Hummel: Piano Sonatas [Import]

Johann Nepomuk Hummel (Composer), Stephen Hough (Performer) | Format: Audio CD

Product Details

• Performer: Stephen Hough
• Composer: Johann Nepomuk Hummel
• Audio CD (December 9, 2003)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Import
• Label: Hyperion UK
• ASIN: B0000CE0YX
• Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
• Amazon Best Sellers Rank: #16,779 in Music (See Top 100 in Music)
  • #37 in Music > Classical > Forms & Genres > Sonatas > General
  • #92 in Music > Classical > Forms & Genres > Sonatas > Sonatinas

Track Listings

1. Allero

2. Largo Con Molt'espressione

3. Vivace

4. Allegro Moderato, Ma Risoluto

5. Un Scherzo All'antico: Allegro, Ma Non Troppo

6. Larghetto A Capriccio

7. Allegro Vivace

8. Allegro Moderato

9. Adagio Maestoso

10. Presto

Customer Reviews

Most Helpful Customer Reviews

20 of 22 people found the following review helpful:

5.0 out of 5 stars A Sparkling Performance, February 17, 2004

By 

D. A Wend (Arlington Heights, IL USA) - See all my reviews
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This review is from: Hummel: Piano Sonatas (Audio CD)

I was privileged to hear Stephen Hough play Hummel's Piano Sonata in F sharp minor last year, and his performance made a deep impression on me and so led to my purchase of this CD. Hummel is one of those composers who have been unjustly neglected after his death. Much of the credit for the new interest in this composer is due to Mr. Hough who resurrected the A minor and B minor piano concertos in the 1980's.

Stephen Hough brilliantly plays the three piano sonatas recorded here. They are works that contain a blending of the Classical past, reminding one of Haydn and Mozart, and also look toward the Romantics, like Schumann. During his life, Hummel was thought of as the equal of Beethoven as a pianist and his music was an influence for Mendelssohn, Liszt, Schumann and Chopin. Eventually, Hummel settled in Weimar where he became a close friend of Goethe and performed in the famous author's house frequently.

Hummel composed about 25 sonatas, mostly written before he became a mature composer, and the ones selected by Stephan Hough represent Hummel at the peak of his writing for the piano. The sonatas have drama, brilliance and pathos. The opus 81 is a quite a challenge for the player in that Hummel has the player running the span of the keyboard in a single measure. There are dramatic surges of rapid playing and introspective moments of reflection, particularly in the beautiful Largo, but even in the slow center movement there are rumblings. The longest of his sonatas is the opus 106 in D major and is also the only one cast in four movements. Compared to the opus 81, this sonata is less energetic and more conservative in the writing for the instrument. Portions of the second and third movements are reminiscent of John Field, and the sonata displays the maturity of the composer in the development of the ideas.

Stephen Hough plays these sonatas with great feeling and brilliance. This is a disc certain to please listeners who enjoy Mr. Hough's playing and love the keyboard music of the early 19th century.

17 of 20 people found the following review helpful:

5.0 out of 5 stars OUT OF THE SHADOWS, July 10, 2004

By 

DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
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This review is from: Hummel: Piano Sonatas (Audio CD)

Hummel is the sort of composer one mainly reads about in books and articles on Mozart Beethoven or Chopin. The liner note reveals that as late as 1950 there were only two trifles by him on record at all, and I have to admit that in my own collection he has been represented until now only by the trumpet concerto, although I seem to have known him all my life through reading about Chopin Beethoven and Mozart. From as early as a single generation after he died, he started to be subjected to foolish and supercilious put-downs. The note-writer Jeremy Nicholas properly rebuts that sort of thing, and gives what seems to me a very fair and balanced appraisal of his subject. This is not music that scales the heights, but I would call it very agreeable and interesting music, and unpretentious music too, making no ascents in the balloon. It seems that even the generous-spirited Schumann predicted that one of the sonatas on this disc was going to be all of Hummel that would live into posterity, and I for one am pleased that posterity has done better than that.

Stephen Hough is a player whose work I know a little, and the style he adopts for this selection seems to me very acceptable. He uses a Steinway and not a contemporary instrument, and I have no problem with that. His dynamic range is neither restricted nor overdone, his tempi seem judicious and when real virtuosity is required in the final movement of op 20 he turns it out effortlessly. His tone-quality is warm, and if I had to compare him to a major player of the previous generation it would perhaps be Kovacevich who comes to mind. This record doesn't give me quite enough material to identify a fully distinctive personal style, and the page about him in the leaflet predictably bestows on him that vague and conventional laudation that is distributed like the gentle rain from heaven upon the earth beneath and on its own would not distinguish his musical personality from a thousand others. There is little or nothing in the performances to criticise, I should say, for the general music-lover wishing to know the composer better, and a great deal to admire and learn from.

The three sonatas on this disc date from when the composer was 29 to when he was 46. Jeremy Nicholas seems to me reasonable in his general comments, but I wish he had not spoiled them with occasional sloppy thinking. Chopin's etudes, for one thing, are not written in the 24 keys. His preludes are, but I'd feel pretty sure Bach had more to do with that than Hummel. Nor do I perceive that the Alberti base was some `mainstay of the classical sonata'. Mozart used it aplenty, but of Haydn the statement is far from true. Again, I can't see how the fact that the F# minor sonata has no first movement repeat makes it resemble a fantasy. Does Mr Nicholas find that Beethoven's Appassionata resembles a fantasy for this reason? And again, the sonata in D is longer here than the F# minor only because the repeat is observed, and the number of bars in each is completely irrelevant.

The recorded sound is good and well tailored to the touch that Hough adopts. As an introduction to a minor, neglected and interesting master I have found this disc a very welcome addition to my own collection. I shall be both saddened and surprised if many do not feel the same way.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Great works (at least 2 of them) - great performances, May 1, 2011

By 

Efraim Israel - See all my reviews

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This review is from: Hummel: Piano Sonatas (Audio CD)

The Sonata in F sharp minor seems to be very hard to play even in our days when musical performances, with respect to both technical skill and deep understanding, reach levels that would give inferiority complexes to many famous musicians of the earlier generations. But here the virtuoso devices, including the top speed slides on the clavier, are not empty claptrap acrobatics but integrated structural parts of the whole, not unlike what we see in Haydn's works where mere little ornaments often become basic elements of the motivic development. This is why in this case the emphatically virtuoso interpretations, like that of Stephen Hugh known for his superb technical dexterity, are not superficial as usual but on the contrary they grasp one important specific character of the work more deeply than those personal readings that pay more attention to highlighting details or enriching them with subtle nuances.

Nine recordings are available. The other good performances are Hobson's, Malcolm Binn's and Constance Keene's - all different in spirit. If you like highlighting details or enriching them with subtle nuances you should buy Constance Keene; if you want it titanic, stormy, buy Hough. If you like fortepiano, buy Malcolm Binns. I enjoy it, even though I don't like fortepiano; this one has not the usual poor and unbalanced sonority.