804–11||He is concertmaster of Prince Esterházy’s orchestra in Eisenstadt.|
|from 1811||In Vienna he devotes himself primarily to composition and teaching.|
|1813||He marries Elisabeth Röckel, a singer at Vienna’s Hoftheater.|
|1816–18||He is Royal Württemberg Court Music Director in Stuttgart.|
|from 1819||In February he becomes court music director in Weimar, and rises to become one of that city’s most important musical figures.|
|1827||In Vienna he meets Franz Schubert. He participates in the funeral of Ludwig van Beethoven.|
|1828||He publishes his Course of Instruction on the Art of Playing the Piano, which he had drafted in Weimar.|
|1831||With André Hippolyte Chelard he directs the Thuringia Music Festival in Erfurt.|
|1837||Dies in Weimar on October 17.|
Die Herausgeber bei Henle, Norbert Gertsch und Johanna Steiner, haben eine sorgfältig recherchierte, vorzügliche Ausgabe mit einem ausführlichen Vorwort und Kommentar zu Quellen und Edition herausgegeben.
Epuisèe depuis plusieurs annèes, la version pour violoncelle est à nouveau à la disposition des interprètes et du monde musical.
Tutta l’opera è pervasa da una scrittura fortemente virtuosistica e sempre brillante: lo sono sicuramente le due riduzioni per viola e pianoforte e violoncello e pianoforte, pubblicate dall’edizione G. Henle Verlag, in cui la parte per pianoforte è sempre molto curata.
Höchste Zeit und sehr erfreulich, dass neben der verstümmelten Fassung nun endlich das geistsprühende und virtuose Original in einer exzellenten Ausgabe zu bekommen ist. … Höchste Zeit also, dass dieses Werk seinen Weg aus den Hochschulen in die weite Welt der Orchesterpodien und Kammermusiksäle findet.