Johann Nepomuk Hummel (1778-1837) was an important composer from the late Classical period primarily known for his solo piano compositions and piano concertos. In recent years, however, attention has been given to his chamber music, operas, and sacred works. He tended to write long-breathed melodies, often used Alberti bass accompaniments and dotted rhythms, and favored the sonata-allegro and rondo forms. Among his greatest works in the keyboard genre are the Sonata in A Flat, for piano 4 hands, Op. 92, and the Sonata in F Sharp, Op. 81. His Mass, Op. 111, and some of his cantatas are also important works. Hummel wrote a highly-regarded three-volume treatise on pianism, entitled A Complete Theoretical and Practical Course on the Art of Pianoforte Playing.

Hummel was born on November 14, 1778, in Bratislava (then Pressburg), Slovakia. Young Johann's first musical studies came on the violin at the behest of his father, a player of string instruments himself, and director of the local Imperial School of Military Music. By the age of five Hummel could play the violin with proficiency. But he would abandon it in favor of the piano, on which he developed an astonishing technique by age six.

When the family moved to Vienna in 1786, Johann studied with Mozart, with whom he lived for two years. After concert appearances throughout Europe at age ten, Hummel and his father traveled to London, where they settled temporarily. Johann met Clementi there, and took private instruction from him.

Hummel returned to Vienna in 1793 and began studies with Albrechtsberger. Now 14, the young composer largely turned away from the concert stage, in favor of teaching and composing. Among his works were a set of variations for piano in 1794, and, four years later, two sonatas for piano and violin, and one for piano and viola. But he struggled with opera: Il viaggiator ridicolo (1797), and Don Anchise (c. 1800) were left incomplete. He did, however, finish Dankgefühl einer Geretten (1799).

His Piano Trio in E Flat and the Variations in G on a Romance by Méhul came in the early years of the next century, and he completed his opera Le vicende d'amore in 1804. Soon more operas would come, as well as his Concerto in G, for piano and violin. His first major appointment came in April, 1804, when he accepted the post of Concertmaster to Prince Nikolaus Esterházy at his Eisenstadt court. Hummelalso wrote several masses, including the Mass in E Flat (1804), and Mass in D (1808); and he composed a Te Deum (1806), and two Salve Reginas. More operas came, too: Der vereitelten Ränke (1806) and Mathilde von Guise (1810; revised in 1821).

In May, 1811, Hummel was dismissed as Kapellmeister in a controversy and returned to Vienna to focus on composition. Two years later he married Elizabeth Röckel. Late the following year, at his wife's behest, he launched a concert tour in Vienna, scoring triumph after triumph. He subsequently toured Germany and Europe with great success, sometimes also assuming the role of conductor.

Hummel accepted the Kapellmeister posts in Stuttgart (1816) and Weimar (1819). This was a most productive period for him, as many of his best works appeared, including the Trio for Piano, Violin, and Cello, Op. 83 (1819), the Sonata in A Flat, for piano four hands, Op. 92 (1820), and two "birthday" cantatas for the Duke (1823 and 1827). By 1832, Hummel's health was in decline, and he frequently took leave of his Kapellmeister duties in Weimar because of sickness. He died on October 17, 1837.

Joseph Joachim

(born June 28, 1831, Kittsee, near Pressburg, Austria-Hungary—died Aug. 15, 1907, Berlin, Ger.) Hungarian violinist known for his masterful technique and his interpretations of works of Bach, Mozart, and Beethoven.

• Joseph Joachim, 1890.
  

Joachim first studied at Budapest, and at age seven he appeared with his teacher S. Serwaczyński. In 1844 he visited London, where he was sponsored by Mendelssohn and achieved an outstanding success. In 1849 he led the orchestra at Weimar, and in 1853, the orchestra at Hannover. In 1868 he became director of the Hochschule für Ausübende Tonkunst (Berlin), where he acquired a reputation as a fine teacher, attracting pupils from all of Europe. In 1869 he founded the Joachim Quartet, which became renowned for its performances of the late string quartets of Beethoven.

In his playing, Joachim subordinated technical virtuosity to aestheticvalues, and he thus brought about a reform in program making that turned away from the spectacular. His close friend Johannes Brahmsconsulted with him on his violin concerto and dedicated it to him, and Schumann’s Phantasy for Violin and Orchestra was written for him. Joachim’s own compositions, influenced by Brahms and Schumann, comprise chiefly works for the violin, notably the Hungarian Concerto in D Minor.