Hummel's choral music, like that of his rival Beethoven, lies pretty far down the list of his compositions in terms of overall renown. But some of it originated in a very famous spot: Hummel succeeded Haydn as a composer of large-scale choral works for the use of the noble Esterházy family at its vast palace. The Mass in D minor heard on this album was composed in 1805, when the "Lord Nelson" mass in the same key by Haydn would still have been very much in the air and ears at Esterháza. Faced with the unenviable task of ...
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Hummel's choral music, like that of his rival Beethoven, lies pretty far down the list of his compositions in terms of overall renown. But some of it originated in a very famous spot: Hummel succeeded Haydn as a composer of large-scale choral works for the use of the noble Esterházy family at its vast palace. The Mass in D minor heard on this album was composed in 1805, when the "Lord Nelson" mass in the same key by Haydn would still have been very much in the air and ears at Esterháza. Faced with the unenviable task of trying to top it, Hummel turned not to Haydn as a model but, as liner-note writer David Wyn Jones points out, to Mozart: the Piano Concerto No. 20 in D minor provides Hummel's mass with its tense general mood, its flexible shifts between the soloists and the larger group, and its flashes of lyrical light. As with most of Hummel's works, stretches of conventional music are broken up by arresting ideas. Although the mass is a work heavily bound to tradition, it has fresh passages that...
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