FRIEDRICH SCHWINDEL
D-dur - D major - ré majeur
Herausgegeben und ergänzt von Raymond Meylan
Ausgabe für Flöte und Klavier Partitur Orchesterstimmen
PB 3853 OB 3853
BREITKOPF & HÄRTEL • WIESBADEN Edition Breitkopf Nr . 6299 Printed in Germany
INTRODUCTION Friedrich Schwindel, born 1737 in Amsterdam (?), died 1786 in Karlsruhe, was a virtuose performer on several instruments and a popular composer in his time . He published more than 40 symphonies, and many chamber works, including duos, trios, quartets and several concertos for flute . The publication of the present concerto was made possible thanks to two discoveries :
From this evidence, one can deduce that the concerto was written between 1777 and 1781 .
A . a manuscript score of anonymous origin found in the British Museum under the catalog number R .M .21 .c .52 ;
Source B bears no opus number, which is not the case with any other of Schwindel's works published by Hummel . This could mean that we are dealing with a posthumous publication . But other facts would also indicate that Hummel published this work without the personal supervision of the composer ; the omission of measures I 144-145, 163, 167-190, II 70-75, III 259-271, 278-282 ; the clumsy compos1tional changes in measures 1162, 191-194, III 258, 259, ..178 ff . ; the gross errors ; the missing measures in sonie phis . The omission of the c-minor solos of the first movement is an especially severe mutilation ; I think it extremely unlikely that Schwindel could have had this in minci .
B . published parts, a set of which exists in the Koeniglichen Bibliothek, Copenhagen (Giedde Collection VIII/51, No . 46) . The title page bears the following inscription : "CONCERTO / Pour la /FLUTE TRAVERSIERE / Avec l'Accompagnement / DES DEUX VIOLONS / ALTO ET BASSE / Deux Hautbois et Cors de Chassé adlibitum . / Composé / PAR / FR .c SCHWINDL . / A LA HAYE ET A AMSTERDAM, / Chez /B . HUMMEL ET FILS . / Prix f .2 .-" . In 1960 when the first edition of the prescrit work appeared (Flötenkonzert aus der Mozartzeit), I knew only source A . In February, 1962, Walter Lebermann called to my attention the existence of source B, without, however, disclosing the location of his discovery . In November of 1962, the Same material was discovered by Nikolaus Delius, entirely independent of Walter Lebermann ; it is thanks to him that the material was made accessible .
Score A is possibly an autograph ; however it is more probable that we are dealing with a manuscript copy rather than an original manuscript (see the deletion of measures 210-219 of the Finale) .
Threc arguments point to an approximate dating of the composition :
Score A ends with measure 282 of the Finale . The last four measures represent a variation of the theme of measure 148 and should thus be so arranged as to form the beginning of an approximately 16-measure section leading to the fermata on the dominant which precedes the recapitulation of the Rondo theme . In version B, this passage is replaced by a cadence t u t t i of four measures ; this is too terse and not in the context of the anticipated period . Moreover, it is too simple . I therefore assume that Hummel used for his edition score A, which was already then incomplete .
1) The instrumentation of two oboes and two horns which only came into general usage after 1775 (two other concertos by Schwindel, also in D major, both have different instrumentations : that issued in 1772 by J . G . I . Breitkopf uses horns ; that of the Cherbuliez Collection of Zurich uses only strings) .
In view of these facts, I have stuck to score A and have freely composed the ending from measure 283 of the Rondo . I have retained only sonie ties and dynatnic markings from the Hummel edition, as well as the corrections in measures 207-210 and 216-218 of the Finale .
(Breitkopf)
(Cherbuliez)
2) The paper of score A was produced by Hieronymus Blum in Basel or Sennheim (Alsace) . lt is known, however, that Schwindel was active in Muelhausen from 1778 to 1780 . (The Schwindel manuscripts held in the Library of the Basle's University are almost all written an paper bearing the watermark H . BLUM .) 3) Certain melodie figurations (see the forward of the first edition) look like passages in works by Mozart composed between 1777 and 1781 .
It is by the gracions permission of Her Majesty Queen Elizabeth II of the United Kingdom that this work is published . To Her Majesty I express my sincerest thanks . Zurich, July 16, 1968 Dr . Raymond Meylan The first modern performance of this concerto took place on January 6, 1959 during a radio broadcast by Raymond Meylan and the Lausanne Chamber Orchestra under the direction of Jean-Marie Auberson . (English translation by James B . Rich)
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