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Uwe GroddThe New Zealand based German flautist and conductor Uwe Grodd first gainedworldwide recognition when he won First Prize at the Cannes Classical Awards2000 for the Best Eighteenth Century Orchestral Recording with his CD ofSymphonies by J.B. Vanhal (8.554341). Two recordings of music by Hummelhave received Editorʼs Choice in the Gramophone magazine (2004/2008). Hisrecording of the complete works for piano and orchestra of Beethovenʼslongstanding friend Ferdinand Ries (1784-1838) with Christopher Hinterhuberbegan in 2003 and in 2013 the final volume received the IRR Outstandingaccolade from International Record Review. Performance highlights includeeight concerts with the Mexico City Philharmonic, televised open-air concerts ofthe 53rd and the 54th Handel Festival in Halle, with a choir of 280 voices and theState Philharmonic Orchestra. These were followed by a highly successfulseason in the Halle Opera House of Handelʼs opera Imeneo. Grodd has beeninvolved in more than fifty commissions and conducted the premières of the NewZealand operas Len Lye: The Opera, by Eve de Castro-Robinson and RogerHorrocks, and Galileo by John Rimmer and Witi Ihimaera. From 1998 until 2002he was Artistic Director of the New Zealand International Music Festival. Agraduate of Mainz University, Germany, he studied with teachers of internationalrepute, including André Jaunet, Robert Aitken and Sergiu Celibidache. UweGrodd is Professor of Flute and Conducting at the University of Auckland, NewZealand, and has made the editions of quartets for flute and strings by J. B.Vanhal (8.570234) and Ferdinand Riesʼs works for flute and piano (8.572038).

Friedemann EichhornBorn in Münster in 1971, Friedemann Eichhorn appears as a soloist throughoutEurope with distinguished orchestras and conductors, and as a chambermusician he has collaborated with Yuri Bashmet, Gidon Kremer and BorisPergamenschikov. He records extensively for Naxos (including the completePierre Rode Violin Concertos and works by François Servais with AlexanderHülshoff), and for Hänssler Classics, Oehms and Claves. A professor at the LisztSchool of Music in Weimar, he regularly gives master-classes at the SalzburgMozarteum, and is director of the International Louis Spohr Competition. Analumnus of Kronberg Academy, Friedemann Eichhorn has directed KronbergAcademy Master Studies since 2012, and is a member of the InternationalChamber Music Academy Villa Musica. He studied with Valery Gradow inMannheim, Alberto Lysy at the International Menuhin Music Academy inSwitzerland and Margaret Pardee at The Juilliard School in New York, and wasgreatly influenced by Saschko Gawriloff. Friedemann Eichhorn holds a doctoraldegree in Musicology from the University of Mainz (with a dissertation on GidonKremer), contributes entries to dictionaries, and researches and edits music forSchott-Verlag and others. He plays the “Ex Huberman” violin by Jean-BaptisteVuillaume. For further information, please visit :www.friedemanneichhorn.com.

Martin RummelAfter early lessons from Wilfried Tachezi and a soloisʼs diploma from what istoday the Anton Bruckner Privatuniversitat, where he was its youngest graduateever at the time, Martin Rummel continued his studies with Maria Kliegel inCologne, as well as with William Pleeth in London, whose last pupil he was tobecome. Aged only sixteen, he worked with composer Alfred Schnittke. He hasalso collaborated with other composers including Jorn Arnecke, Howard Blake,Sofia Gubaidulina, Rudolf Kelterborn, Matthias Pintscher, Thomas DanielSchlee and Graham Whettam. His repertoire now includes some forty celloconcertos, ranging from the baroque to the present, and his playing can beheard on nearly fifty albums on the Capriccio, Naxos, Musicaphon and paladinomusic labels. Born in 1974, Martin Rummel is based in Vienna and is a highlyactive soloist and chamber musician as well as the owner and mastermind ofpaladino media. Between 2000 and 2014, he held teaching posts at theMusikakademie Kassel (Germany) and the University of Auckland (NewZealand) and has received worldwide recognition for his editions of all the majorcello etudes, with accompanying CDs, published between 2004 and 2008 byBarenreiter-Verlag and Musicaphon. He uses strings by Thomastik-Infeld,Vienna. www.martinrummel.com

Roland KrügerFirst prize winner of the prestigious Concours de Genève in 2001, RolandKrüger regularly performs in important international venues such as theConcertgebouw in Amsterdam, the Palais des Beaux-Arts in Brussels, theVictoria Hall in Geneva, the Brucknerhaus in Linz and the Musikhalle inHamburg. As a soloist he has worked with orchestras such as the OrchestreNational de Belgique, the NDR Radio-Philharmonie Hannover, the BaslerSinfonie-Orchester and the Orchestre de la Suisse Romande under conductorsincluding Dennis Russell Davies, Fabio Luisi, Eiji Oue and Marc Soustrot. Hestudied with Karl-Heinz Kämmerling, Oleg Maisenberg and Krystian Zimermanand is today a professor of piano at the Hanover University of Music. Besideshis solo activities, he is a passionate chamber musician, collaborating withdistinguished artists all over the world. Roland Krüger has recorded theDebussy Etudes for Ars Musici, as well as Schubert, Bartók and Janáček forpaladino music. For more information, please visit www.rolandkrueger.com.

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HUMMELMozart’s Symphonies

Nos. 36 ‘Linz’, 35 ‘Haffner’ and 41 ‘Jupiter’

Arranged for Flute, Violin, Cello and PianoUwe Grodd • Friedemann EichhornMartin Rummel • Roland Krüger

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Johann Nepomuk Hummel (1778–1837) • Wolfgang Amadeus Mozart (1756-1791)Mozartʼs Symphonies Nos. 35 ʻHaffnerʼ, 36 ʻLinzʼ and 41 ʻJupiterʼarranged by Hummel for flute, violin, cello and pianoIn 1786, at the age of eight, Hummel went to live and studywith Wolfgang Amadeus Mozart in Vienna. During his twoyears as a lodger in the familyʼs apartment in the Domgasse,he would have listened many times to his teacher singing,humming and trying out the odd phrase from the musiccomposed and performed during those years which includedMozartʼs two operatic masterpieces Le nozze de Figaro andDon Giovanni. Upon leaving the Mozarts, Hummel beganhis own career as a virtuoso pianist with his first concert tourbeing surprisingly successful, lasting some four years.Touring with his father, Johannes Hummel, provided ameans of developing and establishing his reputation to anextent unimaginable even to his well-travelled teacher. Thattouring should become such a major part of Hummelʼs lifewas testament to his immense skill as a pianist. He wasespecially renowned for his breathtaking improvisations; inthe middle of one performance, for example, the pealing ofchurch bells resulted in a spontaneous harmonisation andan extempore fugue.

At the turn of the century improved road conditions andcommunication made visiting distant cities easier andtouring more reliable (a happy occurrence for Hummel, asfreelancing meant his income was not entirely reliant on thepatronage of a single city or court.) Nevertheless, Hummeldid manage to maintain several important court positionsbetween touring schedules. His first permanent post was atthe court of Prince Nikolaus Esterházy in Eisenstadt,Austria, in 1804, supporting the retiring Joseph Haydn. Hisresponsibilities included conducting and composing, andduring his tenure he wrote five Masses for the Esterházyfamily, including the Missa Solemnis for the wedding ofPrincess Leopoldina Esterházy in 1806 [Naxos 8.557193].His position provided him with opportunities to conductseveral Mozart operas, including Le nozze di Figaro sung inGerman for his début performance, Die Zauberflöte, DerSchauspieldirektor, and Die Entführung aus dem Serail.Despite his having been recommended for the position byHaydn himself, Hummelʼs lack of diplomacy, combined withhis disregard of dress codes, ʻloud and pushyʼ manner anddevotion to his own performing career meant his sevenyears at court were unhappy ones. The Prince even

dismissed him after a particularly disastrous Christmas Dayperformance in 1808 but relented when Haydn asked for himto be reinstated. Some years later, having thrown a lavishand very expensive party in the Princeʼs absence, Hummelwas again sacked, this time without redress.

From 1811 Hummel established himself successfully asa freelance pianist, teacher and composer. His marriage tothe opera singer Elisabeth Röckel two years later no doubtprovided the incentive to regain full time employment in1816, this time as Kapellmeister in Stuttgart, Germany.Sadly though, this post was to prove even more disastrousthan his first. Hummel had come highly recommended tothe court and was able to dictate his terms of employment,including a generous remuneration and being put in solecharge of music at the court. His first performance atWürttemberg was conducting a popular opera and met withgeneral approval. Unfortunately, King Friedrich, who hadhired Hummel, died just one week later and his son Wilhelmwas fond of neither music, nor Hummel. Baron Karl vonWächter, a rather incompetent and arrogant former musicand theatre director, complained to the new King at everyopportunity, ensuring the Kapellmeister faced obstacles atevery turn. Hummel ended up continually fighting either forhis salary or his wifeʼs reputation as a singer. In the end heasked to be released from his contract and, as it becameclear he was intent on leaving regardless, the courtdismissed him in 1818.

The following year Hummel finally settled at the DucalCourt at Weimar where he was appointed Kapellmeister andcontinued conducting and composing in this position until hisdeath eighteen years later. Weimar was rich in artistictraditions, particularly art, poetry and music. One of the firstappointments Archduke Carl August made to his privycouncil, after assuming the throne in 1775, was that of poet,artist and politician Johann Wolfgang von Goethe. The courttheatre immediately became the central focus of city life andthe addition of the new Hoftheater in 1791 ensured thepredominance of music. Hummelʼs dedication of his arrange-ment of the Prague Symphony [Naxos 8.572841] reads “ThisSymphony is respectfully dedicated to His Excellency Baronvon Goethe, Minister of State to His Royal Highness the

Grand Duke of Saxe Weimar by J.N. Hummel”. While inWeimar, Hummel was extremely busy conducting andcomposing, fulfilling his duties to the Duke, as well asparticipating in an array of musical activities that brought thecourt closer to the community. He instigated a series ofbenefit concerts (which continued after his death) for thewidows and orphans of deceased court orchestra members,bringing much needed income to the families of thesemusicians. He also had the privilege of conducting manyfamous travelling musicians, including violin virtuoso NiccolòPaganini in a notable concert at the Hoftheater in 1829.Hummel died a wealthy and famous man, the last of thegreat Viennese line that embraced Haydn, Mozart andBeethoven. His works fell into obscurity after his death,swept away by changes in musical fashion.

Hummelʼs triumphs as a conductor, composer andvirtuoso pianist did nothing to ease his feelings of obligationand reverence towards Mozart as he arranged hiscelebrated teacherʼs most famous works. The commissionof symphonic arrangements from J. R. Schultz in 1823 and1824 were completed during his time as Kapellmeister atthe Court of Weimar. Hummel cared deeply for thesesymphonies and his arrangements demonstrate a profoundunderstanding of Mozartʼs art. In a review of the Londoneditions of these works, the critic states that Hummel “neverbestowed upon any arrangement, not even his owncompositions, so much care as upon these symphonies,and he says he did so out of a tribute of respect due to hisimmortal master.” That Hummel might have heard hisʻimmortal masterʼ at the fortepiano writing some of thesesymphonies nearly four decades earlier underscores whythese arrangements reverberate with such heartfeltappreciation and understanding. The arrangements werelucrative for Hummel, although pirated copies of his originalmanuscripts were always a threat. Hummel was suspiciousof editions published on the continent. He wrote in a letterto a friend: “How come … you donʼt find a single note froman honourable German publisher?” The editions for thisrecording were made using Hummelʼs English publicationsfrom Chappell and Co (1823-4) for which J. R. Schultz actedas intermediary in London. While England and France hadorderly statutes surrounding copyright, this was not the casein Germany, and the German editions of these works arethought to be pirated copies. Schultz, who was working asa musician in England at the time, asked that the arrange-

ments make some changes to harmonies and extend or altercadenzas to suit the ʻcurrent marketʼ. Hummel remaineduncomfortable at the thought of tampering with his teacherʼsworks despite the gentle insistence of his friend and fellowcomposer Ignaz Moscheles. The arrangements for piano,flute, violin and cello saw Hummel give the lionʼs share ofmelodies to the piano, with the other instruments frequentlyaccompanying. They also enabled him to travel as a soloistand show off these popular pieces. Hummel subsequentlyarranged more than fifty works for piano, flute, violin andcello.

Hummelʼs respect for Mozartʼs compositions preventedhim from varying a single harmony. He did, however, makemany changes to accommodate contemporary tastes, aswell as his virtuosity as a pianist. He changed the occasionalrhythm to imitate effectively the intensity of orchestral colour,for example, string double stopping or full tutti crescendi. Healso made numerous changes to articulations, modernisingthe dynamics in line with the tastes of the early Romanticperiod, and frequently used indications such as fortissimo,pianissimo, and sforzando (directions Mozart reserved forspecial moments only). Hummel also constantly insertedcrescendos, a common device at the beginning of thenineteenth century but one not often found in Mozartʼsoriginal compositions. The use of ornamentation had alsochanged dramatically over the years. Hummelʼs pianotreatise asks for all trills to be executed from the note andnot from the note above as was common in Mozartʼs day.Hummel gave every movement (except for the finale of theʻHaffnerʼ Symphony) a precise metronome marking and, attimes, these markings ask for extremely fast tempi. It is notclear whether he conducted the symphonies at thesespeeds as early metronomes were not yet reliable. It isobvious, however, that these metronome markings arethere to explain Hummelʼs reading of his teacherʼs workson the piano. All movements retain their original titles exceptone, the second movement of Symphony No. 36 ʻLinzʼwhich Hummel changed from Andante to Poco adagio. Themetronome markings, dynamic changes and accents areall retained in the new edition used for this recording whichintends to convey Hummelʼs unique understanding of thesesymphonies whilst cleverly imprinting his own personality.

One noteworthy difference between Hummelʼs arrange-ment of the Symphony No. 40 in G minor [Naxos 8.572841]and the original with which we are familiar concerns the

inclusion of eight additional bars in the Andante. These eightbars have a fraught history due to confusion over Mozartʼsoriginal manuscript. They appear to have been written byMozart at a later date but until recently it has been unclearwhat was intended. We know now that “the eight revisedbars in the slow movement are not to be understood as an

alternate version of the text but … as a replacement for theoriginal.” (Eisen, 1997.) The replacement eight bars areincluded in the first Chappell and Co print, as well as in theedition used here.

Uwe Grodd

The orchestral parts and scores of the following works are available from:

www.artaria.comSources

The sources upon which the editions used in this recording have been made are:

W. A. Mozart: Symphony No. 36 in C major,‘Linz’, K. 425, arr. J. N. HummelEdited by Uwe Grodd – Artaria Editions AE549Chappell and Co. print [London, 1823-4]: London, The British Library (h.408)

W. A. Mozart: Symphony No. 35 in D major,‘Haffner’, K. 385, arr. J. N. HummelEdited by Uwe Grodd – Artaria Editions AE550Chappell and Co. print [London, 1823-4]: London, The British Library (h.408)

W. A. Mozart: Symphony No. 41 in C major,‘Jupiter’, K. 551, arr. J. N. HummelEdited by Uwe Grodd – Artaria Editions AE551Chappell and Co. print [London, 1823-4]: London, The British Library (h.408)

On 26th September 1762, the Mozart family arrived in Linz on a boat from Passau, together with Ernst Johann Graf vonHerberstein, canon of Passau Cathedral. Wolfgang and Nannerl played a concert for the wife of the Upper Austrian highcommissioner, Leopold Graf Schlick, and for Count Hieronymus Palffy of Vienna. They slept in the guesthouse ZurDreifaltigkeit in Hofgasse and continued on by boat to Vienna three days after the concert. In 1767, at the age of eleven,Mozart again stayed a few days, whereas most of his later visits were only in transit on journeys to further destinations.

Wolfgang Amadeus Mozartʼs most significant connection with Linz dates from the year 1783, when he and Constanzestayed there as guests of Count Johann Anton Thun-Hohenstein. It was then that he composed the Symphony in C major,K 425. Count Thun-Hohenstein organized a concert at the theatre in Linz on 4th November 1783, and Mozart wrote to hisfather that he had “not a single symphony with me, which is why I am writing a new one in a mad rush because it has to beready by then”. In spite of that “mad rush”, this symphony is an innovative masterpiece, being his first symphony with anAdagio introduction. In 1785, he revised only minor phrasing and dynamic details. One of Mozartʼs most popular workstoday, the glorious “Linz” Symphony carries the name of that city to the whole world.

Tourismusverband Linz

Mozart in Linz

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