Hummel: Piano Sonatas [IMPORT]

Johann Nepomuk Hummel (Composer), Stephen Hough (Performer)

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: 4.2 out of 5 stars  See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #185,291 in Music (See Bestsellers in Music)

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Track Listings

1. Piano Sonata No. 5 in F sharp minor, Op. 81: Allegro

2. Piano Sonata No. 5 in F sharp minor, Op. 81: Largo con molt'espressione

3. Piano Sonata No. 5 in F sharp minor, Op. 81: Vivace

4. Piano Sonata No. 6 in D major, Op. 106: Allegro moderato, ma risoluto

5. Piano Sonata No. 6 in D major, Op. 106: Un scherzo all'antico: Allegro, ma non troppo

6. Piano Sonata No. 6 in D major, Op. 106: Larghetto a capriccio

7. Piano Sonata No. 6 in D major, Op. 106: Allegro vivace

8. Piano Sonata No. 6 in D major, Op. 106: Piano Sonata in F minor, Op. 20

9. Piano Sonata No. 6 in D major, Op. 106: Piano Sonata in F minor, Op. 20

10. Piano Sonata No. 6 in D major, Op. 106: Piano Sonata in F minor, Op. 20

Editorial Reviews

Amazon.com

Hummel was a favorite pupil of Mozart and a serious rival to Beethoven both as pianist and composer. Overrated in his day, he is unjustly forgotten in ours. Hough has already proven his Hummel credentials with a ground-breaking recording of two Piano Concertos on Chandos in their extremely difficult original versions. Hummel's Sonatas may not compare with Beethoven's in their concision or profundity, but they are still fascinating, prototypes of the coming Romantic era and full of imagination and invention. This music has all been recorded before, but never with the kind of panache Hough brings to it. Some of the passages in fast movements sound as though two pianists are playing them, but it's all Hough, proving what the MacArthur Foundation said about him when they awared him one of their "genius grants." If you don't know Hummel at all, the Concertos may be an even better introduction to his music, but this is also a highly impressive sample of his best work. --Leslie Gerber

Customer Reviews

Most Helpful Customer Reviews

16 of 17 people found the following review helpful:

5.0 out of 5 stars Hummel rediscovered by Hough, December 9, 2003

By	odalys90 "odalys90" (So San Francisco, CA United States) - See all my reviews

This is a refreshing disc to listen to, of a classical composer whose music is relatively little-known.
Stephen Hough's playing is thoughtful, intelligent and with the colorful qualities that I so enjoyed in his CD "Stephen Hough's New Piano Album."
Mr. Hough plays this music passionately. He understands every nuance, bringing a life to each piece and bringing out their beauties, which should inspire and motivate other pianists to tackle this neglected repertoire.
These classical sonatas are a nice departure from the great, but far too commonly-played, Beethoven sonatas. Hummel has lovely tunes that are comparable to several melodies found in the Beethoven or even Mozart sonatas. The presentation of any or all of these sonatas on stage would greatly help steer away from the monotony of many an all too common recital program.

14 of 15 people found the following review helpful:

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

By	D. A Wend (Buffalo Grove, IL USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

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.

10 of 12 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 (TOP 500 REVIEWER)    (REAL NAME)

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.