commentary to opus 89b
Concertante Music for Guitar and Strings, op. 89b (1989/1998)
I. Andante version with string quartet
IV. Finale version with string quartet
First performance: August 2, 1998, Schweinfurt, Rathaus
Maximilian Mangold / Südthüringisches Kammerorchester / Bertold Hummel
Duration: 23 Minutes
Publisher: Vogt & Fritz VF 1060 / ISMN M 2026-1283-5
The Concertante Music for Guitar and Strings, op. 89b is an extension of the Quintet, op. 89a of the year 1989, carried out by myself in 1998.
In the first movement, Andante,
a twelve-tone theme is played above a pedal-point g, initially by viola and violoncello.
The guitar continues the episode in a quasi recitative style. Above a pedal-point
E (bar 11), the mirror version enters; the theme is now with both violins.
The guitar recitative also takes the inverted form. In bar 21, the first four
tones appear in closely following entries; above the pedal-point A the
twelve-tone theme joins on in the guitar, leading to a chorale-like phase (bar
31) with F-sharp major tonality at the close. The guitar enters again with
the recitative idea. A repeat of the chorale episode ends with B major.
A series of triads (from bar 47), drawing on all the chromatic material, signals
the approaching end of the movement. The twelve-tone row (from bar 54) appears
for the last time and a completely chromatic sound results from held notes in
Maximilian Mangold, Südthüringisches Kammerorchester, Bertold Hummel - Schweinfurt 02.08.1998
Music by Bertold Hummel shows signs of influence from the Second Vienna
School. The first movement of the work is clearly determined by twelve-tone structures.
A twelve-tone row is heard four times. Right at the beginning, it is intoned in
unison in viola and 'cello. After an intermediate section for guitar, which, like
the following interludes, loosely uses fragments of the row, the basic row is
entrusted to the high strings - in a new mode, however, in inversion. A further
interlude is heard, ending with a tremolo passage in the strings. Now the guitar
presents the row, transposing it initially from G to A, then in
new rhythmical guise to E. A final interlude, marked by strong dynamic
contrasts and closing once again with tremolo in the strings, passes before the
listener; then the row is put through its fourth exposition. The individual tones
of the twelve-tone melody are this time not in the charge of a single instrument
but wander through the all the parts involved, a procedure already used by Anton
Webern: see, for example, the final movement of his first cantata.