[오스트리아]요한 네포무크 훔멜(( Johann Nepomuk Hummel)

 

요한 네포무크 훔멜

( Johann Nepomuk Hummel)

 

 

 

1778년 11월 14일 ~ 1837년 10월 17일)은 오스트리아의 피아니스트, 지휘자, 작곡가이다.

훔멜은 합스부르크 제국의 프레스부르크에서 태어났고, 아버지는 빈에서 활동한 지휘자였다. 주로 바이마르에서 활동했으며, 괴테와 함께 지역 최고의 거물로 평가되었다.

 

동시대의 경쟁자들로 루드비히 반 베토벤, 루이스 슈포어, 카를 마리아 폰 베버, 니콜로 파가니니가 있었으며, 특히 즉흥 연주와 피아노 연주에 뛰어났다. 작풍은 가볍고 밝은 빈 고전파의 특징을 고수하고 있으나 낭만파로의 경향이 두드러지며, 또한 장식적이고 화려하다. 모차르트, 하이든, 클레멘티, 알브레헤트버거에게 사사했으며, 대표적인 제자로는 펠릭스 멘델스존, 카를 체르니가 있다. 이후 훔멜의 악풍은 아일랜드의 존 필드, 독일의 펠릭스 멘델스존, 오스트리아의 프란츠 슈베르트 폴란드의 프레데릭 쇼팽, 이탈리아-프랑스의 초기 낭만파 오페라 작곡가 등에게 계승된다.

 

파가니니, 칼크브레너와 함께 비르투오조의 시대를 본격적으로 열었으며, 음악의 지적재산권, 저작권에 대한 투쟁을 통해 상당한 성과를 거두었다. 또한 피아노의 기교적인 연주기법을 극도로 발달시켰다. 생전, 비밀 결사 단체인 프리메이슨의 일원으로 활동했었고 생전에는 그 누구보다도 인기와 명성이 높았으나 그가 죽고 후기낭만으로 역사가 진행되어감에 따라 서서히 사람들의 기억 속에서 잊혀져갔다. (다만 현대에 와서는 그의 작품이 조금씩 재평가받고 있다.) 대표적인 저서로는 '피아노 연주 예술에 대한 이론 및 실제 완전정복'이 있으며 주요 작품으로는 7개의 피아노 협주곡,

트럼펫 협주곡, 9개의 피아노 소나타 등이 있다.

 

His music reflects the transition(과도기) from the Classical to the Romantic musical era.

작품

• 《피아노 협주곡 2번 가단조》
• 《피아노 협주곡 5번 내림 가장조》
• 《트럼펫 협주곡 내림 마장조》
• 《피아노 5중주 내림 마단조》
• 《피아노 소나타 3번 바단조》
• 《비올라와 오케스트라를 위한 환상곡》
• 《바순 협주곡 바장조》
• 《론도 파보리, 내림 마장조》
• 《피아노 소나타 5번 올림 바단조》
• 《피아노 소나타 6번 라장조》
• 《플루트 소나타 2번 라장조》
• 《오보에와 오케스트라를 위한 변주곡 바장조》
• 《피아노, 플루트, 첼로를 위한 서주와 변주곡 가장조》
• 《피아노와 오케스트라를 위한 화려한 대 론도 '런던으로 돌아가다' 바단조》
• 《피아노 협주곡 3번 나단조Piano Concerto in B minor Op.89
•  Piano Concerto No. 4, Op. 110
• 《첼로 소나타 가장조》
• 《미사 마단조》
• 《투 피아노 소나타 내림 가장조》
•  Trio for Piano, Violin & Cello in E major. Op. 83

Hummel was born in the year 1778 in Pressburg, in the now modern Bratislava, the son of a local musician. Similar to Mozart, he was reading music at the age of four, playing the violin at 5 and the piano at 6. His father, obviously seeing the possibilities and parallels, sought the opportunity to meet Mozart in 1786. Wolfgang, very taken with the young Hummel, arranged with the father to have Johann stay in Vienna with him so as to give him lessons and compositional training. Mozart is supposed to have said; "Agreed, I shall instruct the boy, but he has to live with me so that I can keep a constant eye on him. He will get everything free: instruction, room, board." For approximately two years, Hummel lived with the Mozarts so as to take advantage of this opportunity. Aside from the teaching aspects, it appears that Hummel played for Mozart the compositions he submitted to him for review, as well as piano-duet playing of Wolfgang's (and other composers) various works.<유튜브>

 

At the age of eight, he was offered music lessons by Wolfgang Amadeus Mozart, who was impressed with his ability. Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine at one of Mozart's concerts.

 

Hummel's father then took him on a European tour, arriving in London where he received instruction from Muzio Clementi and where he stayed for four years before returning to Vienna. In 1791 Joseph Haydn, who was in London at the same time as young Hummel, composed a sonata in A-flat major for Hummel, who gave its first performance in the Hanover Square Rooms in Haydn's presence. When Hummel finished, Haydn reportedly thanked the young man and gave him a guinea.

 

The outbreak of the French Revolution and the following Reign of Terror caused Hummel to cancel a planned tour through Spain and France. Instead, he returned to Vienna, giving concerts along his route. Upon his return to Vienna he was taught by Johann Georg Albrechtsberger, Joseph Haydn, and Antonio Salieri.

 

At about this time, young Ludwig van Beethoven arrived in Vienna and also took lessons from Haydn and Albrechtsberger, thus becoming a fellow student and a friend. Beethoven's arrival was said to have nearly destroyed Hummel's self-confidence, though he recovered without much harm. The two men's friendship was marked by ups and downs, but developed into reconciliation and mutual respect. Hummel visited Beethoven in Vienna on several occasions with his wife Elisabeth and pupil

Ferdinand Hiller. At Beethoven's wish, Hummel improvised at the great man's memorial concert. It was at this event that he made friends with Franz Schubert, who dedicated his last three piano sonatas to Hummel. However, since both composers had died by the time of the sonatas' first publication, the publishers changed the dedication to Robert Schumann, who was still active at the time.

 

Hummel, c. 1814, Goethe-Museum, Düsseldorf

 

In 1804, Hummel became Konzertmeister to Prince Esterházy's establishment 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 Concertmeister 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.^[2]

 

He then returned to Vienna where, after spending two years composing, he married the opera singer Elisabeth Röckel in 1813. The following year, at her request, was spent touring Russia and the rest of Europe. The couple had two sons.^[3] one of them, Carl (1821–1907), became a well-known landscape painter.

 

Hummel later held the positions of Kapellmeister in Stuttgart from 1816 to 1819 and in Weimar from 1819 to 1837, where he formed a close friendship with Goethe, learning among other things to appreciate the poetry of Schiller, who had died in 1805. During Hummel's stay in Weimar he made the city into a European musical capital, inviting the best musicians of the day to visit and make music there. He brought one of the first musicians' pension schemes into existence, giving benefit concert tours when the retirement fund ran low.

 

Hummel was one of the first to agitate for musical copyright to combat intellectual piracy(저작권 침해).

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 found himself in partial retirement from 1832 until his death in 1837.^[3]

Influence

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 (1828), which sold thousands of copies within days of its publication and brought about a new style of fingering and of playing ornaments. Later 19th 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.

 

Hummel's influence can also be seen in the early works of Frédéric Chopin and Robert Schumann,

and the shadow of Hummel's Piano Concerto in B minor as well as his Piano Concerto in A minor

can be particularly perceived in Chopin's concertos.

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 Chopin E minor concertos are too close to be coincidental".^[4] 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,^[5] composed in 1815 – a set of twenty-four preludes in all major and minor keys, starting with C major".

 

Robert Schumann also practiced Hummel (especially the Sonata in F-sharp minor, Op. 81), and considered becoming his pupil. 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.^[6]

Music

See also: 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 like his Sonata in F-sharp minor, Op. 81, and his Fantasy, Op. 18, for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and 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, ten piano sonatas (of which four are without opus numbers, and one is still unpublished), eight piano trios, a piano quartet, a piano quintet, a wind octet, a cello sonata, two piano septets, a mandolin concerto, a mandolin sonata, a Trumpet Concerto in E major written for the Keyed trumpet (usually heard in the more convenient E-flat major), a "Grand Bassoon Concerto" in F, a quartet for clarinet, violin, viola, and cello, four hand piano music, 22 operas and Singspiels, masses, and much more, including a variation on a theme supplied by Anton Diabelli for Part II of Vaterländischer Künstlerverein.

 

Although thought of in terms of the piano in modern times, Hummel was seriously and constantly interested in the guitar, and he was talented with the instrument. He was prolific in his writing, and his compositions for it begin with opus 7 and finish with opus 93. Other guitar works include Opp. 43, 53, 62, 63, 66, 71 and 91, which are written for a mixture of instruments.^[7]

 

Hummel's output is marked by the conspicuous(눈에 띄는) lack of a symphony. Of his eight piano concertos the first two are early Mozartesque compositions (S. 4/WoO 24 and S. 5) and the later six were numbered and published with opus numbers (Opp. 36, 85, 89, 110, 113, and posth. 1).

A full list of Hummel's works is available online.^[8]

Last years and legacy

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 in 1837. A freemason (like Mozart), 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, his music was 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 20th century, Hummel was passed over. Like Haydn (for whom a revival had to wait until the second half of the 20th century), Hummel was overshadowed by Mozart. Due to a rising number of available recordings and an increasing number of live concerts across the world, his music is now becoming reestablished in the classical repertoire.<영어위키백과>