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Mozart after Mozart (Arr. J.N. Hummel)
Hummel’s affinity with Mozart’s musical language began in 1786, when the very young Johann Nepomuk lodged with the Mozart family in their home for two years. • Hummel’s interest in, and knowledge of his teacher’s works for fortepiano and orchestra is attested by many accounts. • This recognized authority, added to the widespread approval he enjoyed as a composer, created the context in which Hummel produced his numerous transcriptions (approx. 50), scored principally for flute, violin, cello and fortepiano, applying now-historically valuable improvisatory practice solutions as well.
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Mozart after Mozart (Arr. J.N. Hummel)—
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Mozart after Mozart (Arr. J.N. Hummel)
Hummel’s affinity with Mozart’s musical language began in 1786, when the very young Johann Nepomuk lodged with the Mozart family in their home for two years. • Hummel’s interest in, and knowledge of his teacher’s works for fortepiano and orchestra is attested by many accounts. • This recognized authority, added to the widespread approval he enjoyed as a composer, created the context in which Hummel produced his numerous transcriptions (approx. 50), scored principally for flute, violin, cello and fortepiano, applying now-historically valuable improvisatory practice solutions as well.
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Hummel’s affinity with Mozart’s musical language began in 1786, when the very young Johann Nepomuk lodged with the Mozart family in their home for two years. • Hummel’s interest in, and knowledge of his teacher’s works for fortepiano and orchestra is attested by many accounts. • This recognized authority, added to the widespread approval he enjoyed as a composer, created the context in which Hummel produced his numerous transcriptions (approx. 50), scored principally for flute, violin, cello and fortepiano, applying now-historically valuable improvisatory practice solutions as well.
