Hummel Note
Research notes of composer Hummel
J.N. Hummel explores the charm of forgotten string quartets.
Those relatively well-versed in classical music may associate Johann Nepomuk Hummel primarily with his brilliant piano concertos or his famous trumpet concerto. However, his compositional output is wide-ranging, and he also left behind a number of exquisite works in the realm of chamber music.
This time, I will explore the charm of his “Three String Quartets, Op. 30.”
Prologue: Another Superstar You Don't Know About
Imagine Vienna in the early 19th century. The Habsburg capital was renowned throughout Europe as a center of music. The aristocratic salons and public concerts held nightly were packed with enthusiastic music lovers, where a fierce debate unfolded. It was not merely a matter of musical taste, but almost an ideological conflict. Were you a supporter of Ludwig van Beethoven, the revolutionary who sought to break musical conventions with burning passion? Or were you a follower of Johann Nepomuk Hummel, the supreme virtuoso who captivated audiences with elegance and brilliant technique?
Surprisingly, the Viennese music scene at the time was literally divided into "Beethovenists" and "Hummelists." While Beethoven holds an unshakeable position as the "musical genius" for us today, at the time, Hummel was the only one who could rival him. As both a pianist and a composer, Hummel's works were regarded on par with those of Beethoven.
This forgotten master, Hummel, left behind only one collection of string quartets, Op. 30, which are more than just beautiful music. They are a time capsule, encapsulating the very turning point in music history. At the very moment when the Classical style reached its peak and the new wave of Romanticism swept in, Beethoven's greatest rival unleashed a powerful artistic statement. By delving deeply into these works, we can rediscover the true nature of this forgotten giant and feel, more deeply and richly, the atmosphere of the era when classical music underwent its most dynamic transformation.
Chapter 1: Polished by the Masters — From Mozart's Salon to Haydn's Court
To understand Hummel's music, one must first know what a special musical lineage he inherited. His career is like a directory of great figures of the Viennese Classical period.
The story begins when Hummel was just seven years old. Wolfgang Amadeus Mozart, deeply impressed by his extraordinary piano talent, decided to take the boy on as a student. And this was not merely a case of a student coming and going for lessons. Mozart allowed Hummel to live in his home for two years, literally sharing meals and living quarters with him, and instilled in him everything he knew about music * 3 . Hummel was the only student Mozart ever took on in this way, and this fact eloquently demonstrates that he was Mozart's legitimate successor.
Hummel's teaching history did not end with Mozart. Hummel studied counterpoint with Albrechtsberger (who was also Beethoven's teacher), vocal works with Antonio Salieri, and organ with the renowned Franz Joseph Haydn. This means he received the best possible musical education in Europe at the time, directly from its source.
Having received such a solid education, Hummel first made a name for himself throughout Europe as a pianist. He was considered the foremost piano virtuoso of his time, and his performances became the standard of an era. His playing style was underpinned by the elegance, transparency, and perfect technique inherited from Mozart. The magnitude of his influence can be seen from the words of Carl Czerny, a student of Beethoven. Despite his deep admiration for Beethoven's works, Czerny publicly declared himself a "Hummelian" when it came to piano technique* (from Czerny's memoirs). This is the strongest evidence of how Hummel's pianism captivated musicians of his time and how powerful it was, even forming its own school.
Hummel's background is more significant than simply listing his famous teacher Liszt. He was a "top master" of the Viennese Classical musical style. He not only learned the style but also inherited its essence directly from its creators. Understanding this background is essential to properly appreciating his String Quartets Op. 30. These works are by no means outdated imitations. They are a magnificent example of a master's attempt to demonstrate, with the highest authority and authenticity, the power and refinement of the great tradition he embodied.
Chapter 2: The Story of Two Giants — The Vienna String Quartet Controversy
Vienna, around 1804. During this period, the string quartet was no longer merely a genre of chamber music, but had established itself as the "supreme genre," imbued with the composer's deepest and most intellectual thoughts. As the Italian composer Cambini stated in a music magazine article in 1804, "The performance of the string quartet is the highest form of musical life," this genre was considered the intellectual pinnacle of the music world. It was also around this time that Haydn's complete string quartets were published, and his music began to take root as a "classic" .
Into this intellectual battlefield, Beethoven stormed in with his string quartets, Op. 18, published in 1801. While respecting the classical forms established by Haydn and Mozart, these works incorporated intense emotional fluctuations, bold harmonies, and dramatic structures never before seen in chamber music, shocking the music world. It was a challenge announcing the arrival of a new era.
Then, around 1804, Hummel published his three string quartets, Op. 30, as if responding to this challenge. Whether this was a direct "response" to Beethoven's Op. 18 is a matter of debate among scholars * 2 . However, the fact that Hummel dedicated this collection to Prince Lobkowitz , who was also Beethoven's patron , suggests that he was aware of the need to compare himself to Beethoven among contemporary audiences.
The string quartets of these two masters symbolized a fundamental ideological conflict over the future of music, going beyond mere differences in style. It was a reflection of the debate between "conservatives" and "progressives" that divided the German-speaking music world at the time.
Hummel's position: He believed that the Classical musical language perfected by Haydn and Mozart was still a perfect vessel with infinite expressive possibilities. His goal was not revolution, but to develop this great tradition to the pinnacle of elegance, wit, and refinement.
Beethoven's position: He felt that the old forms were no longer sufficient to express his revolutionary ideas and needed to be reformed "from the ground up."
The choice of the string quartet as the stage for this ideological conflict is extremely significant. This is because the genre was no longer merely entertainment music gracing aristocratic salons, but had become a forum for the most serious intellectual expression in music. The fact that Hummel, who primarily worked as a pianist and composer, composed his only string quartet immediately after the publication of Beethoven's Op. 18, demonstrates his deep understanding of the importance of this struggle. He stepped into the most prestigious arena in the music world, intending to make his most sincere assertion, staking his own musical beliefs on it.
Chapter 3: A Journey Through the Sounds of Op. 30 — An Invitation to Three Quartets
The best way to truly understand Hummel's genius is to listen to his music. Here, avoiding technical jargon, we will guide you on a journey through his three string quartets, Op. 30, focusing on the individuality and charm of each piece.
No. 1 in C major — An elegant counter-argument
This piece can be said to be the one that most consciously imitates Beethoven's style among the three. Hummel steps onto his rival's turf, but challenges him with his own elegant style, making it a truly compelling piece to listen to.
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First movement (Adagio e mesto - Allegro non troppo) : The piece begins with a solemn and melancholic minor-key introduction. This is a dramatic technique that Beethoven excelled at at the time, designed to surprise the listener. However, the main section that emerges after breaking that tension is not combative, but rather expansive and approachable. This contrast vividly reveals that Hummel was a composer who valued dignity more than suffering.
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Second movement (Menuetto, allegro assai) : The highlight of this minuet is the chromatic passages that repeatedly descend and ascend². It is an original melody that is unforgettable once you hear it, and it is a playful movement that showcases Hummel's inventive talent. Due to its fast tempo, it could also be considered a scherzo.
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Third Movement (Adagio cantabile) : This movement boasts the finest beauty of all three movements. The long, harmonious melody is sung leisurely, and the influence of his teacher Mozart is strongly felt.² It is a blissful time in which one can fully immerse oneself in the pure beauty of the melody.
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Fourth movement (Allegro vivace) : The piece concludes with a witty and lively finale reminiscent of Haydn. Hummel's individuality is evident in his choice to end with a light smile rather than a raised fist like Beethoven.
No. 2 in G major — The charm of the past and the burning soul
In this piece, Hummel turns not to Beethoven, but to Austrian folk traditions and the great legacy of Haydn. It is an original piece full of vitality and charm.
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First movement (Allegro con brio) : It begins with powerful chords, but the following melody is lively and written in the refined style of the late Classical period. It is a movement full of dynamism.
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Second movement (Andante grazioso) : The graceful theme is delicately sung over a long, flowing accompaniment played by the cello. It is a moment of dignified tranquility.
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Third movement (Menuetto, allegro con fuoco) : The highlight of this piece. A passionate and powerful minuet in the style of Haydn. However, the true magic lies in the middle section (trio). Here, while the other instruments keep the rhythm with pizzicato, the first violin sings of a "magnificent Austrian Ländler (folk dance)." Soon the second violin joins in, and a charming scene unfolds, as if listening to the simple and warm sound of a village orchestra.
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Fourth Movement (Finale, Vivace) : A finale filled with a sense of urgency and energy, rushing towards the finish line without a moment's rest. A thrilling and magnificent conclusion. The viola plays a prominent role in the middle section.
No.3 in E-flat major - — Reinvention of Tradition
Of the three pieces, this might be the most forward-looking and ambitious work. While based on the styles of Mozart and Haydn, it features unique attempts throughout that foreshadow the next generation of music.
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First movement (Allegro con spirito) : It begins with two powerful chords that will astound the audience. Following a unique cello foot-tapping, the music presents a striking contrast between a somewhat alluring chromatic melody and a bright second theme reminiscent of Haydn. It is clear that Mozart deeply assimilated the style of the string quartets he dedicated to Haydn, as well as Haydn's own later works.
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Second Movement (Andante) : A beautiful slow movement. Its style seems to have its roots in the Baroque-influenced slow movement of Mozart's famous "Dissonant" Quartet. In this movement, we can also see Hummel's interest in reviving old counterpoint techniques.
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Third Movement (Allemande e alternativo) : This is a truly original movement. Hummel chose the Allemande dance instead of the traditional minuet or scherzo. However, this is not an elegant Baroque dance. It is a heavy, powerful German dance, as if stomping on the earth. As one critic remarked, "It doesn't sound at all like Haydn, Mozart, or Beethoven," making it completely original music. In the middle section, another German dance, lighter and faster, is played.
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Fourth Movement (Finale, Presto) : A cheerful and thrilling finale, like an obstacle course. Its boundless energy and lyricism are remarkably foreshadowing the finales of the next great composer, Franz Schubert.
Chapter 4: The Fading of Starlight and the Modern Renaissance
Why did a composer of Hummel's caliber remain, for so long, merely a footnote in music history? Several reasons come to mind.
Firstly, his fame was primarily as a pianist, and in an era without recording technology, performance as an art form was destined to be fleeting and ephemeral. Secondly, he did not compose the symphony, the genre that became the primary measure of greatness among 19th-century composers. And the most decisive reason is that the currents of music history ultimately shifted dramatically towards Beethoven. As the intense self-expression of Romanticism pioneered by Beethoven became the mainstream, Hummel's refined classicism came to be seen as "conservative and unremarkable." It seems that Hummel was admired not only by many pianists and early 19th-century musicians, but also by the next generation of great musicians such as Mendelssohn and Chopin, but these were never included in later German music history (which Japanese music education also followed).
Hummel's decline in music history highlights how history has been told through a "symphonic-centric" lens. Throughout the 19th century, the symphony (and Beethoven as its absolute king) was considered the supreme genre that determined a composer's reputation. As a result, composers who displayed exceptional talent in other genres, such as piano concertos or chamber music with its inherent classical elegance, inevitably had to accept a lower level of recognition.
The re-evaluation of Hummel is part of a healthier movement to overcome this narrow historical perspective and properly appreciate the diverse musical geniuses that coexisted in the 19th century. Fortunately, interest in Hummel's music has been steadily increasing in recent years. The publication of new scores and the increase in recordings by ambitious performers are creating an opportunity to re-evaluate his true value with a modern ear.
As an entry point to this wonderful music, I would like to recommend a specific recording of these three string quartets. The recording by the British Delme String Quartet for the Hyperion label has long been considered the definitive version of this collection. Their performance is praised for its "vitality and spirit," its skillful portrayal of "humor and melancholy," and its masterful expression of the elegance and profound emotion inherent in Hummel's music. We highly recommend starting with this recording to open the door to Hummel's world.
Chapter 5: Why You Should Listen to Hummel Now
Johann Nepomuk Hummel's String Quartets Op. 30 are a collection of captivating masterpieces far too valuable to be buried in history. They are "elegant and inventive," never difficult to understand, "pleasant to the ear," and possess an "unpretentious freshness." They are witty, underpinned by masterful craftsmanship, and above all, beautiful.
However, the value of listening to these works lies beyond mere pleasantness. Hummel's music teaches us the rich multifaceted nature of music history. The path from Classical music, perfected by Mozart and Haydn, was not limited to the revolutionary path shown by Beethoven. Hummel's music is not the end of a great tradition, but rather another sound of the future, continuing to evolve with supreme confidence and elegance.
So, step back in time to the Vienna concert scene of 1804 and participate in this great debate with your own ears. And I want you to discover the forgotten genius of Johann Nepomuk Hummel, "another giant" hidden in the shadow of the giant Beethoven. When you listen to this music not as "something that is not Beethoven," but as "something that is Hummel," you will surely be captivated by the unique and beautiful voice born at one of the most exciting moments in music history.
Note: Regarding this programming
Now, I've been sounding like a pretentious critic (and my tone has been rather arrogant, haha), but let me explain the process of this music programming.
I used Dorico 5 Pro for the programming itself, but for the sound source, I used Note Performer 5. The good thing about this sound source is that when creating music for playback using sheet music production, you usually have to set articulations that are quite different from the sheet music depending on the sound source you use, but with this sound source, the AI judgment balances it "to a certain extent". However, I have added the tempo in detail, and I have also changed the expression and dynamics, but the advantage is that it saves the trouble of changing settings depending on how you play.
By default, the reverb is 50%, so I reduced it to 10% to make a dry sound, and then I took the resulting sound into a DAW app and added another reverb. This time, I aimed to create the atmosphere of listening very close up in a high-ceilinged, stone-walled European room.
The video is a screenshot of the Dorico playback screen, so you should be able to see how much instruction I've given. Of course, please understand that there are different instructions and articulations from the original score.