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Viola Concerto no. 1 D major

About the Composer


Carl Stamitz

Composer and violin virtuoso. His restless life, connected with constant changes of residence, also shaped a musical style which, while initially still indebted to the Mannheim School, increasingly strove for an internationally comprehensible musical language. As a virtuoso violinist and composer he enjoyed great success throughout Europe. He wrote a multitude of chamber music works, as well as symphonies and concerti (among other things).

1745Baptized in Mannheim on May 8. First musical instruction from his father, the violinist and composer Johann Stamitz.
from 1757Studies with Christian Cannabich, Ignaz Holzbauer and Franz Xaver Richter.
1761Violinist with the Court Chapel.
from 1770He leaves Mannheim and travels throughout Europe.
1770–1776Active as soloist and composer in Paris. Performances with his brother Anton as part of the Concerts spirituels. Court composer under Duke Louis de Noailles. From there, makes concert tours to Vienna, Augsburg, and other locales.
1776–1780Active in London as musician and composer.
from 1780Travel, including to Amsterdam and The Hague.
from 1785Return to Germany (resides in Hamburg, Magdeburg, Leipzig, Berlin). Frederick William II of Prussia pledges remuneration for compositions sent to him.
from 1787Short term employment by the Prince of Hohenlohe-Schillingsfürst. Concert tours to Dresden, Prague, Halle, Nuremberg (and elsewhere).
1789/90Employed as conductor of amateur concerts in Kassel.
1795Moves to Jena, where he is appointed a music teacher at the university.
1801Dies in Jena on November 9.

About the Authors


Norbert Gertsch (Editor)

Dr. Norbert Gertsch, born in 1967 in Rheinkamp/Moers, studied piano solo at the Mozarteum in Salzburg and read musicology and philosophy at the Paris Lodron University in Salzburg and the Ruperto Carola University Heidelberg on a scholarship from the “Studienstiftung des Deutschen Volkes”. In 1996 he wrote his doctoral thesis on Ludwig van Beethoven’s Missa solemnis (as part of the New Complete Edition) under Ludwig Finscher.

In the following year, he began to work at G. Henle Publishers, initially as an editor for electronic publishing. After working on a two-year project (1999–2000) sponsored by the German Research Foundation (DFG) preparing a new Beethoven Catalogue of Works, he became a scholarly editor at G. Henle Publishers. In 2003 he became Editor-in-Chief, in 2009 Deputy Managing Director and Head of Publishing. As of 1 January 2024, the Executive Board of the Günter Henle Foundation has appointed Dr. Norbert Gertsch, as the new managing director, succeeding Dr. Wolf-Dieter Seiffert.

Gertsch has published many Urtext editions for G. Henle Publishers, including volumes for a new edition of Beethoven’s Piano Sonatas together with Murray Perahia.


Johannes Umbreit (Piano reduction)

Prof. Johannes Umbreit studied the piano at the Musikhochschule in Munich. From 1987 onwards he was a regular accompanist at courses given by Wolfgang Schneiderhan, Thomas Brandis, Ljerko Spiller, Igor Ozim, Olga Woitowa, Ernő Sebestyén, Walter Nothas, F. Andrejevsky, Denis Zsigmondy and Zakhar Bron amongst others. He has appeared in numerous radio and TV broadcasts and plays chamber music with members of the Bavarian State Orchestra, the Munich Philharmonic Orchestra and the Bavarian Radio Symphony Orchestra.

He is on the jury of different international competitions and has been invited to several international music festivals. Umbreit was a teacher for almost ten years at the Musikhochschule in Munich and at the same time a lecturer for chamber music and piano accompaniment at the Richard Strauss Conservatory. Since 2008 he has been a lecturer at the Hochschule für Musik und Theater München. As the long-serving managing director of the Richard-Strauss-Gesellschaft, he was made an honorary member of the board in 2009. In May 2011, the Bavarian Minister of Culture appointed Johannes Umbreit an honorary professor of the Hochschule für Musik und Theater München on the suggestion of its academic senate.

Robert D. Levin (Cadenzas)

The new edition itself is a model of scholarship and clarity. … The piano reduction is cued as to the precise nature of the original orchestration in each passage of music, which is something I had not encountered before in such detail. … Page breaks are expertly managed …

Eighteenth Century, 2006

Die Ausgabe bietet eine umfassende Entscheidungs-Grundlage für nahezu alle Belange des Notentextes.Auch die praktische Einrichtung lässt kaum Wünsche offen: Das Druckbild ist angenehm und deutlich, es gibt Taktzahlen und sinnvolle Wendestellen ... Damit dürfte die Ausgabe (insbesondere was das Preis-Leistungsverhältnis angeht) derzeit konkurrenzlos dastehen.

Das Orchester, 2004

Un prodotto di altissimo artigianato, riprodotto in un' edizione elegante e accuratissima. Prefazione in tre lingue e commenti in tedesco e inglese.

Suonare, 2004

Although so popular, very little is known about "No. 1" and valuable information will be gleaned from the extensive Preface to this fine new Henle Edition. From this note on the historical background of the concerto and the detailed Comments (analysing almost bar by bar) it is patently clear that the editors have done a great deal of minute and painstaking research.

Stringendo, 2004