I really enjoyed this, beautifully played, but I would love to hear this on a piano of the period, for the greater clarity and sparkliness of tone, and for the greater contrast between bass and treble. The sonority of a modern piano muffles it.
Enjoyable performance of a lesser known sonata. Thank you. (I am wondering why Antonio chose to ignore the "fp" markings in the first movement, though...)
Sublime. The more Hummel I listen to, the more I realize his music is totally under appreciated, as is his contribution to the romantic era. He was Mozart's star pupil after all and imo crosses the lines into romantic harmonies like a time machine for his time, hinting the Chopin, Liszt etc to come- I would argue more so even than Beethoven (listen to the Hummel piano concertos) and certainly more than Mendelssohn, who imo is harmonically sterile in comparison.
Agreed about Beethoven and Hummel. Beethoven took Classicism absolutely as far is it could possibly go, but Hummel fully embraced the bud of Romanticism, and did so fairly early, as much I think as Schubert did. Agreed about Mendelssohn too, who was relatively conservative harmonically and effectively remained a lifelong Classicist in accordance with his early training; still, I adore Mendelssohn.
Agreed on everything you said but it sounds like you're throwing shade at my favorite composer, Mendelssohn. He was definitely harmonically conservative as the previous comment said but I think he was genuinely one of the most unique composers we've seen. He so effortlessly blended a classical foundation and principles with romantic themes and ideas and in turn created very conservative music yet packed with so much emotional intensity. You may call him harmonically sterile, but simply listen to the yearning, sentimental opening theme of his first quartet or the absolutely tragic, grief-stricken fourth movement of his sixth quartet, and compare that to the emotional intensity of, let's say a Mozart string quartet? It's quite literally a perfect blend of classicism and romanticism. There's nothing particularly "experimental" about his music, and yet I genuinely believe it reaches a level of emotional intensity rivaled by few composers. I think the way I would sum it up, Mendelssohn was such a fantastic classicist that it made him a fantastic romanticist. He found his style and didn't need to go anywhere beyond that.
The first movement is beautiful! Although the 3rd movement is titled presto, but it sounds too fast for me... I can't really hear melodies, it's rather chaotic
Really fine music played with ideal sensitivity to the era and thir pianos shallow key bed but Pompa-Baldi gets so much color out of his instrument . He is the finest musician Ive heard in these cuz the concerti of Hummel sounded empty . But I must now find other Sonatas and music of Hummel-it must have been me ! This was instantly fetching and I've always hoped I would find something by this best known of Mozart's pupils . Dont know when Mozart had time to teach but his resources lacking he had to do everything hecould . This is so well played here . Oh imagine if only Ingrid Haebler had recorded some of these !
If he was mozart's pupil he clearly learned nothing from him when it came to composition. This is more akin to CPE bach and his successors than mozart.
@@sabersalsh1200 E-natural is the more natural option, (no pun intented), it would create a Gminor6 chord, rather than retroactively changing the G minor chord into an Ebmajor7 chord. It also would allow for a natural sequence to develop and enter the next part of the piece, the sequence consisting of F, E - G, F - Ab, G - Bb, Ab, - C, Bb - F
@@TheLifeisgood72 temoeraments don't do anything. There is no discernable difference between something like 12 tet and well temperament. It's just pseudoscience.
Undoubtedly H was a good musician but there is always the feeling that sth is missing amidst the tons of notes he wrote. This sonata is way to long for the ideas it contains. The main theme f.i.is just a basic harmonical cliché.
