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 own discussions on educational perspectives and performance theory of his time, focusing on aspects other than musical examples and playing techniques.
Now, the section that particularly caught my attention:
In Volume III, Chapter 4, “On the Proper Treatment of Pianos with German or English Mechanisms,” Hummel discusses the English-style piano, known for its heavier action, and the German (Viennese)-style piano, characterized by a lighter action. This appears to be a particularly valuable passage.
I will introduce Volume III, Chapter 4, but before doing so, I will first provide a general explanation of the English and Viennese types.
Viennese and English Pianos
In Hummel’s time, the piano was still undergoing continuous development. At that period, two main types predominated: the English and the Viennese. Hummel himself favored the Viennese piano. The range of the piano in his earliest sonatas (Op. 2a–3, 1792) spans five octaves (FF–f³), which corresponds to the range found in Mozart’s piano works.
The frame was made of wood, and compared to later metal frames, this posed limitations in strength; as a result, the strings were thinner, the hammers smaller, and they were covered with soft leather—characteristics of what is generally called the fortepiano. On the other hand, dampers were applied up to the highest register, which allowed for very clear articulation. For this reason, the instrument is said to have excelled in the expression of nuance, varied melodic shading, and fine ornamental detail.
There were no pedals in the modern sense; instead, dampers were controlled by knee levers (Mozart’s Walter piano also had knee levers). The action was light, and the response quick and direct.
As for the English piano, it has been discussed in remarks and CD commentaries by Geoffrey Govier, from which the following is cited:
The English piano differed from the Viennese piano in several respects. Its range extended to five and a half octaves (Ff–c⁴), somewhat wider than that of the Viennese type, and it was equipped with two pedals to operate the una corda and dampers. The instrument was generally larger and more robustly built, and, like modern grand pianos, the highest strings were not fitted with dampers.
The general effect of damping was considerably less responsive than on the Viennese piano, and it is said to have lacked the same clarity of tone. Because the action of the English piano was much heavier, it was reportedly criticized by those accustomed to the Viennese instrument. However, owing to its advantages and particular characteristics (such as the variety of tone produced by differing pitch qualities), its qualities were effectively utilized by composers such as Haydn and Dussek, who became familiar with English pianos.
— Geoffrey Govier
Note:
Historical performance studies and research (sources cited or associated with Govier):
(1) Notated and Implied Piano Pedalling c.1780–1830
David Rowland / University of Adelaide, doctoral dissertation (PDF)
This study discusses pedaling practices in the late 18th to early 19th centuries and touches on the influence of the English piano.
Up to this point, I have outlined the general characteristics of Viennese- and English-action pianos. Next, I will present their respective playing styles in Hummel’s own words.
From Hummel’s 1828 “bible” of piano technique, “A Comprehensive Treatise on the Theory and Practice of Piano Playing,” I present a full translation of Hummel’s own explanation from Volume III, Chapter 4:
“On the Proper Manner of Playing Different Types of Pianos—Concerning the German (Viennese) Action and the English Action.”
Section 1
Even the most accomplished performer will often find it difficult to play when confronted with an unfamiliar type of action. For this reason, it is important to offer some explanation of the action of the piano.
Section 2
In general, there are two types of piano action. One is the German (Viennese) action, which is easy to play; the other is the English action, which is more difficult to play.
Section 3
Needless to say, each of these two types of action has its own particular advantages. The Viennese action can be handled even by the most delicate and refined hand. With it, the performer is capable of producing a wide variety of nuances, and of eliciting sound with great sensitivity and clarity. Its rich, flute-like tone stands out beautifully, especially in large halls when accompanying an orchestra. Moreover, the player need not become so preoccupied with execution as to disturb the smooth flow of sound. In addition, these instruments are durable and are sold at about half the price of those with English action.
The Viennese piano, however, must be treated in accordance with its nature: striking or pounding the keys with the full weight of the arm is not permissible, nor is a dull touch. Rather, strength of tone must be produced solely through the elasticity of the fingers. For example, thick chords are usually played in rapid arpeggiation, which is far more effective than striking all the notes strongly at once. For men, it is recommended to choose an instrument whose touch is neither too shallow nor too light.
Section 4
The English action, on the other hand, undeniably possesses advantages in terms of sustain and fullness of tone. However, it cannot be said to have reached the same level of refinement as the Viennese piano. Its touch is much heavier, and the keys sink very deeply; as a result, the hammer does not respond quickly in repeated passages.
Those not yet accustomed to such instruments must not be misled by the deep key dip or heavy touch. Rather, one should avoid forcing the tempo, and even rapid passages or roulades (ornamental runs) must be played lightly and with ease, as usual. Even in passages that call for power, the English piano does not possess the same variety of tonal nuance as the Viennese; therefore, striking the keys more forcefully does not necessarily produce a stronger sound than that obtained from the natural elasticity of the fingers.
At first, one may feel some discomfort when playing an English piano. In particular, when playing roulades at forte, one must avoid pressing the keys fully to the bottom, and instead keep the motion more superficial. Otherwise, one becomes overly concerned with the mere act of “striking” the keys, and the effort required to achieve a perfect performance is doubled. However, if one succeeds in making the instrument “sing,” its rich tone becomes a true advantage, capable of producing a distinctive charm and beautiful harmony.
That said, although English-action pianos resonate very well in small rooms, their tonal character changes in large halls; when combined with a complex orchestral accompaniment, the sound does not project as effectively as that of the Viennese piano. In my view, this is likely due to the instrument’s thick and rich tone.
From this, it becomes clear that Hummel preferred pianos with the Viennese action.
Today, when one speaks of a “Viennese piano,” one might think of Bösendorfer; however, even these instruments now employ systems that do not essentially differ from the English action, and it can be said that there is no longer a true mainstream Viennese action in the historical sense. There are many recordings performed on period instruments, and in such cases one often encounters Viennese-style instruments by makers such as Walter, early Bösendorfer models, or their replicas.
It must be kept in mind, however, that circumstances at the time were quite different. The acoustics and scale of concert venues, as well as the sound and volume of other instruments such as strings, differed significantly from those of modern concert halls. If one performs today in a large hall on this type of Viennese piano (a historical instrument), the sound may easily be overwhelmed by the orchestra and become inaudible. Therefore, Hummel’s remarks must be understood in the context of a completely different era in terms of environment, performance conditions, and instrument capabilities.
Incidentally, Chopin also appears to have favored pianos with a Viennese-type action, with makers such as Pleyel and Érard often being mentioned.