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|Title: ||An examination of the composer/performer relationship in the piano style of J.N. Hummel|
|Authors: ||Carew, Derek|
|Award date: ||1981|
|Presented at: ||University of Leicester|
|Abstract: ||Our age sees in Hummel the "transitional" figure
par excellence. A pupil of Mozart, Haydn, Clementi, Al-brechtsberger and Salieri, he carried the Classical piano
style to its limits, frequently trespassing on the Romantic,
and his importance for the subsequent development of music
in that era was considerable.
His piano style was the result of the reciprocal
influence of the composer and the performer in his make-up
and these, in turn, were shaped to a great extent by external
factors in the period. I have examined the general
background, to the period in Section I, and the second Section
is devoted to Hummel's own compositional and performance
Creator and executant fuse in improvisation, and
its prevalence during, the period of Hummel’s life is well-known.
He himself was possibly the greatest improviser of
his time, and this extempore facility affected him both
as composer and as performer, and I consider it to be the
most important single musical factor in his piano style.
Section III deals with improvisation generally and the
final Section (IV) seeks to draw attention to the traces it
has left in particular genres of his work.|
|Appears in Collections:||Theses, Dept. of Music|
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