Hummel - Violin concerto op.17


Hummel - Violin concerto op.17 . You can download the PDF sheet music Hummel - Violin concerto op.17 on this page. The Concerto for Piano and Violin dates from 1804 and is in the traditional three movements, Allegro con brio, Andante con moto and Rondo. The delightful interplay between the two solo instruments displays less virtuosity than Hummel employs in his solo concertos, but nevertheless many passages are considerably florid. The solo violin part is certainly very virtuosic and compares interestingly with the virtuoso nature of the composer's works for solo piano and piano with orchestra. Historically this concerto occupies the fascinating interim period between the Haydn/Mozart era and the great violin works of the German romantic composers, Mendelssohn, Bruch and Brahms.


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Instrument part: 13 pages. 214 K

 

Orchestral score: 161 pages. 1730 K

 

Hummel - Violin concerto op.17  - Instrument part - first page Hummel - Violin concerto op.17  - Piano part - first page
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In the opening movement the instruments take it in turns to introduce melodies, with the second instrument often developing the material, frequently introducing more elaborate decoration. It is of particular interest that Hummel should have composed his own cadenza in this movement since it was often left to the soloists or to fellow composers to add these. In the second movement he uses one of his favourite musical forms, the theme and variations, of which there are six, and he completes the concerto with a playful Rondo, for which I have composed a cadenza. In the middle section of this movement Hummel deviates into the minor key, producing a short episode of gravity as a contrast to the high spirits of the original theme. As would be expected, the solo violin part in the Violin Concerto is considerably more complex and decorated than the violin part in the Concerto for Piano and Violin. The first movement is typically in sonata form, although the composer varies the format by introducing some new ideas in the final section. The slow movement, where he uses strings only to accompany the soloist, is a beautiful, gentle Adagio where the lyricism of the solo violin would not be out of place in an opera. The thematic material of the final Rondo varies from the jovial opening theme to teasing triplet passages, lyrical music and strident chordal music.
 
 
     
 
 
 
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