Classical

Hummel - Mathilde von Guise (2010)

2013-10-31T17:09:01Z

Hummel - Mathilde von Guise (2010)

CD1

01. Overture in E flat (Weimar version1821)
02. Atto I. Recitativo ed Aria: Chi mai sapra spiegar (Beaufort)
03. Terzettino: Con lui solo parlero (Baroness, Beaufort, Nicolo)
04. Pezzo concertato with choir: Il ciel le dia felicita!
05. Duetto poi Terzetto: Mi fa felice amor (Mathilde, Beaufort, Valentino)
06. Finale I: O ciel! Che sento?
07. Atto II. Duetto: Tuo amor sol per me (Claudina, Valentino)
08. Scena ed Aria: O ciel, che intensi mai? (Mathilde)
09. Terzetto: Rifletter ben fa d'uopo (Mathilde, Beaufort, Il Duca)

CD2

01. Scena ed Aria: Riuscito sono al fin (Duce)
02. Terzetto: Il cor brillar mi sento (Mathilde, Baroness, Beaufort)
03. Finale II: Viva il nostro buon Signor
04. Atto III. Vaudeville: Venite tutti quanti (Claudina, Nicolo, Valentino, Coro)
05. Romanza: L'ombrosa notte, vien (Mathilde)
06. Duetto: O ciel! Resistere non posso (Mathilde, Beaufort)
07. Hymn: Padre nosttro, gran Signor (Coro)
08. Pezzo concertato with choir: Pria che spunti il nuovo
09. Finale III: Son finiti tutti i guai
10. Appendix. Overture in C (Vienna version 1810)
11. Pastorale sul palco in D for 2 clarinets and 2 horns 

Mathilde – Kristine Gailite
Beaufort – Philippe Do
Duke - Pierre-Yves Pruvot
Baroness – Hjördis Thébault
Claudina – Eva Šušková
Valentino – Ondrej Šaling
Nicolo – Martin Mikuš
Leszensky – Marian Olszewski

Choir Alea
Solamente Naturali
Conductor - Didier Talpain

Johann Nepomuk Hummel (1778-1837) was one of the greatest pianist composers of the early 19th century. Taught by Salieri, Albrechstberger and Mozart, he was a close friend of Beethoven from the late 1790s until the latter's death in 1827. Hummel replaced the elderly Haydn as Kappelmeister at Eisenstadt with Haydn's approval. His influence upon Schubert, Chopin and Liszt was profound, and his A minor and B minor piano concertos (1815/19) are fine examples of the early romantic concerto rivalled only by the masterworks of Beethoven. Today however, it is probably his early (1803) trumpet concerto that he is best known for. A pity, as he was a truly well rounded, sophisticated musician, who, at his best produced many fine works that are today beginning to re-appear in the repertoire. He composed 15 operas, and none have been recorded until this release of Mathilde von Guise. Dating from 1810, and revised in 1821.

Premiered in 1811 in Vienna the opera was met with great acclaim, and in 1821 Hummel revised it for a new production, providing a 'new' overture (the earlier version's overture is included at the end of CD2) which he had extracted from his ballet Sappho of Mitilene of 1812!. The work was performed in Weimar, Berlin and Riga, then fell from the repertoire until the performances that led to this recording in Laon, France in 2008.

Hummel's score is beautiful, and is a supreme example of post Mozartian grace, allied to the modern style of Cherubini, Weber and a hint of early Rossini. It is also possible to detect how a work such as Mathilde von Guise would have appealed to Mercadante and the young Verdi. The writing for the singers is demanding, and with the composer's gift for melody and orchestration this is an important operatic recording premier. --- brilliantclassics.com

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Hummel - Oberon's Magic Horn (2007)

2017-01-05T15:40:13Z

Hummel - Oberon's Magic Horn (2007)


1. Le retour à (de) Londres, rondo brillant in F, for piano and orchestra, Op.127 		14:51
2. Variations on a theme from a Berlin Singspiel 'Das Fest der Handwerker' in Bb,
 for piano and orchestra, Op.115	15:58
3. Oberons Zauberhorn, fantasy for piano and orchestra, Op.116		18:47
4. Variations in F, for piano and small orchestra, Op.97		17:07

Christopher Hinterhuber – piano
Gävle Symphony Orchestra
Uwe Grodd – conductor

This disc of four of Johann Nepomuk Hummel's works for piano and orchestra is part of a joint project of Naxos and Artaria Editions, the publishing company revived by musicologist Allan Badley and Naxos' Klaus Heymann to bring back some forgotten works from the late eighteenth/early nineteenth century. For those who already know and like the music of Hummel, this recording will be of interest just to compare to the series made by Howard Shelley for Chandos in the early 2000s. In those recordings, Shelley was soloist and conductor, and used scores prepared by himself and Stephen Hogger. Here pianist Christopher Hinterhuber and conductor Uwe Grodd use scores prepared by Badley. For those who are less familiar with Hummel, this Naxos release is a great budget alternative to the Chandos series. The similarities in these works of Hummel's to both Mozart's late piano concertos and Beethoven's early ones are obvious. The way he develops themes, modulates through keys, uses Alberti bass, references minuets and other dance forms in the Variations, Op. 97 -- the last work on the disc, yet the earliest work chronologically -- are all hallmarks of the Classical era. In other, later pieces here, Hummel also adds more florid passagework than either of those other composers, leaning toward what appears later in Chopin and Liszt, trying to show off his expertise in performance and bringing him closer to the Romantic era. Both Le retour de Londres and Oberons Zauberhorn are more imaginative than the sets of variations. Oberons Zauberhorn is a fantasia on the horn call theme from Weber's opera Oberon, taking it through a series of contrasting episodes, including a storm to rival those in Beethoven's Pastoral Symphony and Rossini's William Tell Overture, before transforming it into a new theme for horn and piano duet over the orchestra. Le retour and the Variations, Op. 115, both have really serious, slow introductions, which, mood-wise, don't prepare the listener for the lightly dancing, insouciant music that follows. Hinterhuber, Grodd, and the Gälve Symphony do a great job maintaining that balance between the eras. They all give shape and feeling to the music, but Hinterhuber doesn't get carried away with virtuoso showmanship. His technical ease through the fancy fingerwork passages can still be impressive, but the music's intensity is fully in line with what surrounds it. These works are not as substantial as Hummel's piano concertos, but they do give insight into his style of composing and performance and into the music of the period. --- Patsy Morita, AllMusic Review

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Hummel - Piano Concertos in F & A • Theme and Variations in F major (2001)

2010-10-01T20:07:41Z

Hummel - Piano Concertos in F & A • Theme and Variations in F major (2001)


1. Piano Concerto in F Major, Op. posth. 1: I. Allegro moderato	13:46	
2. Piano Concerto in F Major, Op. posth. 1: II. Larghetto		6:31
3. Piano Concerto in F Major, Op. posth. 1: III. Finale: Allegro con brio	8:05	
4. Variations for piano & small orchestra in F major, Op. 97
04. Theme                   play
5. Theme and Variations in F Major, Op. 97: Variation 1		1:09
6. Theme and Variations in F Major, Op. 97: Variation 2		1:09
7. Theme and Variations in F Major, Op. 97: Variation 3: Sostenuto ed espressivo	2:31	
8. Theme and Variations in F Major, Op. 97: Variation 4		1:03	
9. Theme and Variations in F Major, Op. 97: Variation 5		1:04	
10. Theme and Variations in F Major, Op. 97: Variation 6: Poco larghetto con espressione	3:47
11. Theme and Variations in F Major, Op. 97: Variation 7: Allegretto - Cadenza - Tempo I	4:09
12. Piano Concerto in A Major, WoO 24, S4: I. Allegro	9:43
13. Piano Concerto in A major, WoO 24, S. 4 II. Romanze. Adagio     play
14. Piano Concerto in A Major, WoO 24, S4: III. Rondo	6:58

Howard Shelley – piano
London Mozart Players

Poor Hummel. Taught by Mozart, Joseph Hayden, and Antonio Salieri; friend of Beethoven, Schubert, Goethe, and Shiller; and immensely talented and prolific, Johann Hummel ought to be far better known than he is today. Perhaps in the century or so to come, he'll begin to get some well-deserved popular recognition, and this CD of his beautiful, melodious Piano Concerto in F major certainly won't hurt his chances. Although not as critically acclaimed as his Piano Concerto in A major (also on this CD), the F major concerto is a Romantic gem and can be viewed as the capstone of Hummel's long career. Howard Shelley is technically perfect and emotionally on target throughout this delightful CD.

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Hummel - Quintet opus 74 in D minor Onslow - Quintet opus 70 in B minor (2010)

2009-10-22T22:17:14Z

Hummel - Quintet opus 74 in D minor Onslow - Quintet opus 70 in B minor (2010)

Johann Nepomuk Hummel - Quintet, Opus 74 in D Minor
1. 	I. Allegro con spirito	14:57
2. 	II. Menuetto o scherzo (allegro)	05:54
3. 	III. Andante con variazioni	08:29
4. 	IV. Finale (vivace)	08:32

George Onslow - Quintet, Opus 70 in B Minor
5. 	I. Allegro grandioso e non troppo presto	11:55
6. 	II. Andantino cantabile e simplice	06:31
7. 	III. Allegretto molto moderato	08:58

Nepomuk Fortepiano Quintet

Brilliant Classics is proud to bring to the market this new recording of George Onslow's Fortepiano Quintet recorded on period instruments.

Hummel was one of the most famous piano virtuoso of his era, just in London he ran into Paganini who was at that time an even bigger star.

Again in this quintet Hummel shows how a virtuoso fortepiano part can be implemented in some great chamber music. Although first known as a septet it became immediately famous at its first performance in 1816. This quintet would serve as a model for Schubert's Trout Quintet

During his own lifetime and up to the end of the 19th century, George Onslow was held in the highest regard, particularly in Germany, Austria and England where he was regularly placed in the front rank of composers.

Another recording by the Nepomuk Fortepiano Quintet, who's previous recordings, received much praise from the specialist press.In this recording the ensemble focuses on the "Schubert setting" including the double bass, and on content that deserves further exploration.

Playing on famous instruments from the Edwin Beunk collection the Nepomuk Fortepiano Quintet were able to select the best instruments for each piece. --- brilliantclassics.com

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Hummel - Septets (Capricorn) [1991]

2013-02-03T17:19:31Z

Hummel - Septets (Capricorn) [1991]

Septet for piano, flute, oboe, horn, viola, cello & double bass in D minor
1. Allegro con spirit
2. Menuetto o Scherzo- Allegro
3. Andante con variazioni
4. Finale- Vivace
Septett Militaire for piano, flute, violin, clarinet, cello, trumpet & double bass
5. Allegro con brio
6. Adagio
7. Menuetto – Allegro
8. Finale – Vivace

Capricorn (Ensemble)

Johann Nepomuk Hummel (1778-1837) was born in what is now Bratislava, but in the late 18th century was called Pressburg, and part of the Austrian Habsburg Empire. A precocious child he soon displayed great skill on both piano and violin. His studies in Vienna with Mozart (he was taken on by Mozart as a student when he was just 6 years old), Salieri and Albrechstberger gave him the best musical education possible. It also saw him strike up a long (often turbulent, due to rows over women) friendship with Ludwig van Beethoven. These two young men were for many years the greatest virtuoso pianists in Vienna. Beethoven thought highly of Hummel, and during Hummel's lifetime his reputation was as a composer to rival Beethoven. Whereas that now seems totally unreasonable, Hummel's fall in to relative obscurity after his death (he was superseded by Chopin and Liszt) is also unreasonable and unjustified. His musical style provides a direct link with Mozart through to Chopin, who openly admitted his debt to the older composer. His music is wonderfully crafted, often dramatic, and for the pianist often very demanding.

The two works on this new CD showcase Hummel at his best. The large scale D minor septet (1816) is a first-rate composition. The piano has an extremely taxing part, but everything is beautifully written for the other instruments. It can stand alongside Beethoven's op20 septet as one of the most popular chamber works of the 19th century, and for many years after his death was one of only a few of his works that remained in the repertoire.

The C major septet (1829) features the trumpet, hence the title 'Military'. The influence of Beethoven can be detected in the stormy opening movement. The lovely dreamy slow movement, where the trumpet falls silent is a good example of Hummel's romantic style where Mozart and Chopin meet. --- brilliantclassics.com

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Hummel Hasse Hoffmann - Mandolin Concertos (1978)

2016-01-02T17:10:29Z

Hummel Hasse Hoffmann - Mandolin Concertos (1978)

Johann Adolf Hasse - Mandolin Concerto In G
A1 	Allegro 	
A2 	Largo 	
A3 	Allegro 	

Johann Nepomuk Hummel - Mandolin Concerto In G
A4 	Allegro Moderato E Grazioso 	
A5 	Andante Con Variazioni 	
A6 	Rondo (Allegro) 	

Giovanni Hoffmann - Mandolin Concerto In D
B1 	Allegro Moderato 	
B2 	Adagio 	
B3 	Rondeau (Allegro Moderato)

Orchestre De Chambre Paul Kuentz
Takashi Ochi - mandolin
Paul Kuentz – conductor

Händel, Paisiello, Vivaldi, Hasse, Mozart, Hummel, Hoffman and Beethoven all composed music for the mandolin. Verdi, Mahler, Prokofiev, Stravinsky and Schoenberg used it occasionally just for effect. Nevertheless it's still fair to say that the mandolin was hardly an instrument that caught too many composers' attention. And composers who composed solely for the mandolin were even rarer. ---6moons.com

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Hummel – Piano Concerto in E Major • Double Concerto (Shelley) [1998]

2010-10-13T19:03:43Z

Hummel – Piano Concerto in E Major • Double Concerto (Shelley) [1998]


1. Piano Concerto No. 4 in E major, Op. 110: I. Allegro pomposo e spiritoso
2. Piano Concerto No. 4 in E major, Op. 110: II. Andante con moto     play
3. Piano Concerto No. 4 in E major, Op. 110: III. Rondo: Allegro moderato ma con brio
4. Concerto for Piano and Violin in G major, Op. 17 : I. Allegro con brio	
5. Concerto for Piano and Violin in G major, Op. 17 : II. Theme and Variations:
 Andante con moto	
6. Concerto for Piano and Violin in G major, Op. 17 : III. Rondo

Hagai Shaham - violin
Howard Shelley – piano
London Mozart Players

Hummel is one of the transitionary figures between the classical and romantic eras. Having studied with mozart, he was very adept at concerto style. Although not as striking as his a-minor and b-minor concertos (see my review of those), his E-major concerto is beautiful and full of emotion. It also is full of humor, with an amusing virtuoso passage at the close of the solo exposition. The minor key slow movement is quite moving and reminiscent of Beethoven. The double concerto is a less serious work, but nonetheless has excellent moments. It draws most of its influence from Mozart's style (it is an early work), probably from his sinfonia concertante for violin and viola. Hummel was a talented composer, and his work warrants a listening.

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Hummel – Potpourri-Adagio-Variations-Violin Concerto (2004)

2017-01-09T14:45:27Z

Hummel – Potpourri-Adagio-Variations-Violin Concerto (2004)


1.Potpourri in G minor for Viola and Orchestra, Op. 94 (1820) [18:42]
Adagio and Rondo alla Polacca in A major for Violin and Orchestra (undated) [10:38]
2. Adagio con moto
3. Rondo alla Polacca
Variations in B flat major for Piano and Orchestra on a Theme from the Berlin Singspiel
 "Das Fest der Handwerker", Op. 115 (1830) [15:07]
4. Larghetto
5. Allegretto – Larghetto
6. Finale. Vivace
Concerto in G major for Violin and Orchestra (undated) [21:40]
7. Alegro risoluto – Rallantando
8. Adagio
9. Rondo

James Ehnes - violin and viola
London Mozart Players
Howard Shelley - conductor and pianist

With the release of this new recording, Chandos now has nine Hummel discs in its inventory. I first became familiar with Hummel's music through an early 1990s Chandos disc of two piano concertos played by Stephen Hough. The performances were magnificent and the music outstanding, but I never dreamed that so many additional Hummel recordings would be issued by this exceptional British label.

As the recorded legacy of Hummel continues to grow, it is clear that he was one of the most accomplished composers of the period bridging the Classical and Romantic eras. His popularity during his lifetime was immense, and Franz Schubert thought so highly of Hummel that he dedicated his wonderful last three piano sonatas to him. Listening to Hummel's music, it is easy to hear why he was so popular. Hummel's works are informed by expert architecture, logical musical progression that sounds natural at all times and an abundance of musical invention. Those not convinced by his music tend to point to a deficiency of emotional depth. This view has some merit as Hummel's goal was to please his audience with attractive and vibrant themes. However, the advantageous features noted above more than offset any lack in emotional fecundity. Also, we need look no further than Hummel's sacred choral music to hear the depth of the human condition generally not found in his other compositions.

The new Chandos recording showcases a fine mix of the viola, violin, and piano as solo instruments. As it happens, the sole work on the program not quite from Hummel's top drawer is the Potpourri for Viola and Orchestra, but its history is an interesting one. Until recently, it was known only in a reduced version with half its length omitted and its full orchestration not realized. Hummel composed the piece in 1820, and it was published a year later with an additional version for cello and orchestra (Op. 95). Chamber versions, a form quite popular for the purpose of playing orchestral music in the home, were also prevalent at the time.

Hummel's Potpourri has eight sections/variations that have an improvisatory element and contain music from Mozart and Rossini operas as well as an incisive fugue. Although the work is listed as being in the key of G minor, only the "Grave" first section belongs to that key. This first section is a stunning display of poignant refrains from the viola that makes one anxious to hear the remainder of the work. The second section is a gorgeous Andante in B flat major from the aria "Il mio tesoro" from Mozart's Don Giovanni. With the third section Allegro in D major, Hummel offers vivacious and exciting music. The fourth section Allegretto in F major will be familiar to many listeners as Figaro's aria "Se vuol ballare" from Mozart's Marriage of Figaro. The fifth section in A minor is marked "Allegro assai" and unfolds into a compelling fugue superbly crafted by the composer. Unfortunately, the next two sections are rather innocuous, but the final section is a rousing Allegro ma non troppo in 6/8 time. Overall, I find that this delightful work takes on a 'sameness' as it progresses through the eight sections. It isn't among Hummel's more rewarding compositions, but his trademark elements of naturally flowing and melodic music are apparent throughout the piece.

The remainder of the program consists of three premiere recordings, each one representing prime-time Hummel. The Adagio and Rondo alla Polacca has an attractive slow introduction of about two minutes followed by a vivacious eight-minute Rondo having an excellent blend of smoothly flowing lines and sharply contoured and confident declarations. The musical invention of the work is ample, and every passage is highly enjoyable. Most impressive is the exciting conclusion preceded by the violin's comforting arioso. The Variations in B flat major has a remorseful Larghetto introduction followed by a series of increasingly rich and ornamented variations that sparkle appealingly.

Chandos saves the best for last with the substantial Violin Concerto in G major. Although I stated earlier that the work was prime-time Hummel, the manuscript is undated and not in Hummel's hand. As the liner notes indicate, it is likely that more than one composer contributed to the composition. Also, the manuscript is not complete, leading Howard Shelley and Stephen Hogger to edit and complete it for this recording. In three movements, the opening theme has the rhythmic swagger and imitative passages so prevalent in Hummel's music. After a short but pleading 2nd Movement Adagio, the Rondo begins with one of Hummel's most ingratiating tunes emanating from the solo violin. It scissors its way through a sinewy labyrinth most appealingly, putting this reviewer in the dancing mode.

Performances throughout are exceptional. Howard Shelley has been a prime champion of Hummel's works, and his conducting and playing are fully idiomatic and reflective of Hummel's most endearing musical traits. James Ehnes, a rising star among string soloists, handles both the solo violin and viola parts with technical aplomb and enthusiasm. I would have preferred more sharply etched playing from Ehnes, but I cannot deny his lovely tone and heart-felt interpretations. Sound quality is exceptional, particularly the clarity invested in the solo string music.

In conclusion, those who have been collecting the Chandos series of Hummel recordings have no reason to hesitate acquiring the new release. I am also highly enthusiastic about the Hummel sacred choral music that Chandos is now offering. There are two discs to date, both conducted by the highly versatile Richard Hickox with the period instrument orchestra Collegium Musicum 90. As Chandos continues to explore Hummel's legacy, I tip my hat to this excellent enterprise that has put him firmly on the musical map where he belongs. ---Don Satz, musicweb-international.com

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Johann Nepomuk Hummel - Der Durchzug durchs Rote Meer (2007)

2014-01-12T16:35:09Z

Johann Nepomuk Hummel - Der Durchzug durchs Rote Meer (2007)


1 Intrada (1. Teil) 
2 Chor: Aus der Tiefe unsers Elends 
3 Recitativo accompagnato: Und immer schwerer lastet das Joch der Sklaverei
4 Arie und Chor: Ich, euer Väter Gott 
5 Fuga: Der Herr hat unser Geschrei erhört 
6 Duett: Es macht der Herr durch unsern Mund, dir König, seinen Willen kund 
7 Recitativo accompagnato: Verblendet war des Königs Sinn 
8 Arie und Chor: Ich schwebe auf des Todes Fittich 
9 Recitativo accompagnato: Ein groß Geschrei ging aus (2. Teil)
10 Quartett mit Chor: Der Herr hat unser Trübsal geseh'n 
11 Recitativo accompagnato: Sie zogen aus, gewaffnet durch die Wüste
12 Arie und Chor: Und Moses streckte aus die Hand 
13 Rezitativ: Es warf das Meer die Toten ans Gestade
14 Chor: Jehova ist ein Kriegesheld

Simone Kermes – soprano
Veronika Winter - soprano
Hans-Jörg Mammel – tenor
Ekkehard Abele – bass
Wolf Matthias Friedrich – bass
Rheinische Kantorei (Choir)
Das Kleine Konzert (Orchestra)
Hermann Max - conductor

Hummel's oratorio Der Durchzug durchs Rote Meer (The Passage Through the Red Sea) was long thought to have been lost, but a copy has surfaced in a London collection. This is the work's world-premiere recording and perhaps its premiere performance: according to the booklet, it was never performed during Hummel's lifetime. After you hear it, that fact will surprise you; the music has a formal freedom that would lead you to believe that later composers could easily have been familiar with it. The work was probably written in the first part of Hummel's career, when he followed Haydn as music director at Esterháza castle, and it shows the impact of Haydn's late masses, of Die Schöpfung, and of Beethoven's early choral music. However, it has plenty of original ideas, and it doesn't sound much like Hummel's better-known instrumental works. It is quite compact, and its most distinctive feature is flexible text setting that achieves considerable power. The individual numbers are not set pieces for chorus or for one of the five soloists, but intersperse choral and solo passages in a way that suggests music from later in the nineteenth century. Sample the fugue in track 5, which effectively breaks off at its climax for another statement from Moses, the soloist. Hummel's use of recitatives is likewise flexible, with both secco and accompanied passages; the simple recitatives are here accompanied on a fortepiano. The performance is exemplary. The Rheinische Kantorei is one of those regional German choirs whose rich textures demonstrate just how deeply choral singing is embedded in the country's musical and social fabric, and the performance features soprano Simone Kermes among other top-notch soloists. The players of Das kleine Konzert under Hermann Max are both lively and accurate in this live performance, recorded in enough sonic detail to catch everybody taking a breath as the conductor raises his baton, but also to reveal Hummel's attractive textures in full color. Germany's CPO label, which has specialized in unusual works of the Classical and post-Classical periods, has scored one of its most significant releases here. --- James Manheim, Rovi

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Johann Nepomuk Hummel - Mandolin Concerto, Trumpet Concerto, Ballet Music (2001)

2011-01-02T21:22:32Z

Johann Nepomuk Hummel - Mandolin Concerto, Trumpet Concerto, Ballet Music (2001)


1. Overture in D major, S148		6:27	
2. Mandolin Concerto in G major, S28: I. Allegro moderato	7:55
3. Mandolin Concerto in G major, S28: II. Andante con variazioni: [Theme] - Var. 1 - Var. 2 - Var. 3	Alison Stephens	4:34	
4. Mandolin Concerto in G major, S28: III. Rondo: Allegro	5:07	
5. Trumpet Concerto in E major, WoO 1, S49: I. Allegro con spirito		9:18
6. Trumpet Concerto in E major, WoO 1, S49: II. Andante [versione prima]	5:41	
7. Trumpet Concerto in E major, WoO 1, S49: III. Rondo - Minore - Maggiore		4:06
8. Final ballet in Herold's La clochette, WoO 31, S206: I. Ensemble: allegro energico	2:10
9. Final ballet in Herold's La clochette, WoO 31, S206: II. Pas de deux: Un poco lento - Allegretto grazioso	4:14	
10. Final ballet in Herold's La clochette, WoO 31, S206: III. Pas seul, et pas de trois a la fin: Grave - Tempo di polacca - Poco piu mosso		3:29	
11. Final ballet in Herold's La clochette, WoO 31, S206: IV. Groteschi: Allegro non troppo  4:03
12. Final ballet in Herold's La clochette, WoO 31, S206: V. Ballo generale: Allegro molto vivace	2:33

Alison Stephens (mandolin)
Urban Agnas (trumpet)
London Mozart Players
Howard Shelley (conductor)

Although the packaging cannily plays up the Corelli's Mandolin connection, this disc should simply be treasured as a particularly fine collection of Hummel's music, ably performed by sympathetic soloists and a topnotch orchestra under the baton of the composer's most ardent modern-day champion, Howard Shelley. The Concerto in G was originally composed for virtuoso mandolinist Bartholomeo Bortolazzi in 1799, and its outstanding virtue is that, unlike much other mandolin repertoire, it appeals to non-aficionados of the little Italian instrument too. Its weighty orchestral introduction (there's a joke about that in Louis de Bernières's novel) sets the scene for a work of real substance and broad melodic appeal. Soloist Alison Stephens has captured the market in mandolin performances of late, but in this expressive performance of a tough piece she effortlessly justifies her workload (her cadenza in the Rondo is an especial treat). Here she performs a previously unknown later revision of the concerto that has significant variations in the solo part across all three movements, emphasizing the ringing arpeggios that lend themselves so well to the double strings of the instrument.

Urban Agnas is the forthright soloist in the well-known Concerto in E, a staple of the trumpet repertoire and for years about the only piece that kept Hummel's name alive. The concertos are bookended by two previously unrecorded works: the jolly Freudenfest Overture, which has fun with "God Save the King" among other national melodies, and the ballet suite Das Zauberglöckchen, the kind of breezily tuneful yet ultimately unmemorable work that might have doomed Hummel to obscurity if it were not for the persuasive advocacy of Shelley and his soloists. The depth and clarity of Chandos engineering brings out the best in everybody. ---Mark Walker, amazon.com

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