Hummel, Johann Nepomuk

REFERRING TO A LARGE NUMBER OF HIS COMPOSITIONS, including the Rondo brilliant, Op. 109, the Mass No. 3 in D, Op. 111, Piano Concerto in A flat, Op. 113, Variations, Op. 115, Septett militaire Op. 114, Gesellschaftsrondo in D, Op. 117, Air à la tirolienne avec variations, Op. 118 (arrangement for four hands), the Etudes Op. 125, the Rondo in G for piano and violin, Op. 126, the Rondo brilliant "(Le retour de Londres"), Op. 127, Morgenopfer, WoO37, as well as his Klavierschule (which he describes as "the most complete and perfect work on the subject that has ever been written [trans.]"), MENTIONING BEETHOVEN, STATING THAT HE HAS A COUPLE OF VOCAL WORKS WHICH HE BELIEVES NO ONE ELSE HAS, referring to his 1830 and 1831 visits to London, remarking on aspects of his works' publication, including proofs, corrections (INCLUDING TWO AUTOGRAPH MUSIC CORRECTIONS ON MANUSCRIPT PAPER, FOR THE FANTASIE IN G MINOR, OP. 123), dedications and metronome markings; in the letters Hummel also mentions his problems with Maurice Schlesinger in Paris, the engraving of the portrait by Grünler, his conducting of Auber's La Muette de Portici, and disparaging the firm of Schlesinger ("...habe ich nicht gesagt daß Schlesinger ein Schlingel ist?..."), outlining his plans to purchase a house in Vienna, asking for information concerning the singers Therese Grünbaum and Fortunata Franchetti, reflecting on the character of his son Eduard, asking him to take him on as an apprentice, and to arrange additionally that he has piano lessons with Carl Czerny, and remarking on the general unmusicality of the London public, offering his views on arranging Beethoven's symphonies for piano for hands, disparaging Paganini and his ennoblement by the emperor in the strongest terms, and also mentioning the Parisian publisher Farrenc, Maria Malibran, Ignaz von Seyfried, Romberg, Rochlitz, Carl Czerny, Joseph Czerny, Rochlitz, Moscheles, Castelli and Goethe; also including: an autograph document signed instructing Haslinger to make various payments to his son regarding expenses [1834]; 5 letters from Haslinger to Hummel (2 of which autograph), ONE DISCUSSING THE PURCHASE OF AN EDITION OF HANDEL'S MUSIC FROM THE AUCTION OF BEETHOVEN'S ESTATE

[Hummel:] ...Ich bitte Sie, liebster Freund, meinen Sohn väterlich in Obhut zu nehmen und ihn...mit der Technik des Geschäfts genau bekannt zu machen. Ich wünsche daß er so wenig als möglich sich selbst überlassen seyn möge...besonders bitte ich Sie zu observiren, mit wem er Umgang pflegt, wann er für sich allein ausser Haus geht...Im Ausland glaubt man ans Wunder von London, man betrügt sich aber sehr, denn alles hängt von Umständen und Zufall ab; die Sache und die Art wie die Kunst hier betrieben wird sollte wirklich näher beleuchtet warden, weil sich viele im Ausland leider zu sehr hinreissen lassen und wenn sie herkommen sich getäuscht sehen...Von Paganini's Schmützigkeit nimmt es mich kein Wunder, er ist ja Italiener; dafür ist er aber und weil er kein deutscher ist vom Kaiser zum Ritter und Kammervirtuose genannt worden; wahrlich, ich fange bald an mich meines Vaterlandes zu schämen...[Haslinger:] Handels Werke ... habe ich, unter uns gesagt, in der Beeth. Versteigerung, durch ein ausserordentliches Zusammentreffen von für mich günstigen Verhältnissen, um den Preis von f. 102. C.M. erstanden...



over 100 items in all, pages, 4to, the leaves folded along the vertical creases, autograph address panels, remains of seal, docketed by Haslinger, with one loose autograph letter fragment, a visiting card of Caroline Perthaler attached with wax to Hummel's letter of 9 March 1829, one letter, in an unidentified hand, written on behalf of the G.H.S pr. Landes Industrie Comptoir (5 December 1828), Weimar, Dresden, London and elsewhere, 28 February 1826 to 30 January 1835, seal tears

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

THIS IS AN UNRECORDED CORRESPONDENCE OF GREAT IMPORTANCE, which discusses, among many other works, Hummel's Ausführliche theoretisch-praktische Anweisung zum Pianoforte Spiel, published by Haslinger in 1828. One letter (of 12 October 1827) encloses a fascinating annotated draft of the contract for this theoretical work, also containing pencil notes by Haslinger; another (dated 17 September 1827) provides us with Hummel's own estimation of the piano method, which he hopes will be regarded as a classic for many years to come.

Other letters provide a vivid insight into the nitty-gritty of the relationship between composer and publisher, dealing with the financial aspects, the correction of the proofs and problems of obtaining the dedicatee's permission. Hummel prides himself on his upright and straightforward dealings, having little time for those he views as behaving in an underhand manner: Maurice Schlesinger in Paris is a particular object of his dislike, noting in one letter (1 December 1833) that he is 'a scheming Jew [trans.]' and that their previous relationship has long been a thorn in his side.

Also included are letters to Haslinger from Eduard Hummel (1814-1892), Hummel's elder son from his first marriage with Elisabeth Röckel. Eduard was apprenticed to Haslinger between 1832 and 1834, and regarded him with quasi filial affection. Hummel's letters are full of parental concern for his son, and frequently contain instructions for Haslinger to monitor aspects of Eduard's behaviour, especially with regard to his free time. Ordered home in 1834 by his father, Eduard did not not in fact pursue the career of business man envisaged for him by his father, but became a solid pianist and conductor, ending his days, in 1892, in America.