Henze, Hans Werner (1926-2012)

[Beef Oven!]

Time flies. Nearly 6 years ago the the comparatively ignored HWH passed away

I've long enjoyed his 6 symphony set on Deutsche Grammophon, conducted by the man himself. Roehre, erstwhile of this parish and much missed, pointed out to me a few years ago that HWH had revised the orchestral scores of the versions on this DG release. But I'm fine with the original versions.

Obviously, when I purchased this box-set, HWH had not written the 7th et al. But I don't think the symphonies following the 6th can hold a candle to the earlier ones.

'The Young Lord' is a long time favourite of mine, and the concertos are most enjoyable.

I saw an interesting programme on BBC2 about the oil painting 'The Raft Of The Medusa' in the early '90s and was thrilled to discover that HWH had written a glorious tone piece on the very same.

I must say that his chamber and solo instrumental music is a bit of a blind spot for me, but otherwise, this guy is a very interesting, worthwhile and rather ignored master.

I've just finished listening to his second symphony, possibly my favourite of the canon.

Here's a picture from my Tunes Library!

[BBMmk2]

I haven't heard that set in ages. I was conducted by Elgar Howarth in a performance of his Ragtimes & Habeneras

[Beef Oven!]

I haven't heard that set in ages. I was conducted by Elgar Howarth in a performance of his Ragtimes & Habeneras

One of the first sets I bought, after the obvious composers, once I discovered classical music was for me and I wanted to discover more.

[edashtav]

One of the first sets I bought, after the obvious composers, once I discovered classical music was for me and I wanted to discover more.

I have a copy of that set, too.

But...
Overall, I’m uncertain of HWH:
Was he Apollo or Hyazinthus?

[Beef Oven!]

I have a copy of that set, too.

But...
Overall, I’m uncertain of HWH:
Was he Apollo or Hyazinthus?

Have you been to any gigs programming his music? Chamber or otherwise. Have you conducted his music at any point?

Would be good to get some 'insider views'

[Richard Barrett]

Well, he's one of my favourite 20th century composers and has been since an early age.

Some remarks to keep the ball rolling: I was of the opinion that the first six symphonies outshone the rest, but I once heard a live performance of the 7th, about fifteen years ago, and it was an unforgettable experience of how orchestral writing can get so rich and complex that it simply can't be squeezed out of a concert hall and onto a stereo system. The recent recordings of the symphonies on Wergo are highly valuable in terms of clarity and dynamic range compared to the composer's Berlin ones, but I'll always be returning to the latter.

Probably the pieces I listen to most often are the 2nd Piano Concerto and the Cantata della fiaba estrema (in the recordings with Christoph Eschenbach and Edda Moser as soloists respectively, conducted by the composer). The former has an emotional effect on me which I can only compare to that of Mahler's symphonies. I also have precise memories of broadcasts of his operas König Hirsch and We Come to the River, although I haven't heard either of them since.

Over the years I've attended many performances of his work, less so more recently; three of the most memorable have been Voices with the composer conducting the London Sinfonietta at the Vale of Glamorgan Festival, El Cimarrón with Nicholas Isherwood in Stockholm, and the 7th Symphony mentioned above, which was in Oslo with the Oslo Philharmonic but I have no recollection of who conducted. Also in Oslo I heard Ariosi for soprano, violin and orchestra, a beautiful and little-known piece which I'm very happy has more recently been released on CD (Hänssler) and wasn't at all disappointing on reacquaintance.

I agree that his solo and chamber music is less interesting, although his pieces for soloist(s) and orchestra are often among his best: the aforementioned 2nd piano concerto (and his 3rd), Compases for viola and chamber orchestra, the Double Concerto for oboe, harp and strings, most if not all of his work for solo voice and ensemble/orchestra.

A few other works to mention: the political theatre pieces Natascha Ungeheuer, Essay on Pigs and The Raft of the Medusa, all of which had a profound effect on me; Musen Siziliens, Kammermusik 1958 (especially in the newish Wergo recording which is a massive improvement on all its predecessors). I could go on all day probably.

[Richard Barrett]

A point of correction for the thread title though - his name was Hans Werner Henze, not Hans Werner Henze.

Oh yes, and I did briefly meet him once; it was curiously enough at a performance in the QEH of Bussotti's Rara Requiem when (I think I've mentioned this here before) I went up to congratulate someone I thought must be Bussotti (who wasn't in fact there at all), saying "excuse me, are you the composer?" only for him to say "no, but here is a composer", at which he stood aside to reveal Henze standing behind him, which I wasn't prepared for at all. I hope he could understand the complimentary nature of the starstruck mumblings that issued from my mouth at that moment.

[verismissimo]

Have you been to any gigs programming his music? Chamber or otherwise. Have you conducted his music at any point?

Would be good to get some 'insider views'

Guardian review of the Endymion Composer Choice concert we did with him in 2001 at the South Bank:

The Endymion Ensemble's afternoon concert showcased Henze's chamber music of the late 1940s. Apollo et Hyazinthus is an astonishingly assured work, written in 1949, which shows how quickly Henze assimilated modernist idioms into his personal style. A single-movement harpsichord concerto that turns into a scena for mezzo-soprano, it is structurally lucid and warmly expressive.

Louise Mott and the Endymions gave a completely convincing performance, and the players were equally impressive in Henze's 1948 Kammersonate for piano trio. The programme, designed by Henze himself, also included Oliver Knussen's Océan de Terre, a crystalline setting of Apollinaire, which featured soprano Eileen Hulse, and the world premiere of Kenneth Hesketh's fluent and accomplished Netsuke for eight-piece ensemble.

[ferneyhoughgeliebte]

A point of correction for the thread title though - his name was Hans Werner Henze, not Hans Werner Henze.

Duly amended.

[Pianoman]

Although an early Stravinsky-esque work, I love his ballet Undine, which is remarkably, glitteringly beautiful writing for orchestra. I know Knussen's is the only one (doubtful it will be recorded by anyone else...) but in any case it's unlikely to be surpassed.

[gurnemanz]

I cannot claim good familiarity with Henze's work in general and have only twice attended concerts of his work. Both were highly memorable musical occasions. The first was the DDR premiere of Das Floß der Medusa in Leipzig in 1974 with the Radio Symphony Orchesrtra under Herbert Kegel. The next one was many years later at the Barbican in 2010, a concert performance (with some moving around) of his opera Phaedra. Having "died " for two months, i.e. being struck down by a mysterious coma, after writing the first half of the work, he came back to life and wrote the second half. To prove he was alive, the great man stood up from a seat mid stalls, looking frail and receiving a generous ovation.

[Beef Oven!]

I cannot claim good familiarity with Henze's work in general and have only twice attended concerts of his work. Both were highly memorable musical occasions. The first was the DDR premiere of Das Floß der Medusa in Leipzig in 1974 with the Radio Symphony Orchesrtra under Herbert Kegel. The next one was many years later at the Barbican in 2010, a concert performance (with some moving around) of his opera Phaedra. Having "died " for two months, i.e. being struck down by a mysterious coma, after writing the first half of the work, he came back to life and wrote the second half. To prove he was alive, the great man stood up from a seat mid stalls, looking frail and receiving a generous ovation.

Wonderful anecdote! You were blessed to have had this experience!

[Petrushka]

I have the Henze symphonies 1 - 6 in its Brilliant Classics incarnation but my favourite of his symphonies is the 7th, perhaps because it was the first one I heard. I attended the UK premieres of the 8th and 9th, both at the Proms, and sat in the front row at the pre-Prom talk that Henze gave before the 8th in 1995. I was hoping to get him to sign my programme but minders hustled him away so I never got the chance even though I was literally just a few feet away from him.

I've got the 9th on CD but have never really got on with it. Anyone got any thoughts on it?

[Beef Oven!]

I have the Henze symphonies 1 - 6 in its Brilliant Classics incarnation but my favourite of his symphonies is the 7th, perhaps because it was the first one I heard. I attended the UK premieres of the 8th and 9th, both at the Proms, and sat in the front row at the pre-Prom talk that Henze gave before the 8th in 1995. I was hoping to get him to sign my programme but minders hustled him away so I never got the chance even though I was literally just a few feet away from him.

I've got the 9th on CD but have never really got on with it.

I've never quite got on with 8 & 9. Probably need to spend more time with them.

7 is very good, I have the Rattle, but having spent so long with 1-6 on Deutsche Grammophon, 7 was a bit of an anticlimax for me.

[BBMmk2]

No.7 I’ve alwY liked. Ever since it’s recording with CBSO/Rattle