commentary to opus 85a
Tripartita for Accordion and String Quartet, op. 85a (1986)
II. Lamentation beginning
performance : March 23, 1986, Trossingen, Dr. Ernst-Hohner-Konzerthaus
Duration: 21 minutesPublisher: Schott Music ED 9711 / ISMN M-001-13631-0
by Hugo Noth, the work was written in the months September, 1985 to January, 1986.
The Lamentation stands in strong dynamic contrast to the preceding movement.
The glissando capability of the accordion is linked to glissando techniques in
the strings. The attention is centred on the increasingly powerful large-scale
structures over an ostinato bass line in the accordion. After the climax (at the
sectio aurea), the dynamics fall away rapidly; the atmosphere of the opening is
felt again briefly and fades after a few bars.
Trossinger Nachrichten, March, 1986
"lollipop" amongst the eleven first fruits was served. In the "Tripartita"
for String Quartet and Accordion, Bertold Hummel extracts from the four notes
b flat, a flat, d and e eight part sounds for the strings in superimposed layers
of sixths. Alongside this, the accordion constructs melodies from the same material.
With refinement, Hummel brings the two worlds of sound into constantly new relationships.
The piece ends strikingly after a final movement in virtuoso motion in scales
and tremolos. "Tripartita" will certainly soon have a sure place in
the repertoire for this combination of instruments.
Neckarquelle, 25th March, 1986
times are past in which sonority was interesting so to speak only in its aggregate
form; it has now become an important means of expression again, not an effect
for its own sake in the cheap way practised by speculators calling themselves
composers. Bertold Hummel's "Tripartita" for Accordion and Strings,
premièred by the "Joachim-Quartett" and Hugo Noth, exploits sonority
in this new sense. In the second movement ("Lamentation"), glissandos
are the magical means used to graft together these fundamentally different types
of instrument. The work commences dramatically, intensifying the dialogue to a
previously undreamed-of density and concentration. As in a kaleidoscope, expressive
gestures and figurative ideas of compact dimensions clash with each other until
near the end, as a fulminating last dance.
"Tripartita" captivated with its coherently interconnected "call"
ideas, a middle movement based on glissando passages and a final virtuoso movement
with different rhythmic and melodic elements. Hummel has written music to get
hold of, immediately followable and comprehensible.