Johann Nepomuk Hummel: Piano Concerto No. 6 in F Major, Op. posth. 1
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- Опубліковано 8 лют 2014
- Johann Nepomuk Hummel (1778-1837)
Piano Concerto No. 6 in F Major, Op. posth. 1
I. Allegro moderato
II. Larghetto 13:46
III. Allegro con brio 20:16
London Mozart Players
Howard Shelley, piano/conductor
Johann Nepomuk Hummel (14 November 1778 -- 17 October 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. Hummel was born in Pressburg, Kingdom of Hungary, then a part of the Austrian Habsburg Monarchy (now Bratislava in Slovakia). His father, Johannes Hummel, was the director of the Imperial School of Military Music in Vienna and the conductor there of Emanuel Schikaneder's theatre orchestra at the Theater auf der Wieden; his mother, Margarethe Sommer Hummel, was the widow of the wigmaker Josef Ludwig. He was named after St John of Nepomuk. At the age of eight, he was offered music lessons by Wolfgang Amadeus Mozart, who was impressed with his ability. Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine at one of Mozart's concerts. Hummel's father then took him on a European tour, arriving in London where he received instruction from Muzio Clementi and where he stayed for four years before returning to Vienna. In 1791 Joseph Haydn, who was in London at the same time as young Hummel, composed a sonata in A-flat major for Hummel, who gave its first performance in the Hanover Square Rooms in Haydn's presence. When Hummel finished, Haydn reportedly thanked the young man and gave him a guinea. The outbreak of the French Revolution and the following Reign of Terror caused Hummel to cancel a planned tour through Spain and France. Instead, he returned to Vienna, giving concerts along his route. Upon his return to Vienna he was taught by Johann Georg Albrechtsberger, Joseph Haydn, and Antonio Salieri. At about this time, young Ludwig van Beethoven arrived in Vienna and himself took lessons from Haydn and Albrechtsberger, thus becoming a fellow student and a friend. Beethoven's arrival was said nearly to have destroyed Hummel's self-confidence, though the latter recovered without much harm. The two men's friendship was marked by ups and downs, but developed into reconciliation and mutual respect. Hummel visited Beethoven in Vienna on several occasions with his wife Elisabeth and pupil Ferdinand Hiller. At Beethoven's wish, Hummel improvised at the great man's memorial concert. It was at this event that he made friends with Franz Schubert, who dedicated his last three piano sonatas to Hummel. However, since both composers had died by the time of the sonatas' first publication, the publishers changed the dedication to Robert Schumann, who was still active at the time. In 1804, Hummel became Konzertmeister to Prince Esterházy's establishment at Eisenstadt. Although he had taken over many of the duties of Kapellmeister because Haydn's health did not permit him to perform them himself, he continued to be known simply as the Concertmeister out of respect to Haydn, receiving the title of Kapellmeister, or music director, to the Eisenstadt court only after the older composer died in May 1809. He then remained in the service of Prince Esterházy for seven years before being dismissed in May 1811 for neglecting his duties. He then returned to Vienna where, after spending two years composing, he married the opera singer Elisabeth Röckel in 1813. The following year was at her request spent touring Russia and the rest of Europe. The couple had two sons. Hummel later held the positions of Kapellmeister in Stuttgart from 1816 to 1819 and in Weimar from 1819 to 1837, where he formed a close friendship with Goethe, learning among other things to appreciate the poetry of Schiller, who had died in 1805. During Hummel's stay in Weimar he made the city into a European musical capital, inviting the best musicians of the day to visit and make music there. He brought one of the first musicians' pension schemes into existence, giving benefit concert tours when the retirement fund ran low. Hummel was one of the first to agitate for musical copyright to combat intellectual piracy. In 1832, at the age of 54 and in failing health, Hummel began to devote less energy to his duties as music director at Weimar. In addition, after Goethe's death in March 1832 he had less contact with local theatrical circles and as a result found himself in partial retirement from 1832 until his death in 1837. The Piano Concerto in F Major, his 6th (and last) mature work in the genre was first performed on his final trip to London in 1833. It was not successful, due in part to the changing tastes of audiences at the time. Hummel's refined and elegant style was already considered hopelessly out of fashion. The source material didn't give a tempo for the slow movement, but in the score it is titled Larghetto, and I have added this in the description.
I was listening to Hummel's works 30 years ago or more. It was harder back then to get recordings and it is very pleasing that more and more people are discovering his works and enjoying them. I am sure Johann would be very happy.
Happy, humorous and heavenly Hummel. Such a delight!
La tendresse inhabituelle de ces mélodies. Cette tendresse guérit pour l'âme qui vit dans notre temps dévastateur !!! Tepper Michael.
If there's no danger of over-rating Beethoven, Hummel has certainly been under-rated. Hough, Shelley et al have done well to resurrect Hummel's once amazing reputation.
I love ALL of Huumel and Beethoven piano concertos.It is very unfair the works of the former got neglected for a very long time until most recently.
Le 6 e concerto de Hummel op posth est moins abouti que l’op85 et 89 mais possède beaucoup de charme, d’élégance et de virtuosité. L’interprétation de Howard Shelley au dessus de tout éloge !
BRAVOOOOOO!!!!!!! Howard Shelley, London Mozart Players
Ultimately, popularity is a question of quality, at least for the discerning listener. But being less popular doesn't mean rejection, and this is a splendid work, up there with op. 85 and 89. Nice performance, but I miss Hough's color and poetry.
Great music. There should be a cd box set of all his piano concertos but there isn't one.
I totally agree with you!
It's interesting that I hear quite a bit of Hummel's good friend Weber in this concerto.
some parts of this sound eerily similar to Perpetuum Mobile
Mozart and Hummel lived at the same time. It often seems that Haydn, Beethoven and Mozart are sky high and 'the others' are quite below. When I hear this music it is not 'quite below' but it is also very high...Hummel is also a great composer.
Teun van de Steeg, perhaps his unwillingness to challenge Beethoven in the symphonic arena worked to his detriment in the eyes of history, and evaluation that is only now being reconsidered. His rather extensive operatic oeuvre also needs a look.
Teun van de Steeg BTW, Mozart taught Hummel. For free.
The saying that Haydn, Beethoven and Mozart are at such a higher level goes only as far as popular knowledge. Music professional, in most cases, know that this is a cliche and that many other composers are not that far off at all. It is a question of popularity, not quality.
This is amazing 😍❤💘
Very nice.
Solo lo conocí es piensas facilitas ,cómo sabes en Cedmex no hay porque no se venden 🎹 pero los que tengo me los traían de E.U . Gracias 🌹
Delightful music
En 1987 escribí a un programa de peticiones de Radio 2 (emisora de Radio Nacional dedicada exclusivamente a la mal llamada "música clásica") pidiéndoles por favor si podían radiar un concierto de Hummel, pero la pareja de presentadores (a lo mejor me falla la memoria, pero creo recordar que una de ellos era nuestra añorada Cristina Argenta) confesaron entonces que ni existían grabaciones ni recordaban haber oído un concierto de Hummel en su vida.
Y es que Hummel y toda una pléyade de excelentes compositores tuvieron la "mala suerte" de ser contemporáneos de un gigante como Beethoven. Pero ahora que la música de este maestro ya ha sido grabada completamente en multitud de interpretaciones, hasta hay quien se atreve a grabar a todos los que aparecen por debajo de la punta del iceberg. Y así resurgen por fin las obras de aquellos que quienes entonces teníamos ya aprendida toda la obra de los grandes, teníamos deseos de escuchar. Ries, Moscheles, Wölfl, Czerny, Cramer, Berwald... Hummel es, como se esperaba, uno de los mejores. Este es para mí el mejor de sus conciertos, el sexto que le he oído hasta ahora.
En México ,no ha Sido olvidado ,nada más y nada menos ,no llegaban sus grabaciones. 🇮🇷. México felicidades. !!!!! ❤️
@@CarmenReyes-em9np En el año 1987, precisamente se hacían las primeras grabaciones de conciertos para piano y orquesta de Hummel en Budapest, para la casa Hong Kong Records. Hasta entonces, nada se había grabado de Hummel excepto el concierto para trompeta y el de fagot (de los cuales sí, había varias versiones). Las grabaciones para piano y orquesta aún tardarían varios años en venderse. En 1998, la casa "Arabesque", fundada para grabar Jazz en Nueva York, graba por primera vez las sonatas, en tres volúmenes, por Ian Hobson. En ese año consulté una enciclopedia musical alemana, en la que decía que Hummel había compuesto unos 17 conciertos para piano. No creo que incluso hoy haya tantos catalogados. Por no tener, no tienen ni número de opus.
@@CarmenReyes-em9np Aquí estoy hablando exclusivamente de la música para piano, la música para piano y orquesta y todo lo que NO sean el concierto para trompeta o el de fagot. El concierto para trompeta y el de fagot nunca han sido olvidados en ningún sitio del mundo. Son y han sido piezas de concierto habituales en todo el mundo, ininterrumpidamente.
Really a splendid concerto, Thank you very much! Did you change your channel name just now?
I have 2.
SOMEBODY knows where to find the written music for this concerto?
Thanks, wolfgang.
+Wolfgang Amadeus
Here and free. Have fun, this music is really "brilliant"
imslp.org/wiki/Piano_Concerto_No.5_in_A-flat_major,_Op.113_%28Hummel,_Johann_Nepomuk%29
Hummel is not like Mozart. Hummel is so unique.
good students, with acribia, diligent and inventive are masters heirs of masters
Hummel es Humel ninguno supera a otro genio. Cada quien tiene especial estilo y belleza.
Yo soy única y tú eres 😍 única. ,así nos hizo Dios ,no seas ventajista 🥺
On perçoit par moment l'influence de Mozart notamment dans certains traits orchestraux, et aussi celle de Beethoven et celle de Chopin...mais cela ne diminue pas sa valeur, il est un musicien bien de son temps, et un pianiste prodigieux.
He was Mozart's student.
L'influence entre Chopin et Hummel est surtout dans l'autre sens.... Chopin avait à peine 15 ans quand ce concerto a été écrit. Chopin considérait d'ailleurs Hummel comme un de ses maîtres au côté de Mozart et Beethoven.
merci pour cette précision.
L'influence de Hummel tenait effectivement plus de Mozart et de Beethoven. En effet il a été l'élève de Mozart, et il était le meilleur "ennemi" musical de Beethoven, dans le sens où à l'époque, les deux plus grands pianistes qui se représentaient étaient Hummel et Beethoven. Cette rivalité n'enleva cependant rien à leur grande amitié, Hummel ayant repris les plus grands morceaux de Beethoven au piano le jour de l'enterrement de Beethoven.
Me atrevo a decir que supera por lejos a Chopin
Cheap recycling of Mozart and Beethoven. Like Ries, Czerny, Dussek and Spohr, Hummel won't ever rise from relative obscurity....
Just keeps waffling around for so long.... in this shallow "brilliant" style. Like Chopin but without the talent....
Sorry, you are wrong. Badly wrong.
Hummel leaves you wondering where he takes the variations and treatment of melodic
ideas from...always taunting his pianist with near impossible technical demands.
Just listen the piano...crystalline clear octaves in rhythms and trills made by his own method not heard before and after.
These of course were the attitudes of a bygone era that if it wasn't by one of the so called greats it wasn't any good. That is exactly the sentiments of Frederic Gulda one the great classical pianists of his time who mocked such ideas. He would leave the concert hall go to a bar with pipe in his mouth to play jazz. Beethoven (Battle Symphony and Chopin (Piano Sonata 1) also wrote works which by today's standards are poor. But to be fair the Battle Symphony was a product of its time. It is true that Hummel and Czerny sometimes wrote less than their best but in context they had to earn their living and if they were asked to write a trivial work they did.
It was Hummel that firstly wrote Etudes in every key and not Chopin. His 3rd Piano concerto with its novel orchestration and style reaches far ahead of its time. Hummel being a superb craftsman did chamber arrangements of Mozart piano concertos and some symphonies. Now as we have recordings, you would think these have no place in the modern music world. However they are such superb arrangements that these have become works in their own right with recordings, performances and scholarly praise.
I would not mind thousands of people playing my music hundreds of years later.
Scathing remarks without merit.
@@dsmclrn3110In addition, Czerny and Hummel were both products of their time. Virtuosity and difficult technical passages were becoming fashionable in the early 1800s when they were in their prime.
Beethoven destroyed music.
Why so say so?
I don't know why but this makes me laugh.
lmao what?