Sonatina for double bass and piano (op. 69b, 1979)
For my sons Martin and Lorenz
I. Allegro, II. Andante cantabile, III. Capriccioso finale
Double bass, Piano
Duration: 11 minutes
Gerhard Kiunke | Christoph Weinhart
Title: Sonatina for double bass and piano op. 69b - Length: 16 pages - Date: I. 24.2.79 II. 1.3.79 III. 6.3.79 - Location: Bayerische Staatsbibliothek Munich
N. Simrock Hamburg-London (Boosey & Hawkes) EE 2989 ISMN M-2211-0907-1
Bertold Hummel's superbly crafted Sonatina op. 69b for double bass and piano is a "must" for pedagogues and their clientele.
The first movement uses mostly crotchets and half notes and dispenses with any rhythmic finesse. The second movement, Andante Cantabile, is in 6/8 time and partly refers to the siciliano with a sophisticated use of hemiolas. It sings in a neo-baroque manner and is effective in the somewhat dull tessitura. The often full-fingered piano part will certainly have to be played with lower dynamics than those indicated.
The finale Capriccioso is full of folk-like melodies that dance and sing with rousing joy. The light-heartedness of this movement offers ideal pedagogical approaches. The dedication to the composer's sons seems to confirm this. As I look through Hummel's Op. 69b, a clear picture forms in my mind of a performance of this piece by the two sons in the music room at home. If my assumption is correct, then Bertold Hummel has succeeded in creating a pedagogically valuable composition for double bass solo and piano.
Bertram Turetzky
A highly effective work for the up-and-coming double bass player. Varied in the different movements, it does not make any great technical demands.
It is not surprising that the composer Bertold Hummel also trained as a cellist. His writing shows an intimate understanding of string instruments and seems to conceal a preference for the deeper sound of the viola and cello. His special talent is the composition of lively pieces full of variety, but technically manageable for gifted students. These pieces will delight teachers and students seeking access to contemporary music.
His Sonatina op. 69b for double bass and piano will certainly be welcomed by teachers and young double bassists. Hummel works with uncomplicated musical material and yet manages to constantly surprise and delight us with his contrasting harmonies and rhythms.
Although many of Hummel's pieces for solo string instrument and piano are obviously intended for students, I would not hesitate to include them on a concert programme. Their beauty and vibrancy must inevitably appeal to an audience.
(D.M. B.)
Literature list of the German Music Council for the competition "Jugend musiziert":
Level of difficulty 1 - 2/easy - moderately difficult (lower level II - intermediate level I)
My father wrote the Sonatina for double bass and piano for my brother Lorenz and me in February and March 1979. After he had heard us beginners practising rather insignificant double bass pieces (trombone transcriptions etc.) time and again, he was of the opinion that we could play something decent. Of course, he couldn't be completely satisfied with our interpretations of his sonatina, as my brother studied theology and I only studied double bass as an additional subject. "We had to write a piece that was more impressive than difficult," he once casually outlined the family dilemma. For this reason, this sonatina can also be easily mastered with simple playing technique and yet does not fail to make an impact - a philosophy that he adhered to in almost all of his 15 sonatinas.
In a concert conversation, my father once referred to a statement by Paul Hindemith. He had the "intention of writing a whole series of such smaller, rather freely designed sonata-like pieces (all for piano and violin) to see what can be said in these smaller forms." (P. Hindemith in a letter to Irene Hendorf on 23 July 1918)
As is well known, Hindemith realised this idea in the large sonata form. My father, who felt very close to Hindemith in his pedagogical commitment, intended to introduce as many different orchestral instruments as possible in the smaller form of the sonatina.
Small motifs from world musical literature often haunt the score in his works. The piano's sighing motifs in the second movement come from one of his favourite operas: In Gianni Schicchi by G. Puccini, the many-headed relatives moan in response to this motif at the beginning of the opera.
Martin Hummel