Autograph list in French of "Selected works of Hummel," entirely in the hand of the influential pianist and composer, who signs his name within the heading. A list of 27 works in two categories: with and without accompaniment (i.e. for piano with or without other instruments/voices). No date, probably ca. 1832, with the highest listed opus being 127, his last completed work, composed in 1831. 13.5 x 8.5 inches (34 x 21 cm).
The Austrian composer and outstanding virtuoso pianist was a key figure during the period of transition from the Classical to Romantic musical styles. A pupil of Mozart, Salieri and Haydn, Hummel significantly influenced later piano music of the 19th century, particularly in the works of Chopin, Liszt and Mendelssohn.
Hummel studied at an early age with Wolfgang Amadeus Mozart, at whose house in Vienna he lived for two years. Later, accompanied by his father, he toured Bohemia, Germany, Austria, Denmark, the Netherlands, and England for four years as a child-prodigy pianist. In England he studied a year with Muzio Clementi. Returning to Vienna in 1793, he took instruction from J.G. Albrechtsberger, Joseph Haydn (whom he had met in London), and Antonio Salieri. From 1804 to 1811 he was chapelmaster to the Esterházy family (a post formerly held by Haydn). After further successes as a pianist, conductor, and teacher, he became Kapellmeister at Weimar (1818).
Hummel’s most important compositions are his piano works, consisting of trios, sonatas, rondos, and six concerti, all elegant in style and virtuosic in their melodic writing and ornamentation. Fluent, clear in texture, and well suited to the light Viennese piano action of his day, these works nevertheless lack the emotional depth and coherence evident in the works of Hummel’s great contemporary rival, Ludwig van Beethoven, with whom he maintained an uneasy friendship. (He was a pallbearer at Beethoven’s funeral.) Hummel also composed nine operas, three masses, a mandolin concerto, and chamber works, notably the Septet in D Minor. He made innovations in fingering methods, published in his Klavierschule (“Piano School”) in 1828.
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.
Autograph list in French of "Selected works of Hummel," entirely in the hand of the influential pianist and composer, who signs his name within the heading. A list of 27 works in two categories: with and without accompaniment (i.e. for piano with or without other instruments/voices). No date, probably ca. 1832, with the highest listed opus being 127, his last completed work, composed in 1831. 13.5 x 8.5 inches (34 x 21 cm).
The Austrian composer and outstanding virtuoso pianist was a key figure during the period of transition from the Classical to Romantic musical styles. A pupil of Mozart, Salieri and Haydn, Hummel significantly influenced later piano music of the 19th century, particularly in the works of Chopin, Liszt and Mendelssohn.
Hummel studied at an early age with Wolfgang Amadeus Mozart, at whose house in Vienna he lived for two years. Later, accompanied by his father, he toured Bohemia, Germany, Austria, Denmark, the Netherlands, and England for four years as a child-prodigy pianist. In England he studied a year with Muzio Clementi. Returning to Vienna in 1793, he took instruction from J.G. Albrechtsberger, Joseph Haydn (whom he had met in London), and Antonio Salieri. From 1804 to 1811 he was chapelmaster to the Esterházy family (a post formerly held by Haydn). After further successes as a pianist, conductor, and teacher, he became Kapellmeister at Weimar (1818).
Hummel’s most important compositions are his piano works, consisting of trios, sonatas, rondos, and six concerti, all elegant in style and virtuosic in their melodic writing and ornamentation. Fluent, clear in texture, and well suited to the light Viennese piano action of his day, these works nevertheless lack the emotional depth and coherence evident in the works of Hummel’s great contemporary rival, Ludwig van Beethoven, with whom he maintained an uneasy friendship. (He was a pallbearer at Beethoven’s funeral.) Hummel also composed nine operas, three masses, a mandolin concerto, and chamber works, notably the Septet in D Minor. He made innovations in fingering methods, published in his Klavierschule (“Piano School”) in 1828.
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.