Then the "candy" among the eleven firsts was served. In "Tripartita" for string quartet and accordion, Bertold Hummel uses the four notes b flat, a flat, d flat and e flat to create eight-part second sounds from superimposed sixths for the strings. The accordion also melodises the material. Hummel cleverly combines the two sound worlds in ever new ways. The piece ends strikingly after a virtuoso final movement characterised by scales and tremolos. "Tripartita" will certainly soon become part of the repertoire for this instrumentation.

Gone are the days when sound was only of interest in its aggregate state, so to speak; it is once again an important means of expression, no longer an end in itself, a cheap commodity for speculators who call themselves composers. Bertold Hummel's "Tripartita" for accordion and strings, premièred by the "Joachim Quartet" and Hugo Noth, plays with sound in a new way. In the second movement ("Lamentation"), glissandi create the most wondrous interweaving of these fundamentally different instrumental types. The work rises dramatically, intensifying the dialogue to a hitherto unimagined density and concentration. Kaleidoscopic expressive gestures and short-limbed figurative work break up towards the end as a brilliant finale.
Hummel binds his ideas with traditional formal grids; the musical language is original, we are inclined to say polyglot. The "Tripartita", enthusiastically received by the audience, proved to be one of the few valid works of accordion chamber music that could be presented at this year's "Trossinger Musiktage".

Bertold Hummel's "Tripartita" was characterised by coherently linked call structures, a middle movement based on glissando sequences and a final virtuoso movement with various rhythmic and melodic elements. Hummel wrote catchy, immediately comprehensible and understandable music.

Anne Borkowki