Durchzug Durchs Rote Meer

If I were familiar only with Hummel's famously entertaining concerti, I'd be surprised by Der Durchzug durchs Rote Meer (The Crossing of the Red Sea). But the series of Hummel masses on Chandos and Naxos introduced me to a different Hummel, a composer of both brains and muscle that the concerti only hint at. In his choral music, this student of Mozart rightly turns to Haydn for his model. As Haydn's successor at Eisenstadt this makes logistical sense, but it makes artistic sense as well. Haydn's triumphant reimagining of the Handelian oratorio was still fresh when Hummel wrote his work, and there is a nice bit of tone painting a a la The Creation and The Seasons, especially in the accompanied recitative (No. 7) that depicts the seven plagues.More remarkable, and more Handelian, is the lovely quartet with chorus, No. 10. The recitative just before this describes the jubilation of the first Passover, celebrated with stringed instruments, horns, harps, and flutes. So the quartet features all these instruments (the guitar surprisingly representing the "stringed instruments" cited in the recitative). In its lyric grace, this number is worthy of Handel or Hummel's teacher, Mozart.But then there is gripping music as well, such as No. 12, recounting the destruction of Pharaoh's army in the Red Sea, and No. 6, a duet in which Moses and Aaron lay down the law to Pharaoh. (Potential spoiler: He doesn't listen.) Beethoven comes to mind here, as he does in some of the solo music, especially No. 8, a solo with chorus, for the Destroying Angel.This brings up one of the more unusual features of the work, which is that while there is only one number for chorus alone (No. 2), the duet is the only number other than recitatives that does not use the chorus. There are no da capo arias here, as in a Handel or Haydn oratorio, but instead the soloist begins each number to be joined later by the entry of the chorus. The upshot is a compact (50 minute) work that covers the same ground Handel traverses in an hour and a half or so in his Israel in Egypt. There are thus no longueurs, no dry patches whatsoever, in Hummel's little oratorio. Only the mostly powerful overture, at more than seven minutes, seems a trifle long given the compactness of the work as a whole.Not only is there drama on just about every page of Hummel's score, there are also real beauties as well, with coloratura solos (No. 12), choruses of Handelian grandeur (No. 14), and colorful and potent contributions from the orchestra.It's astounding that this piece has languished unperformed since Hummel's day; in fact, there's no confirmation it was performed then, either. So all thanks to Hermann Max for bringing Der Durchzug to life in this recording of a live performance. His well-drilled chorus and period-instrument band sing and play as if they have known this music for ages, and his soloists are all very fine, special praise being due soprano Simone Kermes for her virtuoso turn as the Israelite woman. The sound, typical of CPO, is bright, expansive, and immediate. For lovers of oratorio and choral music in general, this is buried treasure brought to light in grand style.

Oratorio - Crossing the Red SeaFor those who have embraced Hummel's choral music and particular his 5 grand symphonic masses will not be disappointed. On hearing this work Haydn's Creation comes to mind. Some fine solo passages and chorus work beginning with the haunting opening chorus depicting the misery of the enslaved Israelites. Hummel was a superb craftsman and his orchstration is spendid and thrilling especially in the Finale "Jehovah the mighty warrior- Pharaoh's chariots tossed into the sea". A very rare work orginally thought lost which performed from an autographned manuscript found where it had laid undisturbed in the British Library for well over 100 years.If Hummel's fall from grace soon after his death was speciacular his curent revival is even more remarkable. I look forward to hearing other vocal works of this engaging composer especially his operas, one of which has been recently published.

Johann Nepomuk Hummel (1778-1837) is probably known to modern audiences, if at all, by virtue of his single Trumpet Concerto in E-flat, from around 1804. His concerto, like that in the same key by the elderly Haydn, was composed for the newly-minted keyed trumpet, a revolution in the instrument's design which allowed it to play the complete diatonic scale. The work is deservedly a standard part of the trumpet repertoire, with its operatic second movement, and blistering finale.The work under consideration here falls into the lesser-known, but not insignificant category of Hummel's (large) output, choral music. Four of Hummel's masses (in d minor, D Major, E flat, and B-flat) have been recorded by boutique label Chandos, and an additional two have also been essayed by Naxos. Hummel's masses were the continuation of the mighty series of "name day Masses" begun by Haydn in the late 18th century, necessitated by Hummel's assumption of Haydn's post with the Esterhazy family.The origin of this oratorio is less clear -- apparently, it was presumed lost, but its autograph recently surfaced in the British Library.The German label CPO (Classical-Produktion Osnabrueck) has always had a sense of adventure about its productions. For instance, Dieter Klocker (aided by his cohorts in the Consortium Classicum) is constantly unearthing lost gems by such lesser lights as Bachofen, Muller, Pleyel, Von Winter, Hoffmeister (about more in my next post), Krommer, and Ries.CPO mines lost gold once again with Der Durchzug. From its grim opening chorus of the enslaved Israelites, to the scalp-tightening finale "Jehovah ist ein Kriegesheld," the atmosphere is one of high adventure and drama. The orchestration is similar to late Haydn's in mass and density, although perhaps a little less three-dimensional. Hummel's ability to spin good tunes is not quite that of Haydn's either. Nonetheless, this is "cinematic" music, in that other sense -- it is a carefully detailed, but massive, aural canvas.The recording itself has just the right amount of space to it, with quite a wide dynamic range (I found myself adjusting the volume down for the loudest parts and up for the quietest).This is strongly recommended.Subsequent Note: A recent re-review of this oratorio confirms and intensifies the impression it made on the initial listen. The standout must be the aria for the Angel of Death as he goes about his grim business with respect to the Egyptians' first-borns. There is something truly morbid, even terrifying, about the greyness of Hummel's orchestration. The comparison would be like seeing the virga of a far-off storm, reaching down from black clouds to scrape the earth.

Cet oratorio est curieux ! Les discophiles habitués aux superbes concertos de Hummel iront là dans un autre monde. Prenant la suite de Haydn, Hummel a du se sentir bien conicé face à un chef-d'oeuvre comme la Création. Dès lors, il innove dans tous les sens ! ça n'a pas dû plaire à l'époque puisque Hummel "cache" cet oratorio. Pour nous, c'est une réjouissance d'entendre les guitares traitées comme les lyres bibliques... interprétation exemplaire