Hummel Note
Research notes of composer Hummel
What Hummel wanted to convey —
From “A Comprehensive Treatise on the Theory and Practice of Piano Playing”
Based on the 1828 second edition, I will introduce Hummel’s educational perspectives and performance theories of the time, focusing on what he discusses beyond musical examples and playing techniques.
From J. N. Hummel’s “A Comprehensive Treatise on the Theory and Practice of Piano Playing” (published in 1828), I will present translations of passages in Hummel’s own words.
Preface (On the Occasion of Publication)
Music, among the fine arts, occupies the most important and noble position.
For it plays an essential role in education and, by influencing the emotions and taste (aesthetic sensibility), it promotes the moral and aesthetic formation of the human character.
Among the means of such education, in recent years the piano (pianoforte) has become the instrument most widely used by both men and women.
Since Carl Philipp Emanuel Bach set a model for instructional works for this instrument, many such methods have been published. However, with few exceptions, most of them are nothing more than excerpts that merely repeat previously stated content in different words or forms.
As a result, little serious consideration has been given to improvement and progress, or to the expanded possibilities of the instrument.
Consequently, many issues have remained unresolved.
Through many years of teaching experience, I have sought to remedy these deficiencies as far as possible and to provide a more complete work.
Moreover, Her Imperial Highness, the Grand Duchess of Saxony (Maria Pavlovna of Russia), a noble and discerning patron of the arts, showed direct interest in my method of instruction and encouraged it, which strengthened my resolve to write this detailed treatise.
From the outset, I did not intend merely to produce a narrowly scoped manual; rather, I endeavored to create a work suited to our time—one that would be useful not only to students but also to teachers.
For this reason, I have organized the entire content from as elevated a perspective as possible.
His Imperial Majesty, who is well known for showing constant favor and support toward improvement and progress in all fields of learning, has also taken a special interest in this endeavor of mine and has graciously permitted me to place his august name at the beginning of this work.
While I receive this highest favor with great honor, I have but one wish: that this work may prove worthy of such distinction and may again merit His Majesty’s approval.
With the deepest respect and loyalty,
I here lay down my pen.
Most respectfully,
J. N. Hummel
From J. N. Hummel’s “A Comprehensive Treatise on the Theory and Practice of Piano Playing” (published in 1828), I present a translation of the introductory preface from the first edition, as well as
a translation of the additional “Preface” included in the second edition.
Preface
Today, the piano is the most widely used of all instruments, and this is only natural.
For this instrument is capable not only of expressing the full richness of harmony, but also of easily producing well-ordered music consisting of multiple voices.
Moreover, on this instrument, almost every kind of music can be performed with a sufficient degree of completeness.
Thus, the piano is not only an independent instrument in itself, but may also be regarded as a representative of all other instruments.
The piano is also the most complete and convenient instrument for accompanying singing and other instruments.
In addition, piano playing carries far less risk of harmful effects on the body than many other instruments, and even those of the weakest constitution can play it without injury to their health.
The inconveniences and disadvantages often found in other instruments are scarcely encountered with this one.
These advantages, together with the remarkable development the instrument has undergone over the past twenty years, are doubtless the principal reasons why the piano has become so widely распространated and why so many people have attained a high degree of technical skill.
As a result of this progress, the style of composition for the piano has also gradually undergone significant changes, and far greater and more demanding techniques are now required than before.
Accordingly, the principles of instruction previously established—especially those concerning fingering—have required important modifications.
Encouraged by many friends and piano teachers, I have now attempted to write a method suited to this new era of the instrument.
I therefore present this work to the public as a guide to piano playing.
Yet I do so not out of vanity, but in order to respond to the trust placed in my love for the art, and from a desire to be of some service.
From the outset, I did not intend merely to write a manual that would enable one to play the piano easily and in a short time.
Rather, I have written for those who seek to acquire not only practical skill but also theoretical understanding, and thereby to become truly well-grounded performers.
Accordingly, in this book I have nowhere sought to boast of novelty or originality.
Instead, I have incorporated, as far as possible, the useful insights that many distinguished musicians have expressed over more than half a century, based on their reflection and experience, and have made use of them where appropriate.
At the same time, I have added what seemed better suited to contemporary styles of performance and composition, and removed what had become unnecessary.
I have also endeavored to maintain a systematic structure that allows for gradual progress, to clarify many points that have previously remained obscure, to ensure that explanations are concise and clear, and to provide ample examples throughout.
If this method should prove useful not only in the present but also in the future, it would be the greatest reward for my efforts.
December 1827
Weimar
J. N. Hummel
Addendum to the Second Edition (Summary)
This work has received a far more favorable reception than I had anticipated and has become widely disseminated. While I feel deep gratitude for this, I have also felt it my duty, in preparing a new edition, to make improvements wherever possible.
The musical examples have been left largely unchanged, but the textual portions have undergone considerable revision.
The principal aims are threefold:
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Improvement of the style of writing
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More precise definitions of concepts and terminology
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The addition of brief but important supplementary remarks
These revisions extend throughout the work, but particularly substantial changes have been made in Part III, especially in the chapters on:
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General performance
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Beautiful playing and expression
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Free improvisation
Advice to Parents and Teachers
Since the foundation of education is of paramount importance, the choice of a teacher should not be based on low fees, but rather on the following considerations:
The teacher should:
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Possess sufficient knowledge and have received a good education
(Bad habits formed at the beginning are extremely difficult—sometimes impossible—to correct later.) -
Have a clear and comprehensible method of instruction
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Treat children with kindness and patience, while also maintaining appropriate firmness when necessary
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Be of a character approachable to children, encouraging their motivation and fostering their interest in music
Parents often wish their children to be able to play many pieces after only a short period of study. However, this is not only useless but harmful, as it deprives the student of the time necessary for a proper foundation.
That said, for students who have made some progress, occasional performance in front of others can be beneficial, as it encourages effort and builds courage and confidence.
Beginners should receive at least one hour of instruction daily for the first six months, preferably for a full year.
If a student is left too long without guidance before understanding how to practice independently, there is a danger of acquiring bad habits.
On the other hand, some advancing players believe that they must practice six or seven hours a day in order to improve. However, I assert the following:
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A maximum of three hours of regular, focused practice per day is sufficient.
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Excessive practice dulls the mind, produces mechanical playing, and is often more harmful than beneficial.
In general:
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Girls should not begin music education before the age of seven
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Boys not before the age of eight
Unless there is exceptional talent or strong interest, very young children lack the capacity to understand the purpose of study and may quickly lose interest.
Additional Advice to Teachers
Teachers should:
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Take a genuine interest in the student’s progress
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Never allow bad habits to develop
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Once a foundation is established, include enjoyable pieces in addition to exercises
They should also ensure that students:
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Develop the habit of reading music
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Do not play too fast
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Acquire an accurate touch and sense of tempo
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Play on properly tuned instruments
If teachers follow this method, students will acquire the ability to play correctly and will later fully benefit from their achievements.
Weimar
J. N. Hummel