يوهان نـِپوموك هومل

(تم التحويل من Johann Nepomuk Hummel)
"Johann Hummel" redirects here. For the German painter, see Johann Erdmann Hummel.
Johann Nepomuk Hummel
1820 portrait
وُلِدَ14 November 1778
Pressburg, Kingdom of Hungary
توفي17 October 1837 (aged 58)
Weimar, Saxe-Weimar-Eisenach, German Confederation
المهنة
  • Composer
  • pianist
Works
List of compositions
الزوج
​
(m. 1813)​
الأنجالEduard (de), Carl

يوهان نيبوماك هامل Johann Nepomuk Hummel (ولد 14 نوفمبر 1778 وتوفي في 17 أكتوبر 1837) موسيقي نمساوي وعازف بيانو ماهر ويمثل مرحلة الانتقال من العصر الكلاسيكي إلى العصر الرومانسي. Hummel significantly influenced later piano music of the nineteenth century, particularly in the works of Frédéric Chopin, Franz Liszt, و فيلكس مندلزون.

حياته

كان طفلا موهوبا مثل موتسارت. قام بجولة لأوروبا وهو صبي، كان هامل محبوبا كمؤلف ولاقى الحفاوة كأعظم عازف بيانو في أوروبا. كان شخصا دافئا كان حسه كرجل أعمال ساعده في تأمين قوانين أفضل لحق الطبع للمؤلفين والمزيد من الأمان المالي لأسرته، كتب كل أنواع الموسيقى ما عدا السيمفونيات التي تأجلت حتى بيتهوفن بطريقة أنيقة لأسلوب ينتمي لأواخر العصر الكلاسيكي. أفضل أغنياته الشعبية تحقيقا للمبيعات للناشر الإسكتلندي جورج تومسون تعكس مدى جودة تأليفه للسوق.

السيرة

Hummel, portrait by Joseph Willibrord Mähler, c. 1814, Goethe-Museum, Düsseldorf

In 1804, Haydn appointed Hummel as his successor as Konzertmeister of Nikolaus II, Prince Esterházy's estate at Eisenstadt. Although he had taken over many of the duties of Kapellmeister because Haydn's health did not permit him to perform them himself, he continued to be known simply as the Konzertmeister out of respect to Haydn, receiving the title of Kapellmeister, or music director, to the Eisenstadt court only after the older composer died in May 1809. He remained in the service of Prince Esterházy for seven years altogether before being dismissed in May 1811 for neglecting his duties.[1]

Hummel later held the positions of Kapellmeister in Stuttgart from 1816 to 1818 and in Weimar from 1819 to 1837, where he formed a friendship with Goethe. Hummel brought one of the first musicians' pension schemes into existence, giving benefit concert tours to help raise funds.[2] In his fight against unethical music publishers, Hummel also was a key figure in establishing the principles of intellectual property and copyright law.[3]

In 1825, the Parisian music-publishing firm of Aristide Farrenc announced that it had acquired the French publishing rights for all future works by Hummel. In 1830, Hummel gave three concerts in Paris; at one of them, a rondo by Hummel was performed by Aristide Farrenc's wife, the composer Louise Farrenc, who also "sought Hummel's comments on her keyboard technique".[4]

In 1832, at the age of 54 and in failing health, Hummel began to devote less energy to his duties as music director at Weimar. In addition, after Goethe's death in March 1832 he had less contact with local theatrical circles and as a result was in partial retirement from 1832 until his death in 1837.[5]

آخر سنواته وذكراه

Hummel's grave in the Historical Cemetery, Weimar

At the end of his life, Hummel saw the rise of a new school of young composers and virtuosi, and found his own music slowly going out of fashion. His disciplined and clean Clementi-style technique, and his balanced classicism, opposed him to the rising school of tempestuous bravura displayed by the likes of Liszt. Composing less and less, but still highly respected and admired, Hummel died peacefully in Weimar on 17 October 1837.[citation needed] As with Haydn, Mozart, and some other notable composers of the time, Hummel was a freemason.[6] Hummel bequeathed a considerable portion of his famous garden behind his Weimar residence to his masonic lodge. His grave is in the Historical Cemetery, Weimar.

Although Hummel died famous, with a lasting posthumous reputation apparently secure, he and his music were quickly forgotten at the onrush of the Romantic period, perhaps because his classical ideas were seen as old-fashioned. Later, during the classical revival of the early twentieth century, Hummel was passed over. As with Franz Joseph Haydn, whose musical revival had to wait until the second half of the twentieth century, Hummel was overshadowed by Mozart and especially, Beethoven. Due to an increasing number of recordings and live performances, his music has become reestablished in the classical repertoire.

Notable students include Ferdinand Hiller and Alexander Müller.[7]

موسيقاه

انظر أيضاً: List of compositions by Johann Nepomuk Hummel
A surviving manuscript of Hummel's work, probably in his own hand

Hummel's music took a different direction from that of Beethoven. Looking forward, Hummel stepped into modernity through pieces such as his Piano Sonata in F-sharp minor, Op. 81, cherished by Robert Schumann,[8] and his Fantasy, Op. 18, which would have a major influence for Schubert's Wanderer Fantasy,[9] for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and to stretch the sonata form.

His main oeuvre is for the piano, on which instrument he was one of the great virtuosi of his day. He wrote eight piano concertos, a double concerto for violin and piano, ten piano sonatas, eight piano trios, a piano quartet, two piano septets, a piano quintet, and four hand piano music. Of his eight piano concertos the first two are early compositions (S. 4/WoO 24 and S. 5) and the later six were numbered and published with opus numbers (Opp. 36, 85 (number 2 in A minor), 89, 110, 113, and posth), his often performed Piano Concerto No. 5 in Ab Op 113.

Aside from the piano, Hummel wrote a wind octet, a cello sonata, a mandolin concerto, a mandolin sonata, a Trumpet Concerto in E major written for the keyed trumpet (usually heard now in E-flat major – better suited to modern trumpets), a "Grand Bassoon Concerto" in F, a quartet for clarinet, violin, viola, and cello, 22 operas and Singspiels, masses, and more. He also wrote a variation on a theme supplied by Anton Diabelli for part 2 of Vaterländischer Künstlerverein.

Hummel was very interested in the guitar and was talented with the instrument. He was prolific in his writing for it, beginning with opus 7 and finishing with opus 93. Other guitar works include Opp. 43, 53, 62, 63, 66, 71, and 91, which are written for a mixture of instruments.[10]

Hummel's output is marked by the conspicuous lack of a symphony.

تأثيره

Bust of Hummel near the Deutsches Nationaltheater in Weimar

While in Germany, Hummel published A Complete Theoretical and Practical Course of Instruction on the Art of Playing the Piano Forte (Anweisung zum Pianofortespiel, 1828). It sold thousands of copies within days of its publication and brought about a new style of fingering and of playing ornaments.

Later nineteenth-century pianistic technique was influenced by Hummel, through his instruction of Carl Czerny who later taught Franz Liszt. Czerny had transferred to Hummel after studying three years with Beethoven. Liszt knew and admired Hummel and often performed his works, a particular favourite being the Septet Op. 74.[11]

Hummel's influence also can be seen in the early works of Felix Mendelssohn, Frédéric Chopin, and Robert Schumann. The shadow of Hummel's Piano Concerto in B minor as well as his Piano Concerto in A minor may be particularly perceived in Chopin's concertos.[12] This is unsurprising, considering that Chopin must have heard Hummel on one of the latter's concert tours to Poland and Russia, and that Chopin kept Hummel's piano concertos in his active repertoire. Harold C. Schonberg, in The Great Pianists, writes "...the openings of the Hummel A minor and the Chopin E minor concertos are too close to be coincidental".[13] In relation to Chopin's Preludes, Op. 28, Schonberg says: "It also is hard to escape the notion that Chopin was very familiar with Hummel's now-forgotten Op. 67,[14] composed in 1815 – a set of twenty-four preludes in all major and minor keys, starting with C major".

Schumann studied Hummel's Anweisung zum Pianofortespiel, and considered becoming his pupil.[15] Liszt's father Adam refused to pay the high tuition fee Hummel was used to charging (thus Liszt ended up studying with Czerny). Czerny, Friedrich Silcher, Ferdinand Hiller, Sigismond Thalberg, and Adolf von Henselt were among Hummel's most prominent students. He also briefly gave some lessons to Felix Mendelssohn.[16]

According to Schubert's friend Albert Stadler, Schubert's Trout Quintet was modelled on an earlier Hummel work, the quintet version of his Septet in D minor for Flute, Oboe, Horn, Viola, Cello, Bass, and Piano, Op. 74.[17] It also may have been influenced by Hummel's Quintet in E-flat, Op. 87.[18]

المصدر

dk eywitness companions classical music

المراجع

  1. ^ Cummins, Robert. Piano Sonata No. 3 in F minor, Op. 20 at AllMusic. Retrieved 27 September 2012.
  2. ^ Kroll, Mark (2007-10-15). Johann Nepomuk Hummel: A Musician's Life and World (in الإنجليزية). Scarecrow Press. ISBN 978-1-4616-6008-8.
  3. ^ Kroll, Mark (2007). Johann Nepomuk Hummel: A Musician's Life and World (in الإنجليزية). Rowman & Littlefield. ISBN 978-0-8108-5920-3.
  4. ^ Bea Friedland, Louise Farrenc, 1804–1875: Composer, Performer, Scholar, 1980, Ann Arbor, UMI Press, pp. 15–16, ISN=0-8357-1111-0
  5. ^ خطأ استشهاد: وسم <ref> غير صحيح؛ لا نص تم توفيره للمراجع المسماة AM1
  6. ^ Goodall, Howard (2013-01-10). The Story of Music (in الإنجليزية). Random House. ISBN 978-1-4481-3086-3.
  7. ^ Newman, Ernest (1937). The Life of Richard Wagner: 1848–1860. Vol. 2. New York: Alfred A. Knopf. p. 114. OCLC 928752154.
  8. ^ Edler, Arnfried (2009). Robert Schumann. Munich: C. H. Beck. p. 75.
  9. ^ Sichrovsky, Heinz. "About this Recording: Hummel: Fantasies". Naxos Records.
  10. ^ The Guitar and Mandolin, biographies of celebrated players and composers for these instruments by Philip J. Bone, London: Schott and Co., 1914.
  11. ^ Kroll, Mark (2007). Johann Nepomuk Hummel: A Musician's Life and World (in الإنجليزية). Rowman & Littlefield. ISBN 978-0-8108-5920-3.
  12. ^ Walker, Alan (2019-12-03). Fryderyk Chopin: A Life and Times. Picador. ISBN 978-1-250-23482-7.
  13. ^ Schonberg, Harold C. (1987). The Great Pianists (rev. & updated ed.). New York City: Simon and Schuster. p. 110. ISBN 0-671-64200-6 – via Internet Archive.
  14. ^ Scans from Universal Edition c. 1900, and symbolic data for Op. 67 preludes
  15. ^ Jensen, Eric Frederick (2012-02-13). Schumann (in الإنجليزية). Oxford University Press. ISBN 978-0-19-983195-1.
  16. ^ Joel Sachs, "Hummel, Johann Nepomuk", §6 'Performance and teaching', Oxford Music Online (subscription only), accessed 29 May 2011
  17. ^ Kroll, Mark (2007-10-15). Johann Nepomuk Hummel: A Musician's Life and World (in الإنجليزية). Scarecrow Press. ISBN 978-1-4616-6008-8.
  18. ^ Schubert's Beethoven Project (in الإنجليزية). Cambridge University Press. ISBN 978-0-521-65087-8.

روابط خارجية

قالب:Johann Nepomuk Hummel


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