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Hummel at the Opera / Madoka Inui

> Variations on Vivat Bacchus from Mozart's Die Entfuhrung aus dem Serail, Op. 34, No. 3 - Theme - Variations 1-3
> Variations on Vivat Bacchus from Mozart's Die Entfuhrung aus dem Serail, Op. 34, No. 3 - Variations 4-5
> Variations on Vivat Bacchus from Mozart's Die Entfuhrung aus dem Serail, Op. 34, No. 3 - Variations 6-8
> Variations on Vivat Bacchus from Mozart's Die Entfuhrung aus dem Serail, Op. 34, No. 3 - Variation 9
> Variations on Vivat Bacchus from Mozart's Die Entfuhrung aus dem Serail, Op. 34, No. 3 - Variations 10-12
> Variations on Theme from Gluck's Armide, Op. 57 - Theme - Variations 1-4
> Variations on Theme from Gluck's Armide, Op. 57 - Variations 5-8
> Variations on Theme from Gluck's Armide, Op. 57 - Variations 9-10
> Quintuor des negres in Paul et Virginie, Op. 41 (arr. for piano) - Quintuor des negres in Paul et Virginie, Op. 41 (arr. for piano)
> Variations on the March from Cherubini's Les deux journees, Op. 9 - Theme - Variations 1-3
> Variations on the March from Cherubini's Les deux journees, Op. 9 - Variations 4-5
> Variations on the March from Cherubini's Les deux journees, Op. 9 - Variations 6-7
> Fantasy on Oberons Zauberhorn, Op. 116 (version for piano) - Allegro energico -
> Fantasy on Oberons Zauberhorn, Op. 116 (version for piano) - Larghetto -
> Fantasy on Oberons Zauberhorn, Op. 116 (version for piano) - Allegro. Tempo di Marcia -
> Fantasy on Oberons Zauberhorn, Op. 116 (version for piano) - Allegro (Tempesta di Mare) -
> Fantasy on Oberons Zauberhorn, Op. 116 (version for piano) - Allegretto con moto
> Variations on the March from Isouard's Cendrillon, Op. 40a - Theme - Variations 1-2
> Variations on the March from Isouard's Cendrillon, Op. 40a - Variations 3-5
> Variations on the March from Isouard's Cendrillon, Op. 40a - Variations 6-7
> Variations on the March from Isouard's Cendrillon, Op. 40a - Variation 8
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Act I: Entr'acte
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Act I: Solo (getanzt von Mademoiselle Gritti)
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Zug der Opferpriester zum Tempel Aliboroms Des Goldesels
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Act I: Marsch wie der Goldesel als Schlachtopfer abgefuhrt wird
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Act III: Spiegelscene
> Potpourri No. 1 from Die Eselshaut, Op. 58 - Act I: Bacchanal Tanz

Album Summary

>Hummel, Johann Nepomuk : Variations on "Vivat Bachus" from Mozart's "Die entfurung aus dem Serail" for piano in C major, Op.
>Hummel, Johann Nepomuk : Variations on a theme from Gluck's "Armide" for piano in F major, Op. 57
>Hummel, Johann Nepomuk : Quintor des negres, for the ballet "Paul et Virginie," Op. 41
>Hummel, Johann Nepomuk : Variations on "Guide mes pas, o Providence" from Cherubini's "Les deux Journees" for piano in E flat
>Hummel, Johann Nepomuk : Oberons Zauberhorn, fantasy for piano & orchestra, Op. 116
>Hummel, Johann Nepomuk : Variations on a march from Isouard's "Cendrillon" for piano in C major, Op. 40a
>Hummel, Johann Nepomuk : Potpourri for piano [No. 1] in C minor (with themes from "Die Eselshaut"), Op. 58
Performer Composer

Notes & Reviews:

The reputation of Johann Nepomuk Hummel - child prodigy, successor of Haydn and Beethoven's rival - is once more on the rise. His variations and potpourris on operas showcase his extraordinary abilities as both performer and composer. Winner of the Città di Stresa International Piano Competition, Madoka Inui has collaborated in literary-musical events with numerous distinguished authors.

American Record Guide
Madoka Inui... plays very well. Good notes and recording.

Die Presse
Johann Nepomuk Hummel was one of the most original composers in the no man's land between classicism and romanticism. As Mozart's pupil, he knew what he was guilty of the design, as a child of his era, he wrote of course also programmatically sprawling fantasy-Japanese pianist Madoka Inui, some of which has snatched two years ago on a CD worthy of oblivion. She now presents Hummel, who was also significant for the development of piano technique, as the creator of variation works on opera themes.

MusicWeb International
Madoka Inui has the facility for Hummel's music and brings great charm to the keyboard. There are times though when I wished for a little more flexibility and rubato; the figuration is a tad metronomic. But this is a charming recital, though Hummel's style means that it is probably best to dip in rather than listening all the way through.

Allmusic.com
This fine Naxos release fills a gap between the pure virtuoso tradition of operatic paraphrases and potpourris on one hand, and the more ambitious treatments of preexisting material by Franz Liszt on the other. Although Naxos doesn't claim them as world recording premieres, these pieces by Johann Nepomuk Hummel have surely seen precious few performances since they fell out of fashion in the middle of the 19th century.

Hummel was a contemporary and sometimes a rival of Beethoven, and several of these pieces contain something of the way Beethoven had of taking comic material seriously. Consider the opening set of Variations on "Vivat Bacchus" from Mozart's Die Entfnhrung aus dem Serail, Op. 34/3, where Mozart's comic treatment of the Turkish potentate exposed for the first time to alcohol gives birth to the very Beethovenian variation 9 (track 4). The Variations on a Theme from Gluck's Armide, Op. 57, are similarly substantial, with a chromatic slow movement giving way to a contrapuntal finale. The Grand Fantasia on Oberons Zauberhorn (Oberon's Magic Horn), Op. 116, was Hummel's entry in a growing market of pieces based on Weber's operas; Liszt, who was 18 when it appeared and already experimenting, may well have heard it and been influenced by it. The closest Hummel comes to the pure Romantic potboiler is the Potpourri No. 1 from the Opera Die Eselshaut (The Donkey Skin), Op. 58, but even this is a colorful, attractive set of pictorial pieces. Pianist Madoka Inui delivers fine performances, favoring crisp articulation over volume in music that was still written for fortepiano-like instruments; she handles the considerable technical challenges confidently. Add in good sound from a Viennese studio, and you have a release that effectively recovers a lost corner of the early 19th century.

Notes & Reviews:

Recording information: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011).



Reviews

Engaging piano arrangments by a classical master
Like many virtuoso composer/performers of the day, Johann Nepomuk Hummel wrote arrangements and variations on popular melodies. And in that day (the early 1800’s), the best-known melodies were to be found in operas. This collection features a number of Hummel’s operatic arrangements for solo piano. All show a wealth of musical imagination. Some of the source material is familiar to us today, such Mozart’s "Die Entfuhrung aus dem Serail" and Gluck’s "Armide." Others are a little more obscure. In a few cases, such as Hummel’s own fairy opera "Eselshaut," his piano arrangements are the only surviving versions of the work. As may one might expect, these variations and grand fantasias are full of attractive melodies. Compared to Liszt’s operatic transcriptions – or Beethoven’s “Diabelli Variations,” these works can seem a little tame. But Hummel’s inventiveness runs closer to that of Mozart and Haydn. So while they’re excessively showy, they’re all solidly constructed pieces of music. Especially attractive is his variations of “Vivat Bacchus” from Mozart’s "Die Entfuhrung." Hummel takes the aria through several permutations that vary in tone from humorous to serious. I also found his simple counterpoint in the Grand Fantasi on "Oberons Zauberhorn" particularly charming. Pianist Madoka Inui plays these works with precision and sensitivity. Her phrasing is impeccable, giving the music a sense of forward motion while maintaining a little of the emotional reserve characteristic of Hummel’s late-classical style. Pleasant – and in some cases – thought-provoking arrangements that make for an enjoyable listening experience.
Submitted on 07/09/11 by RGraves321 
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Works Details

>Hummel, Johann Nepomuk : Variations on "Vivat Bachus" from Mozart's "Die entfürung aus dem Serail" for piano in C major, Op.
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 2 min. 2 sec.
  • Period Time: Romantic

>Hummel, Johann Nepomuk : Variations on a theme from Gluck's "Armide" for piano in F major, Op. 57
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 3 min. 31 sec.
  • Period Time: Romantic

>Hummel, Johann Nepomuk : Quintor des nègres, for the ballet "Paul et Virginie," Op. 41
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 4 min. 20 sec.
  • Period Time: Romantic
  • Written: circa 1809

>Hummel, Johann Nepomuk : Variations on "Guide mes pas, o Providence" from Cherubini's "Les deux Journées" for piano in E flat
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 3 min. 10 sec.
  • Period Time: Romantic

>Hummel, Johann Nepomuk : Oberons Zauberhorn, fantasy for piano & orchestra, Op. 116
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 10 min. 9 sec.
  • Period Time: Romantic
  • Written: 11/1829

>Hummel, Johann Nepomuk : Variations on a march from Isouard's "Cendrillon" for piano in C major, Op. 40a
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 2 min. 36 sec.
  • Period Time: Romantic

>Hummel, Johann Nepomuk : Potpourri for piano [No. 1] in C minor (with themes from "Die Eselshaut"), Op. 58
  • Performer: Madoka Inui (Piano)
  • Notes: Studio 2, ORF Funkhaus, Vienna, Austria (01/03/2011-01/04/2011)
  • Running Time: 1 min. 59 sec.
  • Period Time: Romantic