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Hofmann, Leopold (1738-1793) Flute Concertos, Cadenzas composed by Uwe Grodd
Concerto in A, Artaria Editions Hong Kong. AE552a Composition
Concerto in G, Artaria Editions Hong Kong. AE553a Composition
Concerto in G, Artaria Editions Hong Kong. AE554a Composition
Concerto in D, Artaria Editions Hong Kong. AE556a Composition
Leopold Hofmann’s twelve extant flute concertos represents the most important group of works of this kind composed in Vienna during the mid-18th century. Flautist Uwe Grodd’s cadenzas to four newly-published editions of Concertos A1, G1, G4 and D2, present the performer with brief, pseudo-improvisatory pieces that are stylistically well-matched to their contexts and invite further elaboration if desired.
Beethoven, Ludwig van (1770-1827) Hummel, Johann Nepomuk (1778-1837) Uwe Grodd Editor
Beethoven’s Symphony No.1 in C, Op.21 arr. J N Hummel for flute, violin, violoncello and piano | Edition in full score and parts. Artaria Editions Hong Kong. AE569 | Scholarly edition
Beethoven’s Symphony No.3 in E-flat, Op.55 21 arr. J N Hummel for flute, violin, violoncello and piano | Edition in full score and parts. Artaria Editions Hong Kong. AE571 | Scholarly edition
Hummel stands as the last in the great Viennese line which embraced Haydn, Mozart and Beethoven. Intensified through changes in dynamics and the addition of extra accents, these stunningly effective arrangements preserve the integrity of Beethoven’s masterpieces while demonstrating a heartfelt appreciation and understanding of the greatest symphonies.
After the critical and financial success of his arrangements of Mozart’s Six Grand Symphonies for Flute, Violin, Violoncello and Piano, Johann Nepomuk Hummel turned his attention to the symphonies of his great contemporary, Beethoven. Writing for the same forces, Hummel skilfully translates the power and complexity of Beethoven’s originals into a chamber idiom of dazzling virtuosity. Edited by Uwe Grodd, these fine editions also include a full critical report.
Mozart, Wolfgang Amadeus (1756-1791) Hummel, Johann Nepomuk (1778-1837) Uwe Grodd Editor
Mozart’s Six Grand Symphonies No.1 in D Major ‘Prager‘ KV 504
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 546
Mozart’s Six Grand Symphonies No.2 in G minor, K.550
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 547
Mozart’s Six Grand Symphonies No.3 in B-flat Major, K.543
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 548
Mozart’s Six Grand Symphonies No.4 in C Major, K.425, ‘Linz’
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 549
Mozart’s Six Grand Symphonies No.5 in D Major, K.385, ‘Haffner’
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 550
Mozart’s Six Grand Symphonies No.6 in C Major, K.551, ‘Jupiter’
arr. by J.N. Hummel for flute, violin, violoncello and piano
Edition in full score and parts. Artaria Editions Hong Kong. AE 551
Hummel stands as the last in the great Viennese line which embraced Haydn, Mozart and Beethoven. He lived and studied with Mozart in his youth and, despite a career which saw him triumph as a conductor, composer and virtuoso pianist, Hummel never lost his reverence for his celebrated teacher. Intensified through changes in dynamics and the addition of extra accents, these stunningly effective arrangements preserve the integrity of Mozart’s masterpieces while demonstrating a heartfelt appreciation and understanding of the greatest symphonies of his “immortal master”.
Ries, Ferdinand (1784-1838)
‘Sonate Sentimentale’ for Pianoforte & Flute, Op.169 – written 1814 / published 1834. mus.ms.autogr. 106 N Berlin Preusischer Kulturbesitz; 2009 New Edition Artaria Editions AE 441
Uwe Grodd Editor
This edition is based on Ries’ autograph score. It is, for the most part, carefully written and presents few difficulties to the editor. Nonetheless, there are instances where dynamic markings and articulations are ambiguous and, in some places, where the pitches are unclear. In order to facilitate performance, the style and notation of articulation and dynamic markings have been standardized throughout, and, where missing from the autograph, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are places within brackets. Allan Badley/Uwe Grodd
Ries, Ferdinand (1784-1838) Uwe Grodd Editor
Sonata for Pianoforte with Flauto Obbligato in G major, Op.87 – written in 1819 / published 1819. mus.ms.autogr. 105 N Berlin Preusischer Kulturbesitz; 2009 | revised edition Artaria Editions AE 438
Variations for Pianoforte & Flute on a Portuguese Hymn, Op.152 No.1
New Edition Artaria Editions AE 440
Introduction and Polonaise op. 119 for flute and piano – written in 1822/ published 1824 (autograph Bonn/ Copy London Schlesinger Edition) Bnba – BH 254
First modern performing edition, 2009 Artaria Editions AE 481
Variations on a Portuguese Hymn ‘Adeste Fideles’ op. 152, No 1. for flute and piano– written 1826 / published 1828 Berlin Preusischer Kulturbesitz; 2009 |revised edition | Artaria Editions AE 440
Ferdinand Ries (1784-1838) was one of the greatest pianists of his time and a composer of exceptional abilities. Ries studied pianoforte (but not composition) with Beethoven in Vienna and the two men remained on cordial terms for the rest of their lives. In the last year of his life Ries co-wrote a book of Beethoven reminiscences that remain one of the most valuable sources of information about his life and character. The place and date of composition of the Sonate Sentimentale is uncertain in spite of the apparently conclusive evidence to the contrary: Ries’s autograph score is dated ‘Godesberg 1814’ but by this time Ries was living in London. The discrepancy is probably due to the fact that Ries added the date to this manuscript, as he did to many others, in the 1820s. One of the most intriguing aspects of this work is the difference between Ries’s original conception and the work as it appeared in its first published edition in 1834. The extent of the changes points to a substantial authorial revision of the work made prior to publication rather than a garbled transmission of the original text. Among the most striking of these changes is the inclusion of a brief introduction to the first movement; but other passages are extensively rewritten and in some instances lengthened by the inclusion of additional material. As with all Ries’s works for flute, the Sonate Sentimentale is exceptionally well written for the instrument and yet perhaps even more impressive is the way in which Ries balances the musical texture and exploits the full potential of both the flute and piano. The beautiful work is arguably the most impressive flute sonata of the early 19th century. Allan Badley
Wanhal [ Vaňhal], Johann Baptist (1739-1813) Uwe Grodd Editor
‘Chamber Music for Flute and Strings’; Flute Quartets op. 7 No 1-6; fl,vln,va,vc.
Wanhal, Johann Baptist: Flute Quartet in F major, (Weinmann Vb: F1) Edition in full score and parts. Artaria Editions Hong Kong. AE 378
Wanhal, Johann Baptist: Flute Quartet in B flat major, (Weinmann Vb: Bb1) Edition in full score and parts. Artaria Editions Hong Kong. AE 379
Wanhal, Johann Baptist: Flute Quartet in G major, (Weinmann Vb: G1)
Edition in full score and parts. Artaria Editions Hong Kong. AE 380
Wanhal, Johann Baptist: Flute Quartet in E flat major, (Weinmann Vb: Eb1) Edition in full score and parts. Artaria Editions Hong Kong. AE 381
Wanhal, Johann Baptist: Flute Quartet in A major, (Weinmann Vb: A1) Edition in full score and parts. Artaria Editions Hong Kong. AE 382
Wanhal, Johann Baptist: Flute Quartet in C major, (Weinmann Vb: C1) Edition in full score and parts. Artaria Editions Hong Kong. AE 383
The flute writing in Wanhal’s quartets is a good deal less virtuosic than the solo writing found in Hofmann’s quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal’s quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal’s adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer’s symphonies. In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page “Six Quartettes for a / Hautboy or German Flute” whereas Sieber styled them “Six Quartetto Concertante / Pour une Flute au Hautbois”. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty’s imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year – it was announced on 28 January 1772 – and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies. Sieber’s edition was also advertised in Supplement VII (1772) of the Breitkopf Catalogue as “VI Quattri di Vanhall, a Flauto, Viol., V. & B. Op.VII. Parigi”. The most obvious clue for establishing a common source for the various editions and MS copies is the numbering of the individual quartets: Sieber,Welcker and many of the extant MSS present the works in the following order: F, B flat, G, E flat, A and C. Huberty, on the other hand, published the works in the order F, B flat, A G, E flat and C. In spite of Huberty’s earlier publication date this edition has been based on the Sieber print on the grounds that it appears to have been the more influential. The Welcker edition differs in a number minor details and generally cannot be considered as trustworthy from a textual perspective. Three of the quartets – those in A, C and B flat – can be found in another contemporary edition listed in the Thematischer Katalog der Musikhandschriften der Frstlich Oettingen-Wallerstein’schen Bibliothek Schlo Harburg and now preserved in the library of the University of Augsburg. The works are styled “Divertimento /a/ Violino / Flauto Traverso / Viola e Basso / Del Sig. Vannhall”. Dated ca. 1770, it is interesting to note that these copies are virtually indentical to the Sieber print including those variant readings not found in Welcker. In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber’s text. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets. Paul Bryan/Uwe Grodd