Analysis Worksheet by Partita in F Major, op.

57
YIM Chee Weng Franz Krommer (27 Nov 1759; Kamenice – 8 Jan 1831; Vienna) Czech composer
A. Historical Context
 Publisher: Musica Rara, London W1 (ed. Hellyer)
 Date of Composition/Publication: ca. 1791
 Date/Location of Premier: unknown, probably in Hungary (hired at Pécs Cathedral at this time)
 Premier performed/conducted by: unknown, probably musicians of Pécs Cathedral with himself conducting
 Piece written for/because: earn a living
 Major musical/world events during this time: shift of power away from aristocrats, rise of the middle class,
increase in public concerts outside of courts, shift from the galant style to romantic,
 List of other major works written during this time by other composers: works by Beethoven, Haydn, Mozart
 Other important characteristics of the era (influential people, musical landmarks, etc.)
B. Composer biographical information
Instrument: violin, organ, Schooling/Primary Teachers: A.M. Krommer (Uncle; violin and organ 14-17yo); theory
was self-taught
Professional Groups: Duke  Other important information: Nephew of composer and choirmaster Anton
of Styrum in Simontomya; Matthias Krommer; ca.1777 organist in Turan; 1785 moved to Vienna and hired as
Pécs Cathedral; Duke violinist in orchestra of the Duke of Styrum in Simontomya (Hungary, 1786); 1788
Karolyi; Prince Antal promoted to music director; 1790 Kapellmeister of Pécs Cathedral; 1793
Grassalkovich de Gyarak; Kapellmeister and composer in service of Duke Karolyi and later of Prince Antal
Duke Ignaz Fuchs; Vienna Grassalkovich de Gyarak; 1795 returned to Vienna taught composition; 1798
Hoftheater; Royal court Kapellmeister to Duke Ignaz Fuchs; 1806 unsuccessful in joining Vienna
(Habsburg) Hofkapelle as violinist; 1810 Ballett-Kapellmeister of the Vienna Hoftheater; 14
June 1815 Kammertürhüter to the Emperor; 1818 till death succeeded Leopold Anton
Kozeluch as the last official director of chamber music and court composer to the
Habsburg emperors; August Krommer (1807 – 1842; son), an Insurance Agent in
Vienna, was for a time a violinist in the orchestra of the Burgtheater, and also
appeared in public as a pianist in 1833.
 List of other works/dates for wind band: Octet-Partita in F op 57; B flat op 67; E flat op 69; in E flat op 71; in
F op 73; in E flat op 76; in F op 77; B flat op 78; E flat op 79; Partita in C minor; in E flat, FVK 2d with two
solo horns; in B flat op 45 no; in E flat op45 no2; Partita in Bflat op 45 no 3; Six Marches, op 31
 Significant influences/achievements: over 300 works (all genres except piano, lieder, and operas), compositions
are reprinted and arranged by German, Danish, French, Italian, and American publishers; honorary member of
the Istituto Filharmonico in Venice, the Philharmonic Society in Ljubljana, the Musikverein in Innsbruck and the
conservatories of Paris (1815), Milan (1818), and Vienna (1826); regarded with Haydn as the leading composer of
string quartets, and a serious rival of Beethoven (current view places his solo concertos for wind instruments as
his most individual accomplishments;
C. Component analysis
 Style: Classical  Other important information: typical layout for a four movement work, note that
 Duration: 13:30 the adagio is the third movement instead of the usual second.
 Instrumentation:
0222(contra).2000
 Structure: I. Allegro
Vivace (sonata) II.
Menuetto (compound
ternary) III. Adagio
(ternary) IV. Alla
Polacca (sonata rondo)

D. Program notes
This octet by Krommer might have been one of the fist to become well-known to the wind chamber music
community because it was one of three octets (along with opus 69 and 79) recorded by the Netherlands Wind Ensemble.
That marvelous recording, along with the publication of score and parts by Musica Rara, has made the octet one of
Krommer’s most performed.
 His harmoniemusik is important to us today in bridging the Classical Period to the Romantic Period. The rhythmic
vitality found in his wind compositions is refreshing, especially when compared to the rather stodgy writing of those
who preceded him. Though not blessed with the lyric skills of Mozart, Krommer was still capable of creating a good
melody. His expansion of the oboe tessitura allowed him to create a broader harmonic palette which, when combined
with the first hints of chromaticism, helped to create a much more and interesting style of writing.
The Opus 57 embodies everything that makes these octets special: a rhythmic vitality that absolutely bubbles, a rich
harmony, and interesting parts for all players and melodies that, though different from Mozart’s, certainly stand on their
own merits.
This is fun music that does not take itself too seriously, yet it requires serious musicians with excellent skills.
Nowhere is his more important than in the 1st oboe, requiring a player with an extended range. Also be wary of the 2 nd
horn part, as it is often as challenging, if not more so, than the first part. The contrabassoon part in Krommer’s music is
important and should be utilized, for it gives the music so much more harmonic depth. Above all else, enjoy yourself –
these are works to which you will return again and again.
Rodney Winther