JAVS Summer 2025

Court Orchestra in Dresden, who helped revise it for publication. The work was an apparent success, as Hummel immediately arranged a cello version (op. 95), dedicated to cellist Nikolaus Kraft (1778–1853). Both versions were published in 1822. This potpourri is approximately twenty minutes long and features solo viola accompanied by flute, two oboes, two bassoons, two horns, two trumpets, timpani in D and A, and strings. Hummel employed several common techniques of musical borrowing, including modeling, paraphrasing, cantus firmus , and variations—all in original keys. Seeking to appeal to both connoisseurs and general audiences, Hummel incorporated themes from Mozart (whom he and the public revered) and Rossini (then extremely popular). At the heart of the piece lies a four-part fugue—most likely based on an original subject—offering an intricate contrapuntal centerpiece that connoisseurs would appreciate. Together with an expressive introduction, smooth transitions, and an energetic rondo coda, these elements form a charming

Figure 5. A Potpourri.

Hummel composed six potpourris featuring the piano; op. 94 is unique in that the piano does not hold the primary role. Completed in September 1820, it was written for Anton Schmiedl (also spelled Schmiedel or Schmidl, 1767–1822), a violist in the Saxon

Figure 6. Structure of Hummel’s Potpourri, op. 94.

Journal of the American Viola Society / Vol. 41, Summer 2025 Online Issue

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