In his early Sonata for Violin and Piano op. 6, now available in print after more than twenty years, Bertold Hummel proves himself to be a thoroughbred musician who has enriched the violinist's repertoire with a demanding piece of great impact. Two lively, concise outer movements, characterised by ironic criticism of tradition, frame a deeply felt, rubato slow movement: the heart of the early work, which is characterised by virtuoso pathos. Here, the best traditions of modern chamber music come together to form a valid piece that is less orientated towards finding new effects and techniques and more towards playing out all the instrumental valeurs.

Klaus Hinrich Stahmer

Hummel's Sonata in G for violin and piano, which was also performed in Berlin and other cities, impressively confirms once again the extraordinary talent of this pupil of Genzmer. It incorporates the inspiration of the modern masters in a highly individual way, somewhat boisterously exuberant in the introductory burlesque, with occasional almost western elegance in the finale. In between is a powerfully tense, extended recitative and a classically succinct aria as the middle movement. The composer could hardly have found a more valid realisation of his intentions than here through the devoted performance of the two artists (Francine Guignard/Wolfgang Fernow), in which one would have liked to hear the work again immediately.

An early masterpiece is the Sonata for Violin and Piano op. 6, written during his time as a student in Freiburg. The burlesque and dance-like character of the sonata is just as effective as its rhythmic vigour and melos. Chamber music sophistication speaks from the notes. Dabbing alternates with powerful bow strokes. In the"Recitative and Aria" of the middle movement, one can hear Baroque inspirations, but the structure is classical, formally closed, whereby the piano gains independence. With this sonata, Hummel presents a concert piece that does not ignore the character of either instrument.

A strong talent was revealed in the Sonata in G by the young Freiburg composer Bertold Hummel with its powerfully gripping outer movements and especially the middle movement, whose repeatedly soaring melodic arch is developed from a harsh opening chord.

The programme concludes with a new work by Bertold Hummel, already well known as a composer, a sonata for violin and piano full of boldness and impetuosity, in which the brooding middle movement is particularly captivating. Here a young composer speaks his own language without compromise, a musician who is obviously struggling with himself and does not make it easy for himself or for us, a composer who is able to put his technical ability at the service of a genuine work idea and whose work will therefore have to be followed with particular attention. Emil Maas (violin) and Helmut Barth (piano) were fanatically committed to the work.