Johann Nepomuk Hummel and the flow of ideas in the twilight
Anweisung zum Piano-Forte-Spiel (Vienna, 1827)​​​​​
Chapter VII: On free fantasizing (extemporizing) and preluding. pp. 461-68​​​​​​
Vom freien Phantasiren, (Extemporiren) und Präludiren
Full text chapter VII
German / English
Johann Nepomuk Hummel in 1814, painter unknown.
'But I was mostly charmed by his improvisations in which no other Pianoforte-Virtusos has ever yet approached him. I especially remember with great pleasure one evening when he improvised in so splendid a manner as I never since heard him whether in public or in private. The company were about to break up, when some ladies, who thought it too early, entreated Hummel to play a few more waltzes for them. Obliging and galant as he was to the ladies, he seated himself at the piano, and played the wished for walzes, to which the young folks in the adjoining room began to dance. I, and some other artists, attracted by his play, grouped ourselves around the instrument with our hats already in our hands, and listened attentively. Hummel no sooner observed this, then he converted his play a free phantasia of improvisation, but which constantly preserved the walz-rhythm, so that the dancers were not disturbed. He then took from me and others who had executed their own compositions during the evening a few easily combined themes and figures, which he interwove into his walzes and varied them at every recurrence with a constantly increasing richness and piquancy of expression. Indeed, at length, he even made them serve as fuge-themes, and let's loose all his signs in counterpoint without disturbing the walzers in their pleasures. Then he returned to the galant style, and in conclusion passed into a bravoura, such as from him even has seldom been heard. In this finale, the themes taken up were still constantly heard, so that the whole rounded off and terminated in real artistic style. The hearers were enraptured, and praised the young ladies’ love of dancing, that had conduced to so rich a feast of artistic excellence.'
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Louis Spohr (1784-1859): Louis Spohr’s Selbstbiographie, Cassel & Göttingen: Georg H. Wigand, n.d. Plate 1860-61. English version: London: Longman, Roberts, & Green, 1865. Translator unknown.
Johann Nepomuk Hummel (1778–1837) was an Austrian composer, pianist, and influential teacher of the late Classical and early Romantic periods who studied with Mozart, Haydn, Clementi, Rigler and Salieri. Described by Goethe as the 'Napoleon at the Piano', and mentioned by Chopin as one of the three greatest masters alongside Mozart and Beethoven, he was known for his extraordinary improvisation skills, which he often showcased in his public performances. His improvisations were marked by their virtuosity, creativity, and ability to blend complex harmonic structures with graceful, flowing melodies. Besides his free fantasias based on his 'flow of ideas', he was taking tunes from the public, or melodies from French and German operas, developed these in his improvisations, inserting fugues or fugal passages, and balanced it all towards a 'wide' public that included as well connoisseurs as amateurs. In this way, Hummel took into account the tastes of local audiences, making them applaud each time they recognized a melody. He mastered the free fantasia on a single or multiple themes, often pot-pourris, combining the 'connoisseur values' in strict style as counterpoint and extended forms with the pleasing style in popular melodies, creating a stilystic middle ground in multi-layered fantasias in dialogue with the public. Hummel’s reputation as an improviser made him a highly sought-after performer and teacher, influencing future generations of pianists and composers.
Piano treatise Anweisung zum Piano-Forte-Spiel (Vienna, 1827)​​​​​
Hummel's piano method is in many ways a unique publication. It covers all aspects of piano playing, from basic elements to professional performance. The last chapter of this publication, Chapter VII: On free fantasizing (extemporizing) and preluding. pp. 461-68​​​​​​, Vom freien Phantasiren, (Extemporiren) und Präludiren, is entirely devoted to improvisation. The first edition's chapter was limited, but after criticism from readers, Hummel expanded it. ​​​
Full text chapter VII
German / English
​In this chapter, the following topics are treated:
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The requirements of the free fantasia practice (natural gift and thorough education). p. 461.
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Hummel's personal roadmap and approach in developing the free fantasia, from study room to stage. p. 461-62.
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Introduction to the extended text in the 2nd edition for connoisseurs and amateurs. p. 462-63.
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The importance of the flow of ideas and the development of the main ideas. p. 463-64.
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Preparing the free fantasia. p. 464.
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Advice for attaining skill and fluency in harmonic development and execution, form and style. p. 465.
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The difference between free fantasia and preluding. p. 465-66
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The two types of preluding (transition and contrast). p. 466-67.
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General advice and conclusion. p. 468.​​
Diminution techniques
In contrast to CPE Bach's treatise which has a strong focus on the study of harmony, Hummel's treatise focuses more on diminution techniques which are covered in a huge collection of exercises. Although these exercises are often seen as exclusively finger exercises, the applications are very versatile: from fingering systems to tonal elements that can be used in improvisation.​​​
TO LISTEN
In contrast to CPE Bach's manual which has a strong focus on studying harmony, Hummel's manual focuses more on diminution techniques.
SOME MORE QUOTES
​​'Improving for [Hummel], is not a work of mechanism and memory; he is not content to take a theme, modulate it and embellish it for a few minutes, then to leave it there to recommence the same operation in a second theme, nay even on a third; no, he seeks a thought, and develops it in all its facets and daring.'
Anon., 1830, cited in Stewart-MacDonald, 2011, p. 130 in Gianmario Borio and Angela Carone: Musical Improvisation and Open Forms in the Age of Beethoven. Routledge Taylor, 2019.
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'In this fantasy we were able to grant his talent the pure admiration that he earned to the highest degree, especially through the logical treatment of the theme that he first stated. For the rest of the public bonbons were also served up, and some lapped them from the stream, while others nibbled. But everyone was transported and showed their satisfaction with fiery applause.'
Concert, Allgemeine musikalische Zeitung 4, no. 39 (May 13, 1820): 306-307
'He commenced with an introductory adagio, followed by some light and playful variations on the Swiss air; he modulated through a variety of keys into an elaborate fugue, in the progress of which he displayed all the enthusiasm and powerful genius, with the consummate art and refinement of the most profound musical science.'
The Athenaeum, May 15, 1830 in Mark Kroll: Johann Nepomuk Hummel: A Musician’s Life and Work. Lanham, MD: Scarecrow Press, 2007, 131.
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'(…) his improvisations in social circles are entirely different from those directed at a larger public and never resemble one another.'
Berlin, Allgemeine musikalische Zeitung 5, no. 42 (May 26, 1821): 332
'For connoisseurs and amateurs Capellmeister N. Hummel alternated between contrapuntally developed passages and pleasantly varied popular themes, satisfying and entertaining everyone.'
Berlin, Allgemeine musikalische Zeitung 5, no. 42 (May 26, 1821): 332
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'(…) he gained the greatest applause by his Fantasias in which this great master knows how to mingle with such admirable art the gay and the serious, the playful and the severe; at one moment he lets us hear what he is capable of affecting in the church style, then in that of the chamber and theater. So varied are his powers that even those who had the least pretensions as connoisseurs were charmed, they knew not why, while the cognoscenti applauded with unfeigned admiration. He appears equally great both in the grand and the simple.'
Foreign musical report, Louis Spohr’s Selbstbiographie (Cassel and Göttingen: Wigand, 1860-61), 2:206
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'Napoleon behandelte die Welt wie Hummel seinen Flügel; beides erscheint uns wunderbar, wir begreifen das eine so wenig wie das andere, und doch ist es so und geschieht vor unsern Augen. […] Er war immer in seinem Element und jedem Augenblick und jedem Zustande gewachsen, so wie es Hummeln gleichviel ist, ob er ein Adagio oder ein Allegro, ob er im Baß oder im Diskant spielt. Das ist die Fazilität, die sich überall findet, wo ein wirkliches Talent vorhanden ist, in Künsten des Friedens wie des Krieges, am Klavier wie hinter den Kanonen.'
Johann Wolfgang von Goethe: Unterredungen mit Napoleon, XIX: 313
TO READ - LISTEN
Dana Gooley: Saving Improvisation: Hummel and the Free Fantasia in the Early Nineteenth Century. The Oxford Handbook of Critical Improvisation Studies, Volume 2​
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Dana Gooley: Fantasies of Improvisation: free playing in nineteenth-century music. Oxford University Press, 2018. pp.