Relevant bibliographies by topics / Johann Nepomuk Hummel

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Johann Nepomuk Hummel'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Johann Nepomuk Hummel"

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Jarl Hulbert. "Johann Nepomuk Hummel: A Musician’s Life and World (review)." Notes 65, no. 1 (2008): 62–64. http://dx.doi.org/10.1353/not.0.0063.

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STEWART-MACDONALD, ROHAN. "Johann Nepomuk Hummel (1778–1837) HUMMEL AT THE OPERA Madoka Inui, piano Naxos 8.572736, 2011; one disc, 76 minutes." Eighteenth Century Music 10, no. 2 (2013): 305–8. http://dx.doi.org/10.1017/s147857061300016x.

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Wind, Burkhard. "Zur Frage der Tempi in den Orgelwerken Felix Mendelssohn Bartholdys." Die Musikforschung 64, no. 2 (2021): 144–54. http://dx.doi.org/10.52412/mf.2011.h2.194.

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Mendelssohn versah seine sechs Orgelsonaten op. 65 mit Metronomangaben und lieferte damit aufschlussreiches Informationsmaterial bezüglich seiner auf die Orgel bezogenen Tempoauffassung. Alle anderen Orgelwerke sind dagegen vom Komponisten nicht metronomisiert worden. Bei der Wahl eines angemessenen Tempos für die Orgelwerke Mendelssohns ohne Metronomangaben folgt aus der vorhandenen Instrumentenspezifik des Tempos die besondere Autorität der Angaben aus den Sonaten op. 65 - sie sind am ehesten geeignet, Anhaltspunkte zu liefern. Ein Vergleich der Auffassungen von Friedrich Wilhelm Schütze und Johann Nepomuk Hummel sowie Adolf Bernhard Marx auf der einen Seite und Mendelssohns Angaben in op. 65 auf der anderen zeigt, dass sich Mendelssohns Metronomangaben in einem durchaus zeittypischen Rahmen bewegen.
 bms online (Cornelia Schöntube)
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Tsebriy, I. "ANTONIO SALIERI PEDAGOGICAL SCHOOL." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 110–17. http://dx.doi.org/10.33989/2226-4051.2021.23.238261.

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The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's 
 School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.
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Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s." Studia Musicologica 54, no. 2 (2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental compositions from the 1830s, particularly the “Clochette” Fantasy and the first version of the “Paganini” Etudes. Not only technically and performatively brilliant, these pieces also help establish the medium of mimesis as artistically valid. Liszt argued that this type of orientation was indispensable for the “artist of the future,” in which “virtuosity is a means, not an end.” Somewhat paradoxically then, after his death Paganini becomes the benchmark by which the transcendent artistry of composer-pianists is measured, and a baseline for further artistic experimentation. Thus Liszt’s return to Paganini in the 1840s and 1850s constitutes an ongoing effort to refine virtuosity in order to bring about artistic unification among musicians, regardless of instrumental specialty.
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STEWART-MACDONALD, ROHAN. "MARK KROLL JOHANN NEPOMUK HUMMEL: A MUSICIAN'S LIFE AND WORLDLanham, Toronto and Plymouth: Scarecrow, 2007 pp. xiv + 503, isbn978 0 8108 5920 3." Eighteenth Century Music 6, no. 2 (2009): 260–64. http://dx.doi.org/10.1017/s147857060999025x.

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Hamilton, Kenneth. "David Gramit, editor,Beyond the Art of Finger Dexterity: Reassessing Carl Czerny;and Mark Kroll,Johann Nepomuk Hummel: A Musician's Life and World." Journal of Musicological Research 28, no. 4 (2009): 340–46. http://dx.doi.org/10.1080/01411890802595228.

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HYLAND, ANNE M. "JOHANN NEPOMUK HUMMEL (1778–1837), FRANZ SCHUBERT (1797–1828) PIANO QUINTETS The Music Collection / Susan Alexander-Max Chandos CHAN 0800, 2014; one disc, 65 minutes." Eighteenth Century Music 12, no. 1 (2015): 114–17. http://dx.doi.org/10.1017/s1478570614000499.

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Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.

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Grave, Floyd. "Wolfgang Amadeus Mozart - Wolfgang Amadeus Mozart, arranged by Johann Nepomuk Hummel. 7 Piano Concertos; Symphony No. 40. Fumiko Shiraga pf, Henrik Wiese fl, Peter Clemente vln, Tibor Bényi vc. BIS 9043, 2013 (4 CDs: 255 minutes)." Nineteenth-Century Music Review 12, no. 1 (2015): 186–89. http://dx.doi.org/10.1017/s1479409814000603.

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Dissertations / Theses on the topic "Johann Nepomuk Hummel"

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Hulbert, Jarl Olaf. "The pedagogical legacy of Johann Nepomuk Hummel." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3900.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Landowski, Natalie Katherine. "Practical Hummel: a guide for pianists and piano teachers on how to use Johann Nepomuk Hummel's treatise today." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6169.

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Harris, Kristine Lynn. "A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137621.

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The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences.<br>School of Music
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Kim, Aram. "Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No 2, Op 36: a Comparison of the Solo Piano and the Piano Quartet Versions." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149620/.

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Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert.
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Lemmer, Elise. "The historical and pedagogical relevance of the 24 Grandes Études op. 125 by Johann Nepomuk Hummel (1778-1837)." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40243.

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This study investigates the importance of Hummel as a transitional composer, pedagogue and pianist between the Classical and Romantic periods, his contribution to the development of piano technique, and his influence as a pedagogue on later generations. The bases of this study were his treatise A complete theoretical and practical course on the art of piano playing (Ausführliche theoretisch-practische Anweisung zum Pianoforte-Spiele) of 1828, his Préludes op. 67 of 1814/1815 and his 24 Grandes Études op. 125 of 1833. Hummel’s treatise is an important musicological document detailing keyboard performance practices of the 18th and early 19th century. He lived at a time when the present day piano was still evolving. The new instruments with their resulting new possibilities found expression in his 24 Grandes Études op. 125. Important sources consulted were the following:  The piano concertos of Johann Nepomuk Hummel by F.H. Mitchell (1957)  The music of J.N. Hummel: its derivations and development by R. Davis (1965)  Romantic Music: A history of musical style in the 19th century by L. Plantinga (1984)  The Kristeva Reader edited by Toril Moi (1986)  How did they play? How did they teach? by S. Soderlund (2006); and  Johann Nepomuk Hummel: a musician’s life and world by Mark Kroll (2007). Although Hummel was deeply rooted in the Classical style, his compositions displaying the hallmarks of the style galant, can be divided into two style periods. The first style period ending about 1811 shows harmonic simplicity, regularity of phrasing and elegant cantabile melody. His second period post-1811 saw the composition of works with bolder, more dissonant harmony resulting in greater chromaticism. After 1814 his piano compositions demand greater variety of tone colour, more expressive use of dynamics, rubato, and advanced technical facility of the performer. According to Mitchell (1957: 75, 76) Hummel’s art and ornamentation are related to the virtuoso technique expanded by the Viennese pianistic style of the early 19th century. Hummel developed the ornamental style further, culminating ultimately in the poetry of the tone-coloured fioritura of Chopin. One aim of the study was to reveal the individual contributions Hummel made to the changes taking place between the Classical and Romantic styles. Innovative aspects include new virtuoso technical demands that would find fruition in the études of Chopin an Liszt. His influence on Chopin was undeniable as one perceives the early distinguishing characteristics of Chopin’s style in many of the compositions of Hummel. Schumann and Liszt were familiar with the music of Hummel in their formative years and there is much evidence of Hummel’s style in their compositions. In Chapter 4 on intertextuality, Hummel’s influence on Chopin, Schumann and Liszt is examined, and in Chapter 5 his pedagogical principles as set out in his treatise are appraised. Chapter 6 is an investigation into the technical principles embodied in Hummel’s 24 Grandes Études op. 125 and their influence on the development of the Concert Étude.<br>Thesis (DMus)--University of Pretoria, 2013.<br>gm2014<br>Music<br>unrestricted
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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).
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Wang, Shih-Chun, and 王詩淳. "An Analysis and Interpretation of Johann Nepomuk Hummel Bassoon Grand Concerto in F Major." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8b9rh9.

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碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>106<br>The subject of this paper is An Analysis and Interpretation of Johann Nepomuk Hummel “Bassoon Grand Concerto in F Major”. Hummel's musical works inherit the rigorous music structure of the classical period and combine variety of harmonic, melodic and ornamentation. This unique feature is well-presented in the Hummel “Bassoon Grand Concerto in F Major”. This paper categorized into five chapters. The first chapter is the introduction which describes the motive and method of the research. The second chapter is the general background information of the composition, describing the characteristics of the biography of composer and Classical music period, in particular, explaining the basic structure of Sonata-form. The third chapter is the analysis of the entire work and focuses on the structure of this composition. The forth chapter is the interpretation of music. The last chapter is the summary of the paper. Key words: J.N. Hummel, Bassoon, Classical music, Sonata form
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Hsing-Ping, Wang, and 王興蘋. "An Analysis and Interpretation of Johann Nepomuk Hummel Grand Concerto for Bassoon and Orchestra in F Major." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/46347922357721032205.

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碩士<br>輔仁大學<br>音樂研究所<br>97<br>As the bassoon was not a favorite instrument for composers of the 17th century, the surviving bassoon repertoire is scant. Apart from the works by prolific composers, such as A. Vivaldi (1678-1741), G. P. Telemann (1681-1767), and F. Danzi (1763-1826), common bassoon repertoires include the Concerto in B-flat Major, K191 by Wolfgang Amadeus Mozart (1765-1791) in the Classical period; and the Concerto in F Major, Op75 and Andante e Rondo Ungarese, Op. 35 by Carl Maria von Weber (1786-1826) in the Romantic period. Johann Nepomuk Hummel (1778-1837), a composer, pianist, and educator of the Classical period, wrote the first bassoon concerto in history, his Concerto in F Major. As it is comparable to the above masterpieces, this study will investigate this work in terms of structure, the history of the composer, the background to the composition, the musical style of the period, and the form, rhythm, harmony, and mode employed by the composer. This in-depth study of the work may assist in interpreting the work with more expression and allow bassoonists and fans of bassoon music to better understand and enjoy this work.
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HUANG, HONG-HAO, and 黃宏豪. "An Analysis and Interpretation of Johann Nepomuk Hummel Grand Concerto for Bassoon and Piano in F Major." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rrxyy9.

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碩士<br>中國文化大學<br>音樂學系<br>105<br>First of all, thought of social background at Hummel and in the history background - Introduction of the form of concerto that in popular at the time introducing the influence of music in classical music after the enlightenment activity, Hummel at that time introducing the Artistic contribution position. On conclusion, music analysis and commentary research Hummel 's Bassoon Concerto in F major.
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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." 2020. https://slub.qucosa.de/id/qucosa%3A72595.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Books on the topic "Johann Nepomuk Hummel"

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Thomas, Kurt. Johann Nepomuk Hummel und Weimar: Komponist Klavierveirtuose Kapellmeister 1778 bis 1837. Standingen Komm.Kultur der Stadtverordnetenversammlung, 1987.

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Knotik, Cornelia. Johann Nepomuk Hummel: Ein Komponist zur Zeit der Wiener Klassik : drei Vorträge. Burgenländisches Landesmuseum, 1989.

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Johann Nepomuk Hummel: A Musician's Life and World. Scarecrow Press, 2007.

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Canadian Brass. Johann Nepomuk Hummel - Trumpet Concerto: Canadian Brass Solo Performing Edition. Hal Leonard Corporation, 2003.

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1958-, Gerhard Anselm, Lütteken Laurenz, and Goethe-Museum Düsseldorf Anton-und-Katharina-Kippenberg-Stiftung, eds. Zwischen Klassik und Klassizismus: Johann Nepomuk Hummel in Wien und Weimar : Kolloquium im Goethe-Museum Düsseldorf 2000. Bärenreiter, 2003.

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Gooley, Dana. Saving Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.006.

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This chapter surveys improvisation in the western classical tradition during a period of transition ca. 1800–1830. It considers not only why improvisational practices declined in this period, but also how they were preserved and revalidated in accordance with new musical values. It examines the free fantasies of Johann Nepomuk Hummel, an exceptionally famous composer-virtuoso of this period who was renowned for his improvisational brilliance. Critical responses and public reactions suggest that Hummel’s free fantasies were valued for their capacity to bridge the gap between connoisseurs and dilettantes, as well as the gap between public and private spheres. The chapter reflects on solo improvisation and its relationship to the social significance of improvisation.
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Gooley, Dana. The Kapellmeister Network and the Performance of CommunityHummel, Moscheles, and Mendelssohn. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0003.

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Chapter 2 concerns the free fantasy and its relationship to the public concert life that emerged after 1815. Its main protagonists are Johann Nepomuk Hummel, the undisputed master of improvised free fantasia in this period, and his rival Ignaz Moscheles. Hummel’s free fantasias were admired for hybridizing the learned style of the kapellmeisters with the popular style associated with modern virtuosi, modeling a solution to one of the period’s major problems: the gap between experts and laypersons. In private circumstances Hummel improvised in a different way addressed to the values of connoisseurs alone, and some critics objected to his more “popular” public fantasies on given themes. Moscheles’s approach to free fantasies accented the hedonistic values of the genre, and in his reception we find the first stirrings of the improvisation imaginary. This chapter considers how improvisation served as a performance of authority and learnedness rooted in the kapellmeister network, a network that includes Mendelssohn, the little-known Carl Maria von Bocklet, and Hummel’s most celebrated student, Ferdinand Hiller.
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Johann Nepomuk Hummel: Twelve Select Overtures, Arranged for Pianoforte, Flute, Violin, and Violoncello (Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries). A-R Editions, 2003.

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Kroll, Mark. Johann Nepomuk Hummel: Mozart's Haffner and Linz Symphonies Arranged for Pianoforte, Flute, Violin, and Violoncello (Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries). A-R Editions, 2000.

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Book chapters on the topic "Johann Nepomuk Hummel"

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Steiert, Thomas. "Hummel, Johann Nepomuk." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_146.

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Steiert, Thomas. "Hummel, Johann Nepomuk." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_146.

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Adelson, Robert. "Liszt and the introduction of the new piano." In Erard. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0011.

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The Erards realised that as brilliant as the double-escapement action was, it required an equally brilliant pianist to introduce it to the public. The Erards first thought to ask the Austrian pianist and composer Johann Nepomuk Hummel (1778–1837), but soon found another pianist to promote their invention: a musician whose talents eclipsed not only those of Morel, but also those of all other living pianists. Franz Liszt (1811–86), then only twelve years old and largely unknown outside of Vienna, arrived in Paris and became the leading advocate for Erard’s new invention. Liszt’s relationship with the Erard family quickly became advantageous to both parties. For the Erards, Liszt’s arrival was a godsend, as his superhuman technique demonstrated the advantages of their invention. Similarly, Erard’s new piano became an essential part of Liszt’s early success, as its magnificently responsive action and powerful tone allowed the pianist to push his virtuosity to new heights.
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Conference papers on the topic "Johann Nepomuk Hummel"

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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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