Performances
Naxos
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Sheet Music
Scores and Parts
| Editor
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Roger Hellyer (fl.1970s)
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| Publisher. Info.
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London: Musica Rara, 1970. Plate M.R. 1264.
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| Copyright
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| Misc. Notes
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URTEXT EDITION
This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.
In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).
You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the original work may not have expired.
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⇒ 8 more: Oboe 2 • Clarinet 1 (B♭) • Clarinet 2 (B♭) • Horn 1 (F) • Horn 2 (F) • Bassoon 1 • Bassoon 2 • Double Bassoon
| Editor
|
Roger Hellyer
|
| Publisher. Info.
|
London: Musica Rara, 1970. Plate M.R. 1264.
|
| Copyright
|
|
| Misc. Notes
|
Can be performed without a contrabassoon or string bass from key notes in bassoon II. URTEXT EDITION
This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.
In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).
You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the original work may not have expired.
More information can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
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General Information
| Work Title
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Harmonie, Op.57
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| Alternative. Title
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Partita; Octet-Partita
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| Composer
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Krommer, Franz
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| Opus/Catalogue NumberOp./Cat. No.
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Op.57, Padrta P IV: 4
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| I-Catalogue NumberI-Cat. No.
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IFK 25
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| Key
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F major
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| Movements/SectionsMov'ts/Sec's
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4 movements
- Allegro vivace
- Menuetto: Presto
- Adagio - Andante cantabile
- Alla polacca
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| First Publication.
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1807 - Vienna: Chemische Druckerei, Plate 600.
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| Composer Time PeriodComp. Period
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Classical
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| Piece Style
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Classical
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| Instrumentation
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2 oboes, 2 clarinets, 2 horns, 2 bassoons, contrabassoon
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Navigation etc.
Krommer's 9 partitas for wind nonet (opp.57, 67, 69, 71, 73, 76, 77, 78 and 79) were originally published as "Harmonie". Several manuscript sources listed in RISM, however, use Partitta or Parthia. The modern editions by Musica rara (opp. 57, 67, 69 and 79) dropped the title "Harmonie" using "Octet-Partita" instead, hinting thereby at the possibility to perform the works as octets. While the Contrabassoon improves the sonorities of the ensemble substantially, Bassoon II and Contrabassoon are mostly in octave parallels and only a few bars have a distinct contrabassoon part.
