Piano Journal
The European Journal for Pianists and Piano Teachers
Nadia Lasserson
Issue 103 2014
Edition HH Ltd
Mozart Piano Concertos in Bb
major K 456 and D minor K466
arr for solo piano and three
accompanying instruments by
Hummel
edited by Mastroprimiano and
Miucci Full Score and parts £39
Solo piano £10.95
It is a well-known fact that the young Hummel spent two years residing in the Mozart household with the family and so was subjected to inside knowledge of the genesis of every work and really understood all that Mozart stands for. He must surely have heard first performances of some of the Piano Concertos and therefore, he is the most appropriate person to have made these arrangements of the great works. Hummel has remained true to the original text and merely transposed occasional passages up or down one octave merely to take full advantage of the keyboard’s increased range at the time and give the overall sound a little more brilliance. These volumes offer the solo pianist the complete concerto with all orchestral sections included as solo piano passagework, giving the soloist no break throughout each movement. The three instrumental parts are scored for flute, violin and cello, possibly a little surprising, but this is deliberate on Hummel’s part to provide the woodwind tone colour to the performance. Although hard work for the soloist, these editions offer an ideal way of performing a complete Mozart Concerto as Chamber Music. Other Mozart Concertos arranged by Hummel in this same format are the two in Eb major K365 and K 482, Bb major K456, C minor K491, C major K503, and D major K 537. The only quibble in this fine edition is that it is not possible to merely purchase the three orchestral/chamber parts for pianists to perform while reading from their own solo concerto part. However, for all pianists who love performing Chamber Music, here is a wonderful opportunity to study and perform some of Mozart’s Piano Concertos in smaller ensembles without having to gain access to a full orchestra and, at the same time, becoming totally familiar with every orchestral tutti passage ensuring complete security in the event of a conventional concerto performance. But in an ideal world, every pianist should perform both versions if they wish to achieve full musical satisfaction from these great works.
We are grateful to the editor of Piano Journal for permission to reproduce this review.
K466
Full score and parts
Piano solo
Full score and parts
Piano solo
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