With the release of
this new recording, Chandos now has
nine Hummel discs in its inventory.
I first became familiar with Hummel's
music through an early 1990s Chandos
disc of two piano concertos played by
Stephen Hough. The performances were
magnificent and the music outstanding,
but I never dreamed that so many additional
Hummel recordings would be issued by
this exceptional British label.
As the recorded legacy
of Hummel continues to grow, it is clear
that he was one of the most accomplished
composers of the period bridging the
Classical and Romantic eras. His popularity
during his lifetime was immense, and
Franz Schubert thought so highly of
Hummel that he dedicated his wonderful
last three piano sonatas to him. Listening
to Hummel's music, it is easy to hear
why he was so popular. Hummel's works
are informed by expert architecture,
logical musical progression that sounds
natural at all times and an abundance
of musical invention. Those not convinced
by his music tend to point to a deficiency
of emotional depth. This view has some
merit as Hummel's goal was to please
his audience with attractive and vibrant
themes. However, the advantageous features
noted above more than offset any lack
in emotional fecundity. Also, we need
look no further than Hummel's sacred
choral music to hear the depth of the
human condition generally not found
in his other compositions.
The new Chandos recording
showcases a fine mix of the viola, violin,
and piano as solo instruments. As it
happens, the sole work on the program
not quite from Hummel's top drawer is
the Potpourri for Viola and Orchestra,
but its history is an interesting one.
Until recently, it was known only in
a reduced version with half its length
omitted and its full orchestration not
realized. Hummel composed the piece
in 1820, and it was published a year
later with an additional version for
cello and orchestra (Op. 95). Chamber
versions, a form quite popular for the
purpose of playing orchestral music
in the home, were also prevalent at
the time.
Hummel's Potpourri
has eight sections/variations that have
an improvisatory element and contain
music from Mozart and Rossini operas
as well as an incisive fugue. Although
the work is listed as being in the key
of G minor, only the "Grave" first section
belongs to that key. This first section
is a stunning display of poignant refrains
from the viola that makes one anxious
to hear the remainder of the work. The
second section is a gorgeous Andante
in B flat major from the aria "Il mio
tesoro" from Mozart's Don Giovanni.
With the third section Allegro in D
major, Hummel offers vivacious and exciting
music. The fourth section Allegretto
in F major will be familiar to many
listeners as Figaro's aria "Se vuol
ballare" from Mozart's Marriage of Figaro.
The fifth section in A minor is marked
"Allegro assai" and unfolds into a compelling
fugue superbly crafted by the composer.
Unfortunately, the next two sections
are rather innocuous, but the final
section is a rousing Allegro ma non
troppo in 6/8 time. Overall, I find
that this delightful work takes on a
'sameness' as it progresses through
the eight sections. It isn't among Hummel's
more rewarding compositions, but his
trademark elements of naturally flowing
and melodic music are apparent throughout
the piece.
The remainder of the
program consists of three premiere recordings,
each one representing prime-time Hummel.
The Adagio and Rondo alla Polacca has
an attractive slow introduction of about
two minutes followed by a vivacious
eight-minute Rondo having an excellent
blend of smoothly flowing lines and
sharply contoured and confident declarations.
The musical invention of the work is
ample, and every passage is highly enjoyable.
Most impressive is the exciting conclusion
preceded by the violin's comforting
arioso. The Variations in B flat major
has a remorseful Larghetto introduction
followed by a series of increasingly
rich and ornamented variations that
sparkle appealingly.
Chandos saves the best
for last with the substantial Violin
Concerto in G major. Although I stated
earlier that the work was prime-time
Hummel, the manuscript is undated and
not in Hummel's hand. As the liner notes
indicate, it is likely that more than
one composer contributed to the composition.
Also, the manuscript is not complete,
leading Howard Shelley and Stephen Hogger
to edit and complete it for this recording.
In three movements, the opening theme
has the rhythmic swagger and imitative
passages so prevalent in Hummel's music.
After a short but pleading 2nd Movement
Adagio, the Rondo begins with one of
Hummel's most ingratiating tunes emanating
from the solo violin. It scissors its
way through a sinewy labyrinth most
appealingly, putting this reviewer in
the dancing mode.
Performances throughout
are exceptional. Howard Shelley has
been a prime champion of Hummel's works,
and his conducting and playing are fully
idiomatic and reflective of Hummel's
most endearing musical traits. James
Ehnes, a rising star among string soloists,
handles both the solo violin and viola
parts with technical aplomb and enthusiasm.
I would have preferred more sharply
etched playing from Ehnes, but I cannot
deny his lovely tone and heart-felt
interpretations. Sound quality is exceptional,
particularly the clarity invested in
the solo string music.
In conclusion, those
who have been collecting the Chandos
series of Hummel recordings have no
reason to hesitate acquiring the new
release. I am also highly enthusiastic
about the Hummel sacred choral music
that Chandos is now offering. There
are two discs to date, both conducted
by the highly versatile Richard Hickox
with the period instrument orchestra
Collegium Musicum 90. As Chandos continues
to explore Hummel's legacy, I tip my
hat to this excellent enterprise that
has put him firmly on the musical map
where he belongs.
Don Satz
James Ehnes, violin and viola 
