Concerto for Piano No. 3 in B minor, Op. 89 Cover Image

Concerto for Piano No. 3 in B minor, Op. 89: Full Orchestra, Solo Keyboard with Ensemble, Solo Piano Part

$30.00 USD
$30.00 USD
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Concerto for Piano No. 3 in B minor, Op. 89 Cover Image
Concerto for Piano No. 3 in B minor, Op. 89: Full Orchestra, Solo Keyboard with Ensemble, Solo Piano Part

Concerto for Piano No. 3 in B minor, Op. 89: Full Orchestra, Solo Keyboard with Ensemble, Solo Piano Part

By Johann Nepomuk Hummel

Item: 36-A553948
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Description
Johann Nepomuk Hummel (1778-1837) wrote his CONCERTO FOR PIANO No. 3 in B minor, OP. 89 in 1819. Similar to his second piano concerto, it is composed in a proto-Romantic style that anticipated later composers such as Mendelssohn, Chopin, Schumann, and Liszt. And this work was a favorite of a young Franz Liszt to perform, though critics complained about the speed with which he took the Rondo finale. Instrumentation: 1.2.2.2: 4.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Piano: CS (Pno-Cond Sc; NO FULL SCORE) in set. In the absence of four horns, alternate Bassoon parts are included to be used in place of Horns 2 and 3. The solo piano part is printed in a 12x9 landscape format to improve readability. The piano-conductor score is the same engraving as the solo piano in a 9x12 portrait format. To improve readability, an 11x14 oversized score is also available from the publisher, or an additional copy of the landscape solo piano part may be ordered for the conductor to use. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 605258634160
SKU: 36-A553948
Instrumentation: 1.2.2.2: 4*.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Piano: CS (Pno-Cond Sc; NO FULL SCORE) in set. *In the absence of four horns, alternate Bassoon parts are included to be used in place of Horns 2 and 3

More about this title

About the Composer: Johann Nepomuk Hummel

Johann Nepomuk Hummel (1778-1837) was a pianist and composer whose career spanned the Classical and early Romantic periods. A student of Mozart and Salieri, Hummel became one of the most celebrated virtuoso pianists of his day, touring throughout Europe and holding prestigious court positions in Stuttgart and Weimar. His compositional output shows his gift for blending the formal clarity of the Classical tradition with the expressive warmth and harmonic sophistication that defined emerging Romantic aesthetics.

Hummel's piano concertos represent a crucial bridge in keyboard concerto literature. Written during the 1820s, they attracted the attention of younger virtuosos like Franz Liszt, who championed his music and helped establish Hummel's reputation as a significant influence on the next generation of composers and performers.

Why we love this

This concerto gives orchestras a genuine proto-Romantic keyboard showcase that sits comfortably between Classical restraint and Romantic sweep. The work demands virtuosity from the soloist while offering the orchestra compelling material of its own, avoiding the accompanying-texture trap that mars lesser concertos. Directors programming music history chronologically or exploring the transition to Romanticism will find this an exceptionally rewarding choice.

What to expect

The concerto unfolds with aristocratic grace, its melodies spun with the refinement of Hummel's Viennese training, yet infused with a warmth and harmonic daring that points toward Chopin and Mendelssohn. The solo part glitters with brilliant passagework and idiomatic keyboard writing, while the orchestra provides a partner rather than mere accompaniment, creating moments of real dramatic tension and lyrical beauty.

Who it's for

Orchestras with confident piano soloists who can command a full professional orchestra sound and navigate Hummel's considerable technical demands. This work suits advanced college ensembles, semi-professional orchestras, and professional groups seeking a Romantic-era concerto with genuine historical and stylistic substance.

How to get the most out of it

  • Balance the piano's right-hand figuration against the orchestral sections; the solo part demands clarity without drowning out the ensemble's motivic work.
  • Work the Rondo finale's tempo carefully with your soloist beforehand. This movement is designed for brilliant passagework, and Liszt's legendary speed was both a feature and a source of criticism, so establish what serves the music rather than the ego.
  • If using bassoon substitutions for horns 2 and 3 (due to incomplete horn availability), rehearse these doublings separately to ensure the tonal blend compensates for the missing brightness.
  • Attend to the landscape format of the solo piano part; its 12x9 dimensions exist to preserve legibility during fast runs and wide hand spans that might be cramped in standard size.

How to use it

Program this alongside Mendelssohn or Chopin to illustrate the Romantic transition; its stylistic position makes it an ideal historical companion to earlier Classical concertos or a prelude to mature Romantic keyboard works. The work also functions as a centerpiece for concerts featuring pianists with orchestral experience, offering immediate engagement with both classical forms and emerging 19th-century sensibilities.

Skills your students will build

  • Balancing soloistic virtuosity with ensemble integration
  • Navigating proto-Romantic harmonic language and expression
  • Reading orchestral textures that support and comment on the solo line
  • Managing extended technical passages without sacrificing musical line

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