Hummel J.N. Tänze für den Apollosaal für das Pianoforte (Minuets and Dances for piano solo) Op.27, 28, 31, 39 & 45

Thomas Zimmerdahl Josefsen (editing and typesetting), 2018. — 100 p. With bookmarks.
Original source: Vienna: Kunst und Industrie Comptoir, no date.This PDF file contains the complete "Tänze für den Apollosaal, komponiert von J.N. Hummel und von ihm selbst für das Pianoforte eingerichtet" (Dances for the Apollosaal, composed by J. N. Hummel and arranged for piano by himself). Hummel originally composed these dances for orchestra, and arranged them for piano. Level: intermediateFrom www.scoreexchange.com: The works of Hummel Op. 27, Op. 28, Op. 31, Op. 39 and Op. 45 have got one thing in common: the title page displays writing in beautifully curved letters: "Tänze für den Apollosaal, komponiert von J.N. Hummel und von ihm selbst für das Pianoforte eingerichtet"[Dances for the Apollosaal, composed by J. N. Hummel and arranged for piano by himself]. The dedication discloses (actually reveals) the most gorgeous and largest amusement hall that ever existed in old Vienna...
The five works composed by Hummel in the years after 1808 for the festivities at the Apollosaal comprise a number of dances, and serve as a fascinating testimony to the development of the musical genre of the classical waltz, which was officially born as a dance fashion at the time of the Congress of Vienna (1814/1815). It can be encountered in its earlier variants en route to its formation. The complete variety of dance culture in enlightened Vienna can be found in these works: starting with the courtly ’Minuet’ (the 12 ’Minuets’ of Op. 27, the 6 ’Minuets’ of Op. 31 and Op. 45 as well as the 6 ’Minuets’ of Op. 39) continuing to the scandalous ’German Dance’ (the 12 ’German Dances’ of Op. 28, the 6 of Op. 31 as well as the 4 of Op. 39 and the 6 of Op. 45) alongside the obligatory ’Trios’ that follow and several versions of ’Coda’ as well as one ’Introduction’ (that was later to be considered typical for the classical waltz).
The name of the "Deutscher Tanz" [German dance] developed from a court dance common between the 16th and the 18th centuries, the "allemande" (French for "German"). It consisted of a slow first dance followed by a faster second dance in triple time that developed into the "German dance" in the second half of the 18th century. As it was a couples dance with both partners in close body contact (considering the sentiments of the period), and because indecent moves were frequently observed, a dance ban was issued for the "Deutscher" by the authorities of Bavaria in1772. Reserved for the lower classes, the "German dance" was officially accepted in Vienna with its upcoming bourgeoisie in 1790. The enlightened Duke of Falkenstein (Joseph II, 1741 - 1790) finally completely legitimized it as a fashionable dance accepted at the Habsburg Court and commissioned "German dances" for the balls at the Redoutensaal dancehalls with the most outstanding composers of the time. As a consequence the waltz developed as one of the most popular ballroom dances of the 19th century. At the beginning waltzes were still named "German dances", and even Schubert would later use the terms interchangeably. Quite often the "German dance" was also used as table music or folk dance.
The dances that Hummel composed for the parties at the Apollosaal in between the years 1808 and 1811 do actually contain quite a few quotes of popular works of the period as well as hints about the performance of certain parts on particular solo instruments, having a mere inspirational function here in the piano part. The complete orchestra version must have had solo parts of post horn, trumpet, harp, horn, violin and even sleigh bells (in the third German Dance of Op. 45). It is interesting to mention the ’Introduction’ that was to become a typical feature of the classical waltz (Marcia con moto).
The ’German Dance’ No.9 of Op. 28 refers to a ballet (Helena and Paris, Op. 26) composed by Hummel himself in 1807 to a choreography by Cavalli for the Vienna State Theatre. The last ’German Dance’ and the ’Trio’ of Op. 31 (the dances for the year 1809) contains a mythological quote that perfectly suits the ambience of the Apollosaal: the Cyclopes make their entrance in gigantic parallel octaves stomping away, while the hurdy-gurdy man follows with his drone.
The ’German Dance’ No.4 Op. 39 surprises with a vocal number for two tenors and two basses, with a convincing "tra-la-la" that is bound to make everyone happy. The subsequent ’Coda’ part conveys an opulent atmospheric picture of the magical event of the eruption of the Vesuvius. It is said that a gigantic painting of the same subject matter decorated one of the halls, so that the music eventually mirrored the story told by the decoration. The ’Trio’ following the first ’Minuet’ of the same work (Op. 39) quotes a ballad opera by Josef Weigl immensely popular at the time: "Die Schweizer Familie" [The Swiss Family] had first been staged March 14, 1809 (two years prior to the creation of Op. 39) at the Kärntnertortheater. Soon Hummel would create another series of dances for Apollosaal (Op. 91) that already displayed the title "new" waltzes and trios, and featured another "large battle - coda".
In those days it was quite common to create diminutions for piano two hands, or for piano duets, of works that had initially been intended for a large orchestra. Today the pieces are ideal as literature for students or as stage music, maybe also just for “domestic use". One is sure to encounter amusing and entertaining moments when playing, and there may also be someone around who feels inspired to dance. There may even be a remote chance for free entry by way of time travel into the Apollosaal (that regrettably went up in flames on January 27, 1876).Pictures of the Apollo-Saal
Tänze für den Apollo-Saal No. 1, Op.27
Menuetto 1
Menuetto 2
Menuetto 3
Menuetto 4
Menuetto 5
Menuetto 6
Menuetto 7
Menuetto 8
Menuetto 9
Menuetto 10
Menuetto 11 (à la Militaire)
Menuetto 12
Tänze für den Apollo-Saal No. 2, Op. 28
Deutsche Tanz no. 1
Deutsche Tanz no. 2
Deutsche Tanz no. 3
Deutsche Tanz no. 4
Deutsche Tanz no. 5
Deutsche Tanz no. 6
Deutsche Tanz no. 7
Deutsche Tanz no. 8
Deutsche Tanz no. 9-il Primo
Deutsche Tanz no. 9-il Secundo
Deutsche Tanz no. 10
Deutsche Tanz no. 11 (à la Militair)
Deutsche Tanz no. 12
Coda
Tänze für den Apollo-Saal No. 3, Op. 31
Menuetto 1
Menuetto 2
Menuetto 3
Menuetto 4
Menuetto 5
Menuetto 6
Deutsche Tanz no. 1
Deutsche Tanz no. 2
Deutsche Tanz no. 3
Deutsche Tanz no. 4
Deutsche Tanz no. 5
Deutsche Tanz no. 6 (Die Cyclopen)
Tänze für den Apollo-Saal No. 4, Op. 39
Menuetto 1
Menuetto 2
Menuetto 3 (über den Triumphmarsch aus der Vestalinn)
Menuetto 4
Menuetto 5
Menuetto 6
Deutsche Tanz no. 1
Deutsche Tanz no. 2
Deutsche Tanz no. 3
Deutsche Tanz no. 4
Tänze für den Apollo-Saal No. 5, Op. 45
Marcia
Menuetto 1
Menuetto 2
Menuetto 3
Menuetto 4
Menuetto 5 (Alla Spagnola)
Menuetto 6
Deutsche Tanz no. 1
Deutsche Tanz no. 2
Deutsche Tanz no. 3
Deutsche Tanz no. 4
Deutsche Tanz no. 5
Deutsche Tanz no. 6
Coda