A Vehicle for Hummel

I am not surprised by Hummel's inclusion of a piano in his two Septets.

He was a touring soloist, thus it would give him further opportunity to show off at the keyboard, all the while establishing connections with musicians further from home.

Yet, piano is an experimental addition in its time, in a chamber genre not all too common. Most septets use a string quartet with a few winds to add color. Here, the piano almost makes this a concertante work, adding a unique rhythmic pulse and textural variety to the ensemble.

However, aside from the piano, Hummel makes the rest of the instruments an equal group, where they would normally be separate string and wind forces, with one taking leadership; not so here. Love the horn here too!

Berwald's septet does less for me in comparison, but still I am charmed by Berwald's quirks. There are some harmonic progressions in each movement which perk up my ears each time they come round, and the mad dash to the end is a whole lot of fun. The Nash Ensemble is great in this music too!

A review from 2024

Hummel’s first Septet may be the composer’s finest chamber masterpiece. I might put it with his first Piano Quintet as music with as much inspiration as his piano contributions.

One of the reasons I think the Septet works so well is the large role of the piano, creating a solid rhythmic undercurrent with the ability to add multiple layers of voices and textures, although it gives this all a concertante feel. I also like the forthright role of the horn, punctuated by John Pigneguy’s playing.

Hummel’s use of only the lower string voices without violin give the flute and oboe more to do, and the composer inventively uses all of the instruments as a complete group instead of a string ensemble merely coloured by winds. Certainly the harmonic movement is most interesting and Hummel’s tunes are bountiful.

Swedish composer Franz Berwald’s Grand Septet is more conventional. The string quartet takes the leadership role, with the clarinet as a major player. Berwald’s work has its own little quirks too, with some interesting harmonic choices, a pert scherzo in the middle of the slow movement, and the finale an unusually fun galop to the end.

The Nash Ensemble is most convincing in this music. I like the balance of the piano to the other six instruments in the Hummel, and the ensemble gives a nice sweep to the music. I do wish the double bass were more defined in its contributions, but it is a minor point.

There is a second volume of septets on CRD, as well as a gathering of Hummel’s two septets together instead, both on CRD, if one is not interested in the paired works from Berwald or Kreutzer.

Listen on YouTube

 

Works
Hummel: Septet 1 in D minor, op. 74 (31.41)
Berwald: Grand Septet in B-flat Major (22.52)

Ensemble
Nash Ensemble

Label: CRD
Year: 1996
Total Timing: 54.20

 

If you are looking for these two works from Hummel and Berwald, this is the place to go. Better yet, CRD paired Hummel's two Septets together as well, far more popular, I am sure.

The Nash Ensemble impresses, even considering these performances from the late 70s. I think the piano balance is great.

Find more Hummel & Berwald recordings!