Best of Hummel

[@empireentertainmentevents1353]

The amazing HUMMEL! HUMMEL deserves more recognition.

[@jepcorp]

as does Salieri--probably 2 of the most underrated composers, contemporaries of Mozart, and inspirators of Beethoven.

[@alanclifford1337]

Exactly right!

[@empireentertainmentevents1353]

@@jepcorp Salieri also. yes!

[@sabersalsh1200]

0:12-0:25 is an obvious quotation from Mozart's Haffner Symphony (movement 1 near the beginning)

[@vladmirmonte1356]

It has been 54 years since I have heard classical music and I haven't known Hummel. I don't know why because I am a faithfull colector. I was surprised because his music is beautiful and intense. He has a good dynamic.

[@borisadam1261]

Прекрасно! Приятно слушать такую музыку.

[@ludwigvanbeethoven61]

Besten Dank für die wundervollen Jahre, mein werter Freund!

[@hannawagenknecht6378]

Zuhören,sich einlassen auf die Musik 😌,alles mal vergessen, schön gespielt,da bin ich froh , Dankeschön 😊❤️

[@petermerelis]

Hummel, the king of harmonic meandering in development sections

[@elmargmusic]

Magnificient and underrated ❤🎉😊

[@viktorwokurka5355]

Ganz einfach wohltuend !

[@presidentstaatshoofd473]

Playful as Mozart, bombastic as Rossini. Let's have it all :)

[@MsLeenite]

You made me laugh out loud, you funny President, you.

[@oldrichcepelka296]

We can see a Mozartian anchoring and its extension to the Romantic style. And yes, Hummel as 8 yo was a student of Mozart and he lived in his house!

[@thomasc390]

🌻 Thank you! 🌻

[@류순열-h6i]

아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎻📯🎺🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕

[@idilarseven4287]

Hummel is very underrated composer. All his music is very original, beautiful and pleasant.

[@MrPDLopez]

Being in the shadow of a giant like Beethoven (1770-1827) is not easy. Hummel was a few years younger (1778-`837)

[@missionlinguistiquefrancop6356]

Mozart's pupil and Beethoven's teacher (!), he was fully recognised during his lifetime, and wealthy.

[@ericastier1646]

@@MrPDLopez In my opinion Beethoven was the worst pianist composer of all. He should have composed strictly for chamber music. He also took piano composing style in the wrong direction, giving it a mechanical machine like and often pounding sound that is not musical no matter how it is played. Hummel showed the right direction, followed by Chopin and Brahms. Liszt was in Beethoven's footstep also a mechanical machine virtuoso. Mozart was actually a predecessor to Beethoven he also had mechanical style but it was contained by light texture like Alberti bass in the left hand and modulation that came quick enough that you wouldn't be bothered by the mechanical writting. Beethoven put mechanical playing in the forefront and it occupies 80% of his piano works. Hummel is pure grace and balance, the instrument is not trying to bludgeon the listener. Haydn also was better than both Mozart and Beethoven. Karl Maria Von Weber was great but his style was too immediate lacking depth. Clementi was a better solo piano composer than mozart in my view but Mozart piano concerti are very effective even if i find them superficial and commercial before the hour.

[@findelka1810]

@ericastier1646 I wholeheartedly agree with your entire opinion expressed here above.

[@erlindarosaleonmercado6737]

So much intersting Hummel...!!!!

[@farahzahanshuchy9201]

This is so beautiful and grand!

[@MenelionFR]

Wow, it's a great collection, thank you!

[@utsteinproductions]

Another great lesser know composer would be Ferdinand Ries. He composed 9 piano concertos for those curious.

[@jmchord]

Yup, Beethoven's student

[@Soloist62]

I'm a great fan of Ries and of Hummel.

[@helmutfast5634]

kzbin.info/www/bejne/e5qyZ2WKebh0haM&index=

[@nemqueteba3139]

¡Magnífica música! 🤗

[@mbessendorf5426]

Amazing!

[@cheri238]

Hume, is like a lark chirping ,whimsically dancing🎶 piano 🎹🎼🎵🎶 notes floating inhaling air!!! Bravo

[@adrianok4266]

Love his A Minor and B Minor piano concertos ❤️

[@rosannamasini2075]

Adorabile❤

[@annefitzgerald3571]

This is GORGEOUS music!!

[@williamrmorrison]

I really like the piano concertos played on the fortepiano...a perfect instrument for them...

[@rosannamasini2075]

❤amabile

[@MsLeenite]

This was too much fun to be strictly legal. I was smiling A LOT. Thank you!

[@BrilliantClassics]

Our pleasure!

[@ericastier1646]

@@BrilliantClassics What makes you think you deserve the credit, are you the pianist ? are you the composer ? I don't think so. People act so entitled and narcissistic these days. They think the world revolve around them or their life isn't worth anything.

[@andrep8287]

@@ericastier1646 ...with respect...if it wasn't for @BrilliantClassics, we the listeners would likely never have had the opportunity to listen to Maestro Hummel's great music. Thus, unless you commented sarcastically, your words are mightily unjustified!

[@ericastier1646]

​@@andrep8287 Read the original comment again. The text is about the composer's music : "This was too much fun to be strictly legal. I was smiling A LOT". Then there is a "Thank you" which undoubtedly goes to the middle man : this channel. However in art the artist is top for credential. A proper reply from the channel (or no reply would have been fine) would be to redirect the thank to the composer and his music, instead here they gob the whole thing as if it was due in a unbecoming and self gratification "OUR pleasure" , which appears supercilious and even slightly arrogant. It reminds of how americans and only them, when holding a door for people behind them (those who do) and who get thanked for it, feel the need to reply with a "Aha" which sound like "Yes that's right you must thank me". I find that detestable and a lack of humility. In all other countries of the world a silence is the proper humble reaction or occasionally an ephemeral smile.

[@alvarogarciabarbosa3199]

Clásico total, en la misma senda mozartiana!! Listen this concerto with Alison Balsom....excelente, grande!!! Verdaderamente genial toda la música de Humel. Sin embargo "underrated".

[@franciscocastillomata9786]

Como tantos otros...precisamente acabo de escuchar sendos conciertos para clarinete de F. Krommer ( opus 36 ) y de Louis Spohr ( nº 1 ) . Totalmente infravalorados!

[@ericastier1646]

Much superior to Mozart in maturity in my view.

[@JoseAngelFornas]

Más que mozartiano, pre-chopiniano: escucha el Op. 87 en la versión de Shiskin y Pletnev (todavía disponible en youtube) con un piano y una orquesta que llegan en términos de virtuosismo y expresividad donde este fortepiano no deja.

[@XtreamBrands]

I really love Hummel so glad to see this! Immediate download!

[@gooseface2690]

Not possible...haha!

[@richardjehl1455]

@@gooseface2690 Everyone posting something on the internet knows there are always ways of recording the production, and this is normal. No creation belongs to its creator, because it is destined to be shared. Several tools make downloading YT videos very easy.

[@gooseface2690]

@@richardjehl1455 Fair enough...

[@gooseface2690]

@@richardjehl1455 Fair enough

[@ericastier1646]

@@gooseface2690 Yeah you can rip that after minimum research.

[@APerson4889-g5f]

Wonderful!

[@paulhartley5579]

tho he studied composition with mozart, he never achieved on the same level. he can at times sound bombastic or longwinded, but his technical mastery of piano was admired and only excelled by beethoven and liszt. these selections certainly show his best side.

[@sammcbride2149]

I like Hummel.

[@zachbaker2051]

Loved it

[@Minuestis]

genio.

[@djohumm7441]

Hummel!!!

[@svenhummel767]

wollte schon immer von meinen ur ur opa musik hören

[@paulwilson4738]

You're saying that your lineage is quite wonderful, and I agree!

[@napoleon96420]

Pls best of goosec and best of carlos seixas

[@gooseface2690]

At your service! 🦆

[@nahobi]

これがベートーベンの時代に最も人気があった音楽だから、晩年のモーツァルトやベートーベンが如何に異質な作曲家であったかが分かる

[@alanclifford1337]

HURRAH FOR HUMMEL! A decade-old essay of musical memories Mozart’s most famous pupil, Haydn’s successor at the Esterhazy court, a friend of Beethoven (whom he admired and comforted in his last hours), a ‘father-figure’ to Chopin and teacher of several other young romantic virtuosi including Mendelssohn, Johann Nepomuk Hummel was born in Bratislava in 1778 and died in Weimar in 1837. A child prodigy, he became one of the most brilliant virtuoso pianist_composers of the early nineteenth century. Schubert wished to dedicate his last three sonatas to Hummel whose music links the classical and romantic periods. A dazzling performer, Hummel was regarded by Chopin - whose style he influenced - as the equal of Mozart and Beethoven. Despite being taught by the latter, Czerny rushed to get lessons from Hummel after hearing him play. Greatly admired by Berlioz and Liszt (who succeeded him at Weimar), Spohr considered him to be the greatest improviser of the time. Together with his friend, the famous Goethe, he became Weimar’s star attraction. Besides the well-known Trumpet Concerto in E, S. 49, and the Septet in D Minor, Opus 74, more of Hummel’s music is currently enjoying a long_overdue revival. His little-known piano concertos - ten in all including the Double Concerto for piano and violin, Opus 17 and the Concertino, Opus 73 - are now attracting the attention they deserve. Recordings of these by Stephen Hough and Howard Shelley (Chandos) reveal to the modern listener the combination of brilliance and beauty that made them once so popular. Contrary to his image as a conventional, end-of-era classicist, Hough’s recent recording of Hummel’s F sharp minor Sonata, Opus 81 (Hyperion) reveals a composer of striking individuality. Shelley’s exquisite rendering of his Rondo Brillant in B flat, Opus 98 shows Hummel’s genius as a proto-romantic composer of unique emotionality and virtuosity. The seven piano trios played by the Trio Parnassus (Dabringhaus und Grimm) and Triangulus (Meridian) well repay renewed attention, especially the mature Opus 83. The idea that Hummel’s creativity was declining by the 1830s may be dismissed on hearing Danielle Laval’s performance of his 24 Etudes, Opus 125 (Naïve). If Hummel’s keyboard skills are very evident in the concertos in A minor, Opus 85 and B minor, Op 89, and the F sharp minor Sonata, Opus 81 (described by Schumann as ‘an epic, titanic work’), his choral accomplishments are of no mean order. The five symphonic Masses date from 1804 when Hummel succeeded Haydn at the Esterhazy court. Owing much to Mozart and Haydn, Hummel remains his own man. His part writing reveals a rare poetic sensitivity and his stylistic individuality is soon apparent. His lyricism anticipates the melodic flow of Schubert. Currently being rescued from unjust oblivion, his refreshing works deserve a more prominent place in the classical repertoire. Hummel uses the traditional Mass text of biblical and credal material set by other composers of the period. This form of concert oratorio mass actually followed the Protestant treatment inaugurated by J. S. Bach, a practice that was eventually forbidden to Roman Catholic composers by Pope Pius X in 1903. This Protestant text omits the unbiblical prayer for the dead used in the requiem mass (‘dona eis requiem’) in favour of a prayer for the living (‘dona nobis pacem’). Chandos have produced the Hummel mass series with Richard Hickox and Collegium Musicum 90. The excellent D major, Opus 111, B flat major, Opus 77 and E flat major, Opus 80 works were the first to be released. The superb D minor Mass, S. 67 was the last to be issued. Two years ago Naxos issued the Missa Solemnis in C major, S. 74 and the Te Deum in D major, S. 70, works calculated to arouse further interest in this long_neglected composer. Doubtless influenced by Handel’s ‘Israel in Egypt’, Hummel’s dramatic oratorio ‘Der Durchzug Durchs Rote Meer’ (Deutschlandfunk) is a wonderfully-crafted instance of the composer’s skill. A recent CD from Weimar makes further fascinating listening. ‘Hummel Variationen & Fantasien’ (Deutsche Schallplatten) includes the Fantasie für Klavier und Orchester, Opus 116, ‘Oberons Zauberhorn’. This striking yet charming five-movement work includes a vivid musical depiction of a storm at sea. Naxos and Chandos have also issued a recording of this. For drama and tension - one might say tsunami-like hysteria - Hummel more than matches Beethoven here! Clearly the composer had the ability to be highly unconventional despite his ill-deserved reputation for superficial salon music. While the recently-recorded opera ‘Mathilde von Guise’ (Brilliant Opera Collection), deserves a good hearing, the Overture provides another specimen of Hummel’s purely orchestral compositions, all the more interesting in view of the absence of the symphony from his works. The same may be said of the ballet music ‘Sappho von Mitilene’ (Chandos). This splendid work provides more than a clue of what a Hummel symphony might have sounded like. Yet Hummel’s reputation is chiefly maintained by his works for piano and orchestra. Not to forget the brilliant and charming final Concerto in F, Opus post 1, performed superbly by Maestro Shelley (Chandos), the final example in this genre published in Hummel’s lifetime is the Rondo Brillant in F minor, ‘Le Retour à Londres’, Opus 127. Shelley’s recent premiere recording of this delightful and scintillating work is as ‘brillant’ as the piece demands. Along with the early A major 'Florentine' concerto, it surely merits a place in a ‘prom’ concert at the earliest opportunity! Naxos are to be thanked for Madoka Inui’s superb rendition of Hummel’s fantastic fantasies. This CD irrefutably justifies the status Hummel achieved during his lifetime as improviser ‘par excellence’. The recording conveys the very sense of immediacy that Hummel’s sensational playing must have regularly produced. Here we have dynamism and delicacy, poetry and power, ravishing sensitivity and rich sonority in perfect proportions. The early Fantasy in E flat, Opus 18 looks way beyond classicism and, in some passages, even romanticism. It is no wonder that Chopin placed Hummel next to Mozart and that Liszt placed him among the immortals. While comparisons can be odious, now we can understand why Beethoven felt threatened by Hummel. Surely, the Hummel resurgence of recent decades has now reached its peak. Madoka Inui’s wonderful Bösendorfer aids her in disposing of the myth that Hummel was lulled into mediocrity during his last Weimar years. The late G minor and C major fantasies are a revelation. If Messrs Hough and Shelley are occupied elsewhere these days, let us hope Madoka Inui is working on the amazing Rondo Brillant in B minor, Opus 109 and the magnificent Etudes, Opus 125. Now aided by Mark Kroll’s brilliant biography (Scarecrow Press, 2007), may the Hummel revival long continue! Dr Alan C. Clifford (August 2011) TO BE UPDATED IN DUE COURSE

[@andrep8287]

@alanclifford1337....thank you immensely for publishing your "Hurrah for Hummel!" decade-old essay. Your introduction to Hummel's works is priceless, to say the least.

[@michaelkinski8676]

beethoven war ein fach outsider. seine music hat einfach keine follover. so outstanding. sie auch war. das glied zu fuehromantink war sein freund hummel., ein bisher unterschaetzter musiker. beethoven wuenschte sich als grabmusik ein klavierkonzert von hummel. hummel schaetzte sich zeitlebens als klare nummer 2 gegenueber beethoven ein. er komponierte keine sinfinien, obwohl er mit dem orchesrter versiert war , aus ehrfurcht vor beethoven hier das a moll klavieronzert ist mindestens gleichwertig mit den beethoven konzerten.

[@bogusawkowalczyk1607]

😁😁😁😁😁😁😁😁

[@manliozaninotti9627]

Quando un "minore" NON è un minore. Bellissima scoperta.

[@6collette6]

❤❤❤❤

[@ericastier1646]

The piano concerto in A minor use the same music language as Chopin. To a point like it sounds like an earlier Chopin concerto ! The latter must have been influenced by Hummel and heard that concerto and probably could play it in his youth.

[@findelka1810]

He did indeed 😌 Chopin was a big admirer of Hummel’s music, played his concertos and taught him to his own pupils. He considered Hummel’s music the best preparation for his own (for those pupils). I consider Hummel Chopin’s biggest inspiration especially in his earlier years. Hummel also composed a 24 set of Préludes (long forgotten), on which Chopin based his own. Chopin called Hummel ‘the father of us all’ (all of the Romantics).

[@ericastier1646]

@@findelka1810 Great reply 🤗 I actually knew about that affinity which i had read about long ago. To the point that 20 years ago i found and photocopied Hummel's technical exercises for the piano, a huge set of exercises (150 of them some short some longer ones). I bet Chopin went through this to learn the piano, it ends with a double thirds exercise that probably lead to his Op 25 no 6. At some point i studied them up to nb 40 over 15 years ago. They provide amazing progress and are musical but aren't piece of music (much much better than Hanon though but not intended for an audience). Now i learned all of Chopin's etudes and maybe i should revisit Hummel's exercises.

[@findelka1810]

@ericastier1646 That’s so funny, I’m going through his 3 volume Art of Playing the Pianoforte you mention (I guess you were referring to that) right now. I’m about 1/3 through the 2nd volume. The exercises build up indeed very smoothly and effectively! Kudos to you for all the Chopin études! I’m not there yet, just managed the easiest one and moving forward, hopefully alongside and with the help of Hummel. Pretty sure Chopin was familiar with most of Hummel’s output!

[@ericastier1646]

@@findelka1810 I enjoy knowing somebody else is using Hummel's Art of Playing the pianoforte. I loved those exercises and only gave up continuing the series because i had to learn pieces for my juries. I was not quite at the level where i was ready for Chopin Etudes when i started studying them 2 years ago but that did not matter they forced me to solve technical challenges and provided me with an accelerated pedagogy on how to progress by myself. It's not for everyone, the level of frustration is very high in the first year of studying them, but now i can go through all of them at an academic student level (not at tempo). i am near an acceptable performance level for ~3 of them, and on the others i do not struggle and building more and more confidence and ease. By studying them all, they point you in the right direction to solve technical problems and your approach on pianism. I can really see my progress accelerating after 1.5 year on them, but the first year is tough.

[@steveneardley7541]

The piano being played towards the end is an awful period instrument that clearly did not use modern felt hammerheads. I played a fortepiano of about 1780, and the hammers were simply wood wrapped in buckskin, which was the norm until about 1830. This sounds similar in how very percussive it is.

[@MsLeenite]

Maybe that's the reason for the "Please don't shoot the piano player" signs.