Variations on a Theme from 'Armide,' op. 57 by Johann Nepomuk Hummel // Lukas Nepomuceno, piano

Nepomuk Hummel, from Vienna, was a child prodigy and early virtuoso, studying for two years under Mozart while studying later with Salieri and Haydn. He has written substantial chamber works, concertos, and solo piano works in the classical era, but I had only learned about him once my professor pointed out to me the similarity between his last name and mine, Nepomuceno.
And the connection holds some water: St. John of Nepomuk, or Nepomucene, was a Catholic priest in Prague who was tortured and thrown into the Vitava river by King Wenceslaus IV for refusing to confess any secrets about the king’s second wife, Queen Sophia of Bavaria. As the story spread in popularity, over 1,000 statues of the saint have been built, establishing him as a key cultural symbol for unwavering faith and also protection from floods. Likely as a result of European colonization, Nepomuceno has become a significant surname in the Philippines, especially in Angeles City, where my father is from. So when my professor pointed out this connection, I thought it would be fitting to study one of Hummel’s works, and settled on a set of variations he wrote for a theme from Gluck’s Armide.
The piece begins with a presentation of the theme. As is customary for theme and variation pieces, the theme is laid bare with no special embellishments, yet the balance proved to be one of the harder parts of the piece for me. The left hand is already tasked with juggling a bass and middle voice, yet must stay in the background for the melody to be properly articulated and presented.
Variation 1 immediately thrusts the theme into this more playful space, using call and response motifs to hocket around the theme. Interestingly, there is no repeat in the second half of this variation, where most variations are expected to repeat for both the first and second halves.
Variation 2 plays more with contrapuntal lines and a general mechanical movement closer to Bach, with light sixteenths in the lower voice complementing two sustained upper voices. The lower voice also initiates the pickup, which allows it to diverge a little from the original theme, but overall this variation gives off an impression of sensible, straightforward motion.
Variation 3 as “un poco sostenuto” explores the theme’s verticality, creating tall, grand walls of harmony that ring out, like grand drums in an orchestra. The sforzandos accentuate and bring attention to those first two notes of the theme. This is then contrasted with a more linear, horizontal pattern ornamented by triplets. The second half of this variation brings an interesting harmonic walk of Ab Major into Bb minor before coming down to the home key of F Major.
Variation 4, “scherzando,” brings out the most childlike qualities of the theme, acutely articulated and skipping around with the melody. The left hand plays very similarly to the initial theme accompaniment, and the harmony closely follows the initial theme as well, so much of the distinct character in this variation comes from the carefree rubato and lilting rhythms.
Variation 5 introduces a constant, thrumming middle texture, and like the 3rd variation, plays with sudden contrasts in dynamic. Melodic focus passes between the upper and lower voices in a call and response sort of style, and the theme simplifies into its most essential notes. If Variation 4 is a dizzying trot, Variation 5 is more of a light jog.
Variation 6 breaks into a constant flow of triplet 16ths, early in likeness to Schumann’s Abegg Variations. The alto voice engages in a rocking motion to support such movement. With its smoother character, this variation is more reminiscent of a ballroom dance.
Variation 7 harkens to a toy box, evoking a delicate dance of the main theme, and in the second half, more exchange between the treble and bass voice. The dynamic level feels almost fragile, and the variation is also colored by an interesting array of descending chromatic 3rds.
Variation 8 feels like a celebratory soldier’s march, complete with baton throwing and fanfare. Each arpeggio, locked into rigid groupings, feels like its own step forward in the march. The pointed lines rise and lead into flashy rolls that provide an interesting contour and peak to the variation.
Variation 9 portrays a lot of early romanticism, first embellishing the melody in a minor key, with sorrowful swells in the lower voice. However, it turns around into a sweeter song, and Hummel colors a wide variety of ornamentation to decorate the melody. It is given much more space than the previous variations and seems like a prelude to the final variation.
Variation 10 is a rondo finale, sweeping along through winding passages, and undergoing a longer structure as it modulates to a more dignified Db development until it recapitulates back to F for a final triumphant celebration of the theme. It’s fast, exciting, and quite a stately finish to the piece.

[@davidnconsumer3950]

Bellissimo, Lukasz Nepomuk! Love the write-up, too.

[@MrCapacitors]

Well done