Quote:
Originally Posted by ecarroll  ..........
Generally speaking (variables being acoustic and ensemble clarity) I look for a tempo relationship between the outer movements in classical concerti, believing that symmetry and proportion are hallmarks of the era. I keep the same tactus in both, with the only difference being 4 beats to the bar in first movements and alla breve (2 beats to the bar) in third movements.
Works for me,
EC |
I think that the Hummel does not have the musical "substance" that most other non-trumpet classical concertos have and that allows for a more "playful" interpretation. I consider it to be pop music from the 18th century - very entertaining even if it was to mark Hummels entry to the court of Esterházy in Vienna following Haydn. It sounds "cool" even to the casual listener. No sin in assymetrical tempi.........
Prinz Anton was not the consummate music lover and Haydns function towards the end was primarily ceremonial activities (including an annual Mass each year for the princess' name day). Haydn biographer Karl Geiringer describes Anton's son and successor Nicolaus II thus: "He was as complete an autocrat as his grandfather had been, but lacked the latter's charm, kindliness, and genuine understanding of music . . . contemporaries described the prince's nature as 'worthy of an Asiatic despot'". Nikolaus II commissioned the six late masses of Haydn noted above, as well as the Mass in C of Ludwig van Beethoven. At the first performance of the Beethoven Mass, the Prince criticized the work, and Beethoven left his house in a rage. This could very well be the reason that the Hummel Concerto was not a deep musical statement, Hummel was a very capable composer! In 1811, Hummel was dismissed for neglecting his duties (the House of Esterházy ran out of money anyway due to the princes art collecting ventures, so maybe this was just an excuse!).
In any case, Urban has a very natural musicality and I will order the CD today. Thanks for the tip!