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.
In this treatise on piano playing, Hummel places stronger emphasis on the importance of improvisation than on technical execution itself. But why is it so important? Let us consider this from the following three perspectives:
Improvisation was an essential skill for pianists of the time
Hummel’s concept of improvisation directly connects to Chopin and Liszt
The original meaning of the prelude (which differs greatly from the modern understanding)
What Hummel Sought to Convey as a Pianist-Educator
1. For Pianists of the Time, Improvisation Was a Given
Today, classical pianists primarily focus on playing faithfully from the score; however, in the early 19th century, the situation was quite the opposite. The ideal pianist of that time was simultaneously a composer and a performer—and, moreover, a performer who could improvise.
Representative figures in music history include:
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Wolfgang Amadeus Mozart
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Ludwig van Beethoven
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Franz Liszt
Biographies consistently describe all of them as masters of performance, especially improvisation. In fact, Beethoven’s contemporaries often remarked that his improvisations were even more remarkable than his compositions.
The same was true of Hummel. It is recorded (in memoirs such as those of Czerny and Spohr) that his concerts featured:
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Improvisation
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Improvisation on given themes (variations)
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Preludes
In other words, Hummel’s treatise is not merely a manual of piano technique; it is, more importantly, a guide to training pianists in the full sense of the term as understood in his time.
2. Hummel’s Approach to Improvisation as a Direct Precursor to Chopin and Liszt
Hummel was both a student of Mozart and a contemporary rival of Beethoven, and his ideas directly influenced the next generation.
Particularly significant is Frédéric Chopin.
Chopin’s performance habits reportedly included:
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Always improvising before playing
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Performing a prelude
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Preparing the atmosphere of the piece
Testimonies from his pupils support this:
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Karol Mikuli noted that Chopin would often touch the keyboard improvisationally before lessons, testing harmonies and short figures before beginning a work.
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Friederike Müller described how Chopin would first explore harmonies freely before playing.
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Franz Liszt wrote that Chopin frequently improvised before performing, leading the audience into the musical world.
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Georges Mathias gave similar accounts.
These descriptions align perfectly with Hummel’s explanation.
Moreover, many of Chopin’s works—nocturnes, preludes, and impromptus—can arguably be seen as written forms of improvisation.
Liszt, who stands in the lineage influenced by Hummel, elevated this tradition further. In his concerts, he improvised:
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On given themes
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On operatic melodies
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On symphonic material
It is said that if an audience member called out “Don Giovanni!”, Liszt would immediately create and perform a fantasia on the spot.
This represents, in a sense, the culmination of Hummel’s improvisational ideal.
3. The Original Meaning of the Prelude
Today, the term “prelude” generally refers to a short piece or an introductory composition. Originally, however, it meant an improvisation performed before a piece.
Hummel clearly explains this in Volume III, Chapter 7 (On Free Improvisation and the Prelude).
4. Why This Culture Disappeared
From the latter half of the 19th century onward, classical music became increasingly composer-centered. This shift can be attributed to several factors:
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The growing authority of the musical score
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Changes in concert culture
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The emergence of recording technology
Especially after Beethoven, in the German tradition (e.g., Brahms and Wagner), the “intent of the composer” came to be regarded as absolute—an aesthetic fundamentally opposed to improvisation.
By the 20th century, classical pianists were expected to adhere closely to the score, and improvisation largely disappeared from performance practice. Even in late 20th-century recordings of Mozart concertos, added ornaments or improvisatory elements were sometimes criticized as excessive.
5. Improvisation in Modern Classical Performance
However, with advances in musicological research and historical performance practice, improvisation has seen a revival since around the early 21st century.
For example, Robert Levin—known both as a Mozart specialist and for completing works such as the Requiem—performs not only improvised cadenzas but also bold improvisatory preludes (Eingänge) in Mozart concertos.
This can be seen as a restoration of performance practices from Hummel’s time.
6. Hummel’s Most Important Idea
In summary, Hummel’s central message is that “free fantasia is one of the best means of cultivating the mind.”
In his view, composition, improvisation, and performance are fundamentally unified.
This idea forms a continuous lineage in piano art:
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Mozart → Beethoven
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Hummel → Chopin → Liszt
(Note: this refers to an artistic lineage, not a formal school of piano playing.)
Hummel’s treatise, “A Comprehensive Treatise on the Theory and Practice of Piano Playing” (1828), should therefore be understood as a crucial bridge between Classical-era performance practice (Mozart-style) and Romantic-era pianism (Chopin-style).
For those studying Chopin’s technique and aesthetics, this work contains insights that are, in many respects, strikingly close to the core of his musical thinking.
From here on, I will present my own views on performance practice:
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Hummel as the last inheritor of the Mozart style
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Chopin’s modeling after Hummel
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The core principles of Hummel’s technique (five key points)
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How these evolved into Chopin’s approach
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Differences from modern piano technique
1. Hummel as the Last Inheritor of the Mozart Style
As mentioned repeatedly, Hummel was both a student of Wolfgang Amadeus Mozart and a contemporary of Ludwig van Beethoven.
In other words, he was a legitimate heir to 18th-century piano technique.
Its defining characteristics were the ideals of the Classical style: clarity, lightness, a singing melodic line, and independence of the fingers.
However, during Hummel’s lifetime, the piano underwent rapid development:
18th-century piano → light (Viennese action)
19th-century piano → greater volume (English action)
Hummel’s “new” technique emerged as a response to this transformation.
2. Chopin’s Deep Admiration for Hummel
Frédéric Chopin regarded Hummel as one of the most refined pianists.
Hummel’s influence is especially strong in Chopin’s early works.
For example, Chopin’s Piano Concertos Nos. 1 and 2 are often considered extensions of Hummel’s concerto style.
3. The Core of Hummel’s Technique (Five Principles)
The most important aspects of Hummel’s method can be summarized in the following five points:
① Perfect Legato
Hummel regarded the piano as a singing instrument.
To achieve true legato, he systematized:
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Finger substitution
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Finger crossing
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Thumb passing
These form the foundation of modern piano technique and are central to Chopin’s approach as well.
② Independence of the Fingers
Hummel required complete independence of the fingers.
His ideal: the arm remains stable while the fingers take the leading role—an inheritance from Mozart’s technique.
At the same time, with the rise of the English-action piano, a more powerful, chordal style also developed—epitomized by Beethoven.
③ Light Touch
Hummel repeatedly insisted: “Do not strike the keys strongly.”
His ideal sound was light, transparent, and clear.
This aligns closely with Chopin’s famous idea: “Do not hit the piano.”
Czerny’s memoirs even describe a contrast between the powerful, passionate Beethoven school in Vienna and the refined, flowing Hummel school.
④ Finger Substitution for Legato
The technique of changing fingers on the same key—still used today—was first clearly articulated by Hummel.
He considered this essential for achieving true legato, and Chopin further developed this idea.
⑤ Fingering Serves Music
Hummel made a crucial statement: fingering is not mechanical.
This is evident in his rejection of mechanical training devices such as those promoted by Kalkbrenner.
Instead, he emphasized that fingering should always be chosen for musical purposes.
This principle lies at the heart of Chopin’s teaching as well.
4. From Hummel to Chopin: What Changed
Chopin built upon Hummel’s foundations and further evolved piano technique.
The key difference lies here:
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Hummel → finger-centered approach
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Chopin → emphasis on arm weight and natural hand position
However, their underlying philosophy remains the same:
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Legato
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Finger substitution
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Singing tone
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Natural touch
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In this sense, Chopin’s technique can be understood as a direct development of Hummel’s approach.