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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MASTERS THESIS M-8434 WILLIAMS, Donna Marzetta JOHANN NEPOMUK HUmEL: A STYLISTIC OVERVIEW AND SELECTED ANALYSES. The American University, M.A., 1976 Music

Xerox University Microfilms, Ann Arbor, Michigan 4si 05

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I JOHAM KEPOMUK HUMMEL: I :,t A STYLISTIC OVERVIEW AND SELECTED ANALYSES

I by I Donna Marzetta Williams

I Submitted to the

? Faculty of the College of Arts and Sciences I I> of The American University I in Partial Fulfillment of

Î the Requirements for the Degree I ii; Master of Arts

Signatures of Committee ;

Chairman :

Dean of the College*

Date : A. > (. Date : / ^ %

1976

The American University Washington, D. C.

TBE AÎŒRICAN UNIVERSITY LIBRARY

5 5 D 1

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I Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS

Without the inspiration, guidance and living memory of Doctor

Esther Williamson Ballou, this thesis could not have been possible.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS

PART ONE; OVERVIEW

I. Biographical Survey 1

II. Melody 6

III. Harmony 12

IV. Rhythm 28

V. Form 35

VI. Pianistic Flair and Demands 4l

VII. Texture 52

VIII. Summary and Evaluation 59

PART TlfO: SELECTED ANALYSES

I. Fantasie. Onus I8 64

II. Septet. Op u s 74 85

III. Piano Concerto, Opus 89, Allegro moderato 128

IV. Grand Etudes, Opus 125. Nos. 8 and 12 14?

PART THREE

Bibliography I59

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART ONE

OVERVIEW

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CHAPTER I

BIOGRAPHICAL SURVEY AND INTRODUCTION

The music of Johann Nepomuk Hummel is an important steppingstone

in the development of style. Although his compositions never attained

the reputation of those of greater composers, his music provides a

link between the styles of Mozart and Chopin. Furthermore, in spite of

his many mediocre compositions, Hummel left the world of music some very

fine and well-conceived pieces of music. For these two reasons he is

worth more study than is ordinarily given to him.

Hummel was b o m on November 14, 1778, in Pressburg (Bratislava),

the son of Johannes and Margarethe Hummel.^ His father was the band- 2 master of the Imperial School of Military Music in Pressburg and was

responsible for young Hummel's early musical training. At the age of

four, Hummel began violin lessons with his father and soon added voice

and piano lessons. The child, despite his obvious and exceptional talent, 3 4 endured, we are told, "severe drudgery"-^ and was "scantily educated"I

1 Biographical information has been taken from the dissertation "The Piano Concertos of Johann Nepomuk Hummel" by Francis Humphries Mitchell (Northwestern University, June, 1957), pages 37-^7, unless otherwise footnoted.

2 Article "Johann Nepomuk Hummel," in Grove's Dictionary of Music and Musicians (jth ed., edited by Eric Blom, 195^), IV, 406.

3 Anna de Bremont, The World of Music (London; W. W. Gibbings, 1892), p. 98.

4 Henry Fothergill Chorely, Modern German Music (New York; Da Capo Press, I854), II, 5 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Hummel family moved to Vienna in 1785, when the elder Hummel

acquired a conductor’s post at Schikaneder's Theater. This same year

Wolfgang Amadeu'- Mozart met the young Hummel and was immediately

impressed with his pianistic talent. For the next two years, Hummel

lived and studied with Mozart in his home. In 1787, Hummel gave his

first concert under Mozart’s sponsorship— a concert which proved most

successful. His father then took young Hummel on an extended tour, in

1788, which included visits to Austria, Germany, Scotland, Denmark, and

England. While in England, Hummel met Muzio Clementi, with whom he

studies until he returned to Vienna in 1?93- Tn Vienna, Hummel studied

counterpoint with Alhrechtsherger, and he also studied vocal composition,

aesthetic ideas and musical philosophy with Salieri. In 1795, he

studied organ with Joseph Haydn. At this time Hummel first became

acquainted with Ludwig van Beethoven, who was also studying with

Albrechtsberger and Haydn.^ In I8OI, Hummel was again in England,

playing the piano and harp and singing at social gatherings. In this

quotation, "his teetotailing, his conversation, and his choice of songs

for young ladies"^ gives the reader a clear picture of the young

Hummel and reflects many of his compositions. He was "an attractive

young gentleman of the Romantic revival, independently eccentric and

naive, yet touched with the fashionable sensibility."^

In 1804, Hummel became the Kapellmeister for Prince Esterhazy at

5 Grove's. "Hummel," IV, 406.

6 Philip H. Hi^ifill, "Communications," Journal of the American Musicological Society, IX (Spring, 1956), 71.

7 Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Eisenstadt, a position formerly held by Haydn. During this time Hummel

wrote several operas. In 1811, he was dismissed from his position,

whereupon, he returned to Vienna. In I8l6 , Hummel accepted the position

of conductor of the court orchestra in Stuttgart. He was not happy there

and resigned in 1818. In 1819, Hummel took on a similar position at the

Grand Ducal Court at Weimar and he kept this position until his death

on October 17, 1837. His years at Weimar were both productive and

interesting. His nearly annual tours took him to Holland, England,

Belgium, Russia, and France. During this period of his life Hummel g achieved great fai..e and much money. Concurrently, his works were

increasingly pirated. To combat this piracy, Hummel made a proposal in

1825 which became the basis of later patent laws.^ During this period,

he also taught some of the more promising young students of the time,

including Ferdinand Killer, Adolf von Henselt, Carl C z e m y and Thalberg.

His own personal contacts widened and included such notables as Goethe,

Beethoven, von Weber, Schubert, Kalkbrenner, Moscheles, John Field, and

J. B. Cramer.

Hummel was one of the most celebrated musicians of his time; his

fame rested on his superb improvisations on the piano and on his tech

nical skills as a performer. He also influenced many future composers

as a pedagogue and as a composer. In addition, he was a well-knoi-m

conductor, as a result of his conducting posts at Stuttfart and Weimar.

He authored Ausfuhrliche theoretischpractische Anweisung zum Piano-

8 Karl Benyovsky, J. N. Hummel, der Mensch und Kunstler (Bratislava: BOS, 1934), p. 383.

9 Ibid.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. fortespiel. a pianoforte school published in 1828 in all modern

languages. He composed over a hundred compositions of a wide variety,

including operas, masses, songs, piano concertos, string quartets, trios,

sonatas, septets, and fantasies. Most of his works are for the piano—

other works emphasize a great deal of piano. These compositions were .

generally well-received and often performed during his lifetime.

Almost immediately after his death, though, his fame and stature

declined sharply, and his works no longer appeared on programs. To a

great extent, the next generation of composers, notably Berlioz and

Schumann, were responsible for this decline. Richard Franko Goldman

aptly states a possible reason for this.

It is quite conceivable that they the following generation of critics and composers were wrong in their judgements because the esthetic of early Romanticism and the overwhelming weight of Beethoven blinded them to a number of musical and artistic virtues, or, in the case of Hummel, aroused con flicted feelings simply because Hummel had already indicated a direction that they were ag^ious to explore, and had done so vrithout talking about it.

Hummel represents the end of the classic ideal of composition.

Although his music contains many of the flexible, free elements of

romanticism, the spirit remains classic. The heavy passion of roman

ticists like Beethoven and Schumann is found only in Hummel's later

works and appears there as a highly refined element. (His music was

scorned by Schumann, of course, who prophesized that only Hummel's

Piano Sonata, Opus 81, would survive the ages. Berlioz deplored

Hummel's weak sense of pulse in his music and Hummel's sense of

10 Richard Franko Goldman, review of Hummel's Septet, Opus ?4 (recording L'oiseau-Lyre SOL 290), Musical Quarterly, LIII (January, 1967), 141.

I Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. orchestration which, unlike Berlioz's, was light and delicate.)

Because the style of composition was changing so rapidly at this time,

Hummel's music in the salon style soon became outmoded,

Hummel's music reflected the turbulent, changing styles of the

period; his music, though classic in foundation, developed dramatically

from his early to his late period. Hummel's early period of writing

ended in 1810. During this time he was heavily influenced by his early

teachers— Mozart, Salieri, and Albrechtsberger. After 1811, Hummel

became more independent and individualized in his writing. This drastic

change affected all the elements of his style— harmony, rhythm, texture,

etc. For this reason most of the few pieces that are today well-known

and that best exemplify his writing were from the second period. This

is not to say that all his music after 1811 is good, mature writing.

Unfortunately, Hummel's style was erratic, and his music showed several

fatal weaknesses that he was never able to overcome. In spite of this,

a trend toward growth was obvious. In effect, Hummel wrote many unim

portant compositions throughout his career, but among his works were

gems of musical composition which reveal a gradual development of style

from the aforementioned salon music techniques to more commendable

stylistic elements. The entire thesis is devoted to highlighting

Hummel's best works and, thereby, showing his contributions to the

world of music.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER II

MELODY

Hummel's early and later melodic styles differ greatly. Hummel's

earliest themes derive from the classical period; Mozart's influence

on him is here evident. These melodies are of regular length (usually

four or eight measures) and phrasing; they generally begin on the tonic,

melodically imply the dominant key, and then return to the tonic.

Simplicity reigns. Sequence or small repeated motives are often

included in principal melodies. These are not the types of versatile

motives that Haydn used which easily lend themselves to development.

Above all, his melodies are lyrical and sweet, having none of the

depth of feeling and passion that became a trademark of his contem

porary Beethoven. His early melodies do not demand the technical skill

of his later melodies. These melodies are often centered on the

notes of a common chord or triad. The ranges, therefore, are narrow

and the melodies weak.

As Hummel broke away from his early influences and expanded into his

second period, he also changed his melodic material. Hummel instinctively

employed new means of melodic interest to relieve some of his earlier

faults. For example, grace notes and non-chordal tones break up the

monotony of melodies built on a triad. Chromaticism and virtuosity

increase the lyricism and add more depth. The ranges of his melodies

extend to more than two octaves, in order to stimulate new interest

in piano registry and coloration. Hummel expanded his traditional

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. classical ornaments into fioratura passages; in some cases, however,

this weakened his melodies hy going to the opposite extreme of floridity

with little melodic foundation. A more frequent use of dotted note

values and displaced accentuations provide the rhythms of his later

melodies with more drama and variety; these were significant improvements

over his straightforvrard melodies of earlier years.

The theme of the Andante con variazioni of Hummel's Septet. Opus

74 . as shovm in Example 1, is a good example of a later melody.

Example 1. Hummel; Andante con variazioni, Septet, Opus 7 4 , meas. 1-8.

It is a regularly-phrased theme of ei^t measures in the key of F major.

It implies a shift to the dominant harmony in measures three and four

and then returns to the tonic. Rhythmic displacement adds interest to

otherwise dull notes of the tonic chord. In measure five, the opening

notes are repeated an octave higher, hut continue in a surprising

upward leap and then a descending F major scale in dotted rhythm. The

theme itself is built on an ABA' or three-part form, as noted in the

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. example. The tone is lyrical, yet sprightly. The range covers two

octaves. Although the notes of the tonic triad are repeatedly used,

they become interesting through methods cited above. This theme also

lends itself well to further variation.

Phrasing is one aspect of melody that rarely changes in Hummel's b.; style. It is invariably regular. There is generally a feeling of tension W and repose within each phrase. Example 2 shows a sample of excellent

phrasing and melodic writing in the "Romanza" from his opera Mathilde

von Guise. The regularity in this long phrase is obvious. It is also

evident that the phrase climaxes in the sixth and seventh measures and

immediately relaxes. Several elements create tension— altered tone

(e-sharp), dotted rhythm, grace notes, a skip of a tritone after

diatonic movement.

Example 2. Hummel; "Romanza" from Mathilde von Guise, meas. 1-8 .

Ge- hclm-nâ» «beW » btei

jjijJp riff

Hummel achieved melodic tension in his better works by use of

dramatic dotted rhythms, sequences, and repeated notes. The opening

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. theme of his Septet, Opus 74, is a good example of making a repeated

tone work to his advantage (see Part Two, Chapter II, page 87 for this

example). The dotted rhythms, not unlike Beethoven's, keep the music

alive. The narrow range and diatonic movement contribute to the serious

ness of the drama. Example 3 shows the use of dotted rhythms and

chromatic half-steps to create tension in the opening theme of his

Piano Sonata, Opus 81. This employs a gathering of rhythmic speed by

the reduction of note values to increase tension.

Example 3. Hummel: Allegro, Piano Sonata. Opus 81, meas. 1-4.

Hummel's later works generally have wider ranges of an octave or

more— a great increase over his earlier triadic melodies. Hummel used

wider ranges to help create tension through different registers of an

instrument. Many of his ranges stretch to a ninth or even a seventh,

which is a departure from his earlier writing. The opening melody of

Rondo Brillante. Opus 109, and the opening themes of the first and last

movements of his Piano Concerto. Opus 89, are examples of wider ranges.,

Hummel's melodic style descended from Mozart in phrasing, shape

and lyricism. Hummel, in turn, greatly influenced the writing of both

■£. %

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Schubert and Chopin. The music of his second period points to this,

especially his La Bella Capricciosa, Opus 55»^ Schubert was so impressed

with Hummel that he wanted to dedicate his last three sonatas to 2 Hummel. Until I83O, Chopin, too, was under Hummel's influence. Both

Hummel and Chopin incorporated Polish dances into their music. Chopin

inherited Hummel's ornaments but expanded them and used them more

poetically. Critics have said that Chopin's Piano Concerto in e minor

is similar to Hummel's Piano Concerto, Opus 85. The opening themes bear 3 great resemblance. Since Hummel’s melodies become more and more

chromatic, he is credited with blending actual melody and passage

sections. This lack of compartmentalization is more in the romantic

spirit that composers, such as Schubert and Chopin, expanded.

Hummel's early melodic material is often trite and unimaginative;

his later, more mature works display skillful writing. As he matured,

he expanded the ranges and added grace notes, chromaticism, and non-

chordal tones. He increased tension by use of vigorous and displaced

rhythms. In his later works, sequences and fioratura passages appear,

especially in slow movements; his phrasing, however, generally remains

structured and regular. In spite of these technical advances in his

style, the lyrical quality of his music characterizes Hummel. As one

contemporary of Hummel aptly stated;

1 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review, Vol. 26, no. 3 (August, I965) p. 1?2.

2 Dieter Zimmerscheid, "Die Kammermusik Johann Nepomuk Hummels'" (Doctoral disseration, Mainz, I966), p. 241.

3 Gerald Abraham, Chopin's Musical Style (London; Oxford University. 1939), p. 3 2 .

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The most exquisite peculiarity of Hummel's music is its lovely flow of melody, the elegant phrases which constantly start up, which, though not to be anticipated by the hearer, are never farfetched or extravagant. His gliding, smooth, and expressive style; the beauty of his touch, which combines force, crispness, and delicacy; the soul of his appogiature sic and his^,refined modulation, are all true inheritances from Mozart.

4 Edward Holmes, A Ramble .^ong the Musicians of Germany (London : Hunts and Clarke, 1828), p . 262.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER III

HARMONY

Hummel's harmonic style varies greatly from early diatonic and

simple harmonies to later harmonies which reflect his individualism

and imagination. The one aspect of his harmonic style that never

really changes is the use of the basic, straightforward harmony that

he inherited from the classicist Mozart. By embellishing a solid

harmonic plan, Hummel makes his work appear to sound "romantic."

Actually, his music is "anti-romantic," since there is none of the

loosening of harmonic structure that is commonly found in other

compositions of the romantic era. It is also this sense of harmonic

form that eventually influenced the romanticist Chopin. There are a

few unusual modulations or uses of specific chords, but these are the

exception, not the rule. Hummel's creativity in the realm of harmony

is based upon his use of new and varied embellishments on the har

monic structure. It is this aspect of his harmonic style that Chopin

borrowed and developed.

One characteristic of Hummel's music is the regularity of har

monic changes;^ this is true of early and late works. Harmonic

changes often take place on the same beat or beats of each measure.

In his mature music he often creates harmonic tension by quickening

the occurrence of harmonic changes. This device carries the impetus

1 Freaderick Edward Broer, "The Solo Piano Sonatas of Johann Nepomuk Hummel" (Master's Thesis, Indiana University, September, I967), pp. 21-22.

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of a phrase forward to the end of the phrase or beginning of the

ï next. The first theme of the opening of his Viola Sonata, Opus j,

I No. 3 (measures 4-12), provides an early example of this technique. ; I The first two harmonic changes are each two measures long. The tonic I returns in measure 7 for one measure and is followed by four more

changes, each two beats or a half measure long. The tenth measure

contains four changes that climax on a dominant chord in the eleventh y measure. The tension is ultimately resolved on a restful tonic in

measure 12, with a repetition of the melodic theme.

A later example of the same technique of building tension by

quickening harmonic changes occurs in the third movement of the Piano

Sonata, Opus 81, as seen in Example 4 below.

Example 4. Hummel; Vivace, Piano Sonata, Opus 81, meas. I-I5 .

— 1 r . . . r'~n ""1 \J -- j I t r ’n f'j y 4 4 ■’i 7iï r M I i I ^ 1 * f t

Ç'f p f f i m m

Î i;.v 1

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# : = 4 — * T ‘ ‘ ■f---- ÿ— ar»cj ÿ c m c . i. Oiir# |l ? r1 i 1 i J ^ J j- Ü jji -M i 1 P V { T j r f r 1 ( : '■•I

4f = f r - ?

RF#:

F i W W # l # 8 r- ?. .. ? _f f l f i p

t ’a r a — q sp-^----- " ------

------

» » T f g l ÿ f T ? I î

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 15

Here, there is only one harmonic sound per measure for four measures,

followed hy two chord changes, each two measures long. The seventh

measure holds four harmonic changes that lead directly to the harmonic

climax in measures 8-I3 . These six measures are based on the dominant

chord, the harmonic focal point of tonal compositions. To sustain %I harmonic interest for six measures requires more than the strong sense

of'.dominant harmony leading to a tonic chord. Short uses of the leading-

tone diminished seventh chord of the dominant key appearing over the

dominant root of c-sharp help to continue the harmonic interest.

These chords also quicken in usage from once per measure on the weak

fourth beat, in measures 8 and 9 , to twice per measure on the second

and fourth beats, in measure 10. The dominant seventh chord slides

into the leading-tone diminished seventh chord in measure 13, which

is already less urgent and insistent than the dominant seventh chord

of measure 11 and 12. The phrase is resolved in measure 14 by the tonic

harmony and the beginning of a new phrase.

Hummel understood the importance of an overall sense of harmonie

tension in a complete composition. His compositions move harmonically

to a harmonic climax followed by a resolution. This organic tonal

unity is based upon the idea that all chords contribute to the

direction of a work toward the dominant (v) and climactic harmony

which is resolved by the tonic, or I It is this idea of motion and strength of the dominant that is a

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foundation of good compositions of the tonal era of music. Hummel's

works are no exception. Figure 1, below, presents a simplified picture

of the harmonic structure of the first movement of Hummel's Viola

Sonata. Opus 5, No. 3-

I I

m.l m.l%3 W». I30 ,.|gO Cnj

I------1 > J . ------1------

Figure 1. Harmonic structure of the first movement of Hummel's Viola Sonata, Opus 5» No. 3*

Because this work is an early one, written before Hummel progressed to

more complicated embellishments of a basic harmonic structure, the

modulations and direction of the movement are easy to understand. Even

as his works grow more complex, they never leave this basic plan of

harmonic structure. They progress through more keys and farther from

the original key, only to be drawn back by the dominant force in the

climax. This serves to prolong and heighten the climax due to the

wider variance of harmonic conflict with the dominant key. Figure 2

shows the last movement of Piano Concerto. Opus 89.

2 Felix Salzer, "Introduction" to Five Grauhic Music Analyses by Heinrich Schenker (New York; Dover Publications, Inc., 1969), pp. 14-17. I

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b m in o r D Aajor jb minor i X ^ S I - * i r %4fpf-+FrCiii) Y r * %

i.IO l m.)55 mJW « m.33> *401 m W m4JWI

Figure 2. Harmonie structure of the last movement of Hummel’s Piano Concerto, Opus 89.

Hummel often modulates in the classic manner to new keys. One

of his methods is the employment of a series of seventh chords.

Another method he uses is a chain of secondary dominant seventh chords

or a simple circle of fifths. A good example of the former method is

in measures 333~337 of the Finale of the Septet. Opus 74. The latter

means of modulation can he seen in measures 579-587 of the Fantasie.

Opus 18. Neither of these are unusual methods. Example 5 provides

one example of a modulation via a pair, or sometimes a trio, of

secondary dominant chords. This technique points directly to the style

of Chopin because of the smooth, but deceptive, resolution of the

dominant seventh chords. In Example 5, below, the music finally

makes a normal modulation by way of a diminished seventh chord to the

dominant in measure 15. Instead of staying there or returning to the

tonic, Hummel makes an unusual change from the dominant (F major) to

the secondary dominant of D-flat (A-flat) in measure 16. This secondary

dominant moves to a normal D-flat major harmony. In measures 18 and

19 this D-flat major smoothly turns into the dominant seventh of G-flat.

Hummel now, in measure 20, makes a surprising resolution, not to G-flat,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 18

but back to the tonic B-flat major. It is this use of two secondary

dominants and their uniisual treatment that is so common in Chopin I (see Chopin's Nocturne. Opus 27, No. 2). Example 5* Hummel; La Bella Capricciosa. Opus 55, meas. 15-20. i (L ' é c . m o o I i

: I I

•^aio sem^re. y.I i

Hummel occasionally uses other deceptive resolutions of secondary

dominant harmonies. Examples of these are the Allegro moderato of his 4 I; Piano Concerto. Opus 85 , measures 326-329, and the Allegro con spirito

f::' of his Septet. Opus 74, measures 95-96 and 145-150. Hummel also

modulates by using a chromatic bass line; an example of this is La

Bella Capricciosa. Opus 55, measures 33-36. I

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Hummel favored abrupt harmonie changes of a third that occur in a 3 I normal sequence or that occur between formal sections of a composition. I An example of a small relationship of thirds in normal sequence is seen in Example 5* The shift from B-flat major to D-flat major (a

I distance of a third) is quite common in Hummel's writing. The devel

opment section of the first movement of Sonata, Opus 81, progresses g: ü' through tonalities at the third relationship on a larger scale, as

shown in Figure 3« The development begins in B-flat major in measure Ü' 103 and modulates to d minor in measure II5 . This reutms to f-sharp U s; minor, the original key of the movement, at measure 123. g

inf*

m-IOZ in.103 i n . llH m.115 tn.123

Figure 3* Graphic plan of the development of the first movement of Sonata. Opus 81, bu Hummel.

On an even larger scale, it is common for Hummel to plan his basic

harmonic structure on an extended I III V 1 plan, using the

tonal steps of thirds to arrive at the dominant. Examples are Etude,

Opus 125, No. 10; Etude. Opus 123, No. 5; and Viola Sonata, Opus 5, No. 3-

Hummel also uses chromatically-altered chords. The supertonic

seventh chord with a lowered fifth occurs often enough to be considered

characteristic of his style. Example 6 shows the chord in its

I 3 Broer, "The Solo Piano Sonatas," p. 36. ^ Ibid., p . 29 .

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second inversion in the tonality of F major. It resolves to the

dominant seventh chord. Other examples of this chord may he found in

Example 6 . Hummel: La Bella Capricciosa, Opus 55» Meas. 129-150. ! I

the first movement of Sonata. Opus 81, measure 189; the second

movement of Sonata. Opus 106, measure 39; and Fantasie. Opus 18,

measure 557.

Augmented chords occasionally appear in his works. A sequence

of augmented chords appear in Sonata, Opus 81, in the third movement,

measures 142-14-5.-^ Other examples of this chord are in Fantasie, Opus

18, measure 155, and Septet, Opus ?4, the first movement, measure 281.

Another chord commonly used hy Hummel is the leading tone or

diminished chord over the tonic tone. The tonic tone is usually in

anticipation of the natural resolution of the leading tone chord.

Numerous examples of this progression occur. The following one is

typical. It also includes the use of the supertonic seventh chord I with a lowered fifth in the second measure. Other examples of this chord are found in Sonata. Opus 81, the first movement, measure 24o

5 (preceeded hy a series of diminished seventh chords); the second A

i 5 Ibid., p. 30. I

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movement of Piano Concerto. Opus 85 , measure 52; and the third

movement of Septet. Opus 74, measures 208 and 211.

Example 7- Hummel: Variations on a Theme from Gluck's "Armida." meas. 153-156.

I * An unusual progression which jumps to a chord whose bass note is a

tri-tone from the first is a rare occurence, hut an interesting one.

Two examples are the first movement of Sonata. Opus 81, measures 71-72,

and the third movement of Sonata. Opus IO6 , measure 30. This latter

example is shown below; the tri-tone is obvious.

Example 8 . Hummel: Larghetto a capriccio. Piano Sonata, Opus I06 , meas. 30 .

V. I I

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Another type of harmonic chromaticism is Hummel's use of augmented

sixth chords and Neapolitan sixth chords. All are freely used with a I standard approach and resolution. There are a few cases of unusual I treatment of the augmented and Neapolitan sixth chords. Frederick I Broer cites only three in the six piano sonatas; these irregularities occur through non-traditional, downward resolution of the leading ; tone.^ Example 9, which shows both a Neapolitan sixth chord and a I French sixth chord in close succession, occurs in the first movement of Piano Concerto. Opus 85 , measures 427-430.

Example 9* Hummel; Allegro moderato. Piano Concerto. Opus 8 5 , I meas. 427-430. I Ï I I $ f; If iV^iTc 1 ere ' Î r -H4= I — =*— *=----- — Ï Te i ' P ' ^ . — ^ I I ^-ÿ-morenaç ------..: lvj>r f i ; 6 Ibid., p p . 35-3 7 .

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There is a limited use of dominant ninth chords in Hummel's

writing, beginning with his early works; it is by no means a typical I sound, but it does occur. Examples of these include the first movement g of Sonata, Opus I3 , measures 141-146; Fantasie, Opus 18, measures 37-

% 38; the first movement of Sonata, Opus 81, measure 91; and the third I iÿ movement of Piano Concerto, Opus 89, measure 508. Si jS'; Hummel also uses deceptive cadences in which the typical V— I

U resolution becomes V— vi. An example is the fourth movement o.: li Septet, Opus 74, measures 100-101, where the secondary dominant chord K -V; should normally lead to F major in measure 101, but instead moves to

d minor.

Hummel uses other chromatic alterations that do not actually s I change the harmonic structure as the previous examples do. These I include such devices as passing chords, non-harmonic or non-chordal tones, pedal point, enharmonic spellings, suspensions, and inner

voice leadings.

Passing chords, or a series of chords in quick succession over

a stable harmonic sound, do not alter Hummel's basic harmony, but only

blur and soften it, as is demonstrated in Example 10 from the first

movement of Sonata. Opus 81, measures 35-37. Once the harmony arrives

at C major in measure 3 6 , an error would be committed in trying to

analyze every half beat of the right hand as separate second-inversion

chords. The harmony is entirely in the realm of C major and the upper

chords, are passing chords. Hummel's second period of writing contains E many examples of this and similar non-harmonic chords in brief passing. I

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Example 10. Hummel; Allegro, Piano Sonata, Opus 81, meas. 35~37.

m crtic. i

Pedal point, used often enough throughout Hummel's music so that I it can he described as a part of his style, is a device that can

anticipate a resolution of a chord and can serve to heighten harmonic % tension by its stubborn presence against other harmonies to which it

does not belong. Example 11 contains an odd treatment of a pedal point.

After having made a surprising, abrupt shift from F major to D-flat

I major, Hummel keeps a D-flat major pedal in the bass for twenty-four s I measures, including an enharmonic change to C-sharp. Another unusual aspect of this pedal is that the typical pedal point is either the tonic

or sometimes the dominant tone of the tonality which leads to a cadence. g This pedal point does not resolve in that way, but slides down a half

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step to the original tonic in a tonic, second-inversion chord (if).

Example 11. Hummel: Variations on a Theme from Gluck's "Armida." i Opus 57, meas. 219-248.

i - X - M ------1 1 ------^ JL i IŸ H t l : .... I -f= = F = l ------

! ---!------1—------m------— 1------1— W- « —

I =W .--T- i r 3fc*^ ' —f------dhj------r-jjï- [Æ ...... p = ^ ------Q-#-

r f f - =pa= 4^L------L ------n ------W-4 ----

p f f'.

-*J—4^ - r j m L. rj

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other pedal points occur at the beginning and end of the "Kyrie" of

>Iass, Opus 80 , and in the first movement of Viola Sonata. Opus 5,

No. 3> measures I5O-I5 8 .

Enharmonic spellings do occur with relative frequency in Hummel's

writing, as in the previous example. Enharmonic modulations are found I in the first movement of Piano Concerto. Opus 85 , measures 338-339, where the dominant seventh chord on D-flat should resolve to g-flat

minor, but instead resolves to f-sharp minor. A similar situation

appears in the first movement of Septet. Opus ?4, measures 3 5 - 5 7 •

The suspension is another device that does not change, but only

colors the harmony in Hummel's music. Hummel uses many of these— 7 four-three suspensions in particular— in his piano sonatas. Sometimes

they are used in sequential succession as in the inner voice of Etude.

I Opus 125, No. 5, iîi measures IO-I3 . Then an example of a lovely four-

three suspension coupled with an appoggiatura follows the sequential

succession. Hummel took great care to create smooth voice leading.

As the reader has seen in Chapter II, Hummel frequently uses

non-chordal tones for color, but he also chromatically alters many of

them to non-tonal tones. Chromatic passing tones, neighboring tones

and surrounding tones occur so commonly that no example is neeessary. I These, by definition, occur on weak beats. Appoggiaturas and eschapees

which occur on strong beats are less common. Eschapees are especially

rare— demanding resolution away from the skip into the non-chordal tone.

Appoggiaturas are more freely used, as in the previous example. The

use of appoggiatura, however, though more frequent, does not fully I 7 Ibid., p. 22.

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predict the use of the long stress on the dissonance, as later exploited I hy Chopin. Hummel's appoggiaturas are quickly resolved whereas

% Chopin later expanded the dissonance of them before resolution. I . ■ g Hummel's Etude. Opus 125, Ho. 9, is built on a series of appoggiaturas I or accented lower neighboring tones, which is one reason the composition sounds Chopinesque.

Thus, the reader will see that Hummel's harmonic foundation is

built on the classical style. The harmonic plan is simple, but is

increasingly colored with non-harmonic chords and Neapolitan sixth

chords, and ninth chords. None of these chords are new, but Hummel

used them all. He is responsible for a few innovations in the realm

of harmony. A prime example, however, is the creative use of secondary

dominant seventh chords, which points to Chopin's harmonic style. As

simple as his harmony sounds,'however, it is always carefully constructed.

Harmonic tension plays an important role, and Hummel builds this through

various means. His compositions reach a climax with the culmination

of the dominant (v) sound. The further the harmony digresses from the

basic drive to the dominant, the more powerful and "romantic" the climax

with the dominant. This is the beginning of a technique expanded upon

by later composers, notably Chopin and Liszt.

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CHAPTER IV I RHYTHM

i Rhythm is not a strong aspect of Hummel's music. Although the

r- rhythms of his themes and melodic passages can he very interesting and

varied, the elemental pulse of his music as a whole is sometimes weak.

In this respect he does live up to Berlioz's deprecating remark that

"rhythm, of all the elements of music, seems today the least advanced."^

Upon listening to a performance of Hummel's Trumpet Concerto,

one is aware that a basic pulse and sense of rhythmic continuity is not

present. In Example 12 below, Hummel opens with a dramatic and fully

orchestrated figure— |^ j j.. j . The strings immediately con

tinue on the pick-up to measure 3 with a clumsy melody built on a series

of skips. This leads into measure 5, mow legato, and the rhythmic note

values double to ei^th notes at the end of the phrase. After the

powerful entry, the listener is abruptly given a bland follow-up.

Example 12. Hummel; Allegro con spirito. Trumpet Concerto, meas. 1-6.

i I

frtiwjoi w r t )

£ I 1 As quoted in Curt Sachs, Rhythm and-Tempo (New York: W. ¥. Norton I and Company, Incorporated, 1953), p. 331.

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The Air a'la tyrolienne avec variations, Opus 118, for piano is a

later example of basic pulse problems and lack of rhythmic flow.

Example I3 . Hummel: Air a*la tyrolienne avec variations. Opus 118, meas. 1-2?.

XNTR09UCn&N

a w II i

Ip ^ 1! I m

m m r------\ y

i TH£AC'm«(e^ A f il Ij r

IP [fTlf J |J H ir f C-f If ^

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Despite these flaws, an examination of Hummel's music does reveal

; interesting melodic rhytiuiis. It is throu^ rhythm that Hummel shows

one of his few ties with Beethoven's style. The heavy, dotted rhythms

of Beethoven are characteristic of Hummel. Some examples are the

openings of the first and second movements of Piano Concerto. Opus 85;

the Offertorium. Opus 89; Piano Sonata. Opus 81; and Etude. Opus 125,

No. 3* Although Hummel is best kno;m for his lyrical writing, these

examples show him capable of another st., le of writing. Aside from

these obvious and powerful dotted rhythms, Hummel often uses non-thematic

dotted-rhythm passages instead of a steady eighth-note passage to lend

rhythmic impetus and interest. The first movement of Trumpet Concerto.

measures 32-34; the first movement of Piano Concerto. Opus 8 5 , measures

146-147; and the second;movement of Septet. Opus 74, measures 28-30,

are examples of this.

Hummel uses many of the same rhythmic devices that other composers

use: displaced rhythm, reversal of weak and strong beats, polyrhythms,

and rhythmic crescendo. Most of these devices are used often enough to

be characteristic of his style; they do not, however, compensate for the

poor sense of pulse in much of his music.

Displacing rhythm is one of Hummel's favorite and most-used

rhythmic devices, especially in his better compositions. An excellent

example of how he destroys the sense of rhythm effectively is the second

movement of his Septet. Opus 74, measures 1-8 (see Part II, Chapter 2,

page 98 , for example). The flute and oboe parts show this particularly

clearly. Other examples of displaced rhythm are the first movement of

Septet. Opus 74, measures 30^310» where the second beat becomes the

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strong beat— reversing strong and weak beats— for six measures in the

flute, oboe, viola and cello parts. A more subtle example of displaced

i rhythm is shown in Example 14 from the first movement of Piano Sonata,

Opus 20, measures 42-44, where the right-hand patterning is in three

sixteenth notes to a beat, instead of in the previous and natural feel H-.' of four sixteenth notes to a beat. The left hand aids the sense of g displacement by tying the second half of the first beat to the first S k.' half of the second beat in measure 42. This is a lovely example of g displacement.

Example 14. Hummel; Allegro moderato, Piano Sonata, Opus *20, meas. 42-44.

I I E- I

g Hummel also displays some usage of polyrhythms, a characteristic

later developed by Chopin. Hummel does use two-against-three poly £ rhythm which is rather common. Examples of this device range from such I an early work as the first movement and the third movement of Viola 6 Sonata. Opus 5, Ho. 3, measure 100 and measures 52-53, respectively, to

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the first movement of Piano Concerto, Opus 85 , measure 134.

Example I5 . Hummel; Rondo con moto, Viola Sonata, Opus 5, Ho. 3, meas. 52-54.

Three-against-four polyrhythm is used less often hut examples do

appear in the second movement of his Trumpet Concerto. measures 39 and

^ . - 45.

Example 16. Hummel; Andante, Trumpet Concerto, meas. 45-46.

------

etc..

— n m 1 1 1 iTi- m i —

Ib'A» f 7 r X_f b--7 _ ------:— J

Other types of polyrhythm, so common in Chopin, are the uses of

odd numbers of ornamental notes in the right hand over the pulsating

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beat in the left hand. This is associated with fioratura passages I such as in Piano Sonata. Opus 106, the second movement, measures 47-60. This is common in Hummel's later works, especially in slow movements of % larger forms.

Within the limits of melodic rhythms, Hummel can and does use

rhythmic crescendos and decrescendos. Simply stated, this means a

g natural rise and/or fall of rhythmic note values and impetus. This

device is effective in building or releasing tension. Again, in that

poorly-pulsating Trumpet Sonata, the writer finds a simple example of

rhythmic crescendo in movement one, measures 292-298, in the trumpet

part. The Piano Sonata. Opus 20, movement one, measures 99-103, shows

a rhythmic decrescendo. It begins with sixteenth notes, decreasing to

eighth note triplets, to eighth notes, to half notes, to a half note

with a fermata. This slowing-dotm gently decreases the tension toward

the cadence in measures 102-103. The opening theme in the Viola Sonata.

Opus 5, Ho. 3, is a good example of thematic rhythmic crescendo and

decrescendo. Measures 4-7 display a gentle rise and fall of tension

aided by the increase and decrease of rhythmic values and by the use of

dotted rhythms in a lyrical manner.

One interesting aspect of Hummel's rhythmic style is his fondness

for the triplet. It is also present in the works of other composers

of his time— von Weber, for instance. The triplet usually plays no

motivic role, but rather is present for the purpose of heightening

rhythmic tension or connecting sections in bridge work. Triplets are

5'; often used J in the closing sections L*__ of _j. the music,' _ 2

2 Dieter Zimmerschied, "Die Kammermusik Johann Hepomuk Hummels," (Doctoral disseration, Mainz, 1966), p. 203.

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Rhythmic motives are not often used hy Hummel hut they do occur.

Hummel's use of a rhythmic motive is very clear in the second movement

of his Flute Sonata. Opus 50* This is also true in the first movement I of his String Quartet, Opus 30, Ho. 2.^

P Hummel generally is capable of varied and skillful use of traditional

I rhythmic devices in his compositions, even though his greatest flaw is g a lack of pulse in some of his works. This is by no means true of his g best works, but is problematical in his lesser ones. The smaller

■ g rhythmic devices, however, permeate most of his writing of all I qualities. It is evident that his thinking was geared to intricate % and interesting aspects of composition; his mind sought out rhythmic

detail rather than a complete, overall sense of rhythm.

Ir"- K-

3 Ibid., p . 206.

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I FORM I 5; The musical forms used hy classical composers were the ones most i often used hy Hummel. In his early period he accepted these structures, i ^ used them, and made few changes in the traditional forms. It was at

this time that he was most heavily influenced hy his former teachers,

ë; Gradually, as he matured and developed his own style in his second E period, Hummel experimented and changed these forms. He never created £ I a new form himself, hut he did peripherally alter the musical forms already available to him. Throughout his entire career he favored the

rondo, the variation, and, to some extent, the sonata-allegro form; the

changes he wrou^t in forms in later life appeared mostly in the

sonata-allegro form.

K In Hummel's first period his music was closer to Mozart's in

design than in thematic content. There is no question, considering

Hummel's background, his early writing, and his teachers, that he was

Î taught the formal structures of the classical period. The early piano

sonatas (Opus 2, No. 3; Opus 13; and Opus 20) have a traditional I structure— allegro-adagio-finale (allegro). The Mass in B-flat Major, written in 1805, is similar in design to the masses of Mozart and Haydn. I All of the movements are in the same key, and the solo quartet and gi chorus alternate as in traditional masses. Hummel's early variations i and rondos (Opus 11) are simple enough— thematically and structurally—

to be a bit dull. They lack blending between sections and often appear

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0 formal and stiff. Hondo. Opus 11, for piano, for example, is neatly

structured— introduction (from A)-A-B-A-C-A-B-A-coda (from A) . A

# rather advanced set of variations for the first period is Introduction, 1 $ Variations and Finale on "Pretty Polly," Opus 75• These variations I (1807), thou^ conventional in form, have an elaborate, free-fantasy

introduction that anticipates fragments of the thejie.

|; As Hummel's reputation grew as a performer and improvisor par

excellence, his music began to reflect a fondness for exploiting this A g skill; for this reason both the variation and rondo forms became

i'- favorites and both allowed for the exhibition of his virtuosity and £ improvisational skills. It is also within the framework of these two K ■j; forms that Hummel wrote some of his best music. The variations in the

rj .y j: third movement of Septet. Opus 74, are variations in the true sense of

g word, compared to some of his earlier examples. Hummel skillfully

g interwove and developed the thematic material in these variations. In

K some of his earlier variations Hummel only "played" with the theme by

use of obviously simple techniques and by the addition of classical

g ornaments. Richard Davis maintains that Hummel's Variations on a

Theme from Gluck's "Armida." Opus 57, are the best that he ever wrote

and later served as a model for Brahms' Variations on a Theme of Handel. '

g Despite Hummel's advanced pianistic and harmonic style in the second

period, he never changed the basis of the variation form, nor did he g experiment with it. Even as they became more improvisational in £ nature, the variations remained conventional in form. I ------g: 1 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review, Vol. 26, No. 3 (I965), p. 171.

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Hummel used the rondo form in his second period both pianistically

and orchestrally. Hummel wrote seiiarate pieces in rondo form and also

used this form for final movements in concertos and sonatas. In fact,

five out of six final movements in Hummel's piano concertos, according

to Francis Mitchell, are based on the rondo form. Within this form, I Hummel did make some departures from a standard rondo. The rondo movement of Piano Concerto. Opus Posthumus, is a rondo, but its g schematic design is unclear. The fir.,al movement of Piano Concerto. Opus 2 73, is not exactly a standard form either— AaBcCAaAaDa. The final I movements of Piano Sonatas, Opus 81 and Opus 106, are also rondos, each marking the return of the first theme with embellishments. Rondo I with Orchestra, Opus 98, which is based on a mediocre Russian theme, is a good composition. Although it is richly embellished, especially in

? the slow introduction, it is conventional in form. Rondo for Piano and

Orchestra. Opus 127, is one of the last rondos he wrote. Although it

E is of conventional form, it is not an example of Hummel's best writing. I It has been described as "facile and empty. £ P The sonata-allegro form and its related concerto form, however,

underwent great changes throughout Hummel's career and were subject to

experimentation and adaptation. Although there are some examples of his

I£ good use of the sonata-allegro form, there are more examples of a weak I structure as a result of the loosening of the form itself. The

I; 2 Francis Humphries Mitchell, "The Piano Concertos of Johann N. K; Hummel" (Doctoral dissertation, Northwestern University, 1957), I p. 112.

3 Davis, "Music of J. N. Hummel," p. 189.

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examples of good sonata-allegro forms do not occur during a particular & period, nor do they show a pattern of development; they appear sporad

ically throughout Hummel's compositions. Despite the varied results

Hummel produced using this form, he was well grounded in the funda

mentals of the form itself. Mozart and Haydn, among his other teachers.

must have given him a good foundation in the structure. In addition, g; Hummel wrote twelve cadenzas and rewrote parts of Mozart's concertos. I- He was also paid to make two-hand piano arrangements of Beethoven'-s

symphonies and of several of Mozart's symphonies.

Among the drawbacks of many, but not all, of Hummel's sonata- g allegro movements is the ulurality of thematic and motivic ideas. I ug Instead of developing a main theme and a second theme, Hummel continued

to introduce new theme after new theme. He even introduced new material I in the coda of Piano Concerto. Opus 85 , in the first movement. In

many cases the themes are worthy of development but Hummel failed to f exploit them. Even in Piano Sonata, Opus 81, considered by Robert 4 I Schumann to be the best sonata Hummel wrote, the first movement is full of musical ideas that are unrelated. The only unifying force in

this unorthodox sonata-all egro form is a three-note motive, present in

the opening notes of the piece. I In the development sections of many sonata-allegro movements, Hummel again failed to exploit Ihe thematic material presented in the

I exposition. Hummel often used sequence and repetition to fill in

g; 4 As noted in Richard Franko Goldman, review of Hummel's Septet, Opus I-Ï 74 (recording L'oiseau-Lyre SOL 290), Musical Quarterly, LIII (January, % 1967), 141.

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development sections. He was content to take a theme throng several

keys without changing the theme itself. He mistook sequential climaxes

for true development and was, as Paul Henry Lang notes, "satisfied

with playing with the contours of the idea." The first movement of

Piano Concerto, Opus 85 , contains a poor development section, for ■S'--

example," the development section serves as a showcase for piano

improvisation.

U In spite of his limitations, Hummel was capable of developing

sonata-allegro movements that showed little evidence of his faults. I One of these is Septet. Opus ?4, which has none of his problems of

form. Richard Franko Goldman remarks that, in this piece, one is not

g: conscious of manipulation and that there is no padding— something that E' 6 jv the next generation of composers could well afford to learn. Hummel's

ig Quintet. Opus 87, is another lovely example of structural balance and E; true development of thematic material. Piano Concerto. Opus 89 ,

rl; though not his best piece, is a good composition with some interest in

g the development section. Î:' Aside from all traditional formal structures, Hummel should be I cited for some generally good compositional techniques that aid in is creating unity in any structure. One of these admirable techniques is

his fondness for inner voices. This stems from his development of

chromatic writing. This emphasis on inner voices adds a smoothness and

flow to many of his compositions. Examples of this are Fantasie, Opus

£ I 5 Paul Henry Lang, Music in Western Civilization (New York; W. W. Norton and Company, Incorporated, 1941), p. 817.

I 6 Goldman, Review, p. 141.

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18, measures 82-11?, and Etudes. Opus 125, Nos. 3 and 5-

Another technical contribution is the blending of theme and passage I so that there is no break between them. These connecting passages are so smooth as to often make an analysis of form troublesome. Examples

I of this formal smoothness are the first and last movements of Piano

■M Sonata, Opus 20. Because of this breakdown in compartmentalizing I- ig sections, Hummel is a link between the classic and romantic composers.

% On a smaller seale, Hummel used the telescoping device of overlapping k g sections to connect them smoothly. In Piano Concerto, Opus 85, in the

g: first movement, measures 368-370, Hummel demonstrated this technique.

i In the recapitulation, the theme enters the orchestra before the piano E a ; solo has finished leading into the recapitulation. K g: In summation, Hummel began as a classicist in his formal structures.

but expanded three of those forms— sonata-allegro, rondo, and variations—

into looser, freer forms. He wrote some unusual rondo forms in his

later years and broke away from straightforward variations. The

sonata-allegro form showed the greatest change— from the introduction

of thematic material in the last section of the sonata-allegro to the

£ shortening of development sections. In addition, Hummel favored f chromatic inner voice writing and telescoping to create smoothness and subtlety in his formal designs.

I I

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PIANISTIC FLAIR AND DEMANDS

Considering that the great majority of Hummel's compositions were

written for or included the piano, the study of the impact Hummel made ! on piano playing, not only as a composer, hut also as a performer and as a pedagogue, is appropriate. An analysis of that impact must

include a consideration of the following; l) Hummel's reputation and

style as a performer, 2) Hummel's influence as a teacher, and 3)

Hummel's demands and innovations for the performer of his works.

As a performer, Hummel was in popular demand and had few equals in p' improvisational skill. Some critics said he even surpassed Beethoven B 1 ?:• in this skill, in elegance, and in good taste. As for his improv- % ______£ À 1 The following statements hy Carl Czerny explain his judgement of g Hummel and Beethoven as pianists: g Even though I had already had so many opportunities to hear B Gelinik, Lipavsky, Wolfl, and even Beethoven, the playing of S this homely fellow seemed like a revelation. Never before had I heard such novel and dazzling difficulties, such cleanness and elegance in performance, nor such intimate and tender expression, nor even so much good taste in improvisation. I : ' ...... g While Beethoven’s playing was remarkable for his enormous g power, characteristic expression, and his unheard-of-virtu- g osity and passage work, Hummel's performance was a model of I cleanness, clarity, and of most graceful elegance and tender- ■f ness; all difficulties were calculated for the greatest and E most stunning effect, which he achieved by combining dementi's g manner of playing, so wisely gauged for the instrument, with I; that of Mozart. It was quite natural that the general public g preferred him as pianist. r; Carl Czerny, "Recollections from my Life," translated by Ernest Sanders, I Musical Quarterly. XLII (July, 1956), 3O8-309.

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isations, according to Henry Chorely, a witness, they were "graceful, 2 spontaneous, fantastic." The same ohser/er continued to describe his

impressions of Hummel's extemporaneous playing, as follows:

The subjects he originated in improvisation were the freshest, brightest, most various conceivable: his treatment of them could be either strict or freakish, as the moment pleased;— or he would take the commonest tune, and so grace, and enhance, and alter it,.as to present it in the livliest foirms of a new pleasure.-^

He performed his own works as well as the compositions of others,

especially those of Mozart. It was generally acknowledged that he had a

marvelous gift of interpretation. One of his impressive qualities as a

performer was his excellent sense of timing— a quality that was lacking

in many of his own compositions. Mr. Chorely, in an account of one p:.' / of Hummel's recitals, stated that Hummel's sense of timing in perform- kI an ce was "not strict or too loose— subtle and something rare that ^ . g can't be learned." So superior was Hummel's ability as a pianist that

it led one French historian to remark that Hummel was a man of genius

who found himself freer when unhampered by the limitations of writing.

For this reason, the historian maintained that Hummel's improvisations

were so much better than his compositions.^

As a pedagogue, Hummel has had a great influence on pianists of

2 Henry Fothergill Chorely, Modern German Music (New York; Ee Capo Press, 1854), II, 8.

3 Ibid., II, 8-9.

4 Henry Fothergill Chorely, Thirty Years' Musical Recollections (New York; Alfred A. Knopf, 1926), p. 88.

I 5 Albert Lavignac, Music and Musicians, edited by H. E. Krehbiel and translated by William Marchant (3rd ed. ; New York; Henry Holt and Company, 1901), p. 375. i

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later generations. Numbered among his students were Czerny, Hiller,

Henselt, and Thalberg. His own compositions— his piano concertos, in I g particular— became required study for all of Chopin's students. Chopin % K himself thought it necessary to master Hummel's works. Hummel also com- I posed piano pieces specifically for teaching purposes— Etudes, Opus 125,

I Six Easy Pieces, Opus 42, Preludes in all Major and Minor Keys, Opus 6?, I g: for example. He is the author of a Piano forte school, a technical i g: manual which benefited many future pianists. One historian labels 0 . 6 [i Hummel as "the inventor of modern piano-exercise."

£ The type of piano (Viennese) that Hummel preferred is an indication

I of his own performance style and teaching philosophies. The piano at

I I the turn of the eighteenth century underwent great change. Because Hummel had access to this more modern instrument, his piano writing was

more brilliant and florid than Mozart's; it became possible to execute

Î-4- increasingly difficult passages. More changes, however, continued to be

made on the piano until it developed into the Beethovenian piano with

richer tones— a more dramatic instrument. Hummel's taste did not go that

far; he preferred a dry tone, facile, but with no depth. He was not fond

of a lot of pedalling. He was at home with the Viennese piano.

I. Hummel's Pianoforte School, published in all the modern European

languages of the times, was a technical manual for the beginning student

feI through the most advanced student. Every new section contained exer-

EI cises to reinforce learning. After the rudimentary lessons were I A 6 Oscar Bie, History of the Pianoforte and Pianoforte Players, translated by E. E. Kellett and E. ¥, Naylor (London; J. M. Dent and Company, 1899), p. 190.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. finished, Hummel embarked on more aesthetic and interpretative lessons.

He advised students to listen to singers to acquire the ability to

convey taste and feeling in performance and reminded them that all

great musicians, such as Mozart, Haydn, Gluck, sang as children. For

the student who lacked natural inward feeling, Hummel gave detailed

mechanical methods to follow in order to stimulate and inspire ex-

I pression in playing. He discussed the spirit of a movement— how K an allegro should be played, the style of an adagio movement. He

gave pedagogical directions for finger attacks and fingering; he spoke

I of climactic emphasis in phrasing, pedalling, legato playing, and he

provided advice for acquiring skills in improvisation. He constantly

advised moderation and refinement in all things— pedalling, rubato and

embellishments. In all, his Pianoforte School was an extremely com- &I n b- prehensive and advanced work for the time. '

% His teaching compositions seem to be aimed at the less advanced

I student. Only a few of the Etudes. Opus 125, very difficult.

;;; In his Six Easy Pieces, Opus 42, Hummel kept the harmony simple. He K used a variety of meters. The keys were simple. The pieces were very

ÿI easy. The Preludes in Major and Minor Keys. Opus 67, were one of the

Ï few sets written since J. S. Bach's Well-Tempered Clavier, a collection if; beyond comparison. Hummel's preludes were very simple and short— most

ranging from six to twelve or sixteen bars in length. They seemed to

I be exercises rather than inspiring work of art. He did use many varied |: U compositional devices which provided a learning purpose, such as

7 Johann-Nepomuk Hummel, A Complete Theoretical and Practical Course .of Instruction. On the Art of Playing the Piano Forte (London; Boosey and Company, 182877 PP- 1-74.

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I sequences, arpeggios, scales, legato writing, canons, counterpoint, homophonie writing and melismatic writing. The Etudes, Opus 125, were I the best of his teaching pieces; they range from easy to difficult. I Again, there are a variety of textures, keys, forms and techniques I available. These were in the tradition of one etude in every key, major and minor. These were published after Chopin had been established

I as a composer, hut before Chopin's Etudes, Opus 25, were published; 7 8 1 several of Hummel's Etudes have been compared to Chopin's Opus 25.

The above musical examples were by no means all of Hummel's pedagogical

works, but only selected examples to demonstrate the type and the

importance of this aspect of his writing.

There is no doubt that dementi's influence on the technique of I. Hummel's compositional style was great. Hummel's debt to Clementi may

be seen in the frequent use of octave glissandi, double thirds and sixths,

and crossed-hands. Hummel's better works are filled ;d.th virtuoso

demands on the pianist. In spite of this, Hummel understood and wrote

well for the hand. Hummel often molded a page of florid profusion to

È fit the easiest possible hand placement. As an admirer said of Hummel,

Ï No other places the hand so well; no other gives such a degree of elegance and facility for playing, enabling the performer I: by the natural and normal position of the muscles, to obtain Ï; a quality of tone, so large, so equable, or also so attractive I by its softness.

As many pianists would say, his music is wonderfully in the fingers.

c This is one aspect in which Chopin owes Hummel a great debt.

8 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review, Vol. 26, no. 3 (1965), p. 17.

9 Jenny Viard-Louis, Music and the Piano, translated by Mrs. Warrington Smith (London; Griffith and Farran, 1884), p. I3 6 .

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Hununel was so close to the keyboard instrument that, unlike

Beethoven, he composed all his music at the piano. Although this

practice of thinking and writing must have been good for his piano

compositions, it was a detrimental practice for other media. Perhaps

this is why his operas, a different medium, were not better known.

Hummel wrote in all registers of the piano, although his greatest

contributions in piano technique affect the treble register. He was

perfectly attuned to the different sonorities of the instrument and

always wrote for the piano what was right for the different sonorities.

He also jumped registers for a color effect, as in Etude. Opus 125, I No. 17. r- Several innovations in piano figures and technique occur in Hummel's

writing. One was the more frequent use of rapid passages of double

notes than his teacher Clementi used. Fantasie, Opus 18, is one

example of this. Example 17 below is another one.

Example 17. Hummel: Allegro moderate, Piano Concerto. Opus V I 85 , meas. 230-233- I

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Hummel also exploited the brilliance of the treble registers

more than they had been in the past; he was able to do this at least

partly because of the advancements made in the piano itself. A

Ghopinesque trait seen in Hummel was the effect of writing for two

hands in close proximity. Rondo in A Major for Piano and Orchestra, I Opus 5 6 , and Piano Concerto, Opus 8 5 , movement one, measures 214-218,

are examples of this. Another Chopinesque characteristic foreshadowed

in Hummel is the use of rapid double notes, one remaining the same,

the other rising or falling diatonically or chromatically, as in the

cadenza to movement one of Piano Concerto, Opus 8 5 , and Etude. Opus I 125, No. 23 . Chopin also inherited left-hand melodic excursions. Gerald Abraham declared that the pianistic figurations in the second

movement of Hummel's Piano Sonata. Opus IO6 , were "more Chopinesque

than a good deal of early Chopin,an example of which may be seen

in the left-hand broken chords against a melodic line in thirds that

thicken with virtuoso passages.

The crossing-of-hands technique mentioned before as the influence

of Clementi appears in all six piano sonatas. The following passage. I Example 18. Hummel; Fantasie. Opus 18, meas. 355-358.

10 Gerald Abraham, Chopin's Musical Style (London: Oxford University Press, 1939), p. 17.

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crt>c.

I Example 18, is an example of crossed-hands writing, with the broken

chords and trills so typical of Hummel. Broken octaves, a legacy

from Clementi, were also common and influential on Chopin. Octave

^issandi appear, for example, in Etude. Opus 125, No. 14, and in the

first movement of Piano Concerto. Opus 85 , measure 257.

A foretaste of Schumann-like figures appear in Piano Sonata. Opus

81, movement one, measures 40-47, as in Example 19 below. This was

an original pianistic figure ifith a more passionately chromatic spirit

than was typical of Hummel's works.

Example 19. Hummel; Allegro, Piano Sonata. Opus 81, meas. 40-47.

Icaaio r i p

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|JT T r p - g J - H J , ^ El,

, f : i P J ^ U — "ifx t' tJ '

— f 1 ..-ay. ^ ------. .. r : . . W

Another similar example was Fantasie. Opus 18, measures 411-441. i Rapid thumb crossings, though avoided when possible, due to Hummel's interest in hand sets and natural fingering, did occur,

usually as smoothly as possible. Several examples of this are Piano

Sonata. Opus 81, movement one, measures 172-175, and movement three,

measures 1-2; and Piano Concerto. Opus 8 5 , movement three, measure 514.

The hallmark of Hummel's piano writing was its fioratura and

heavily embellished passages. These are particularly common in slow

movements but can be seen in others. Characteristics of these are I rapid, odd-numbered melismas, arpeggios, trills, ^issandi, mordents, inverted mordents, appoggiaturas, widely-spaced grace notes and the like.

A typical passage follows in Example 20. Only the piano solo part

is shown.

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Example 20. Hummel; Larghetto, Piano Concerto. Opus 85, meas. 22-37.

! ^ 3

f i s m e r z . il UC i C . .

Ii i

( m

I i ? cretc.

i i

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n i o l u i o

Hummel's contributions to piano writing include a few original

■i-E piano figurations and an expansion of range and color. These influenced

piano composers of the next generation. As a teacher he left his mark

in his Pianoforte School and through his more famous students. As a

performer he impressed his own generation beyond their imagination, but,

unfortunately, his performance is an aspect of Hummel's past that we

today cannot evaluate for ourselves. I

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER V II

TEXTURE

Hummel employed a wide variety of textures in his writing, often

within the same composition. Probably as the result of the influence

of Albrechtsberger, Hummel showed a fondness for inner voice leading.

This is obvious in both homophonie and contrapuntal types of music.

Hummel's textures range from single-voice thinness to double-voicing

and octaves to a richer chordal sound.

A typical textural sound in his thematic material is a doubling

of the theme in octaves. Several piano sonatas serve as examples of

this, as well as the last movement of Septet. Opus. 74; several Etudes.

Opus 125; and measures 588-599 of Fantasie. Opus l8. This doubling at

the octave dramatizes the theme in a manner not unlike Beethoven. Bee

thoven again influenced Hummel in a small way.

Hummel's homophonie and chordal writing is also directly related

to Beethoven. These passages are often, but not necessarily, dra

matically emphasized by dotted rhythms, as in Etude, Opus 125, No. 4,

and the second movement of Piano Concerto, Opus 8 5 . An interesting

chordal passage. Example 21, occurs in Fantasie. Opus 18 which has a .

Chopinesque spirit to it. This example is not strictly homophonie,

since the outer voices are broken from the rest of the chord, but it

does give a rich, chordal sound with smooth inner voice leading.

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t e

: d ii

w n3 0 S

COT—i 03 JS=r â o

•H0

-p

1 = 4

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p Ml

I i

c S : i

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Hummel was also adept at lyrical, thinner writing. A variation

on this is a doubling of the melody, especiaJ_ly in thirds or sixths,

and a single voice bass line (actually three voices used as in the sense

of two). Ihe second movement of Piano Sonata, Opus 106, shows this

technique.

Hiere are many instances in Hummel's music where contrapuntal

writing occurs. This is in the form of fugues, fughettos and singly

contrapuntal passages. It is typical for Hummel to introduce a second

theme in a sonata-allegro movement as a fughetto. He also wrote three

Fugues. Opus 7, and a fugue in Etudes, Opus 125, No. 6. Contrapuntal

writing is prevalent in both of his Masses and in four of the six

piano sonatas. Imitative writing and canons occurred predominantly in

his earlier works, when he was still heavily under the influence of his

teacher— Mozart and Albrechtsberger especially.

Ifeny textural effects are due to Hummel's orchestration, idiich is

interesting and innovative, but erratic. Sadly enou^, most of his

instrumental writing is in combination with the piano to which the other g instruments are almost always subordinate (also a characteristic of

I Chopin's early piano concertos). In the majority of these works, the

orchestral writing is ordinary. There are, however, a few inspired [ places of instrumental writing that were new even for his era. The I second movement of Piano Concerto, Opus 89, is orchestrated solely for

French horns for seventeen measures until the piano takes over. This

was irregular for the period, but lovely. What a change from the first

movement! Even the first movement of the same concerto begins with

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good (but not unusual for the period) orchestral writing which fades

into the background as soon as the piano enters.

Furthermore, Hummel used the trumpet in his Septet, Opus 114—

hence the nickname "Militaire Septet"— which previously was not used

in chamber music except in Bach's second Brandenburg Concerto. This

use of the trumpet was said to have inspired Saint-Saëns to use it in

I his Septet, Opus 65 .^

Hummel varied the texture in string writing by using special

effects. Pizzicato strings occur in his Offertorium. for example, and

1 col legno scoring for strings appears in his Piano Concertos.^

Example 22 is a most interesting example of unusual instrumental

Example 22. Hummel: Minuet, Septet. Opus meas. 1-16. I I

_1 Cobbett's Cyclopedic Survey of Chamber Music, edited by Walter Wilson Cobbett (London: Oxford University Press, 1929), I, 579.

2 Gerald Abraham, Chopin's Musical Style (London: Oxford University Press, 1939), p. 33.

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r f t r— :L ^ ■ a - - -pt------cv--- m .. — * — 1 Q- 3

. ‘ A ' ——m ------^ ? ^ t ..

scoring from the Minuet of Septet, Opus 74. Each instrument was I importantly and idiomatically scored. The effect in the first sixteen measures is not unlike the French style of orchestration—

clean, light, lilting. In addition, the Septet seems to he a sli^tly

odd combination of instruments, and this in itself adds textural

color. The contrabass adds a wonderful depth to the lighter sounds I and the piano never dominates. There are some rather difficult and

interesting parts for the F horn in this Septet.

In piano writing Hummel achieved color by use of wide ranges and

chapter. Register changes and wider ranges do not include the chordal

and contrapuntal textural techniques discussed earlier in the chapter.

All in all, Hummel's contributions to textural writing came from

his few examples of fine orchestral writing and liis wide use of piano

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registry. Despite the variety of compositional textures employed, the

tone is usually sonorous and rarely reaches the thick, dynamic textures

of the later romanticists.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER VIII

SUMMARY AND EVALUATION

'Hummel's art style will puzzle many students of his music because

of the inconsistent quality. Fine compositional techniques and innova

tions can be attributed to him after isolating and examining his best

works. The fact remains that a great bulk of his work did not reach

these finer standards and, thus, reminds us of his dualism and failure

to reach his full potential. Yet in spite of this seeming inconsis

tency, Hummel was able to influence many composers and performers who

followed him. How can we discard what we deem to be his "lesser music"

when it all weighed heavily in producing the genius Chopin of the next

generation? For that alone, Hummel is worthy of credible placement in

the radical development of keyboard music in the early nineteenth

century. In this turbulent shift from classicism to romanticism, at

a time when Beethoven's power dominated the musical world, Hummel

remained a classicist in style, but pointed the way to the romantic

era.

Despite the dualism of Hummel's style, his later, more mature

art revealed new ideas and techniques, so often not credited to him

but to others of the period. The new harmonic resolutions and progres

sions he used, in spite of the shortness of these particular instances,

provide the beginning from which others later depart. Chopin is a

no-table example. The pianistic figures, which we have on paper to

remind us of his keyboard prowess, are clearly forerunners of the

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later romantic composers. This does not even credit the influence

of his improvisations, which undoubtedly spurred on many of his con

temporary musicians. His lyrical melodies, though a legacy of Mozart,

continued to be a hallmark of his style as was Schubert's, von Weber's,

and Chopin's. His experiments with form, particularly with the sonata-

allegro form, where direct steps in the gradual loosening of form in the

later romantic period. In some cases his experiments were not as suc

cessful as those of others, but the change was coming, and he helped to

propel it. Some of his experiments, however, produced excellent re

sults. Again, these spurts of creativity lead us to think that Hummel

never realized his full potential as a composer.

The fact that Chopin himself is often described as a romantic com

poser directly descended from the style of Mozart leaves a large gap

between the differences of the two masters. Hummel should rightfully

be placed as a link in this stylistic progression. His own debt to

Mozart, his first teacher, is easily seen and heard in his music, par

ticularly from his early period. The link between Hummel and Chopin

has been previously demonstrated, and Hummel's later works testify to

this. To reinforce the Hummel-Chopin part of the chain, the pianistic

figurations have already been mentioned in Chapter VI— from fioratura-

type turns, octaves and thirds, to the patterning of broken chords in

the left hand. Harmonically both are classicists. Both consistently

have a firm harmonic foundation with natural tension and harmonic pull.

But starting with Hummel and accelerating with Chopin, both increased the

use of harmonic color over the basic harmony by the use of passing chords,

more accented dissonances, more unusual progressions and uses of chords.

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# The harmonic structure, nevertheless, is solid and classical in style.

I Hummel's interest in inner voices and inner part writing, particularly I as a result of increased chromaticism, was a direct precedent of Chopin's style. Lastly, Hummel as a pedagogue was also able to influence Chopin's

teaching. Chopin required mastery of Hummel's piano concertos by his

students. In addition to these large points, numerous small links be

tween Hummel and Chopin were stated throughout the first seven chapters.

In the early nineteenth centuiy,- when discussions of classic music

versus romantic music led to heated arguments, Hummel remained basically

a classicist. His classic and simple harmonies have been discussed.

Structurally, his ties to the classicists are strong but tend to break

away as he loosened and expanded the sonata-allegro form. The majority Ë k of his works were well-formed and structurally sound. He himself had

|y the advantage of study wâth several great classic structuralists. He

I was particularly adept at writing good connecting bridge passages and

smoothly joining segments of a piece of music. Melodically, Hummel

strayed the farthest from the classic image of simplicity and structure,

jy In his later period his melodies were often too rambling, though lyrical, f-' to be completely classic in the Mozartean sense. They never reached the

length and looseness, though, of the later romantics. Hummel's texture

and orchestration, which was sometimes interesting and novel, were

usually cleanly classic in sound. The muddy, thicker sounds of Berlioz Î and Brahms never appeared.

A final salute to the debt which the art of music owes Hummel is

the important fact that he did leave humanity some fine works of art.

His Septet, Opus ?4, several of his piano concertos, piano sonatas.

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several quartets, and a quintet are all pieces which deserve more

notive than we give them today. As some musicians are only now

realizing, Hummel's music "will always remain one of the most inter

esting focal points in the vast upheaval that piano music was undergoing

in the first forty years of the nineteenth century."^

1 Davis, "Music of J. N. Hummel," p. 121.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART TWO

SELECTED ANALYSES

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I

FANTASIE, OPUS 18

Fantasie, Opus 18, written during Hummel's first period, stands

out as a preliminary of Hummel's mature piano writing, since it is one

of the earliest pieces to show his departure from his classic teachers

and into the realm of romantic piano writing. The Fantasie is composed

of three sections, each loosely resembling orthodox designs. Cohesion

is provided by chromatic motives and key relationships. The Fantasie

begins in E-flat major and ends in G major; this is itself is slightly

unusual in the classic sense. It is evident in this composition that

Hummel is fond of inner part writing; there are many examples of

chromatic and diatonic voice leading. The half step is of great importance

in all three sections. His best writing appears in the last two

sections. The Fantasie points towards Hummel's departure from classicism

to romanticism.

The first section (measures I-3II) is similar to the exposition

and development sections of the traditional sonata-allegro form but

without a recapitulation. The omission of the recapitulation could be

for several reasons : 1) this is a section of an entire work and not

complete in itself, and 2) the first theme can bear no further

repetition. The "development section" of this section is confined to

restating the first theme in various keys, with no real variation.

Because of this and because of the nature of the themes, it is the

weakest section in the Fantasie.

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The first Lento section (measure 1 extended freely) is the

beginning of a slow introduction in E-flat major based on rapid

arpeggios, each rising higher until the climax of the introduction.

The Lento section has good dramatic appeal, such as Beethoven would

have written, and Hummel's use of rests helps to achieve a suspense

that naturally leads into the Andante in measure 2. This Andante

(measures 2-41) continues the introduction with a definite anticipation

of the first theme melody. The Andante changes to e-flat minor. The

increase in tempo again leads to a rising tension when the first theme

enters. The Andante itself begins slowly with a thread-like motive

based on half-steps around notes of a triad. This single-voiced

sound gradually thickens by the use of held-over sounds (measure 5 )

and octave doubling (measure 9) to a fully-chorded march.- The steady

eighth-note pulse of the beginning thread-like idea, in the right hand

changes into a more dramatic idea by the addition of dotted ei^th-

notes in measure I3 which are carried forward through measure 3 1 „ By

the use of sequences (measures 14— 23), the harmony travels from the

tonic through D-flat major, E major, F-sharp dominant seventh with no

resolution. E-flat dominant seventh. E-natural dominant seventh to the

dominant of the dominant in measure 23 and finally to the dominant in

measure 24. This basic dominant pull remains through the rest of the

introduction and leads toward the statement of the first theme. The

dotted march gives way to free ascending arpeggios in measure 32-41

(from the Lento section). This increases the rhythmic tension that

has been growing from the first measure and climaxes with the first

theme.

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The first theme begins with the Allegro con fuoco in measure 42,

as seen in Example 23. The theme is actually a motive that is based on

the common chord and chromatic 1 ower-nei^boring tones. Although

this is derived from the Andante motive of measures 3-9, it is not a

well-written theme. In the Andante the half-step idea is not confined

to lower-nei^boring tones, but includes upper-nei^boring tones and

passing tones. Nor does the basic material stay the same in the Andante;

it develops and evolves. In all, it presents a good introduction only

to be followed by similar material too simply stated and undeveloped.

The first theme, however, is interesting pianistically with its rapid

finger changes and left-hand octaves.

Example 23. Hummel: Fantasie, Opus 18, meas. 42-46.

..-T 7 =jj|E^ «6. 4------

h = 4

After the theme has been stated, the left-hand, three-note

chordal idea (measures 53-54, left hand), hereafter referred to as

motive A, becomes joining material in the right hand over a slow

trill (measures 55-86). The sequences move through descending major

harmonies until they arrive at the dominant of the dominant in measure

67. This gives way to the same octave motive A in measures 67-74 in

the left hand. In these same measures the right hand revives the

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dotted-note feeling from the Andante in measures 67-68 throu^ the use

of a dotted eighth-rest and a sixteenth-note pick-up to the next

measure. This dotted idea is then continued in the left hand beneath

diatonic double-thirds in the right hand (measures 75-92) that dissolve

into a descending diatonic sequence (measures 87-92). The half-step

still is heard, the dotted pick-up note usually being a half-step

beneath the next note. The dominant of the dominant feeling prevails

since measure 67 and finally is resolved in measure 92 in the dominant

key of B-flat major. This section, marked cantando e tranquille, is

a brief reprieve before the entrance of the second theme. The motive A

of measure 43 appears in between four-measure statements. The right-

hand melody in measures 94-97 appears in the left hand of measures

104-107. The last statement (measures 109-112) is repeated literally

and leads into the second theme.

The second theme, now in B-flat major, is again more motivic

than melodic. It does not assume the traditional opposing role to the

first theme. Both are similar in spirit. This section is full of

literal repetitions. The left-hand broken octaves repeat a B-flat— D—

E-flat— F pattern for ten measures, much like an estimate bassline.

The broken octaves, though, first occured in measure 67 and can be

further traced to motive A. The similarity can easily be seen in

measures 122-123, when the B-flat moves up an octave. The voice

leading is interesting at this point. Example 24 shows the second

theme. At meaf:ure 127 & one-measure idea is repeated three times and

returns to the literal repetition of the second theme. This is followed

by a s l i ^ t variation of measures 127-133. Here follows an interesting

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cadence based on full chords and a displacement of rhythmic accents

that is worth noting. This is shown in Example 25 .

Example 24. Hummel; Fantasie, Opus 18, meas. 117-127.

--- 1-

J=^ 1-^- J > r > — T — P— PT

« f B e r n

g a » f - T F I

Example 2 5 . Hummel: Fantasie, Opus 18, meas. I5 I-I58 .

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At measure I5 8 , a variation on theme two begins. The left hand is

an augmented variation of the left hand part in measure 11?. The harmony

follows the basic tonic— sub-dominant— dominant pattern, as in measure

117. The right hand also follows the second theme material in an

extended, ornamental way, and it follows the outline of the left hand.

This variation on theme two is shown in Example 26.

Example 26. Hummel: Eantasie, Opus 18, meas. I58-I62.

^ ----V — "----- FF# ffT|p” P ------____ ^ \ br I # = 4 =

— ,—TSniA 1_____ » ... f -----i------j ------fh - r 1------► » ♦ »- f — -1-----

p— 4 i 4 -i (

p ___ M <1 H J y------J ----- •------4 M - ' j y .. * :

This variation is followed by a literal repetition that blends into a

crossed-hands closing section (measures I7O-I9I). Again motive A is

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present. The rhythmic crescendo and decrescendo is created hy the use

of triplets (measures 187-191). The closing section begins in B-flat

major or the dominant key and modulates by way of oddly-resolved

secondary dominant chords. The dominant seventh of the sub-dominant

(measure 178) leads to the dominant seventh of the supertonic (measure

182) which leads to b minor in the second inversion and then to the

dominant seventh of b minor. Measure 192 is a free measure patterned

after the opening Lento and included as a dramatic element as Beethoven

would use it.

The Allegro con fuoco, beginning in measure 193, marks the

development section which is primarily based on the restatement of theme

one in different keys and a series of sequences. The section begins

in b minor at measure 193, proceeds through the tonalities of c minor

to A-flat major, and continues on to measure 210 where the first theme

is similarly restated in a-flat minor. The theme then modulates

through b-flat minor to F-sharp major. At measure 223, the first

theme is again presented in F-sharp major, and then modulated back to

the starting key of b minor in measures 229-230. Measures 230 and 23I

are alike, both reminiscent of the rhythmic three-eighth-note pick-up

of the first theme, hereafter referred to as motive B. The foregoing

"developmental" material is strai^tforward and dull. No attempt at

development is mad.e. The interesting facet, though, is the use of odd

modulations. The modulations are written smoothly, but the tonality

changes from b minor to A-flat major to F-sharp major are not common.

Hummel uses a few strange resolutions of secondary dominants. For

example, the dominant seventh of B-flat (measures 213-215) resolves not

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in D-flat, but in a combination of dominant and leading-tone chords of

B-flat! Another smooth transition, worth noting, is made in measure

222 from b-flat minor to F-sharp major. This is accomplished melod-

ically by using the two common tones of each tonality— b-flat (a-sharp)

and d-flat (c-sharp). Example 27 illustrates this modulation.

Example 27. Hummel; Fantasie, Opus 18, meas. 221-223.

The development section at measure 232 begins a series of modulatory

sequences based on the circle of fifths. Traces of the second theme

can be found in measures 234-233, well as in the succeeding sequences.

The left hand uses a combination of motive A and an augmented version of

the right-hand material presented in measures 103-103. The left hand

of measures 234— 236 are presented below in Example 28. The lower notes

Example 28. Hummel: Fantasie, Opus 18, meas. 234-236.

i f

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outline the first five notes in descending order of the f-sharp minor

scale, the key to which the modulation leads in measure 236. This

descending scale pattern is repeated in sequence, each time in the scale

of the key to which the music is modulating. The upper notes are a

static dominant tone. It is clear this is derived from measures I03-

105. This material travels through the circle of fifths hy using the

dominant of the dominant chord, from h minor to e-flat minor in measure

258. Here another sequential series begins, again derived from theme

two, but more loosely so. It continues through the circle of fifths

from e-flat minor in measure 248 to c minor in measure 260. In this

measure the harmonic circle continues, but the sequential material

again changes slightly. It is based on descending melodic thirds that

are imitated in the left hand. Here is a true contrapuntal texture for

the first time in the Fantasie. This progresses from c minor to B major,

having completed the entire circle of fifths from the b minor key at

the beginning in measure 232.

The development section then dovetails into a close version of

theme two in the key of B major over a B pedal point, beginning in

measure 283. In measure 305 Hummel evolves a smooth transition by way

of an enharmonic change of the B pedal point to C-flat and combined with

a German sixth chord. This resolves into E-flat major over a B-flat

pedal and returns to the Lento introductory material in measure 311,

now in E-flat major. As this slow, free Lento first served to introduce

both the exposition and development sections of the first overall

section of the Fantasie, it now leads smoothly and naturally to the

second movement, or large section, of the Fantasie. These last few

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closing measures (measures 283-31l) prove to be some of the finest

writing in the first large section of the Fantasie. Every tonal change

is achieved by natural chromatic steps from one chord to the next.

Amid this is a gentle decrease of rhythmic activity over a pedal point.

This gradually slows the Allegro into the beautifully connecting Lento

in measure 311.

Along with the several points of fine composition, there are also

instances of uninspired writing in the first section of the Fantasie.

Faults include the failure to develop themes, particularly when they

are raotivic in nature. Real variation rarely occurs. Special interest

is created by some daring harmonies, although Hummel risks dullness at

a complete cycle of the circle of fifths, such as he used. It is

obvious that this section does not include his best writing.

The second major section of the Fantasie, measures 312-410, is a

basic ABA* form that begins with the Larghetto e cantabile. The A

section is based on a lovely melody in E-flat major (measure 312)

that is said to have great resemblance to the melody Beethoven used

in the first movement of his Piano Concerto in _c minor.^ The B section

in measure 355 begins in B-flat major and returns to the E-flat major

A’ section in measure 374. This is closed by a short virtuoso cadenza

that leads into the last large section of the Fantasie. Of the three

large sections, this is the simplest in terms of form and probably the

most like those future works which foreshadow Chopin's pianistic style.

1 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review, Vol. 26, no. 3 (August, I965) p. 170.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 74

The theme of the Larghetto e cantabile section is a long, simple

melody of sixteen measures that Hummel adorns with turns, doublings

at the sixth and the third, trills, non-chord tones, grace notes,

triplets, fioratura, and almost every conceivable melodic embellish

ment available to him. This, combined with a simple but strong octave

bass, is very much like early Chopin and is even evident in several

Chopin Nocturnes (Opus 62, No. 2 and Opus 48, No. 1, for example). By

the same token, it is Mozartean in derivation and not unlike his

Fantasy in _c minor. K. 396. The seventeenth measure of the Lar^etto

(measure 328) begins with the same melodic rhythm but soon directs

itself to the key of B-flat major by way of the dominant of B-flat.

This second melodic winding is not neatly packaged into sixteen

measures, but takes twenty-seven measures, until it permanently stays

in the key of B-flat major and +he B part of this second large section

of the Fantasie begins.

In spite of the fact that this is new material, there are several

references to the first large section of the Fantasie. The first is

obscure but at least exhibits a fondness for pick-up notes. The

three-note pick-up (7 JT3 ) or motive B of the first section is present

in measures 313, 315, 351, 332, 333, 335, 339, 340, 341, 347, etc.

The dotted rhythm from the Andante of the first section is restated in

diminution in measure 323 and also in measures 3 I5 , 328, 340 through

344, 353» etc. Motive A of the first theme occurs in measures 340 and

341.

Tension is increased in the second part of the A section of this

second large section of the Fantasie by the rhythmic quickening of the

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left hand from quarter to eighth notes. Rhythmic displacement occurs

in measu-^e 329. There is also an increase of chromatic voice leading,

mostly in the form of passing tones, hut which, nevertheless, causes

harmonic tension. There is also more embellishment than in the first

sixteen measures, culminating in a pianistically difficult passage

of trills (measures 346-348) and then a free-sounding fioratura. That

resolves in measure 351. A slight anti-climactic swell occurs in measures

351-354, but quickly dissolves via the same cadence used in measures

326-327 to the B section.

The B section in B-flat major is built on broken chords and

crossed-hands chromatic fragments. There seems to be a predominance

of the third., fourth, fifth and sixth (especially the chromatically-

lowered sixth) notes of the scale. The tonality wavers between major

and minor and gives this a contrasting, turbulent feeling from the

elegant, graceful Larghetto. Hummel also uses a great many suspensions

and sequential series. The modulation is mainly accomplished by smooth

chromatic voice changes in the right-hand broken chords, as in the

closing measures of the first large section of the Fantasie. A

particularly lovely treatment appears in measures 364-366. The melody

suggests rhythmic pull. Half-step importance and left-hand suspensions

are notable here. In measure 366 the broken chords continue with the

left hand while the right hand resumes the melodic material, often in

two voices, both showing chromatic voice-leading. The B section ends

on the dominant seventh of E-flat major which leads to the return of

the A* section in measure 374.

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The A* section begins with a more richly ornamented version of

the first eight measures of the Larghetto theme. The harmony remains

unchanged. Measure 382 restates the same theme but in a beautiful

variation. Example 29 shows the beginning of the theme itself and

the variation of the theme below it. Now there are more frequent

Example 29. Hummel; Fantasie. Opus 18, meas. 3 I2-3 I5 and 382-385.

Theme; I

Variation;

----- z ---- J---- , J >... J-. .. J J t' ^ ■— -■■v # # 4

--—: ' y---p— — ÿ - -! — - f

V .. i - ■— y T H . =— i- i' ■^iMi----2- [ y yijfl Æ M— 7— ^ — i— ----*

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J — ] ~ — J ] J 7 J J ~ y p y-gj y''^ tLP^ £^-13, J1 n. .fl "'la. ,.fl. 6 - a „L & s M

m : 7tv^ f i ? 1

harmonic changes, a thickening of sound, a more mobile bass line, a

heightened rhythmic pulse. This climaxes in measure 392 and turns

into a short cadenza, full of right-hand fioratura over a simpler

left hand. The A* section ends in measure 410 on an E-flat major chord.

The last large section or movement of the Fantasie is a loosely-

formed rondo. The recurring part of the rondo is a tonality and a

spirit rather than a literal repetition. The newly-entered parts of the

rondo are in different keys than the recurring part. The scheme is

basically ABA'CA", The Allegro assai (measure 4ll) begins the rondo

with an abrupt switch from the previous E-flat major tonality to g minor.

The A section is always in g minor and accompanied by a rushing,

sometimes triplet spirit. Earlier in the Fantasie. Hummel used triplets

for rhythmic tension, for climaxes, and for ornamental passages. Now

a complete idea is based on the triplet, a figure he greatly favors in

his mature writing. This section is very similar to Schumann's writing

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in character— impetuous, fully romantic in style. It is a very lovely,

pianistically-designed section. Measures 411-4-32 are actually the

statement of the A idea. Measures 433-441 repeat the beginning of the

first statement. Again this A idea is motivic more than melodic.

Below, in Example 30, is a partial statement of the A idea. The left

Example 30. Hummel: Fantasie. Opus 18, meas. 411-414.

- f ' . U Y J * , ' * " » -- ' ' y P ' C ' i . ----- •-— t t :r u. J .f_r: - 4 ' 4 j ) .— Ç — 1 W ...... ■— f — J * J 7— s — _ r H i'Ki’ n , f! r ■ i - = f ------r r r f T l / | i e f — 7— 1---- ' - - ’-M i : k J— i—

hand, enclosed in brackets, is similar to the right hand of the first

theme in the beginning of the Fantasie. The harmony in the beginning

of the A idea is simple, resting on a tonic— supertonic— dominant—

tonic (i— ii— V— i) series. Hummel does use a German sixth chord

resolving to the dominant near the end of the first statement. He

also uses a short dominant pedal point before repeating the opening

in measure 433.

Measure 442 abruptly changes to the realm of B-flat major, the

relative major key, in a brief crossed-hands section. Register jumping.

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■the B-flat pedal point, and the bass line jump of a tritone in measures

446-44? and 456-457 are interesting points in this composition. This

dissipates in a descending sequence of steps in measures 460-464.

The sequences move through diatonically descending keys by way of the

diminished seventh chord and a leading bass line. This section from

measure 442-468 is merely connecting material to the B section of the

rondo. This connecting section ends in the dominant of B-flat that leads

permanently to the B-flat tonality of the B section.

The Gantando, or B section, no longer in triplets, is based on

a simple melody similar to the Lar^etto' theme in the second large

section of the Fantasie. The melody here is devoid of embellishment.

It is composed in a twelve-measure phrase, the second four measures

being a simple variation of the first four measures, and the last two

measures being a repetition of the ninth and tenth measures. The left

hand is derived from the contrapuntal movement in measure 260 which

originally is based on the second theme of the first section of the

Fantasie. At measure 480, a series of three-measure sequences begins.

Each is based on chromatic inner voice leading, repetition within the

three measures, and modulations that ascend by steps. The first of

these three measures (measures 480-482) modulates from the tonic to

the supertonic. The second three-measure group (measures 483-485)

modulates to the mediant. From here, only the first part of the three-

measure idea is used in sequence, modulating to the sub-medilant (g minor)

which, in turn, leads back to the A' section of the rondo in g minor.

The A' section extends from measures 498-506. This section is an

exact repetition of the last nine measures of the original A section.

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At measure 507, the G section begins with an abrupt change to the

key of E-flat major. It opens with quasi-canonic writing that does not

develop contrapuntally. The second eight measures are a variation upon

the first eight measures. Motive B of the first large section of the

Fantasie appears again. This short, lyric sixteen-measure section

precedes a simple melody in measure 523 in E-flat major. This melody is

also related to the Lar^etto theme and could be a distortion of the B

melody of the rondo. These variations are both different enough that

this section might be considered a C section. Aside from the common

derivation, the B and G section melodies are of the same simple spirit.

They are in different keys. In the G section the left hand is comprised

only of broken chords. The second four measures are a variation on

the first four measures. The dotted eighth-notes are. used to create

sequential material in measures 529-533. The half-step descending

movement of the opening Andante and Allegro con fuoco appears in

measure 534 and is repeated in measure 539. The beginning sixteen

measures (measures 509-522) of the G section recur with a slight

derivation (motive B) at the end, which leads into connecting material

for the return of A".

The connecting material (measures 562-587) in E-flat major is

built on sequences. The first ei^t measures are repeated and extended

with some variation. These first eight measures, however, resemble

the opening G-section statement (measures 515-522). Similarity is

most easily seen between measures 566-569 and 5 I9-529. This connecting

material continues in ascending chromatic sequential fragments until

measure 577. Four phrases consisting of four chords each occur (over-

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the-bar phrasing) that decrease in rhythmic pulse up to measure 584.

The Presto section is the A" section which has returned in tonality

and in romantic spirit to the original A idea. This section is,

itself, the climax of the entire Fantasie and provides excellent rapid

octave writing for the piano. Aside from the same g minor tonality,

this A" section is similar to the original A section in its i— ii —

V— i progression of chords. After that, it departs with descending

sequences that lead to a repetition of the basic theme of six measures.

This is also based on the ever-important half-step of the first section

of the Fantasie. A left-hand descending g minor scale occurs in measures

592-593. Im measure 600 the left hand takes over the octave movement

preceded by a rhythmic pick-up like motive B. In measure 608 the

first octave theme of measure 594 reappears for one repetition. The

left hand again resumes the octave activity in two similar four-measure

phrases that finally end the burst of Presto octave activity. The

next few measures end with a thrice-stated series of chords that

are made interesting by their displaced rhythm. The fourteen measures

that follow (measures 629-642) are a nearly-exact restatement of the

connecting material of measure 562, based on the G-section opening

melody. This time the restatement is in G major, not in E-flat major.

It is too short to be a section in itself; it is only a quick flash

back of a past section. This short passage is followed by the rushing

g minor spirit which is again Presto (measure 643), but in single

voiced triplets. This seems connected to the A" section, rather

than to be a separate section or A"— bridge— A'"'. The left hand is

built on the important half-step; it could be an augmented form of the

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opening G-F#-G notes of measure 58?. The crossed-hands part in the

upper register is also based on the half-step. The left hand continues

the triplets in measure 647, in ascending sequence and to an anti-

climactic tension after the climactic octaves of measure 5 8 7 . This

dissolves quietly after the peak of a chromatic bass line is reached

in measure 671. The harmony flickers into and out of G major and finally

rests in the key of G major.

This Fantasie, as a whole, is one of Hummel's first important

works. Throu^ this Fantasie. the true development of his writing

begins to show. Despite the fissures and lapses into dull writing,

there is ample evidence of great talent and new use of compositional

ideas. As shown before, it is easy to see pre-Chopin in the Larghetto

section of the Fantasie, particularly in the melodic and ornamental

treatments. The harmony is basically simple, but examples of unusual

resolutions of secondary dominants are present. Rhythmic interest is

very good and includes rhythmic crescendo and rhythmic displacement.

Hummel has a fondness for up-beat pick-ups, triplets and dotted

rhythms. His textures vary widely from the thin opening lines to thick

chords to counterpoint to lyricism. He makes full use of all of the

registers of the piano. Melodically, his material is not always good,

as it is in the Allegro con fuoco, but he is capable of truly lyrical

melodies, especially in the last two sections. He is also capable of

excellent bridge sections, which smoothly blend the old and the new.

He interweaves references of old material throughout the piece for total

unity. His chromatic sequences (although he perhaps relied on them too

heavily for "developmental technique") are often beautiful. Most of all.

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his pianistic writing is perfect for the performer. Although this

composition requires virtuoso skill at times, it is never impossible.

Even the most difficult passages fit the fingers well. He employs a

wide variety of piano technique— rapid octaves, double thirds, much

crossing of hands, trills plus a second moving voice in one hand.

Pianistically, this piece is a challenging and interesting composition

throu^out. It also foreshadows the pianistic style of Chopin and

Schumann. On the whole, it is a worthy milestone in Hummel's young

career as a composer.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 84

ihorie-rUiA^ omcI a.'A llegro

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Figure 4. Harmonic structure of Hummel's Fantasie. Opus 18.

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CHAPTER II

SEPTET, OPUS 74

The Septet, Opus 74, is perhaps Hummel's finest work. It is so

tightly interwoven, so well-formed, that it should deserve a place in

the common chamber music repetoire. It is built in four standard

movements— Allegro con spirito, Menuetto 0 scherzo. Andante con

variazioni and the Finale. The ideas— melodic, orchestral, traditional,

harmonic, rhythmic, and pianistic— are fresh and uncluttered. There is

an economy of material that denies the romantic era in which he lived.

Although Hummel owes Mozart a great deal, this Septet is more advanced

than Mozart. It presents romantic ideas in a classic manner. As

Richard Franko Goldman remarked about this Septet, it is "superior to

the Schumann Quintet, or indeed to all but the very best of Schumann,

Weber, or Mendelssohn."^ The Septet was written in I8I6 , at the peak

of Hummel's compositional career.

Allegro con spirito

The Allegro con spirito is written in a classic sonata-allegro

form in the key of d minor. There are two main themes, the second

presented in the relative major key or F major. All melodic material

and motivic fragments relate to these two themes. This movement is

particularly tightly-knit with no gaps or fillers. It is written

1 Richard Franko Goldman, review of Hummel's Septet, Opus 74 (recording L'oseau-Lyre SOL 290), Musical Quarterly, LIII (January. 1967), 141.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 86

for flute, oboe, F horn, viola, cello, contrabass and piano— a slightly

odd combination of instruments. The piano does not overshadow the other

instruments in this Septet as it is apt to do in Hummel’s piano

concertos; the movement is interesting and challenging for all performers.

There are several melodic and rhythmic motives throughout the

Allegro. The most important melodic motive (l) is the frequent use of

the half-step. This is typically "Hummel" in its expansion of chromat

icism from the classic usage. The minor sixth melodic skip (2) is

important and stems from theme one. Three diatonic notes (3 ) in one

direction are used repeatedly. Khythmically, a dotted rhythm from

theme one (4) occurs throughout and even in theme two— J T ~ 5 j . The

part of the motive falls on a second or fourth weak beat, and the

quarter note, or sometimes a larger note value, falls on a stronger beat.

Hummel also uses a good deal of weak beat emphasis, mainly by accenting

the second beat of a measure and tying it to the strong third beat.

The first theme of the Allegro has a dual interpretation. The

theme actually appears in the piano but is outlined in the other

instruments, especially the flute. The doubly-dotted rhythm of the

piano is the basis for the aforementioned motive. It also occurs in

measure 3- However, the minor sixth skip (motive 2) in the flute part

of the theme does not occur in the piano, yet is an important idea

in the theme. This sixth is re-used and also inverted to appear later

as a third. The theme itself is dramatic. Measures 5 and 6 are a

response to the first four measures but are a part of the first theme

group. The right-hand piano figure is only a d minor triad with

chromatic embellishments. This one, short seven-note figure has a

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similar linear shape and encompasses the same range as the theme

presented in the piano part. The dotted motive is already used in the

fifth and sixth measures in the viola and cello parts. The chromatic

half-step importance is established in the second measure in the step

from d to c-sharp and also hack to d. The three-note diatonic chain

(motive 3) is an outgrowth of the diatonic line in measure 3, though

longer than three notes. In measures 7 and 8, motive 3 is the basis of

the seq.uential right-hand piano movement. Theme one is shown in

Example 31-

Example 31» Hummel; Allegro con spirito, Septet, Opus 74, meas. 1-6.

If 1 1 i-e------j r —

^ f

Immediately after these six measures, measures 5 and 6 become the

basis of sequences. Measures 13-15 show the tightness of composition

and, also, Hummel's skill at bridging passages, as shown in Example 32.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 88

Example 32. Hummel; Allegro con spirito, Septet, Opus 74 , meas. I3-I5 .

The cello and viola parts in measure I3 and flute part in measure 16 are

all in contrapuntal imitation of each other. Also, they are based on

motive 2 and they return to a fifth by step as in theme one in the flute.

These four-note fragments also occupy the same function as the seven-note

right-hand piano figure in measure 5* Both start on the second half of

a strong beat and cover the same amount of "time" in a measure. This

same fragment is repeated in an augmented and distorted form in the

left hand of the piano in measures 13-14. The half-notes F, E, A are

the same notes as the three eighth-notes in measure I3 in the cello

part but in a different order. An arrangement of A, F, E would include

the sixth melodic skip. The three-note diatonic steps in the right hand

or motive 3 occur in the piano part. Measure I5 , of course, repeats the

material from measure 5 imitation. The last left hand note (f)

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begins repetition of the pattern mentioned in measure I3 . Ifhile

Hummel repeats the bass line, he cleverly varies the other parts

around it.

In measure 17, displaced rhythm in the flute, oboe and viola

parts against a steady rhythm in the piano and contrabass is first used.

The first use of the inverted motive 2 is in measures 21-22. The oboe

part only has a short reference to it and repeats it again an octave

hi^er. This is also incorporated with the dotted rhythm (motive 4)

and with motive 3» Example 33 shows the inverted motive 2 in the oboe.

Example 33- Hummel; Allegro con spirito. Septet. Opus 7 4 , meas. 21-22, oboe part.

rA “t------1— 1 J

1L— JU ...... •

This inversion is used twice again in measures 25-27, but is doubled in

the cello and played against a chromatic flute and viola line and a

tremolo piano part that leads into a repetition of the first theme.

Theme one occurs again, beginning in measure 3I, without the piano

and without the minor sixth skip as in the opening. Only the first

four measures of the theme are represented and then the music continues

into the following melodic fragment in the piano in Example 34.

Motive 3 is included in this piano part and the dotted rhythms refer to

theme one. Above this are fragments of motive 3 in imitation and

anticipation. The flute is engaged in a pedal point that is based on a

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rhythmically displaced pattern. This whole statement is itself in

anticipation of theme two. It is immediately repeated, but with

variations and more imitation upon the first three notes of the fragment.

Example 34. Hummel: Allegro con spirito. Septet, Opus 74, meas. 33-38.

This will lead very soon into the second theme group which is in

F major, but Hummel is not content to modulate to F major by the use

of normal secondary dominant seventh chords. Between measures 41 and

63, the music slides through various tonalities by the chromatic

alteration of one chord to the next. The line graph in Figure 5 charts

KfT of cl minor Con-6 m-1? m.S7 «,.53 m.M VI . iZ r F»d.w..y* f- _C+_ £ l _ FÎ______(eJk/mki

Figure 5* Harmonic modulation in the first movement of Septet. Opus 74, by Hummel, meas. 41-63.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 91

this smooth but unusual modulation. Although the distance tonally

between these chords is sometimes far, the chords are a logical chain

half-steps above a busy piano part. The long12 notes move in half-steps above a busy piano part. The longj^ J. pattern

of measures 51-52 could be construed to be an augmentation of motive 4.

Once the harmony reaches D-flat major, the piano reduces from busy

sixteenth notes to triplets in measure 57. From there to measure 63

where the second theme actually begins, there is a short but sustained

introduction to theme two. This appears in the parts above the piano,

especially in the flute part. Motive 3 is present in these upper voices.

The second theme group begins in F major in measure 63. The dotted

rhythm of this theme is derived from motive 4 of theme one, as is the

diatonic linear motion. The triplets beneath the theme help to soften

its vigorous rhythm. The dolce and piano markings after the initial

entrance indicate the difference in spirit between this and the first

theme. There is more of a contrapuntal texture in this second theme

group, with its overlapping fragments. The long-note prelude to the

theme two group appears again in measures 73-74. It is not exactly

the same, but the function is similar. The theme enters again in

measure 75 (>ith a pick-up from measure 74), and then repeats with a

few melodic changes— this time in the piano part. The theme two group is

illustrated in Example 35*

The end of the second statement of theme two brings on a short

fragment (measures 90-91) that is derived from previous material.

The importance is the emphasis on the second beat of a measure which is

tied to the third beat, thereby altering the rhythmic pulse.

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Example 35. Hummel; Allegro con spirito, Septet, Opus meas. 57-76.

—J. ... — -.-ê-

y -I' If:, fii f " -.. tr— nyf P

.... - ■— —

pit:.

î t : - # P P

McirCc:io S t ;

X *

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r*f»rd.

Cre-x cc^tc.ndO pp it^xie t r{^fd^txi)'AL

tiioiu^io

At measure 93, Hummel creates a q.uick entrance into D-flat major

from the dominant of F major that switched to a diminished seventh

chord of G-sharp and D-flat major. In this short reference to D-flat

major, the right-hand piano part is lyrical in duple time against

left-hand triplets. The "alto" right-hand part (stems down) is based on

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an augmented dotted rhythm and on the half-step movement (motive l)

of theme one. The harmony quickly reverts hack to F major, and the

closing section begins so smoothly that there is no jarring recognition

of it. This closing section is filled with chromatic lines and half

step movement. The piano is very busy in sequential material all

rushing to a climax of the exposition section. The upper parts only

allude to motives here and there over the piano until measure I3I,

where all parts join in a climax. The viola part in measures 139-142

builds the rhythmic momentum so typical of Hummel.

The development section begins in F major at measure 144 (second

ending to the exposition). After a dramatic close to the exposition,

the development opens with a four-measure chorale-like phrase in the

flute, viola, cello and contrabass. It is repeated with a thicker

harmonic base in the piano but in the key of F-sharp major! This transi-

Example 36 . Hummel; Allegro con spirito. Septet, Opus 74, meas. 143-I5 I.

3 —

n L

un \oco

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tion is so smooth that it is worth noting in Example 36 . The melodic

derivation of this chorale is in the introductory measures to theme

two. It also begins with the skip of a third— a possible relation to

the inversion of motive 2. Other more obscure relations can be made

to theme one in its inversion, but are not necessary. This brief

chorale more logically comes from the prelude to theme two.

The harmonic modulation is based on an enharmonic change from F

to E-sharp. The first chord of measure 148 is F major with no fifth

tone in the chord. The third of the chord in the viola is quickly

released after one beat. The F sound continues into the second beat

alone and converts to an E-sharp in the C-sharp major chord on the third

beat. This is the dominant of F-sharp major towards which the chorale

leads.

In measure 153 in. F-sharp major, the development continues to be

based on theme one— the ri^t-hand piano part from measures 5 and 6

and the dotted rhythm or motive 4. It is almost a literal repetition of

those early measures, but it is in a new key. After a sequence based on

the same material, a twenty-measure section (measures 161-I80) is based

on the slow introduction to theme two and the chorale noted in the above

example. This is entirely distributed among the flute, oboe, viola,

and cello. The piano merely supplies broken chords. During this section

the tonality changes to e minor through the use of the secondary

dominant in measure 173» It quickly modulates to C major and the

entrance of theme one (measure 181 ). In measure 184, the left-hand

piano rhythm is based on the emphasis of the weak second beat, which is

tied to the third beat. Triplets run smoothly above this in sequence.

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Modulatory changes begin again, going to E-flat major (measure 19?) by

way of its secondary dominant chord and finally landing in D major

and/or minor at measure 201. Between measures 193 and 201, there are a

few strange progressions, all made by chromatic voice-leading. An *7 E-flat dominant seventh chord (V of A-flat) resolves to D-flat major

very smoothly (measure 194), for example.

Measure 201 brings in the theme one statement again. The piano in

triplets alternates between D major and d minor until it arrives at

the dominant of D at measure 209; it them stays there until it leads

back to the recapitulation in d minor. This section (measures 201-21?)

is the culmination of the development section. It ends all tonal

wanderings, and it increases in tension as it nears the climax of the

Allegro movement. In this section motivic fragments follow in close

succession, dovetailing into the recapitulation. The fourth motive is

present. The accented second beat of a measure appears several times

(measures 209, 210, 211, 212, etc.). Rhythmic displacement occurs in the

flute and oboe parts along with a short pedal point and tremolo at the

end of the development.

The recapitulation begins in measure 218 in d minor and is basically

a copy of the exposition. The second theme occurs in D major at measure

294 in the cello this time. It is repeated in the flute and viola.

This way the second theme has been played by all instruments (having

appeared in the horn, flute and piano in the exposition) except the

contrabass. The material in measures 90-91 appears relatively unchanged

at measures 208=209. It is also followed by the lyrical two-against-

three section, starting with a quick modulation to B-flat major, but

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returning to D. The close of the recapitulation involves chromatic

sequences and patterns against pianistic flourish— many arpeggios,

scales, broken chords, and octaves. A long sequence from measures 304-

309 leads up to a tonality change back to d minor from D major.

Strongly-accented second beats occur above the sequence in the piano.

Prom here to the end, tension gathers, with the sequential activity and

half-steps in the horn part. An augmentation of the figure at measure 22

appears at measure 323 and again in imitation. At measure 32? it

appears in diminution and in imitation. Measure ^ 1 1 states the opening

theme in a last winning and powerful thrust which is sustained until

the end over rapidly-ascending D major scales in the piano.

Menuetto £ Scherzo and Alternative

The second movement of the Septet is in the traditional Minuet and

Trio form in the keys of d minor and D major. The pattern of the sections

is Scherzo— Alternative— Scherzo (the first half)— Alternative— Goda.

Both the Scherzo and Alternative are in binary form. The instrumentation

is the same as in the first movement. However, it is the creative use

of instrumentation that makes this movement an outstanding example of

Hummel's imagination of future orchestration. The other interesting

aspect of this movement is the treatment of the rhythm. In all, it has

the perfect spirit for a Minuet and Trio movement— light and capricious,

interspersed with susprising elements.

The Scherzo in d minor is a binary form : A ; : A' A : There

seems to be no true melodic theme that can be nicely isolated and

analyzed. Rather, the A section seems to be based on three "idea"

groups, with a unifying use of the half-step carried throughout.

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Measures 1-16 form the first idea group, reprinted below in Example 37.

Example 37. Hummel; Menuetto o scherzo, Septet. Opus 74, meas. 1-16.

7 g g : i * f m

This opening is so unusual that it suggests the later French manner of

uncluttered orchestration. The destruction of rhythm and of the fine

balance between staggered entries gives a lilting sense, yet could so

easily seem clumsy. The piano triplets are the basis of others throughout

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the Scherzo. There are several interesting points to notice— the tritone

hass line skip in the first two piano chords, the jump of a sixth in

the contrabass part in measures 4-5 from the Allegro, the chromatic

twisting of the cello part, and most interestingly, the oddly-pulsed

oboe part which is also chromatic. This oboe part returns in varied

forms. The second half of this group thickens with the oboe idea in

the flute and the oboe on a sustained pedal point.

Measures 16-28 contain the first idea group and a bridge to the

second idea group. This part is based on triplet broken chords in the

piano, half-step movement and references to the Allegro. The bass line

in the piano and cello in measures 21-23 is based on theme two of the

Allegro— a more lyrical version. The immediate chromatic repetition

in measures 23-25 is merely a growth of the idea of the first. Hummel

seems to have certain germs of ideas in this movement that extend or

"grow." The above is only one example. The one-measure triplet

arpeggio of measures 2 and 10 "grows" in measures 16 and 18 by one extra

beat. In measure 20 the triplets simply continue on, losing the

arpeggio idea for broken chords. The flute part in measures 21-23 and

23-25 is a reference to the right-hand piano part of measure 5 iu the

Allegro. There are several examples of linear tritones in this section.

The second idea group, between measures 29-37, includes the dotted,

ascending chromatic scale and the syncopation of measures 34-37. The

dotted figure is taken from the Allegro movement. The viola is added

halfway up the scale to increase the snowballing effect. The pedal

points in the flute, oboe, horn and contrabass add to the tension. The

triplet arpeggios in the piano in measures 32-37 are from the first idea

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group, "but are juxtaposed with accented chords every two beats in a

three-pulsed composition. This second idea group is the climactic

section of the A section of the Scherzo. During this section the

harmony modulates to the minor dominant by way of the dominant of the

dominant.

Measures 37-^7 form the third idea group. It is built on the

descending diatonic figure in the piano. The rhythmic germ ( J )

is repeated, then elongated in measures 40-41 to J J J J . This grows

even further in measures 43-46 to jj j j J . The half-step usage is

visable in the upper parts in measures 39, 42, and 43. Again, as in the

second idea group, the rhythm is slightly displaced at the end of the

section, due to the accenting of weak beats. Example 38 shows the third

idea group.

Example 38. Hummel: Menuetto 0 scherzo. Septet. Opus 74, meas. 37-47.

I # & - i k .

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The second half of the Scherzo begins with a short A* section

(measures 48-65). It is based mostly on idea-one material. During this

brief section, the tonality modulates by means of the dominant of E-flat

that dissolves into d minor. The idea-one oboe part returns in the

flute (measures 50-56), through lilting sequences. The triplet arpeggios

now alternate between piano and viola. At measure 60, a six-measure unit

of displaced rhythm (similar to idea two and three) appears and leads to

an almost literal restatement of the A section in d minor.

The Alternative in D major is also a similar binary form. It is

much shorter than the Scherzo and does not embody as many ideas. The

instrumentation here, thou^ effective, is not nearly as imaginative as

that of the Scherzo, The A section of the Altemativo consists of

ei^t measures of one melodic idea. The cello carries the theme which

is based on the first idea group of the Scherzo (oboe). The displaced

rhythm is achieved in the same manner by tying the last beat of one

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measure to the first of the next. The melody also opens with a skip of

a sixth as in the Allegro. The eight-measure melody is actually a four-

measure melody repeated once with a slightly different ending. It is in

itself a binary form. The viola provides a contrapuntal line against

the cello. The piano only adds a light character with the broken skips

(usually fifths) and grace notes. Example 39 is the opening of the

Alternative.

Example 39. Hummel; Altemativo, Seutet. Opus meas. 115-122.

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• The A' section of the Altemativo (measures II5-I31) is the

development of the A section material. The oboe continues the melodic

idea, complete with rhythmic displacement and the opening skip of a

sixth in seg_uence. The viola provides a counter-melody in oontrapun-tal

texture. The piano continues the established pattern in seg_uence with

the oboe part. This lasts for eight measures whereupon a short bridge

leads to the return of the A section. The bridge (measure 123) also

hovers around the sub-mediant and its dominant. The bridge typically

contains a displaced rhythmic pulse. This ends on the dominant of the

sub-mediant. The h o m then holds the note f-sharp for four measures

(against a couple of quiet grace-noted broken fifths in the piano).

With no other preparation this lone f-sharp glides into the tonality of

D major at measure 132 vdth the h o m continuing the melody for four

measures. The second four measures of melody are played by the cello

and flute together. Other than that, the retum of the A section is

the same.

The music from measures 141-152 is a bridge between the Altemativo

and the retum of the Scherzo. This bridge derives from bits of the

idea-one group of the Scherzo and also provides a modulation to d minor.

Measures 144-149 contain long-sustained notes in the h o m and cello

that make an occasional half-step (descending) only to retum to the

sustained note. This is an extension or growth (the sustaining is much

longer than the original) of the oboe part in the opening of the Scherzo.

The contrabass and viola also relate to the original contrabass part.

The piano arpeggios have grown from triplets to nine thirty-second

notes to a beat. The bridge modulates from a diminished seventh chord on

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g-shaxp. This latter chord extends for four measures, and the same

chord begins the restatement of the Soherzo in measure 153.

Only the A section of the Scherzo is repeated, as in measures

66-106. The Alternative returns in a literal repetition. A short

ten-measure coda appears at the end, based on the right-hand piano figure

of the Alternative. The upper parts ohromatically wind down to a D

major chord pedal point that ends with a triplet D major arpeggio in

the piano from the Scherzo.

Andante con Variazioni

The Andante movement is in the key of F major and is based on a

twenty-ei^t bar theme with four variations. The variations differ,

in that small bridge-like sections connect the variations, so that

there is no pause between variations. On a small soale, each variation

and theme contain a short bridge section as will be shown.

The theme in F major is based on piano figurations with instrumental

embellishment and doubling. Of the twenty-eight measures, the first

and last eight are almost exactly the same. Thus, the form is a

binary one— | : A :b A.*|j . The B section is an eight-measure answer

to the A section. It begins in d minor and easily modulates to the

dominant that leads to the r e t u m of the A section in the tonic.

The eight-measure answer in the B section is followed by a four-

measure bridge to the A section, which consists of chromatic fragments

in the upper instruments over a dominant pedal in the piano. The theme 2 and all variations are in time.

The melody of the theme is stated in the first sixteen measures

( the rest is bridge-work and repetition), primarily in the piano.

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Example 40 contains these first sixteen measures. In analysis, the

Example 40. Hummel; Andante con variazioni. Septet, Opus ?4, meas. 1-16.

r dckt

il hi

} f t T A

first eight measures of melody are based on the notes of the F major

triad. His skill prevents this theme from being monotonous, through the

use of rhythmic variety, turns, a wide range, and interesting voices

beneath the theme. The first measure is only a slow turn around the

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note A. This turn is repeated in diminution and in inversion in the

sixteenth-note figure in measure 4. This is also a derivative of movement

one (measure 37)• The last two measures are merely a descending F

major scale. Phrases throu^out the theme are four measures each.

The two phrases in the A section begin alike, except for an octave

difference, but end differently. There are formal structures within

formal structures— one example of Hummel's skill as a composer.

Rhythmically, the A section is very interesting. Hummel uses

displaced rhythm by using ties in measure 3. The dotted rhythms at

the end of the A section refer to the first movement and also add a

light touch to the smooth but serious opening of the A section. The

harmony of the theme is the basis for all the variations. It remains

generally unchanged throughout. The harmony is noted beneath the above

example and need not be repeated here. It is basically in F major for

the first eight measures, endures a brief stay in d minor, and returns

to the dominant that leads into the tonic for the retum of the A

section.

The first eight measures of the B section continue the smooth

sound of the A section, interrupted only by three dotted sixteenth-

notes. This melodic material is more chromatic and does not center

on the F major triad any longer. Four-and-five-note chromatic and

diatonic fragments from either the main or secondary voices make up

the bridge section that follows, ,

Instrumentally, the oboe, viola, and cello are responsible for

what melodic doubling of melody or ccunter-melody exists. The h o m

is little used in the A section. In the B section it imitates the

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piano near the end and then holds a dominant pedal until the retum of

the A section. The contrabass provides a harmonic base for the second,

fourth and seventh phrases. The lower voices in the piano are examples

of Hummel's concern on inner voice leading.

Before the first variation begins in measure 33» there are four

measures of inter-variation bridge based on two two-measure phrases

with martial, dotted rhythms that are derived from movement one.

This is followed by a more lyrical, even rhythm. This four-measure

bridge begins abruptly in d minor, modulates to the dominant and then

to the tonic. This is like the harmony of the B section of the theme

which also served as a bridge.

The first variation is twenty-eight measures long and is in the

key of F major. It follows the same binary plan as the theme, including

a twelve-measure B section, the last four measures of this passage

being a bridge to the return of the A section. The harmonic scheme

is basically the same as the theme and provides the thematic tie when

the melodic and rhythmic material become obscure. So in formal and

harmonic relationships, the first variation is traditional.

The melody of the theme is carried for two measures by the h o m

with counter-voices in the viola and cello. The melody in this

variation is faithfully represented. The piano continues the melody in

the third measure and entwines melody and piano filigree. Only the

harmony and a suggestion of the theme finish the first phrase. The

piano continues the theme into the second phrase, while the strings

weave chromatically, in the manner of the piano filigree of the first

phrase. The piano in the second phrase is not reminiscent of the

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first phrase as it happens in the theme. The filigree stops. A melody

in octaves finally ends in an ascending, chromatic scale.

The B section theme begins in the oboe and is partially doubled

in the cello. Underneath is steady piano movement in sixteenth-notes

based on broken chords with chromatic voice leading. The piano

continues the theme in the fifth measure of the B section but again is

obscured by chromaticism and filigree. The four-measure bridge is

similar to that of the theme— short, chromatic fragments in counterpoint

in the instruments. This time, however, they are presented in diminution

and complicated by the addition of the piano in the bridge section

which smoothly leads back to the A section.

A bridge of four measures appears before the second variation^ It

is almost exactly like the previous bridge (measures 29-32).

The second variation (measure 65) is thirty measures in length.

The two extra measures are added to the bridge at the end of the B

section. It follows the same structure and harmony as the theme.

The piano is the basis of this busy-sounding variation. There are

constant thirty-second notes from beginning to end in the piano. The

piano begins with an interesting variation of the quickly-repeated notes

outlining the melody. The second phrase theme is continued by the flute

while the piano provides rapid arpeggios and sequences. The B section

theme is doubled in the oboe and viola for three measures. The piano

continues in the previously-mentioned manner. After three measures,

the oboe continues alone against chromatically weaving but simple

instrumental parts. The bridge begins after eight measures and is based

on slightly longer chromatic fragments in the upper voices over a

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continuously busy piano that now includes several rapid chromatic

scales and chromatic sequences which smoothly r e t u m to the A section.

The opening of this variation is shorn in Example 4l.

Example 41. Hummel; Andante con variazioni, Seutet. Opus 7 4 , meas. 6j-68.

t - -

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The four-measure bridge before variation three appears similar to

the one before variation two, but with different instrumentation. The

piano has the second two-measure phrase alone. The harmony remains

unchanged and ends in F major.

The third variation (measure 99) begins abruptly on the note C

and quickly dissolves into the dominant of f minor, the key of this

variation. This is binary in form but the bridge at the end of the B

section is omitted, which results in a total of twenty-four bars.

Because the key is f minor, the harmonic structure is different. It

follows the graphic plan in Figure 6. The theme follows a harmonic

A' 8 meoSareà

X I = II m I I X \ f minor Ak M&jor C M(^or fmirtor

Figure 6. Harmonic structure of the third variation in Andante con variazioni in Hummel's Septet. Opus ?4.

plan that modulates to d minor in the S section (a minor third lower than

the tonic) and then returns via the dominant. This is the same, except

the modulation in the B section is to A-flat major (a minor third

higher than the tonic) and returns via the dominant.

The A section of this variation bears little resemblance to the

theme, other than in harmony. Ehythmically, the dotted sixteenth-notes

of the theme are present, especially in the second phrase. The

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instruments begin in an eighth-note motion. The piano enters in the

second phrase in sixteenth-note triplets. The octave leap in the piano

is derived from the octave leap in measure 6 of the theme. It is also

used in the opening of variation one. Example 42 is the opening of

this variation. The instrumental voices are involved in chromatic

Example 42. Hummel; Andante con variazioni, Septet, Opus ?4, meas. 99-106.

B e

fioktzi.

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'voice leading. In the second phrase, the oboe and flute move in

sequential dotted chromaticism with suspensions. The h o m holds a C

pedal point for six bars. The lower strings form a counter-melodic

line to the piano which can be simplified into the following notation

in Figure 7. The three-and-a-half octave range adds color to a

VftS.S ,meM. if M 3 m C M C 5 ». i Figure 7. Comparison of simplification of theme and piano line in varicition three in Andante con variazioni in Hummel's Septet, Opus 74.

variation based on repetition.

In the B section, the flute and oboe continue with similar chro

matic sequences. Over these sequences, piano-arpeggiated figures

occur, involving the octave skip. The section ends by pivoting on the

note C to r e t u m to the A section.

The three-note pick-up to measure 123 is the beginning of a longer

bridge (twenty-four measures) to the fourth variation, as if to make up

for the lack of bridge in the middle of the third variation. The three-

note pick-up is the basis for modulatory sequences of this bridge.

This could possibly be from the opening piano part in variation three—

also involving repeated notes as a pick-up.

This bridge modulates to the sub-mediant (D-flat major— a third

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lower than f minor) and then to the dominant in measure I3I. It

basically stays on the dominant, with a short reference to D-flat

major, until the fourth variation begins. There is an almost consistent

undertone from this point on. Half-steps do occur, notably in measures

I3I-I32 and 134-135. In addition, the three-note pick-up is used

again all on one tone in measures 122, I3I, 133, 135.

The last variation is in F major and is thirty-two measures

long. There is an eight-measure bridge in the B section that accounts

for the extra length. The harmonic plan is the same as in the theme.

This is also a busy-sounding variation, like variation two. The

piano is constantly occupied with thirty-second notes, resting only

at the end of the A sections. This is the most obscure variation

melodically. In the A section only the upper voices enter to the rhythm

of the three-note pick-up of the previous bridge and make use of the

chromatic half-step. There are sequences of the skip of a fourth

in measures 149-151 in the cello and viola. This is perhaps in

anticipation of the opening fourth skip in the theme of the B section.

The B section theme is vaguely present in the contrabass; after one

measure it is continued by the flute. After two measures of flute, it

is taken up by the cello and viola for two measures. The first eight

measures of the B section end with a basically descending C major

scale in double thirds in the piano, against an ascending C major

scale in the left-hand part. The bridge to the A section begins with a

two-measure phrase that is similar to measures I3I-I32 . This bridge

is repeated an octave higher. Above this is a C pedal point for seven

measures. The remainder of the bridge is piano filigree (chromatic

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scales, ‘broken chords, arpeggios) ending with a rapidly ascending

F major scale in parallel sixths that leads into the A section.

Following this last variation is a twenty-'bar bridge section to

the coda. This could conceivably all be considered a coda, but seems

rather to be bridge material derived from previous bridge material

and seems to function only as a joining device to the real coda.

Thematic material occurs in the coda.

The bridge is based on the three-note pick-up on a single tone

found in measure 123. Underneath it are broken chords in the piano and

eventually a chromatic bass line that leads the harmony through various

tonalities. The harmony progresses backwards throu^ a circle of

fifths moving in and out of major and minor keys until it arrives at

the supertonic (measure 186). From here it modulates to a-flat minor, to

a minor, to b-flat minor, to B major, to G major or the dominant of the

dominant. This resolves to the dominant that leads to the coda.

This bridge section is a good example of harmonic crescendo

coupled with rhythmic crescendo and dynamic crescendo to create a

feeling of climax. Harmonically, the first four measures are involved

in a change from the subdominant to the tonic. The next harmonic

change to the dominant takes only two measures, as do the following

two harmonic changes. From here on, for four measures following this,

there are two harmonic changes per measure, until the dominant sound,

that is reached via the dominant of the dominant, occurs. It is to

this sound that the harmony is directed toward a climax of the section.

Rhythmically, the section begins with four two-measure excerpts

in the piano. Each consists of a measure of steady thirty-second

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note movement followed by a measure of non-movement and rest. As

tension gathers, these two-measure patterns give way to twelve measures

of thirty-second note movement. Dynamic crescendo is marked in the score.

This is aided by the ascending flute line— mostly by chromatic half

steps and by the three-note pick-up pattern already mentioned. This

rhythm is echoed in the contrabass in measures 182 and 184 and in all

instrumental parts in measure 196, following a short example of

displaced rhythm.

The coda begins in measure 198 in the tonic (F major) and carries

the theme in the flute and partially in the hom. Beneath is the

continuing thirty-second-note broken-chord activity of the bridge

which goes to the end. After an eight-measure statement of the theme,

a fragment of the opening measure of the theme is stated in contrapuntal

imitation— first in the viola, then oboe, then flute. An F pedal point

(tonic) is beneath this and is carried to the end, along with a flurry

of broken chords (tonic) and instrumental crescendo.

Finale

The Finale of the Septet is in d minor. Hummel initiates some

interesting changes in the standard sonata-allegro form in this

movement. The movement is written in cut time. Certain references

to previous movements are made; the dotted rhythm, in particular, and

the three-note pick-up on a single tone (? j j jj j ) from the Andante

are the most prominent.

The first theme of the Finale begins immediately and vigorously

in the piano. The theme itself is eight measures and is repeated. The

theme one group, part of which is seen in Example 43, is extended

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through measure ?1. The theme consists of two major identifying

Example 4]. Hummel; Finale, Septet. Opus ?4, meas. 1-12.

- J- »

yi.

elements in measures 3~5î the ascending scale in octaves and the dotted

melody. Within the eight-measure theme is a division of two four-

measure phrases, each similar in content hut different in harmonic

direction. The theme ends in the relative major key of F major. The

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flute and viola both anticipate the dotted rhythm of measure 3 amd are

first found in the rhythm of theme one of the Allegro. The diatonic

scale in octaves also is found earlier in the Septet in the Andante

theme in the seventh measure in descending motion.

The theme one group continues in F major using the octave scale

passages and dotted rhythms. Texture changes occur through the

presentation of the scale passages in different registers of the piano.

Measures 3-3 are exploited in octaves in several other obvious places—

all tightly interwoven among the scales in octaves. Thematic statements

actually end in measure 29; from there a short bridge of twelve

measures is inserted to connect the previous passage to theclosing

theme of the first theme group. The bridge consists of two four-measure

phrases that are exactly alike, each based on the dotted rhythm of the

theme, and the last four-measure phrase, which is based on a three

eighth-note pick-up ( 7 j j j j J ) that is derived from the Andante.

Although the pick-up is strictly based on single tones, other references

to this rhythm combined with other melodic ideas are present.

Harmonically, the first forty measures of the Finale are rather

simple. The F major section at measure 9 is brief and returns to

d minor. A Neopolitan sixth chord occurs, followed by a dominant

seventh chord, and then by a deceptive resolution to the submediant

in the twelve-measure bridge (measures 29-30 and 33-34).

The piano pulls the first theme along and slightly overshadows

the other instruments for forty measures. This is rectified at the

forty-first measure where the closing theme of the theme one group

begins. It is this part of the Finale that is a creative departure

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from the traditional sonata-allegro form. This closing theme, it must

he noted, is thematic; it is a fugue subject in the key of d minor. In

the Finale this fugue subject assumes the role of a complete theme and

becomes a basis for further development in the recapitulation! This is

not the second theme, however, because its tonality is the same as that

of theme one, because of its brevity, and because of its similarity

to theme one^in vigorous spirit.

This fugue, or actually a fughetta, is a well-built portion of

the Finale, a legacy of Albrechtsberger, and is shown in Example 44.

Example 44. Hummel; Finale, Septet, Opus 74, meas. 41-49.

Ob.

The subject enters four times in canonic structure : first in the viola

on D, then in the oboe on D, then in the contrabass and piano on A, and

last in the cello on E. The latter two entries are incomplete, with only

three measures of the subject represented. The counter-subject of the

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viola entry is also present in the oboe entry but uses partial inversion

for variety. The fughetta dovetails in measure 5 6 . At this point the

harmony dwells on diminished seventh chords that lead to the dominant

of the dominant chord (measure 64) which sounds until measure 72.

The theme two group enters in measure 72——in the cello— and creates a

smooth, flowing contrast to the first theme group. Example 45 shows theme

two. The theme two group also begins in A major (the dominant key to

Example 45. Hummel: Finale, Septet. Opus 74, meas. 72-8 9 .

p=— - .—'

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which the closing fugue modulated). This theme of seventeen measures,

including a measure to lead into it, is doubled in the piano. Measures

80 , 82, and 84 contain the three-note pick-up to the following measures.

This is an augmented version of the pick-up in measure 37 and the one in

the Andante. This theme is uncomplicated in harmony. The theme is

repeated for eight measures in the flute over arpeggios in the piano.

The next four measures of the theme are picked up by the oboe. The

last four measures of the theme are not repeated. Instead, the

rippling triplet movement in the piano that began in measure 97 takes over.

It turns into a descending diatonic scale in triplets (measure 106) that

is reminiscent of theme one. This is imitated by the flute and viola

only two measures later. This descending scale idea is repeated in

double thirds at measures 112 and 114. The activity culminates in measure

116, where the closing theme to the second group begins.

This closing theme truly marks the end of the theme two group.

It is approached smoothly, so that there is no break before it begins,

thereby suggesting an importance it does not possess. It is also in

the key of A major and is similar to the fugue subject in spirit. It

is by no means a literal reference to the fugue, though. A feeling of

contrapuntal texture is present since two melodic ideas coincide; one in

the viola and in the top notes of the right hand of the piano, and the

other in the contrabass and in the lower notes of the piano's left hand.

The cello enriches the passage even more with a lyrical line of its own.

A repeat of the two main melodic ideas occurs without the contrabass

and viola— only the piano and cello playing the bass line in pizzicato.

The quieting of this closing part is helped by the rhythmic decrescendo

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and gradual reduction of instrumentation. The fragments of measures

128-129 recur in the development.

The harmony of the closing section is again typical. It begins in

A major. The next few measures show a modulation to the mediant. The

chord following this, which also connects this section and the development

section, is a dominant of the subdominant chord ( A ), which is

followed in the development by a diminished seventh chord on G-sharp.

There both establish a harmonic direction back to the original key of

d minor. A series of diminished seventh chords appear in the development

and lead again to A major or, in this case, to the dominant of d minor.

An A pedal point extends for five measures (measures 143-148) and ends

in a C-sharp diminished seventh chord that returns to d minor and the

recapitulation.

The development section is another departure from standard

development sections. It is extremely short (twenty measures) and

"develops" nothing. Nor is it an opportunity to explore other keys.

Nor does it involve, reiterate, or refer to the themes in any develop

mental way. This section could more accurately be called a bridge back

to the recapitulation. It does provide the harmonic transportation

back to d minor, no matter how directly. It does have an obscure

reference to the fugue subject. The opening skip of a third of the

fugue is the basis for the ascending motion in the piano in measures

144— 14?. The dotted rhythm is a part of the first theme. The figure

in measure I38 is a reference to the end of the theme two closing

section. Chromatic movement occurs at the end of the development.

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The recapitulation begins in measure I54 in d minor. The first

eight measures of theme one are not repeated. Other than this, theme

one is faithfully represented through the beginning of measure 182. Here

an eight-measure segment of the exposition is omitted, and the material

from measures 37-41 follows from measure 182. At measure 188, material

based on the ideas of the previous four measures begins and continues

in sequence. It is here that the Neapolitan sixth chord appears but

resolves to the major mediant chord. This modulation is strange

(E-flat major to F major). Following the sequences are short fragments

based on the three-note pick-up rhythm but in ascending skips (measures

194-199). These are imitated in a variety of parts and culminate in

measure 200. These fragments also guide the harmony through the

subdominant, the supertonic seventh, c minor, and back to the tonic,

which is D major this time. The tonic occurs at measure 200, where a

short passage of displaced accents (alternating between tonic and

dominant) leads quietly in D major to the opening of the closing

theme (fughetta) of the theme one group. So far, only the last twenty-

two measures before the fugue subject deviate from the exposition. This

is enough added development (already as long or longer than the

development section proper) to the recapitulation to be considered a

change from the traditional form. It also leads up to more "developing”

to come in the fu^etta.

The fugue subject begins in measure 211 and is in the previous

D major tonality. Because it begins as a single voice it makes the

shift to b minor melodically before the piano enters in measure 215

in b minor. This fughetta is slightly more than twice as.long as the

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original fughetta in the exposition and has more than twice as many

subject entries or references. It is during this section that most of

the Finale's harmonic exploring occurs. This fughetta is actually a

delayed development, although it lacks true developmental properties in

that there is only development of the fugue subject and not of either

theme. However, this shift of importance and function of this section is

a major creative change accomplished by Hummel. What is astounding

about this structural shift in balance is that the listener is not aware

of formal maneuvering or shortcomings. There is no padding or

redundance in the composition. Hummel's skill shows that he can make

an altered form (so altered that it could be an irrevocable weakness)

appear smooth and natural. As Richard Franko Goldman says, one is not

aware of "form" problems and that is the proof of his compositional

skill.2

The fughetta begins ifith the first and only full statement of the

subject and counter-subject at measure 211 in b minor in the viola.

This is quickly joined in b minor by the subject only in the oboe.

.The piano is busy with arpeggios and broken chords. By way of the

secondary dominant, the third entry of the subject is in f-sharp minor

(measure 220) in the piano and cello. Then another subject comes in at

measure 225 the piano and contrabass. This subject is in a-flat

minor and is reached by the following progression: C-sharp major

(v of f-sharp), c-sharp minor, f-double-sharp diminished seventh.

2 Richard Franko Goldman, review of Hummel's Septet, Opus ?4 (recording L'oseau-Lyre SOL 290), Musical Quarterly. LIII (January, 1967), 141.

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A-flat major, a-flat minor. It is a very smooth modulation. Underneath

this statement of the subject is a series of diminished seventh chords

and their resolutions that lead to e-flat, then P dominant seventh, then

b-flat minor. In b-flat minor (measure 229) is the fifth reference to

the subject in the oboe. Underneath this is a similar sort of modulation

as in measures 226-229 that arrives at c minor. In c minor (measure 234)

the sixth subject enters in the contrabass and piano, but not as a full

statement. Only the first three notes are heard. This is quickly

followed in sequence by a statement in d minor of the same first three

notes. After this are four measures of modulation, arriving at c-sharp

minor in its second inversion (laeasure 24o) which is the first hint of

the end of the harmonic wandering. This is followed by the dominant of

D-flat major (measure 243)• In D-flat major the eighth subject appears

in the viola and flute. It is followed in sequence by the last

subject entry (measure 247) in E-flat major in the flute and viola.

This if followed by the continued use of piano broken chords (found

throu^out this fughetta) and more chromaticism as the harmony travels

through a series of diminished seventh chords. A particularly smooth

chromatic modulation occurs between measures 254 and 261, as condensed

in Figure 8. The first four measures move from A-flat major to E-flat

■ M a Ù Ab+ c*- A+ 6-^ Eb* i s do )

Figure 8. Harmonic condensation of meas. 254-257 of the Finale in Hummel's Septet, Opus 74.

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major, as Figure 8 shows clearly. The half-step movement through

unrelated keys takes place in a perfectly smooth-sounding modulation.

The end E-flat major chord is the pivot by which the harmony again

arrives at D major for the second time. The Neopolitan sixth chord

(E-flat major) appears twice, each time resolved by different but

chromatic harmonies. These resolutions are shown in Figure 9. Both are

m. 2 5 1 '-2.S9 t t !rtj % 8 m ^ 8 V ! M

Figure 9. Resolutions of two Neopolitan sixth chords in the Finale in Hummel's Septet, Opus 74.

by diminished seventh chords; this is unusual. The first is followed

then by the tonic in second inversion— also unusual since the traditional

Neopolitan sixth chord progresses to the dominant and then to the tonic.

The second Neopolitan sixth chord does this, but only after a delay

of the diminished seventh chord. The dominant chord in measure 261

carries to the end of the fughetta section. This leads to the tonic

(D major) sound of the second theme group in measure 274.

The second theme group is a faithful repetition of the original,

but it is in the tonic key. There are no additions or deletions in its

structure. The only difference is that the closing at the end is

eight measures shorter.

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The second theme group leads directly into the coda (measure 326),

which is in the key of d minor. This is based on piano figurations

in triplets (one of Hummel's means of building a climax) and the three-

note pick-up found earlier in the movement. A long series of diminished

seventh chords can be seen in measures 334-338i where the progression

ends in the tonic. Here two entries of the fugue subject in quick

succession appear— the first in d minor, the second in g minor. Finally,

theme one reappears in measure 3^7 in the piano and again simultaneously ‘

wdth its inversion in measure 351* Both of these references consist

of the ascending scale. The dotted remainder of theme one appears

in measure 355 3^^ repeats in measure 357. This is followed by

descending chromatic movement over a D pedal point until the tonic

is reached in measure 3&5' The rest of the Finale is basically in the

tonic key. The tension of the dominant force was released at the

cadence in measure 365. Although the dominant appears again in

alternation vdth the tonic, its driving force is gone. These last

sixteen bars include repetition, a flurry of triplets and a variety of

thematic fragments until the final chord. The three-note pick-up

motive is present in the cello in measure 371, the horn in measures

365 and 367, and in all parts in measures 366, 368, and 372. The

dotted rhythm of the first theme is in the upper instruments in measures

375-377. The scale portion of theme one appears in triplets and in

both ascending and descending motion in measures 375-376. The range of

the scale in measure 375 is the same as the range of movement one, theme

one, with the use of the lower c-sharp from D and upper b-flat from A.

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The Septet was written in 1816 just before Hummel arrived at

Stuttgart. This excellent work marks the beginning of the peak of

his compositional career (1816-1820). Hummel was responsible for not

only outstanding thematic, rhythmic and stiructural writing, but for

the creation of the texture of this odd grouping of instruments and

their novel uses. He was responsible for stretching the sonata-

all egro form into one of new emphasis and direction (the Finale) and

for some interesting harmonic progressions. The variations are imagi

native and of high caliber; these are not the trite variations on the

melody that appeared at his time and earlier. In addition, he created

total unity by using similar motives throughout all or some of the

movements (the dotted motive, the octave leap, diatonic movement in

one direction, a three-note pick-up to a strong beat). Although the

piano part is written perfectly for the instrument and is full of

pianistic figurations, it is never overbearing in relation to the other

instruments or pad.ded beyond the neccessities of the structure. Because

of this economy, the Septet is classical in concept.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I I I

PIANO CONCERTO IN B MINOR, OPUS 89 ALLEGRO MODERATO

The first movement of Piano Concerto. Opus 8 9 , illustrates different

facets of Hummel's talent in composition. During his lifetime, this

concerto, published in 1821, was not popular and never rivaled his

most-performed Piano Concerto in a minor. Opus 85 . Of the two piano

concertos. Opus 89 exhibits a better structure, thematic economy, and

a bolder harmony, but perhaps this work is less showy in character

and does not allow the solo piano as many flashy, bravura passages.

Opus 85 is more passionate, but looser-constructed and heavily padded

with meaning ess phrases. Even today. Opus 89 is not published,

although a recording of it has been made. Yet Opus 85 can easily be

found in print. Through careful analysis, Hummel's Piano Concerto.

Opus 89 , should be noted as his best piano concerto and included more

frequently in current programs.

The Allegro moderato is outstanding in two qualities— the wonderful

economy of thematic material and the broad formal structure. Although

this movement is based on the ritomello style of early concertos,

that style is stretched and remodeled by Hummel's creative processes.

Hummel was well acquainted with the concerto form, since he had written

cadenzas for twelve Mozart concertos and rewritten other concertos.

Any change in the traditional structure, we can assume, was not through

ignorance or ne^ect, but was carefully planned. In this way, he

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experiments with form.

Of lesser, hut substantial importance is the unusual harmony used

in places in the Allegro. Chromatic resolutions and modulations

replace many of the V-I resolutions and result in some surprises to

the ear. Rhythmically, the Allegro suffers in comparison to another of

his excellent compositions, the Septet. Opus 74. Pianistically, there

is much interest in Opus 89, but not as much as in the Piano Concerto,

Opus 85. This is perhaps less of a prelude to Chopin's pianistic

figurations than other of his compositions.

The analysis of the Allegro moderato is based on the edition

published by C. Peters in Leipzig. There were at least two different

dedications of this concerto and, also, different versions. The

recording published today (Turnabout TV 34073S) is based on a shorter

version than the one to be analyzed. The structure of this movement,

however, is probably best understood by analyzing the following longer

version.

The exposition of the Allegro is divided into the orchestral

opening and the re-exposition that begins vâth the entry of the piano

or solo instrument. The orchestra introduces the two main themes, as

well as motivic fragments and joining material to be extended and

reused later. The piano entry is a surprise, in that it opens with

new material or a third theme. The concerto continues on to the

restatement of the first two themes. All three themes are interrelated

to each other in varying degrees and create the feeling of cohesiveness

1 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review, Vol. 26, no. 3 (August, I965) p. I85 .

. ..'.'.Ak.''- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 130

•that is prevalent in the exposition.

The first theme opens in h minor in measure 3, after t-wo measures

of timpani introduction. It is eight measures in length and is based

on the growth of a germ idea and several motives that return throughout

the Allegro. Example 46 is a piano reduction of the opening. The

'Example 46. Hummel: Allegro moderato, Piano Concerto. Opus 89, meas. 1-23. J 1

*— i :

i i i

f |i f ; l f i .11-. 1 4 ^

■ groifth idea begins in measures 3 and 4. This short fragment is repeated

in sequence in measures 5 and 6. Measures 7-10 expand this short

beginning into a smooth ending to the eight-measure phrase. The sense

of three diatonic ascending notes as seen in the theme is measures 3 and

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4 is a motive (motive A) that will appear again and again. In this

twenty-measure opening, motive A (and related inversion, diminutions, etc.)

is noted with arrows. Another motive ( B ) is the three-note

fragment on one tone, as in the basso in measures 4 and 5. The last

of the three notes falls on a strong beat. The opening timpani roll

is a variation of this idea. The first motive noted is also based on

the same rhythm. This motive and its relations is noted by parentheses.

Strictly speaking, only those relationships that are also on one tone

will be noted. The rhythmic portion of this motive occurs frequently

and is an underlying impetus in this movement. Motive C is less frequent,

but it is a rhythmic referral to the dotted rhythm of the first theme.

Measures 11-18 consist of an answering phrase to the first phrase.

This second phrase is also built on the growth of the fragment in

measures 11-12. Measure 19 is the restatement of the theme, but with

a variation. The variation is important, because it relates to other

themes. The addition of the f-sharp at the opening of measure 19

(where there m s a rest in the original statement) provides a descending

skip of a fifth to the b on the second beat. So in this statement

the oboe begins the theme on a strong beat. The oboe ends the first

fragment (larger than the original) on the a-sharp in measure 21. The

second fragment in the clarinet begins after the a-sharp in measure 21.

The second fragment ends on the c-sharp at the end of measure 22.

Measures 23-26 repeat measures 19-22. The first oboe fragment is

obviously like measures 3 and 4, with an added note at either end. The

clarinet fragment is not in sequence with the first fragment as in

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measures 5 amd. 6. It functions as more of an answer to the oboe and is

more cadential in feeling. It does follow the rhythm of its corresponding

fragment in the original (measures 5“6).

Measures 27-41 contain six statements of the theme one fragment

(measures 3-4) in sequence. The harmony of this short passage adds

interest to vdiat could be dull repetitions of the same melodic material.

> The harmony quickly suggests C major (the Neapolitan sixth relation to

b minor) in measures 29-32. The bass line chromatically oscends an

octave during this passage and motive G can be seen near the end of

the passage. Harmonically, there are interesting jumps from one key

to another. For instance, the jump to the Neapolitan sixth is made

from the subdominant. The return to the tonic is preceded by the dominant

of the Neapolitan sixth. Then the dominant briefly leads back to the

dominant of the Neapolitan sixth which leads to the dominant of the

mediant. This series of dominant seventh chords increases the harmonic

tension before the passage closes in three more measures. This entire

opening section of theme one is a good example of harmonic crescendo,

starting with simple relationships in the key and gradually becoming

more chromatic and bold in the last fourteen measures of the entire

section. The harmonic climax occurs with the series of dominant seventh

chords mentioned above

In the shorter version used in the recording of this concerto

the second theme group begins in measure 41 rather suddenly in the key

of D major or the relative major. In this analysis the thirty-eight

measures of bridge material in the longer version before the second

theme enters will be discussed. This section actually begins in

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b minor at measure 41, with four measures based on motive A and its

inversion; these four measures continue to release the tension built up

in the preceding measures. At measure 45, an eight-measure phrase

follows, based on a running bass line underneath a slow melodic idea that

is based on the notes of the triad as is theme two ehich follows. It

ends with an augmented version of motive A. This phrase modulates to

the relative major key by way of its secondary dominant. The next

phrase of equal length begins in D major and is similar in tone. This

time the running bass line is in the upper voices of the strings, and

the bass line is now a slow melodic idea also based on the common chord.

The sequence that appears in this phrase becomes a basis of further

bridge material. At measure 61, the third phrase of this bridge section,

the bass line is a version of the oboe part of measures 11-14 in diminution.

This bass is repeated in sequence until the culmination of this section

in measures 67-70, where the dotted rhythm of motive C becomes the

basis of a purely chordal sequence. Just as the climax of the theme one

group was based on a harmonic crescendo, so is this bridge section. At

this point (measure 67), the heretofore simple harmony becomes chromatic.

Once again, a reference to C major is made, even though the harmony

has been trying to stay in D major. Then the C major becomes the dominant

seventh of F , but modulates instead to the dominant of D major (again a

dominant seventh chord followed by another). This dominant of D major

continues (measures 69-78) in quieting chords, as the tension relaxes

until measure 69 where theme two enters in D major. Motive B appears

in all parts in these last few measures.

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The theme two group begins in measure 79, but like the theme one

group, two measures of bass introduction in the tonic precede the actual

theme (measure 81). The theme itself is composed of two eight-bar

phrases, the antecedent and its answer. This if followed by a short

measure-and-a-half lead back to a repetition of the second theme. This

theme, shovjn in Example 4?, is remarkable in its simplicity— a good

contrast to the first theme— and yet it is similar to the first theme.

Example 4?. Hummel; Allegro moderato. Piano Concerto, Onus 89. meas. 79-98.

r p T 4 - P ~ n ir r r r t ir fc

FI.

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The first ties to theme one are the motives A and B, marked as previously

explained. These in themselves give an underlying feeling of unity.

The first four measures of the theme are based on notes of the D major

triad, especially centering on A. The opening ascending skip of a

sixth is important; it is referred to in measure 85 as a descending

skip of a third. The ascending diatonic movement is measure 83, aside

from being based on motive A, is also a reversal of measure 8 of theme

one. The second four measures of theme two have been noted as opening

with a descending third in reverse of measure 81. The other three

measures are a variation on a descending diatonic line. A simpler

version of the melody in measures 85-88 is shown in Figure 10.

r p f In' : It"-- n- 'V II ij t-'i i ip f id- ...... j..ji

Figure 10. Simplification of melody in meas. 85-88 in Allegro moderato in Hummel’s Piano Concerto, Opus 89.

The second phrase (measure 89) is an answer to the first, but has

a startling likeness to the theme one group. The first measure opens

Tfith an ascending fourth, an inversion of the variation of theme one in

measure 19. The theme them ascends a second and descends a third— not

unlike the motive A opening of theme one, but very much an inversion of

the second phrase of theme one in measure 11. Here the oboe descends a

second and ascends a third. Not only that, but the rhythm of measures

89 and 90 are the same as theme one, especially its variation at measure

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19. Measures 91-92 are a sequence of the previous two measures, but

differ in that they open with an ascending third. The last four measures

of phrase two end with the uses of motives C and A. The repeated note

f-sharp is reminiscent of, but does not exactly correspond to, the

rhythmic requirements of motive B. The short lead back to the theme is

also based on motive A. The repetition of the first phrase of the theme

is generally tht same. Differences are that it is now in the flute and

is partially doubled by other wind instruments. A slight melodic

variation occurs in the first half of the first phrase. The second

phrase in entirely different but functions in this repetition as an

impetus toward the closing of the theme two group. It is also based on

theme one for four measures. Then two four-measure phrases, based on

chords similar to theme two, represent the climax of the theme two group.

Tension is increased by rhythmic emphasis on the second beat of the

measure and also by harmonic crescendo (the harmonies change more often).

The section ends (measure 11?) on the dominant of the submediant or

the original key of b minor.

The closing of the theme two group (and bridge to the entrance of

the soloist) opens with seven measures of an f-sharp pedal point—

an overwhelming drive to return to b minor. This seven-measure portion

is based on sequences of motive A. The upper voices resemble the linear

movement of the joining section before the theme two entry (measure 53).

This section opens with an ascending skip of a sixth (measures 117-118),

as does theme two. The rhythm of the three-note pick-up stems from the

previous section (measure 6l).

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At measure 125, the key of h minor is first reached, althougji the

tonality is not secure until the piano enters. The climax follows with

brass referrals to motive B in diminution. The bass line in measures

125-126 comes from measure 79 (the skip of a fourth) and measure 61

(the rhythm). The release follows by references to the descending fifth

of theme one (measure 19). Again the reference to C major is made, but

in the context of the newly-retumed-to b minor. An odd modulation

occurs as the dominant of the Neopolitan sixth leads to b minor instead

of C major. From measures 140-153 is a relaxing series of slow chords

in the key of B major over a pedal point on B. The section ends on a

diminished seventh chord on a-sharp over a B pedal point (measure I53).

The piano enters in measure 154 in B major, with four measures of

broken chords before the actual theme appears. Two measures before the

theme enters, the timpani has rolls very reminiscent of those in measures

1 and 2 ; this marks the re-exposition and should normally begin with

theme one. Ttto surprising things happen. First, as the theme begins,

there is an abrupt shift to b minor. The second and bigger surprise is

that the theme is new material. This theme three in the piano solo is

based on an ascending skip of an octave. Underneath are simple broken

chords in the left hand. The seven-measure theme is shown in Example 48.

Example 48. Hummel; Allegro moderato. Piano Concerto, Opus 89, meas. 158-164.

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It is repeated ■vri.th variation at the end in meas-ure 166. This theme is

also "based on similarities to theme one. Motive B occurs twice in the

first three measures. Theme three centers on one tone (f-sharp) and

could also "be associated liith theme two which opens around the tone "a".

The sixteenth-note movement in the theme is decorative and connective,

and also is used later. Because this theme covers such a wide range,

this rapid diatonic movement is necessary to connect different registers.

In the second statement of theme three, this motion descends rather than

ascends.

A third statement of theme three appears in measure 174, but it

is in D major. This is only a four-measure, condensed version. This

short phrase is repeated in sequence and variation on the octave leaps,

as the harmony returns to b minor. Before theme three is heard again,

there is an interruption of two four-measure phrases based on theme one

as in measure 19. Two measures of the theme are heard in the oboe; then

the piano finishes with an ornamental version of the next two measures,

but in keeping vrith the harmony as in measure 19. Theme three appears

again in an eight-measure phrase in measure I90 , this time with the

rapid piano movement becoming more chromatic and faster through poly

rhythm. The phrase ends vdth a deceptive cadence. The next phrase

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begins as a highly-ornamented version of the previous phrase, capital

izing on the sixteenth-note movement of the theme and expanding it.

The harmony follows as before for three measures, but changes as the

piano continues with constant sixteenth-note movement. All this is

building to a culmination for the entry of theme one. It is preceded

also by an f-sharp pedal point (the driving dominant force in b minor)

and an emphasis on the second beat of the measure.

Theme one enters in full orchestra in measure 213 for four measures.

The piano then announces the motive A part of theme one in thick, rolled

chords that dissolve by way of a rapid, descending scale into a rapid,

pianistically demanding section. This section shows some traces of

theme one— the ascending skip of a fourth (measure 222) and diatonic

movement as in motive A. This section is full of repeated phrases and

fragments, but it is predominantly based on the harmonic sound of the

dominant of D major. Therefore, this logically leads to the entry of

theme two after the busy filigree dies down into an ascending chromatic

scale.

Theme two enters (measure 248) in D major in the piano. This theme

two group follows the earlier orchestral presentation rather closely

but with variation in the theme as it is presented in the solo piano.

Measures 248-263 obviously correspond to measures 81-97. The variations

are melodic and based on traditional ornaments— triplets, mordents,

grace notes, and some fioratura. Measure 264 is another statement of theme

two in another variation, but more clever than the first. Example 49 shows

the first four measures of this variation. The notes marked with

arrows correspond to the original theme. Measures 264-280 correspond

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Example 49. Hummel; Allegro moderato, Piano Concerto, Opus 89, meas. 264-268.

n = i = n

to measures 98-114. The material in measures 114-115 is present in

measures 281-282 in the orchestra, as the piano begins seven measures

of rapid diatonic and some arpeggiated movement that leads into the

closing of the exposition.

The closing section begins with the tutti in measure 288, Other

analysts have marked this as the opening of the development section rather

than as the closing of the exposition. Such an analysis, however, is

disputable for several reasons. First, the first part of this section

bears an obvious resemblance to that connecting material so conven

iently omitted in shorter versions of this concerto (see measure 53).

The bass line is almost exactly the same for seven measures, before it

also dissolves into the rapid movement in both hands of the piano which

is similar to the string movement in those seven measures. As the piano

provides rapid broken chords and arpeggios, the orchestra again brings

out the bass line of measure 53 (measure 295). After seven measures of

the bass line, the piano switches to rapid d.cubl? thirds as the orchestra

again plays the same bass line (measure 302). This ends at measure 308.

These three unmistakable statements of material from a previous

bridge section lead one to believe that this is also functioning as a

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■bridge to the development and is not yet development. Second, the harmony

"basically remains in the D major key set "by theme two. There have "been

and are no real harmonic wanderings in this section, as there are

associated with development sections. Third, this section is not based

on any of the three themes one would expect, although not require, in a

development section.

At measure 3O8 , the piano continues with bravura passages. The

left hand is at times like the left-hand part in theme three (measures

312-316); this is another factor to link this with the close of the

exposition. The piano becomes more chromatic and more rapid by the use

of triplets leading up to the strident chords beginning at measure 325.

Motive C is present in the orchestra. The harmony here is based on

chromatic leading similar to the harmony Hummel uses at other points of

tension. This is followed by trills and fioratura that dissolve into

a short tutti passage based on measure 288 with the same bass line idea

returning. This quickly dissolves further into slow, relaxing chords over

a pedal point on D, such as in measure 140 before the opening of the

re-exposition. Another point in favor of this section being considered

as a closing section to the exposition is that it functions as a grand

climax to the entire exposition. The peak of this climax occurs as the

rolled piano chords of measure 325 enter and continue through measure 340.

The return of the bass line idea in measure 340 marks the decline of

the tension that has been building during the exposition.

The development section begins in D major, with an opening similar

to the entry of the piano on theme three in the exposition. The harmonic

surprise is not from major to minor this time as the third theme enters.

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but from D major to B-flat major when the theme enters (measure 373).

The theme is faithfull reproduced in a new key. In measure 381, the

theme three is restated in b-flat minor. This is followed by increasing

fioratura piano work against a steady left-hand broken chord bass

established by theme three. The last seven measures of this have an

A-flat pedal point that leads to the key of D-flat.

Theme one enters in full orchestra (measure 399) after the piano

fioratura in D-flat major for four measures. The piano continues also

for four measures with filigree, but firmly states theme one in the left

hand,

A series of sequences travelling throu^ different tonalities

begins in measure 407. These first sequences are based on descending

scales, then ascending broken chords. The first pattern is set in

measures 407-414. Measures 415-422 and 423-430 continue in the same

pattern. The first pattern is in c-sharp minor (an enharmonic change

from the previous D-flat major). The second is in the key of a-flat

minor, a fourth below c-sharp. The third is in e-flat minor, a fourth

below a-flat. Although this sequence stops, the harmonic progression

by fourths continues one more step as the tonality goes to b-flat minor

in measure 431. Measure 432 marks the beginning of a new series of

sequences, each four measures long. Motive A in inversion can be seen

in the left hand. Throu^ these sequences, the harmony progresses

downward through keys a third apart. From b-flat minor the harmony

goes to f-sharp minor (a third below) in measure 432, as the pattern

for the new sequence is set. The next pattern in sequence (measure 437)

is in e-flat minor, a third below f-sharp minor. The next sequential

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pattern is in B major (measure 441). This pattern ends the second set

of sequences. From here the piano continues in a flurry of arpeggios

and broken chords, as the orchestra brings in motive A in augmentation

twice, and then brings in two statements of the first few measures of

theme one. The harmony, via chromatic but smooth modulation, eventually

rests in C major (the Neopolitan sixth relation to b minor to which

the development section is leading in the recapitulation) and its

dominant seventh chord. It is this dominant seventh chord of C major

that continues to measure 468 where there is a sudden switch to b minor.

Theme one sounds again in the wind section against the busy piano. When

the recapitulation begins in measure 480, the key of b minor is firmly

established.

The recapitulation begins with a tutti statement of theme one as

in the opening. It is an exact repetition for fifteen measures. The

piano continues a restatement of the theme as in measure 19, but here

with pianistic variations and alternating with the orchestra every two

measures. This is similar to the alternating treatment of thematic

material in measures 182-189, except that the piano begins first here.

This restatement is followed by theme three, also resembling measures

I9O-I97. Measures $ 1 1 - ^ 2 2 show traces of motive B in the orchestra as

the piano continues with a highly-ornamental version of theme three.

Measures 523-549 correspond directly to measures 220-249. Both function

as bridges to the entrance of theme two. Measures 523-549 are basically

dominant in function, but are in the same key in the major form—

B major. These measures do not function as a modulation to D major as

in measures 220-249.

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Theme two enters (measure 550) 4n the piano in B major. It follows

the theme two variations stated in measures 240-288 in the re-exposition.

Measure 590 marks the close of the theme two group as does measure 288.

This is rather short (eighteen measures) and is immediately followed by

a cadenza at measure 608.

The cadenza is in b minor and extends through measure 657. It is

a showpiece for pianistic skill, and unfortunately, has little relation

to any thematic material. Sequences, trills, arpeggios, fioratura,

and chromatic scales are some of the technical devices used. Its

harmonic thrust is on the dominant which leads to the final eleven tutti

measures in the tonic which are based on theme one.

The orchestration of the Allegro is surprisingly good in the opening.

% e n the solo piano enters in the re-exposition, the quality of

interesting orchestration declines. Hummel favors the wind instruments

in the orchestration of the Allegro. The piano dominates over the

orchestra, but not nearly so much as in his Piano Concerto, Opus 85 .

The piano part itself contains a i-d.de variety of textures, with even

some contrapuntal spots. Certainly, Hummel effectively uses all registers

of the piano for maximum benefit. Theme three is a good example of this.

Rhythmically, the movement is not as interesting as his Septet, Opus

74, for instance. There are places where the basic pulse of the music is

weakened. Few rhythmic devices are employed— only hints of accents on

unstressed beats.

Melodically, this movement is of great interest and worthy of

close analysis. The interweaving of three themes is done smoothly, yet

each keeps its own character. This is one of the outstanding aspects

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of this movement. The themes also lend themselves easily to motivic

development, not unlike those of Haydn and Beethoven. These themes are

less lyrical than those in many of Hummel's other compositions.

Structurally, this movement is a curious expansion of the traditional

concerto form. A simplified sketch of its form shows that it falls into

the normal three-part categories of a concerto— exposition, development

and recapitulation— viith the addition of a third theme that happens to

he strongly related to theme one. But theme two also resembles theme one.

And in addi.tion, theme three is different enough not to be characterized

as a variation of theme one even though both are stated in the same key.

In Figure 11, the order of theme groups is noted with appropriate

numbers. It would seem that Hummel was not just experimenting with

EXPOSITION DEVELOPMENT RECAPITULATION OPf N RE-EXPOS mo N ■mJ -..m Hi.S50 ^ IÏ 2 |5 1 2*43 |l 2 “*■“ I

Figure 11. Structure of the Allegro in Hummel's Piano Concerto, Opus 89 .

concerto fozrm by adding a third theme, but was deliberately enhancing

structural relationships by placing theme three in an overall broad

bridge or joining capacity. Its first entry in the re-exposition can

actually by interpreted as a thematic bridge between the opening and the

re-exposition, both major sections in the structure. That fragments of

theme one appear in the three group increases the likelihood that his

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joining sections often capitalize on thematic ideas. Furthermore, the

development is basically an expansion of the third theme, with traces of

theme one near the end of it. It could be supposed that the development

is only Hummel's bridge between the exposition and recapitulation,

transferring the tri-part scheme of the concerto form into a broadened

binary form. However, whether a traditional or a newer analysis is made,

one thing is certain; there is no feeling of manipulation, no conscious

ness of a squarely-cut form. There is an entire sense of shape and unity

to this Allegro, which is what form is all about.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I CHAPTER IV iI GRAED ETUDES, OPUS 125 I

The Grand Etudes, Opus 125, a-re a set of twenty-four studies for

the piano in all major and minor keys. Hummel was the first to

continue a precedent of etudes in all keys. Many other composers had

written only preludes in all keys, as Hummel himself wrote earlier—

Opus 63 and Opus 67. These studies were published not later than 1833,

I after Chopin was established as a composer but before Chopin's Etudes, I S Opus 25 were written. Several of Hummel's Etudes have been compared to I I Chopin's Etudes. Opus 25, which again shows a direct link between the I # two men. Hummel's Etudes, though, reflect a wide range of influences. 1 1 3 Schumann said they are scholarly but lacking in imagination. Hummel

apparently had a wealth of ideas on which to base these interesting and

varied etudes, but he often lacked the capacity to expand, develop and

vary the ideas to any great extent. This seems to be his biggest

drawback throughout many of his compositions.

Pedagogically, these piano studies range from relatively easy

pieces to advanced material. They do not reach the difficulty of

Chopin's Etudes, but they do offer a challenge to the less advanced

student. All sorts of technical demands are present in these etudes,

including rapid scale passages, rapid double thirds, legato playing,

crossed hands, arpeggios, rapid octaves, octave displacements, wide

1 Richard Davis, "The Music of J. N. Hummel; Its Derivations and Development," The Music Review. Vol. 26, no. 3 (August, I965) p. 187.

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jumps in register.

Two particularly lovely etudes bear discussion; Etude, Opus 125,

No. 8 and Etude, Opus 125, Ho. 12.

Etude, Opus 125, No. 8

il This etude is a technical exercise in rapid octaves. Recurring H i patterns in octaves include a descending diatonic passage and the pattern established in measure 1. This etude is structured in an ABA*

form, the B section being a lyrical contrast to the explosive A section.

Phrases are generally even-numbered— mostly eight measures long.

Pianistically, this is an interesting work. It fits the hand so well. ; ■i- Wide ranges of the piano are effectively used. The harmony is sli^tly

I unusual and a number of modulations occur in such a short piece. y Melodically, there is only motivic interest in the A section. The B

section has a long spun-out melody, but is of secondary importance to

the harmonic changes that are occurring beneath it. As was evident in a previous works, Hummel is very skillful at joining sections. The short

bridges in this etude are smooth and clever passages to other sections. 'I i They are hardly noticed for idiat they are because they overlap with

$ sectional material.

i^ The first phrase will show the type of octave movement used and

give the spirit of the A section. This phrase is shown in Example 50.

I The meter is g. The right hand of the first measure centers on the

I note "a" and all other tones are neighboring tones or references to

I the dominant over the "a" pedal point in the left hand. The overwhelming

I sound, though, is tonic until measure 5- In fact, a reduced plan of

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Example 50* Huiimel; Etude, Opus 125, Ho. 8, meas. 1-9.

i f f- ■Hf- I m ni m m m m m g

M i m m

h K H •—» r' 1---- y ^------M H------}------H — j— 1— -1-*— - - ¥ = p i j t rrI 1--- F r —1 Â 1 .»— ■—* — J^ 1 4L ?

the melody and bass line of the first phrase in shown in Figure 12.

-O -" ' ■ ^ — -H- — #9— —##- Ü ____ ^ ....f 6 ------V dftn/tcs

A nseNcmeitt -6 ------■e------o------— “O" 4 ------' = r - ^

I s I * I * I 3B »V

Figure 12. Structure of outer voices in meas. 1-9 in Hummel's Etude, Opus 125, No. 8.

1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 150 I An even more basic shell of these voices appears in Figure I3 . I m.M. I à m m

Figure I3 . Condensed structure of outer voices in meas. 1-9 in Hummel's Etude. Opus 125, No. 8.

The A section material is mainly based upon its harmony. The melodic

structure is only a reinforcement of this. Ifhat is more interesting

is that the first phrase is a miniature of the A section, in that its

brief reference to the relative major— C major— is to the same key to

which the A section modulates. The A section ends in C major, unlike the

first phrase, and does not return to a minor until the return of the

A* section.

The B section is approached with the same octave motion in triplets.

The harmony is now G major, and it ends in C major with a measure of

triplets on the note C (measure 28). This tonic G major sound, elongated

by the pivot note G, becomes the dominant seventh of F major in measure

2 9 , which marks the opening of the B section. In actuality, this B

section begins on the dominant sound of its key— F major. It is in 2 meter but has triplets to continue the sense of unity. The tonic

F major does not appear until measure 30, the second measure of the

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B section.

The melody of the B section, thou^ lyrical, is also based on

harmonic structure and is of little interest. Its function is to create

a mood contrast which it does. The first phrase of the B section is

shown in Eb:ample ^ 1 . This is the only phrase that is totally in F major.

Example ^ 1 . Hummel; Etude, Opus 125, Ho. 8, meas. 29-36.

J*-7 è ; m ïLfZl mm T v y Î r i

The second phrase begins to wander harmonically. A tonal and melodic

analysis of this first phrase is shown in Figure 14. Its basic

Figure 14. Condensation of meas. 29-36 in Hummel’s Etude, Opus 125, Ho. 8.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 152 i impetus leads the melodic C ot the final note F or, in other words,

from dominant to tonic.

The next phrase modulates to d minor, where it quickly lapses

hack into a minor, via the dominant of a minor. The meter reverts B 6 I to o 3.t measure 52, which marks a bridge to the return of the A* section. * o H The first part of the bridge is concerned with fragments from the B 1 I section that gradually grow into material from the A section. It ends

Ii with an ascending chromatic scale above a descending a minor scale

1J that immediately blends vdth the return of the octaves of the A' section. I f So the bridge combines fragments of the sections on either side of it

I and blends them so smoothly that a definite point of connection seems

I to be absent. I i The A* section begins with an exact repetition of measures 1-9. I I This is followed by an ascending sequence of the measure-one pattern I ^ and is combined with a series of tonal changes. The tonality touches I I on the Neopolitan sixth chord that leads to a series of secondary I t, dominants with resolutions (measures 73-76). It is here that the i I climax of the etude is reached, by way of harmonic tension and crescendo, I I by the use of sequences, by the extended upper register of the right I i hand and by lengthening the phrases to beyond the normal span. This i I climactic phrase is thirteen measures long (measures 70-82). What I I follows this dramatic fight of the dominant tonality, finally resolved H :> by the tonality of a minor in measure 82, is merely repetition of I i patterns in a minor to establish that the tonic has been achieved J i and will stay there. A schematic graph of the harmony of this etude

■-} is illustrated in Figure I5 , as follows.

1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1^3

in (t minor H i itiF iM ^ r

r r — I------I./H- t ' f l L 'E

*n I im.ll m.20 m.li m .30 m.3? in 45

in OLmânAr r i Nt 14 i Xrf 3Î Ï HE I Z Z

tti-ti m.11 m l 3 m.'W m.l5 m %

Figure I5 . Harmonic plan of Hummel's Etude. Opus 125, Ho. 8.

Etude, Onus 125, Ho. 12

This etude in h minor is based on two motivic patterns that both

appear in measure 1. These two patterns recur often, while the

structure of the etude is based on its harmonic plan. It is built on

an ABA* form, but the B section is in little contrast to the A section.

This short middle section is in the relative major of the original key.

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The A section is in the key of h minor and is built on two phrases—

one four-measure phrase and one five-measure phrase. The motives

mentioned above are evident in this excerpt of phrase one in Example 52.

Example 52. Hummel: Etude. Opus 125, Ho. 12, meas. 1-4. i' d t m

m I Jî j Ï a

I The first motive is built on the rhythmic pattern taken from the right hand of measure 1. It is in two voices, the lower being slightly

more important. Example 53 is this motivic pattern. The bracketed part I Example 53- Hummel: Etude. Opus 125, Ho. 12, I meas. 1, right hand.

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I of this pattern will later he singled out for sequential treatment as

a suh-motive. The second, pattern is less definite hut is based on the

i left hand in measure 1. It consists of running sixteenth-notes in

generally ascending motion. It contains a broken chord as its basis

I and is modified by the use of neighboring tones, passing tones, and

anticipations. It varies slightly with each use of this motive or

pattern. One definite characteristic does appear in most instances, i making this pattern more than a rhythmic motive. It is the use of an upper-neighboring tone in the fourth sixteenth-note of the first and I third beats and is followed on the next downbeat by a return. The left-hand patterns of measures 1 and 2 are shown in Figure 16. Both

Lower ntiglifcot- &n

Ufpcr n«i^kk«r -fouréh ftticenik note. #4 finé «n-wl ketcti-

Figure 16. Second motivic pattern in Hummel's Etude, Opus 125, No. 12, meas. 1 and 2.

motives are controlled, as again harmony dominates over melody.

The A section progresses normally from tonic to the relative major,

throu#! the use of the secondary dominant of D major. Because there

are two right-hand voices, Hummel is able to use suspensions in the

second phrase of the A section, therefore affecting the harmony. The

presence of two voices also affects the rhythm, as one voice is subtly

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§ The B section begins in measure 10 in D major and is directly

related to the A section. The left-hand running sixteenth-notes are r now in the right hand, while the left hand has two-voiced material. i I This left-hand part is only a harmonic support and is not a form of g the first motive. The section lasts for one four-measure phrase—

I hardly enough to be called a section; but in relation to the brevity

of this etude, it can be so considered.

# Section A' returns in measure 14 in b minor. Measures 14 and I5

I are exactly like measures 1 and 2, but are followed by new developments. I ^ It is this part of the etude that is filled with the two motives, but I à in new tonal sounds. Unfortunately, there is little motivic variation

^ and the harmony is not always captivating. The harmony is interesting

I as a climax builds. Tonal changes become more frequent and more

I distant as a harmonic crescendo accumulates. Other factors leading up i to the peak of the climax in measures 23-25 are the addition of an

extra voice, thus thickening the sound, the use of sequences in the

left hand, built on the sub-motive of motive one and on motive two,

the increase of the upper range of the piano, and the increase of

chromatic movement. The last five measures are anti-climactic and

merely reinforce the tonic key and release the tension previously

accumulated. The two motives are alternated between hands in mid

measure for an interesting effects. -

I The wonderful blend of the two motives as seen in the opening 1 g measures is strong in its resemblance to Ghopinesque piano figurations.

I The clash of non-chord tones adds to its pathos and passion in a way

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Chopin would have approved. And, like Chopin, beneath this chromatic

and sometimes dissonant sound is a simple tonal structure. The tonal

plan for this etude follows in Figure 1?.

B minor D major

i IE m i

m l m.

Ô tninor ::7 I ir H-*\ U Kit Korn«,«i» A H Ï

«J-I7 m-18 m.l9 mJU) m-21 m-24 rn. 2S m.2é*30 V ------

V ______Harmonic Cl*moX

Figure 17. Harmonic structure of Hummel's Etude, Opus 125, No. 12.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PART THREE

BIBLIOGRAPHY

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY

Abraham, Gerald. Chopin's Musical Style. London; Oxford University Press, 1939.

. History of Music in Sound. London: Oxford University Press, 1958.

Benyovszky, Karl. J. N. Hummel, der Mensch und Kunstler. Bratislava: i EOS, 1934.

Berger, Francesco. "More Retrospects," Monthly Musical Record. LX: 716 (August, 1930), 228.

Bie, Oscar. A History of the Pianoforte and Pianoforte Players. New York: E. P. Button, 1899.

Blom, Eric, ed. Groves' Dictionary of Music and Musicians. 5th ed. 9 vols. London : Macmillan and Co., Ltd., 1 9 ^ .

______. The Romance of the Piano. London: Foulis, 1928.

Bone, Philip. "Johann Nepomuk Hummel," The Cadenza. XII (I906), 10-12.

Bremont, Anna de. The World of Music. London: W. ¥. Gibbings, 1892.

Broer, Frederick Edward. "The Solo Piano Sonatas of Johann Nepomuk Hummel." Unpublished master's thesis. Indiana University, September, 1967. (Xerox copy. Indiana University Library)

Carse, Adam von Ahn. The Orchestra from Beethoven to Berlioz. Cambridge: W. Heffer and Sons Limited, 1948.

Chorley, Henry Fothergill. Modern German Music. 2 vols. New York: Da Capo Press, 1854.

. Thirty Years of Musical Recollections. Edited with an intro duction by Ernest Newman. New York: Alfred Knopf, I926.

Cobbett, Walter W. Cobbett's Cylopedic Survey of Chamber Music. 2 vols. 1 London: Humphrey Milfoird, 1929.

Culshaw, John. The Concerto. London: Max Parrish and Co. Ltd., 1949.

Czemy, Carl. "Recollections from My Life," Musical Quarterly. Trans lated by Ernest Sanders. XLII (July, 1956),302-317.

Darnell, R. D. Schirmer's Guide to Books on Music and Musicians. New York: G. Schirmer, 1951.

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Davis, Richard. "The Music of J. N. Hummel; Its Derivations and Development," The Music Review. XXVI:3 (August, I965), 169-191.

Dissertation Abstracts, vols. 14-1954. Ann Arbor, Michigan; Univerraii Microfilms.

I Duckies, Vincent. A Guide to Reference Materials on Music. Berkley, I California: University of California Press, 19^9.

1 Einstein, Alfred. SchubertNew York: w. W. Norton and Co., 1949.

Firskin, J. and Irwin Freundich. . Music for the Piano. New York: I Rinehart and Co., Inc., 1954. 1 Grew, Sidney. Makers of Music. London: G. T. Foulis and Co., Ltd., 1924.

Grier, Christopher. "Two Forgotten Concertos," Music and Musicians. I XVI (August, 1968), 41.

Goddard, Scott. Review of Karl Benyovszky, _J. N. Hummel, der Mensch und Kunstler, in Music and Letters. XVII:2 (1936), 162.

Goldman, Richard Franko. Review of J. N. Hummel, Septet. Opus ?4, in Musical Quarterly. LIII:1 (January, I967), 140-143.

Hamilton, Clarence G. Piano Music; Its Composers and Characteristics. Boston: Oliver Ditson Co., 1925.

Harding, Rosamond. The Piano-forte. Cambridge: The University Press, 1933.

Highfill, Philip H. "Communications," Journal of the American Musicological Society. IX:1 (Spring, 1956), 70-71.

Hill, Ralph. The Concerto. Baltimore: Penguin Books, Inc., 1952.

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