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A rTARIA E DITIONS

Editorial Board
Allan Badley otto biba CLIFF EISEN
Robert Hoskins Bertil van Boer

JOHANN NEPOMUK HUMMEL

Le retour de Londres
Grand Rondeau brillant, Op.127
Edited by Allan Badley
AE448/se
ARTARIA EDITIONS WELLINGTON

AE448/se
JOHANN NEPOMUK HUMMEL
Le retour de Londres. Grand Rondeau brillant, Op.127
Sources London, The British Library Add. M 32,228, ff 61-99
(autograph); Wien, Gesellschaft der Musikfreunde (Haslinger)
Editor Allan Badley
Engraving & Layout Mallabar Music Limited
Artaria Editions Limited 2008
Wellington, New Zealand
ISBN 1-877369-61-6
ISMN M-67451-221-3
AE448/se ii

FOREWORD

nlike Beethoven, whose deafness drove him from

develop into an independent subgenre until the early years

the concert platform relatively early in his career,

of the 19th Century in spite of the increasing length and com-

Johann Nepomuk Hummel remained one of

plexity of the rondo finales of Haydn, Mozart and Beethoven.

Europes most celebrated virtuosi until the early 1830s. There

These three composers succeeded in enriching the musical

were lengthy periods, however, when he did not perform in

interest of the rondo by integrating elements of sonata form,

public and it was really his return to the concert platform in

in particular the idea of recapitulating episodic material, and

1814 that laid the foundations for his immense popularity

developing thematic material rather than relying exclusively

during the next ten to fifteen years of his life. His longevity

on the introduction of new episodic material as a means of

as a performer owed as much to his vigour and resourceful-

achieving contrast. The few late-18th-century rondos for solo

ness as a composer as it did to his formidable technique as a

and orchestra that do survive as independent pieces appear

pianist. Hummels receptiveness to new musical trends and

in most instances to have been composed as alternative fi-

his ability to develop and exploit them was fundamental to

nales to other works. They are not distinguishable from con-

his success as an artist.

ventional finales on a structural level.

Hummels improvisatory powers were exceptional and

In the early 19th Century a new style of rondo began to

improvisations formed an important component in his con-

be cultivated by composers such as Hummel and Ferdinand

certs. A typical improvisation included a fantasy-like intro-

Ries, Beethovens pupil. These movements, intended from

duction, themes from popular operas or from the evenings

the outset to stand alone, are prefaced by a lengthy slow in-

concert and a series of free variations, sometimes ending with

troduction a device also encountered in sets of variations,

a paraphrase of the finale of an opera. Louis Spohr describes

fantasia-type works and dances such as the polonaise. Like

just such an improvisation in his autobiography. Following a

the late-18th-century rondo finale, these movements also dis-

party for the Congress of Vienna Hummel wove themes of

play strong sonata-form characteristics although there is an

the concert into contrapuntal variations, a fugue and a bra-

increasing tendency towards virtuosic display and a different

vura finale, all in waltz time to permit the last stragglers to

kind of pianism to that found in Mozarts concertos in spite

dance.

of their obvious kinship. Beethovens lack of interest in these

These improvisatory techniques the fantasy-like intro-

new genres shows perhaps more than anything else how his

duction, the choice of operatic tunes as the basis for sets of

conception of the concerto remained firmly rooted in the

variations and the bravura finale are to be found in many

late-18th century for all the brilliance of the Fourth and Fifth

of Hummels published works for solo piano. They also find

Piano Concertos.

their way into a number of works for piano and orchestra


such as the Variations in F, Op.97 of 1820 and the Variations
and Finale in B flat, Op.115, composed ten years later. The fascinating fantasie characteristique Oberons Zauberhorn (1829)
is also multi-partite in structure although the musical divi-

fter his sensational return to the concert platform in

1814 Hummel naturally turned his attentions once


again to the composition of concerted works for pi-

ano and orchestra. The works that appeared over the course

sions are dictated to a large extent by extra-musical concerns,

of the next twenty years reflect a very changed musical world

in this case, Hummels rather free representation of the plot

to the one that existed when Beethoven composed his con-

of Webers Oberon. At the other end of the structural spec-

certos. The new genres point to the emergence of a different

trum lie Hummels rondos for piano and orchestra of which

type of audience, one predominantly middle class and look-

the present work is the final example.

ing to be entertained rather than intimidated. The challenge

Although the rondo had emerged as early as the 1770s as

to Hummel was one that Haydn and Mozart would have rec-

the favoured structural type for the concerto finale it did not

ognized well - the need to write polished, attractive music

AE448/se iii

that did not compromise his own high artistic standards

the sole authority for the orchestral parts in this edition, the

and his success lay in giving the public what it wanted on

solo part is based on Haslingers first edition which was issued

his own terms.

as: LE RETOUR DE LONDRES. / GRAND / Rondeau brillant /

As his annual leave had been cancelled in 1829 Hummel

pour le / Piano-Forte / Compos et dedi / a Son. Altesse. Imple et

took six months off in 1830 for an extended trip to Paris and

Royle / Madame la Grande Duchesse de toutes le Russies / ANNA

London. Although he was at the height of his career it ap-

PAWLOWNA, Princesse dOrgange &.&. / par / le Chevalier /

pears as though his star was beginning to wane. The Paris

J.N. Hummel / Oeuvre 127 / Vienne, chez Tob. Haslinger

correspondent of the Allgemeine Musikalische Zeitung paid

No orchestral parts have been located for the Haslinger edition

scant attention to Hummels concerts merely noting: In

but it is clear from the cues in the solo part that the engrav-

March the long-recognized composer and pianist Hummel

ing copy for the edition must have resembled the autograph

gave some concerts here which were moderately well at-

in most details. Discrepancies in the solo part almost cer-

tended. Some newly-composed works were performed for

tainly represent Hummels own refinements and suggest that

the most part to lively applause. [Issue No.18, May 1830].

a revised solo part with reduction may have existed at one

In London, however, he triumphed in his first visit there

point. Although the autograph and Haslinger print comprise

for forty years and on the strength of his success made two

an excellent joint source for the present edition there are as

further visits. The first of these, in 1831, was virtually ruined

always a number of incorrect notes, misplaced dynamic mark-

by competition from Paganini and in 1833 he functioned

ings and missing articulations that need some editorial inter-

largely as director of the German opera season although

vention in the interests of creating a reliable and unambiguous

he did present at least two new works, Le retour de Londres.

text. Applied articulation markings and dynamics are indicated

Grand Rondeau brillant in F, Op.127 and his last piano

in the score by the use of brackets and/or dotted slurs; obvious

concerto. The audience showed its approval of the more

wrong notes have been corrected without comment. Any edi-

spectacular passages with hands, feet and canes as if the

torial emendations made without the authority of the source

lightly built auditorium were celebrating its own destruc-

are also enclosed within brackets.

tion. Although the Grand Rondeau brillant was published


in Vienna in 1835 by Haslinger with the title Le retour de

Allan Badley

Londres, it is interesting to note that in a letter to Ignaz


Moscheles in London, dated 25th March 1835, Hummel refers to the work as le retour Lourdes.
As is customary for Hummel, the Le retour de Londres
opens with an extended slow introduction remarkable
for both its beauty and expressiveness. The Rondeau that
follows reveals Hummels great mastery of the form. The
theme is quirky and full of musical invention; the episodic
material, at turns simple and expressive or brilliantly virtuosic. In this medium Hummel was peerless and this late
work shows that he had lost none of his old fire.
This edition is based on Hummels autograph score
which is preserved among The British Librarys extensive
collection of Hummel autographs. The score, which is undated, contains a surprising number cancellations and reworkings in the autograph and there are numerous shortcuts in the notation of the work which suggest that the work
was composed in some haste. While the autograph serves as
AE448/se iv

Le retour de londres
grand RONDeau BRILLANT, Op.127
Johann Nepomuk Hummel Edited by Allan Badley

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b

&b R
a
?b j

. n . . .

. n
.

.
Viol.

Kr
.

rK
.

Kr
.

Kr
.

n
.
R

Ob


. .
Viol.

Ob

167

& b j

. . . .
n

a
. . . n . .
j R

?b
J

170

&b

# J

n # n

. .
? b n

. .
. n .


. .
Viol.

Ob

j
#

#
l

j
#

&b

Kr
j
. #

?b

v . # # J
R

AE448/se 17

173

&b

b b ritard.
b

b
? #
b J

a
..

? #
b J

&b
?b

b
b b

b b

a tempo

b b

b
b

b b b
b n b b b

b b

b b

b b n b b b
b

b b n b b

b b b b b
b n #

b b

& b b b
?b

rit.

j
& b b

176

a tempo

b b b b

b
b

b b

b b b

b #

( )

n
loco
b n b n b # b # n

b
n

&


R
g
C
hKK
b

n
r

? b R # b n b # n

R
R
R
R

R
R
R

179

r
r
r
& b b b n
C
r
r
? b R # n
#
n

r
#
b
r
n
n

r
r
b n n

b
R
R
r
r
r
# r

#
AE448/se 18

b
Fag

loco

&b
4

182

loco

3
4

43

3
4

b
&

?
b

n loco

b
n

& 4
4

n
p

? b 43

& n
42 ? n
n

185

3
&b 4

? b 43 j

189

&b
?b

n Fl
2
4
ag
Fag

42

g
b
n

n
& b b ' b b ' n
'

? b b b n

b
'

b ...
f
b
n

n
b
J
n


J
j

AE448/se 19

>
b b n >
r

h
b b > b n >


.


v
j b b

b . n . b
h
j
b n
b
b ' ' '
b n

194

& b n
g
b
? b n
b

b
b
bbn bn

b b
J

& b b b ..
f
b
? n
b

( )
b
197
&b J

b b b

j
b

b
J

b b
a
b

? b b

b b

loco

b b
b b
b

J
b b b

b b
loco
b b
b

J
b b b

n
n

n b
b n

nb
n

b b b

b n

b
J

b
b

b b
n
b b
n b
h
b b b

b b

Fl/Ob

& b b

? b b
J

b b

b n

j
b

b b
'
r
b

( )
200

&b
?b

Viol.

&b
?b

loco

b b b b b . . . . . . b

.
b


b
b
R
R. R
. R.
marcato e forte
b b

b b
b

'

b
J
ag
Fag
b b
J

b
b

r
b

Fl/Ob

J
ag
Fag
b b
J

b
b
R. R
. R. R
.

b b
b

R. R R b
. R. .
p

b
b

b
b

AE448/se 20

b
& b b b

b . b . . . . . .
b b . n . b . .
. b .
. . b n b

? b
b

206

bbbb

b b

bbbb

&b

bbbb

bbbb

211

b
& b bb

.
. .

. .
.
ag

ben puntate

? bb b
b

Clar

b
& b b b

dolce

'

? bb b


' ' '



' '
b
' '

'

'
'
'

220

b
& b bb

.

.

loco .
. .

n b n
a

.
.
b R &
n
g
n
Viol.
b b b

#
n

b
&


'

? b b b


b
' '

J
J
'
? bb b
b

AE448/se 21

b n

()
b
loco

n b n

bb


&b b R
# n
a
a

n
? b b j
j

bb

J
J

227

bb
& b b
a
? bb
bb
J

()

loco
b
n

bbb
n

n
n
n
&

233

j
? b b b n
b
J

j
n
J

bb
& b b

n
J

? b b b n
b J

j
n

loco

()

m m

n

bbb n
b

&

a
g

239

&

b
& b b b b
n

b
& b b b #

? bb b n
b

nb

AE448/se 22

a
'

'

'

'

b
b

245

bb
&b b

.
ag


n n


'

'


' '

b
.

&b b

.
ag
a
a

? bb b
r

j
b


b
& b bb

Viol.


? b b b

b b

'

loco

b
& b b b

n n

AE448/se 23

'


n b b

b n n
262
n
b
n b
b
b

b
&

a
C

n
n
b

? bb b

? bb b
b

l
b

n b '

n b

'

255

ag

.

ag

n b

ag

b
& b b b

ag

? b b .
bb
.
ag

? b b
bb

268

b b
b

& b

loco

n b

n
n n

b
? b b
bb

b n

..

b
& b b b

? bb
bb

274

&

bbbb

? bb b
b

p
j
n
b

n
p

J
j

n
n b

a
C

b
a

&
b

j
j

J
J

n b
n b

n b
n

b
n

Fl

b
& b b b

? bb b
b

loco

280

b
& b bb

n
n

loco

3 3 3
3
3



3
3
3
3
3
3
3
3
3
3

? b b b n
b

3
3
3
3

b
& b bb
? b b b
b

j
Viol.
J

AE448/se 24

loco

n 3 3
b
b n b

n
n
&b b
b


3
3
3
3
3
3
3
3
3
g 3
3

285

? bb
b b b

b b
Clar

b
& b bb

? bb b b
b b

289

b
& b bb
? bb
bb

j
n

Fag

n
J

loco
3
3

n
n

3
3
3
3

n
n

n

3
3
3
3
3
3
3
3
3
3
a
3
3
3
3

n
3

Viol.

b
& b b b b J
j

? bb b
b J

n
n

n n b n

n n
b

n
& b bb n b n

3
3
3
3
3
3
3
3
3
g

293

loco

n n 3
n
3

? bb b n n
b b

Clar

b
& b bb
? bb b b
b b

j
n n

j
n
n

n
J

j
n

AE448/se 25

n n

n
J

&

297

bb
&b b

n
n

3
3

h
bb
&b b

n
l

j
n
j

loco
3
3
n n # b n b # n
b
n

n # # n
& b

n
n

n n
n # n J

&

bbbb

n n #.

nnnn
n


n R n

Viol.

bb
& b b J
n
? bb b J
b

n
n

n
#

j
nn
J
#
J

#
l
nn
#

n #

&

3
3

n
l

n
n

nnnn

& #

n
loco

n # n

#
&

nnnn
nnnn

305

#
? J

# n
& J

? # n

AE448/se 26

#
3

Fag

& n j

301

Fl/Clar

n n

Viol.

b
& b b b J
j

? bb
bb

3
3

309

&

3
3

#
3

b >

>

# # 3
3
#
#
3
3

.
? # # .

# R
h

# R

# #


3
3

3
3

r
#

&

# # 3

# # & # R

Fl/Ob

>

Viol.

# >
? #

R
&
3

3
3

Fl/Ob

Viol.

Fag

316

& J

? J

&

&

&

&

312

loco
3
b
b


J
J
ag

J
J

Fag

.
. . . . .
loco
# .
.

#
#

R R
R. R #
marcato
simile .
. R.
. R.
R.
j

?

Rx R #
x Rx
#

AE448/se 27

Viol.

Rx

321

&

Fl
& #
b
Fag

329

&b

j
? b j

. .

j

j
&b

?b j

335

. .
. .

j gg
gg n ggg
ggg J
h
j gg

gg n ggg
ggg J

?b

&

gg
ggg

b
b

?b

.
b b
j
J

.

a

.
j

b
b .

b
. .

. . . .

J
a

j j



a l

aj

> n > n

. . . . m [ > ]


j j j j

n
. # n
#
J
[l]
[l]

Cor

&b

loco

15

. .

# # # #

&b

gg
gg
g
l

# j j # j

n
J

AE448/se 28

n
J


n . . j #T n . b

&b
C


? n

b
J

342

( )
ggg
b
& gg
p

350

>
n

a

? b

b

ag

b <
.
J
J

? b J

&b
?b

#
a

n #

Fag

n b
ag

#
.

a

#

espres.

Viol.

357

j
J

loco

& b

ggg
gg

> v .
j
ggg gg b
ggg # #
J

gg ggg
gg
p p
p a


b

Fag

ggg b
gg
o
b

Viol.

j
& b
? J
b

gg
gg
g
o

n n

>j j >
>j j >
>
T
j
j

j
n . n n j j j


.




v~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3
3
.
.
.

.
.

j
j

n
n
n
#

j
j
j
n

&b

Vc

? b #
a

j
n

j
n

Cor

AE448/se 29

j >
n j

&b
~~~~~~~~~~~~
j n .


?
b

365

j
b
n

&
?

b
J

# #

[a]


# #
R
R
g

& # #
J
g

b #

R
a

b
# R
g

# n
# n

b

r # # b # r # R

a
a
g

j
b

b
j

( )
loco
# n b n

# # n n n b
& b # # n n n b
# # n b n
g

371

&b

&b

?b

. . . .

&b
a
j j
?b

376

& b j

pj
?b

. .

. . b

b
a

.
a

j
b j

b j

AE448/se 30

b > b [> ] n

j j

n b

nT
b
&

382

n
a

> .

>.
b b

C
n b

3
g


Fl/Ob

&b

n
? j
b

()
388

& b n

b n
? b n b


C
g3 3

J
J
3

& b n

?b

.
r

()
3 loco
3

&

3
h3
j
? b

.
.

.
r.


g3 3

J J

.
r
.

394

& b
J
g
? b
J

J
j

J
j

. . . .
R
g
Ob

AE448/se 31

Cor

Viol.

.
.

a Fag

. . . .
.

R
&

r
. . . . .

j
b

400

b
&b
C

b b .
b

j
b

b b .
n

n b nb

n
J .
m
C
j
j
b

b nb
b

a
j
b

& b b b

j
j

b

j
n

&b

b
a
b

R
ag
j

b b
b
3

&

b
.

j j
n

n
J
j
b

b

j

j
b

n
n b n

b
b

n
&b
J

406

& b b

k
.
3
3
3
n b .

j
b

b
J

Fl/Ob

n
r
b
b

&b
?b

n
n
r
b
b

j
n

j
b

Viol.

Fag

j
b
a

j b n j

b n

&b

410

j
& b n

j
b

g
j

j
& b

j
b

? b J
a

j
b

AE448/se 32

()

&b
a3 3 3 3


b
& J
J

414

loco

h

3

?
b

j
j
j j

3
J a
3
3

?b

&b
?b

429

&b

?b

.
&

()
j
. . j . . .

. . . . .

&b

&b

. .

>
..
.

j j

. ? . . . .
. . .

.
J

>
.
..

a

j j Fag
j
.

J
. . . . . .

3
3

&b

>
.
.
J

. . . . >


. . .

421

Ob

J
p

& b

>

n j

J
J
.
. j

.
.

> . .

&

> . .

> .

a
Vc


Fl

> . . >
T

. . . . . .. .. R # n R

a
C

n R
. . .

>


J
>
> .
J

>
..

AE448/se 33

. .

&b

. . . .


. . .
a

&b


J
j
. n b .

.
J

j

J
j

435

&b
a
.
?
b
Ob/Clar

.

J

. . .

m
.
.
.
. n b .
J
J

(v )~~~~~~~~~~~~~~~~~~
. .
. .

n . . . . v ~~~~~~~~~~~~~~~~ n . . b . .
n
&b
a
. . . . . .
.
.

. .
.
. . . . .
.
.
j
.

.
.

.

n

& b

443

&
a
.
? b
Viol.

. .
J
. .

J

. .
J

. .

J

&b

& b

& b
?b

&

>
.
.

b ..
.
v


n
J

b ...

3
r r
# r r
n
3
a 3
3
.
.
.

loco

449

Fl

. b

?
&

J


.

?
n


v
Ob
. . Fl

. .

J
J
a

J
J
J
J
AE448/se 34

r

r
loco
r

455
n

n
&b
n
3

? .
b

loco

?b

Fl

b
&

n
J

? b

b
J

3
r r
r
r

n
J
g

J
j

J
3
3
3
a 3

J &
a

r

r
r

n
&b
n

459

&b
?

Fl

Vc

b n b
# # # n # b n # n
# # # n # # b
b
&
a 3
3
3
3
3
3
3
3
3
3
3
3

463

&b

# # b n # J
#

n
b
a

#
& b n

?b

AE448/se 35

b
# # # #
n
b

466
3
n b b b b

3
3
3

n
b

n
b
&b
3
3
3
3

3
3
3
3
a 3
3
3
3
b
b

& b n J
&b
?

470

&b

()
n
3

?b

. . . .

3
n n

n b . . .
3
3
g .
j . .

. .

loco

? b
J

475

&b
?b

Fag

? b
J

j

J
pj

. . .
.

AE448/se 36

loco
.
# # #
R
# # R R # # j n
a
g

b j
J
.

b
a

. . . . . . .
loco
# # # # #

#
R

J
pj

. .
.
.

.
. . . . .

.
.

X
.

# r
# .

J
g
. . .
. . .

& b .

Clar

T
& b

. . .

n
. . . . n .

j J

X X X
. . . . . .
X X

.
.
n

#
b

&b

481

simile

r
? b #
b n
. n . . . b . . . # . #
# X
&b
?

b
J

486

&b
?b

.
.

.
n .
n

&b J
& b

492

&b
?b

loco

j ggg

ggg gg J
gg
j gg

ggg ggg J
gg
Fl/Ob

>
b
&

Fag

>
?b

b
J

.
# n n n
R # n . n . n . .
. .

.r .r .r .r
. . . . . . . . . . . . .
.
.

. .
.
.
. . n bb .

n
. . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .

. . . .
. . .
loco

ggg
gg J

ggg
gg J

j gg
g
& ggg gg J
gg

ggg b
gg
l
ggg b n
gg n

. # . # . .
n

# n # #
. # . # . .
Fl

.
. . b . . . . . # . . . . . .

J
?

n
J

j
ggg j g gggg
gg J g ggg g J
ggg g
g
j
j j

j
gg ggg & gg
ggg gg g gg
gg
gg

&

ggg
gg
l
gg #
ggg #

Cor

AE448/se 37

'
r #
#

Viol.

j b J
b '
j

n

a

Viol.

a
?


497

&b

loco
n b
b b b b n b b b b b

n b
decresc.

j
& b

?
b

500

& b b b b b n n
a

?b

&b

C

&

?b

b b
n nb b

n
b
n
b

&b
h
.
r
R . r ? r

.
b

r ? . &
&
& r R
.
R
.
.
.

503

Fl

&b

?b

J
a

a
Cor

AE448/se 38

J
j

Fag

( )
n

# b n n #

b
n

&

506

&b r
.

. r
R
.

Viol.

& b j

509

b j

r
.

( )

&b
.
? b R


&

&

b n

& R

r
.

Fl/Ob

#
n

r
.

Cor

Fl/Clar

.
R

b
b

#
& b

r
.
r R r ? .
.
.

b >
>

?b

Ob/Clar

Viol.

()

> b
> b n > n b b > n n[ > ] n b[ > ] # n[ > ] # [> ] b
n

&b

512

l
> b > n > b # > b n [ > ] n n # [ > ] b # [ > ] n n [ > ] n b n
b

&

#
n
#

&b

b
a

?b
a

n b

AE448/se 39

loco

j
n n
J

& b n J
v
v

515

vj

& b j
J
J
&b

v
v

.
.
.

J
v ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

j
n n
J

n
J v
v

3
j

v
v

vj

j
J

J
J
J
J
3

n
3

Fag

( )
j
519

b
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

v
j

~~~~~~~~~~~
v
v
b
v

J
g
v ~~~~~~~~~~~~~ j v v v v

&b J

J
J
J
J

& b j

? b j

Fag

j .

ag
j .

.
.

. .

>

>

loco

loco

ag

?b

&b

&

& b

.. .
.

? b
a

.
.

g
v

&

.. .
.

..

Fag

.
.

AE448/se 40

..

Cor

J
g
j

.
Ob . .

J
J
l

J
J

stacc.

525

()
loco

&


&b J

528

.
b
&

.
..

.
..

..
.

..
.

?
b

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loco

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R
J

531

AE448/se 41


R J r

r j
r

Fine