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| Composer : | Hummel, Johann Nepomuk (1778 - 1837) | ||
| Instrumentation : | Winds & String Orchestra | ||
| Style : | Classical | ||
| Key : | E♭ major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 22 May 2020 Johann Nepomuk Hummel (1778 – 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the classical to the romantic musical era. He was born as an only child (which was unusual for that period) in Pressburg, Kingdom of Hungary, then a part of the Habsburg Monarchy (now Bratislava, the capital of Slovakia). He was named after the Czech patron saint John of Nepomuk. His father, Johannes Hummel, was the director of the Imperial School of Military Music in Vienna; his mother, Margarethe Sommer Hummel, was the widow of the wigmaker Josef Ludwig. The couple married just four months beforehand. Hummel was a child prodigy. At the age of eight, he was offered music lessons by the classical composer 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 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 also took lessons from Haydn and Albrechtsberger, thus becoming a fellow student and a friend. Beethoven's arrival was said to have nearly destroyed Hummel's self-confidence, though he 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. Hummel, c. 1814, Goethe-Museum, Düsseldorf 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 remained in the service of Prince Esterházy for seven years altogether 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, at her request, was spent touring Russia and the rest of Europe. The couple had two sons. The younger, Carl (1821–1907), became a well-known landscape painter. The older, Eduarde, worked as pianist, conductor and composer; he moved to the U.S. and died in Troy, New York. Hummel's music took a different direction from that of Beethoven. Looking forward, Hummel stepped into modernity through pieces like his Sonata in F-sharp minor, Op. 81, and his Fantasy, Op. 18, for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and stretch the sonata form. His main oeuvre is for the piano, on which instrument he was one of the great virtuosi of his day. He wrote eight piano concertos, a double concerto for violin and piano, ten piano sonatas (of which four are without opus numbers, and one is still unpublished), eight piano trios, a piano quartet, a piano quintet, a wind octet, a cello sonata, two piano septets, a mandolin concerto, a mandolin sonata, a Trumpet Concerto in E major written for the keyed trumpet (usually heard in the more convenient E-flat major), a "Grand Bassoon Concerto" in F, a quartet for clarinet, violin, viola, and cello, four hand piano music, 22 operas and Singspiels, masses, and much more, including a variation on a theme supplied by Anton Diabelli for part 2 of Vaterländischer Künstlerverein. Source: Wikipedia (https://en.wikipedia.org/wiki/Johann_Nepomuk_Hummel). Although originally composed for Violin, Cello & Piano, I created this Interpretation of the Trio Sonata in Eb Major (Op. 22 No. 2) for Winds (Flute, Oboe, Bb Clarinet, French Horn & Bassoon) & Strings (2 Violins, Viola, Cello & Bass). | |||
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