I just ordered a recording of a Hummel oratorio Der Durchzug Durchs Rote Meer on CPO cheaply and I'm curious to hear it. I know Hummel is not particularly obscure, but my understanding is that his music has been far overshadowed by Beethoven's. Grove says that "Hummel's music reached the highest level accessible to one who lacks ultimate genius." Any Hummel fans out there?
As I've mentioned in some other threads, to me Hummel reached his top level with his PC's opp. 85 & 89. These works are so beautiful and delicate. Both are early romantic showpieces as I see it. But having said this, I think Hummel has always been too loyal to the classical style and was therefore surpassed by other brilliant, more "progressive" composers. On the other hand, who cares? His music is always very pleasant and most appealing.
Quote from: Peter1953 on Wednesday 27 January 2010, 07:55
On the other hand, who cares?
Some people do, for some strange reason. I remember someone on Usenet and a couple message boards who absolutely HATED some musc by composers like Glazunov and Gliere not because he didn't like them, but because they sounded like they were written many years after they were (he was also one of those who always seemed to give his opinion as if it were fact)
I can't fathom how someone like that could be a music lover, but eh....
Uh, Terra, I think you have it reversed. That he hated them because they sounded like they were composed many years BEFORE they were makes more sense. If they sounded like they were written many years after they were then they would be highly avant-garde, rather than reactionary.
Hummel is one of my favorite early Romantics. I highly recommend also his A-flat Concerto, Op. 113, which was in Jorge Bolet's repertoire.
....yeah that was a typo/mistake.
Regarding Terra's 'typo'... I think we all have the experience of hearing something by an unsung echo another composer's work already known to us, even though the unsung composed earlier. Burgmueller's Rhapsodie, for example, has passages that I can't help hearing as echt Brahms, even though it was written decades earlier than Brahms. (It was, of course, appreciated by Brahms.)
I think Hummel is another composer who's gotten a bad rap. If what I learned in school were true, all Hummel would embody an aesthetic close to Mozart's, whereas to my ears it's closer to Weber and other early nineteenth century composers.
I gather Hummel was a pupil of Mozart's but, as other Forum members have mentioned, his style is more early 19th than late 18th Century. I've often wondered if he ever got round to writing symphonies.
I've listened this evening again to Hummel's VC (in G), first the version completed by conductor Gregory Rose (on Naxos) and then in the version completed by Stephen Hogger (on Chandos). It's not my intention to compare both versions, and I cannot even say which one is preferable. Maybe, just maybe, the London Mozart Players give a more sparkling performance than the Russian PO. Both violinists are doing a fine job.
Interesting, an unfinished VC composed by in his days perhaps the greatest piano virtuoso alive. I think Hummel knew Spohr's early VC's, and maybe also those by Viotti (I think Viotti's VC's 19 and 22 are superior in every respect). The slow movement is the lovely heart of the concerto, I think. The style of the concerto is IMHO late classical and not early romantic. But never mind.
What amazes me is something Rose wrote in his booklet notes, not only once, but twice. Rose writes that Hummel's great rival was Beethoven, although they were friends. This puzzles me. Was Beethoven indeed a rival? Hardly possible to believe that. Beethoven was so much more a creator of heavenly music, emotional outbursts, full of creativity and always looking for new ideas, a real forerunner. Hummel, not at Beethoven's level, was IMHO not even a follower, but focussed mainly on the (safe?) classical style. However, as I've said before, he surely wrote very pleasing music.
Does any member know whether Beethoven was seen as Hummel's rival in those years?
Peter, Hummel was indeed viewed by some as a rival of Beethoven during the late 1810s and 1820s. His appearance at Beethoven's death bedside was considered a conciliatory gesture.
IIRC, the rivalry was mainly pianistic, and took place much earlier than the 1810s and 20s. Hummel never trod on the compositional ground of the symphony, but wisely left it to Beethoven. I'd be hard pressed to find a pianistic rival to Hummel after Beethoven's deafness took him off the performing stage. Maybe Weber or Moscheles, and later on the Parisian schools of Herz and Kalkbrenner. Both Hummel and Moscheles sound more classical than Weber. BTW, John, I think your century count was a little off. Did you perhaps mean his style was more late 18th than early 19th Century?
Hummel didn't write a single symphony that we know of, apparently. Seventeen pieces for piano and orchestra though.
If you are a lover iof masses, Hummel's glorious Missa Solemnis in C major is on Naxos #8.557.193.
Also his three op 30 string quartets are available on Hyperion #CDA 66568, all four movement works:
String Quartet in C major op30 no1, (25'19")
" " in G major op30 no2, (25"24")
" " in E flat major op30 no3.(26'54")
J.N.Hummel never attempted a symphony. (Beethoven syndrome ? ) He certainly had the ability.
Grove lists some Orchestral works:Tanze fur den Apollosaal sets 1-5 opp.27,28,31,39,45, and Waltzer fur den Apollosaal for strings op91, and a Notturno for Wind Instruments op99. There is no discussion of these works.
However, the Prussian composer & harpist,Ferdinand Hummell (1855-1928) (no relation to J.N.), wrote a Symphony in D major op105. He also wrote operas, choral works, a Piano concerto in B flat major op35, & piano pieces, works for harp & chamber music. I doubt if any of these works have been recorded. John, that may be your reference to a Hummel symphony ?
Marcus
Many thanks, gentlemen, for all those interesting further insights into the life and music of JN Hummel and his more recent namesake. I do have a recording of his Piano Quintet, featuring a double bass in the instrument line up which I gather Schubert copied for his famous Trout Quintet. Yes Jim, I did slip a couple of centuries in my last contribution which I have now rectified. :)
The truth is that Hummel is one of those transitional figures, as his dates suggest. His music spans late classicism to incipient romanticism, depending on the piece you pick. The generation of Hummel, Spohr, Ries, Weber, Schubert, etc. all exhibit this trend.
But some moreso than others, Alan. I would say that Weber is generally more forward-looking (or perhaps later composers looked more to him) than Hummel. Schubert, on the other hand was truly a transitional figure, inasmuch as you can hear a transformation in his music as he matured. Hummel's tunes sound much more conventional than those of many of his contemporaries. I liken it to the music that may have been composed by his teacher Mozart had he lived to a ripe old age.
US Amazon reviewer Stephen Eldredge puts it neatly (in a review of Hough's Mendelssohn concertos) when he writes: "To go from the world of Hummel's Concerto in A minor or B minor to the concerti of Mendelssohn is really only a jaunt next door through the garden gate. I think Mr Hough's playing of concerti and sonatas by Hummel really helped him form a view of Mendelssohn's piano world which is not too heavily Romantic, but with a chaste Classical side to it. " So Mendelssohn, too, may be viewed (and played) as a transitional figure though some, like Berlioz, have thought he sounds better when played as a fully fledged Romantic.
If you consider Mendelssohn's earliest music, he certainly is a transitional figure. His Symphony No.1 is also in thrall to Beethoven.
It makes me happy to see so many people posting here about Johann Nepomuk Hummel. As I posted much earlier, it was Hummel's B minor Concerto Opus 89 and the music of Alkan that led me into a life-long interest in unsung 19th century music, back in 1968.
Another beautiful piece by Hummel is the great Septet, which I have always enjoyed in the recording by the Melos Ensemble of London. I just checked my CDs of Hummel's music, and I have about 25 or 26 of them. I guess that makes me a devotee!
I have a few Hummel CDs, I have the piano concerti Opp.85 & 89 as well as a few other bits and pieces. I was listening to a recording of the 12 waltzes for piano duet earlier today, they are charming, wonderful little pieces. I find his music very interesting, I first got to know the Septet via Liszt's amazing transcription and I also found a cheap CD of Stephen Hough playing some of the piano sonatas which is a fantastic disc. A very good, somewhat neglected composer, IMHO.
One work of Hummel's which is, in many ways, forward-looking is the Concert Fantasy based on themes from Weber's Oberon (which was composed as a tribute to Weber about a year or so after his demise). Some of the piano figuration (especially in the final section) brings to mind Saint-Saens (who was a pupil of Stamaty, who was a pupil of Kalkbrenner). Just listen to that passage played by both hands in 10ths. Isn't there a similar passage in the final section of Saint-Saens PC 4?
Hi
I have just come across the Stephen Hough Chandos cd of Hummel's PCs opus 85 and 89. I think I bought the cd based on comments in this thread. for some reason, I only listened to the cd just once and then left if on the shelf. Coming across the cd 3 days ago, I gave it a second listen. I was absolutely taken aback by the music - absolutely glorious and thrilling. I can't think why the music did not impress me first time round. re-reading the liner notes, I noted that Hummel was apparently a pupil of Beethoven and later a teacher of Mendelssohn. That surely must be proof of his talent. I will be investigating his music further.
Cheers
Dennis
That Chandos CD is indeed a thrilling recording of some thrilling music. It's certainly the place to start with Hummel. Trouble is, I'm not sure that anything else quite matches it, either as music or as performances.
I'm reposting this from the recordings section...perhaps it will interest Hummelians?
"...Brilliant has released a 2 cd World Premiere recording of Hummel's 'big' operatic success (comparatively speaking) Mathilde von Guise. No libretto, but great stuff none the less: the 1821 revised Weimar version sung in Italian in a translation commisioned by Hummel. There are some extras: 2 different overtures, the 1810 original and a jolly noisy one Hummel borrowed from the ballet Sappho of Mitilene in 1821. There's also a little duet that somehow never made it into the published vocal scores. I haven't seen this set anywhere but Records International, those champions of the unsung:
http://www.recordsinternational.com/cd.php?cd=07M048
This is a delightful piece. Not very dramatic, maybe, but full of vigorous high spirits. Mozart is the primary influence, but plenty of Haydn, Cherubini and some Beethoven too. There are a surprisingly small number of arias: three, plus an additional Romanza for the soprano. The cast is excellent, without being starry. The period orchestra is Slovakian (fitting for a composer born in present-day Bratislava), as is the chorus: this is a Slovak/ French co-production. All do a fine job, once the horns settle down. The recorded sound is admirably clear.
All this at Brilliant's super-cheap prices!..."
David
Quote from: DennisS on Wednesday 11 August 2010, 13:04
I have just come across the Stephen Hough Chandos cd of Hummel's PCs opus 85 and 89. I think I bought the cd based on comments in this thread. for some reason, I only listened to the cd just once and then left if on the shelf. Coming across the cd 3 days ago, I gave it a second listen. I was absolutely taken aback by the music - absolutely glorious and thrilling.
Dennis, I agree with Alan. IMHO these two brilliant, gracious and delightful concertos overshadow all his other works. I have quite some music from Hummel (more PC's, chamber music, piano solo work including some fine sonatas) but Hummel reached his absolute top with opp. 85 & 89.
Quote from: Peter1953 on Wednesday 11 August 2010, 20:44
Dennis, I agree with Alan. IMHO these two brilliant, gracious and delightful concertos overshadow all his other works. I have quite some music from Hummel (more PC's, chamber music, piano solo work including some fine sonatas) but Hummel reached his absolute top with opp. 85 & 89.
I am inclined to agree also. Have you heard the oratorio that prompted this thread, though? A marvellous if atypical work, I thought.
As fine as the A minor and B minor concertos are, I still have a soft spot for the Op. 113 in A-flat. Jorge Bolet had it in his repertoire.
Ok, so I just heard on the radio the quintet with a DB (I *think* -- it sounded like the instrumentation was 'weird' and the score seems to support what I heard), and man, was it just utterly fantastic. A beautiful Chopin-like slow movement that segues right into a fantastic, tuneful, rip-roaring finale. I must buy this piece now.
Quote from: TerraEpon on Tuesday 26 October 2010, 07:02
Ok, so I just heard on the radio the quintet with a DB (I *think* -- it sounded like the instrumentation was 'weird' and the score seems to support what I heard), and man, was it just utterly fantastic. A beautiful Chopin-like slow movement that segues right into a fantastic, tuneful, rip-roaring finale. I must buy this piece now.
Quintet in E-flat (minor) for piano, violin, viola, cello, double-bass, opus 87. (See http://imslp.org/wiki/Piano_Quintet,_Op.87_(Hummel,_Johann_Nepomuk) (http://imslp.org/wiki/Piano_Quintet,_Op.87_(Hummel,_Johann_Nepomuk)).)
Eric
Yes, I've always been enamored by Hummel's music.
I expect most of you have read it, but one of my favorite books is "The Great Pianists-From Mozart to the present" (not really the present, since it's out of print. ) Written by the New York Times music editor the late Harold Schonberg. Has, for me, at least, numerous fascinating stories about Humme, Moscheles, Kalkbrenner; all of the 19th century and early 20th century greats.
It is still available from Amazon.com.