约翰·尼波默克·胡梅尔（德语：Johann Nepomuk Hummel，1778年11月14日－1837年10月17日），奥地利作曲家，钢琴家。出生于普莱斯堡（今斯洛伐克首都布拉迪斯拉发）。少年从莫扎特学习，并在欧洲各地巡回演出。1793年到维也纳，从海顿和萨列里学习。1804-1811年曾任埃斯特哈齐宫廷乐长。1819年任魏玛宫廷乐长，同时在欧洲各地从事演出和教学。1837年逝世于魏玛。 胡梅尔的创作以钢琴音乐为中心。其作品风格雅致，曲调优美，早期类似莫扎特风格，后期作品较为接近浪漫主义。旋律多用半音变化，富于装饰性。胡梅尔的演奏和创作活动对肖邦，舒曼，李斯特等作曲家都有较大影响。 胡梅尔也创作了著名的《小号协奏曲》（Trumpet Concerto），其知名度仅次于海顿的同类作品。 Hummel was born in Pressburg, Kingdom of Hungary, then a part of the Austrian Habsburg Monarchy (now Bratislava in Slovakia). His father, Johannes Hummel,[1] was the director of the Imperial School of Military Music in Vienna and the conductor there of Emanuel Schikaneder's theatre orchestra at the Theater auf der Wieden; his mother, Margarethe Sommer Hummel, was the widow of the wigmaker Josef Ludwig. He was named after St John of Nepomuk. At the age of eight, he was offered music lessons by Wolfgang Amadeus Mozart, who was impressed with his ability. Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine at one of Mozart's concerts. Hummel's father then took him on a European tour, arriving in London where he received instruction from Muzio Clementi and where he stayed for four years before returning to Vienna. In 1791 Joseph Haydn, who was in London at the same time as young Hummel, composed a sonata in A-flat major for Hummel, who gave its first performance in the Hanover Square Rooms in Haydn's presence. When Hummel finished, Haydn reportedly thanked the young man and gave him a guinea. Hummel in 1814 The outbreak of the French Revolution and the following Reign of Terror caused Hummel to cancel a planned tour through Spain and France. Instead, he returned to Vienna, giving concerts along his route. Upon his return to Vienna he was taught by Johann Georg Albrechtsberger, Joseph Haydn, and Antonio Salieri. At about this time, young Ludwig van Beethoven arrived in Vienna and himself took lessons from Haydn and Albrechtsberger, thus becoming a fellow student and a friend. Beethoven's arrival was said nearly to have destroyed Hummel's self-confidence, though the latter recovered without much harm. The two men's friendship was marked by ups and downs, but developed into reconciliation and mutual respect. Hummel visited Beethoven in Vienna on several occasions with his wife Elisabeth and pupil Ferdinand Hiller. At Beethoven's wish, Hummel improvised at the great man's memorial concert. It was at this event that he made friends with Franz Schubert, who dedicated his last three piano sonatas to Hummel. However, since both composers had died by the time of the sonatas' first publication, the publishers changed the dedication to Robert Schumann, who was still active at the time. In 1804, Hummel became Konzertmeister to Prince Esterházy's establishment at Eisenstadt. Although he had taken over many of the duties of Kapellmeister because Haydn's health did not permit him to perform them himself, he continued to be known simply as the Concertmeister out of respect to Haydn, receiving the title of Kapellmeister, or music director, to the Eisenstadt court only after the older composer died in May 1809. He then remained in the service of Prince Esterházy for seven years before being dismissed in May 1811 for neglecting his duties.[2] He then returned to Vienna where, after spending two years composing, he married the opera singer Elisabeth Röckel in 1813. The following year, at her request, was spent touring Russia and the rest of Europe. The couple had two sons.[3] One of them, Carl (1821-1907), became a well-known landscape painter. Hummel later held the positions of Kapellmeister in Stuttgart from 1816 to 1819 and in Weimar from 1819 to 1837, where he formed a close friendship with Goethe, learning among other things to appreciate the poetry of Schiller, who had died in 1805. During Hummel's stay in Weimar he made the city into a European musical capital, inviting the best musicians of the day to visit and make music there. He brought one of the first musicians' pension schemes into existence, giving benefit concert tours when the retirement fund ran low. Hummel was one of the first to agitate for musical copyright to combat intellectual piracy. In 1832, at the age of 54 and in failing health, Hummel began to devote less energy to his duties as music director at Weimar. In addition, after Goethe's death in March 1832 he had less contact with local theatrical circles and as a result found himself in partial retirement from 1832 until his death in 1837.[3] Influence[edit] Bust of Hummel near the Deutsches Nationaltheater in Weimar While in Germany, Hummel published A Complete Theoretical and Practical Course of Instruction on the Art of Playing the Piano Forte (1828), which sold thousands of copies within days of its publication and brought about a new style of fingering and of playing ornaments. Later 19th century pianistic technique was influenced by Hummel, through his instruction of Carl Czerny who later taught Franz Liszt. Czerny had transferred to Hummel after studying three years with Beethoven. Hummel's influence can also be seen in the early works of Frédéric Chopin and Robert Schumann, and the shadow of Hummel's Piano Concerto in B minor as well as his Piano Concerto in A minor can be particularly perceived in Chopin's concertos. This is unsurprising, considering that Chopin must have heard Hummel on one of the latter's concert tours to Poland and Russia, and that Chopin kept Hummel's piano concertos in his active repertoire. Harold C. Schonberg, in The Great Pianists, writes "...the openings of the Hummel A minor and Chopin E minor concertos are too close to be coincidental".[4] In relation to Chopin's Preludes, Op. 28, Schonberg says: "It also is hard to escape the notion that Chopin was very familiar with Hummel's now-forgotten Op. 67,[5] composed in 1815 – a set of twenty-four preludes in all major and minor keys, starting with C major". Robert Schumann also practiced Hummel (especially the Sonata in F-sharp minor, Op. 81), and considered becoming his pupil. Liszt's father Adam refused to pay the high tuition fee Hummel was used to charging (thus Liszt ended up studying with Czerny). Czerny, Friedrich Silcher, Ferdinand Hiller, Sigismond Thalberg, and Adolf von Henselt were among Hummel's most prominent students. He also briefly gave some lessons to Felix Mendelssohn.[6] Music[edit] See also: List of compositions by Johann Nepomuk Hummel A surviving manuscript of Hummel's work, probably in his own hand Hummel's music took a different direction from that of Beethoven. Looking forward, Hummel stepped into modernity through pieces like his Sonata in F-sharp minor, Op. 81, and his Fantasy, Op. 18, for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and stretch the sonata form. His main oeuvre is for the piano, on which instrument he was one of the great virtuosi of his day. He wrote eight piano concertos, ten piano sonatas (of which four are without opus numbers, and one is still unpublished), eight piano trios, a piano quartet, a piano quintet, a wind octet, a cello sonata, two piano septets, a mandolin concerto, a mandolin sonata, a Trumpet Concerto in E major written for the Keyed trumpet (usually heard in the more convenient E-flat major), a "Grand Bassoon Concerto" in F, a quartet for clarinet, violin, viola, and cello, four hand piano music, 22 operas and Singspiels, masses, and much more, including a variation on a theme supplied by Anton Diabelli for Part II of Vaterländischer Künstlerverein. Although thought of in terms of the piano in modern times, Hummel was seriously and constantly interested in the guitar, and he was talented with the instrument. He was prolific in his writing, and his compositions for it begin with opus 7 and finish with opus 93. Other guitar works include Opp. 43, 53, 62, 63, 66, 71 and 91, which are written for a mixture of instruments.[7] Hummel's output is marked by the conspicuous lack of a symphony. Of his eight piano concertos the first two are early Mozartesque compositions (S. 4/WoO 24 and S. 5) and the later six were numbered and published with opus numbers (Opp. 36, 85, 89, 110, 113, and posth. 1). A full list of Hummel's works is available online.[8] Last years and legacy[edit] Hummel's grave on the Historical Cemetery, Weimar At the end of his life, Hummel saw the rise of a new school of young composers and virtuosi, and found his own music slowly going out of fashion. His disciplined and clean Clementi-style technique, and his balanced classicism, opposed him to the rising school of tempestuous bravura displayed by the likes of Liszt. Composing less and less, but still highly respected and admired, Hummel died peacefully in Weimar in 1837. A freemason (like Mozart), Hummel bequeathed a considerable portion of his famous garden behind his Weimar residence to his masonic lodge. His grave is in the Historical Cemetery, Weimar. Although Hummel died famous, with a lasting posthumous reputation apparently secure, his music was quickly forgotten at the onrush of the Romantic period, perhaps because his classical ideas were seen as old-fashioned. Later, during the classical revival of the early 20th century, Hummel was passed over. Like Haydn (for whom a revival had to wait until the second half of the 20th century), Hummel was overshadowed by Mozart. Due to a rising number of available recordings and an increasing number of live concerts across the world, his music is now becoming reestablished in the classical repertoire.