Ferdinand Hiller
Born: October 24, 1811
Died: May 11, 1885; Cologne, Germany
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Ferdinand Hiller was one of the leading German pianists of the generation of Franz Liszt. (In fact, he was born two days after Liszt and died only about a year before.) He was a productive composer, though his best work is in shorter forms. His father was a wealthy Jewish merchant of Frankfurt who sent him to study music when he showed unusual interest. His main piano teacher was Alois Schmitt. Hiller made his concert debut at the age of ten. A
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Works
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Abends ("Wenn die Abendglocken hallen"), for voice & piano, Op. 41/4 (1)
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Abschied ("Abendlich schon rauscht der Wald"), for voice & piano, Op. 25/5 (1)
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Betrogen ("Auf Flügeln saust der Wind daher"), for voice & piano, Op. 100/16 (1)
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Concerto for Piano in F sharp minor, Op. 69 (1)
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Concerto for Piano in F sharp minor, Op. 69: 1st movement, Moderato, ma con energia e con fuoco (1)
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Concerto for Piano in F sharp minor, Op. 69: 2nd movement, Andante espressivo (1)
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Concerto for Piano in F sharp minor, Op. 69: 3rd movement, Allegro con fuoco (1)
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Concerto for Piano no 1 in A flat major, Op. 5: 1st movement, Allegro moderato (1)
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Concerto for Piano no 1 in A flat major, Op. 5: 2nd movement, Adagio (1)
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Concerto for Piano no 1 in A flat major, Op. 5: 3rd movement, Allegro moderato e con grazia (1)
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Concerto for Piano no 3 in A flat major, Op. 170: 1st movement, Allegro con anima (1)
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Concerto for Piano no 3 in A flat major, Op. 170: 2nd movement, Andante quasi adagio (1)
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Concerto for Piano no 3 in A flat major, Op. 170: 3rd movement, Allegro con spirito (1)
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Das ist der Liebe eigen, for voice & piano, Op. 100/18 (1)
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Die Ferne ("Schon wieder bin ich fortgerissen"), for voice & piano, Op. 16/12 (1)
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Die Lerchen ("Welch ein Schwirren, welch ein Flug"), for voice & piano, Op. 25/6 (1)
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Die Rheinmöve ("Du seliger Vogel in der Luft"), for voice & piano (1)
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Die Rosenblüthe hab' ich mir erkoren!, for voice & piano, Op. 118/3 (1)
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Die Verlassene ("Am Brunnen hab' ich gestanden"), for voice & piano, Op. 111/10 (1)
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Ein einz'ger Kuss für alle meine Qualen, for voice & piano, Op. 118/4 (1)
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Elfengruss ("Durch den Wald im Mondenschein"), for voice & piano, Op. 16/10 (1)
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Es war ein alter König, sein Herz war schwer, for voice & piano, Op. 16/8 (1)
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Frühlingsjubel (Strahlende Sonne, himmlisches Blau), for voice & piano, Op. 111/4 (1)
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Gebet (1)
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Gebet, song for voice & piano, Op. 46/1 (1)
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Gruss an die Nacht ("Wie hast du mich so müde gemacht"), for voice & piano, Op. 111/1 (1)
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Im Maien ("Nun bricht aus allen Zweigen"), for voice & piano, Op. 129/5 (1)
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Impromptu for Piano in E major, Op. 97 (1)
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In der Nacht ("Wie raff't ich mich auf in der Nacht"), for voice & piano, Op. 41/3 (1)
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Konzertstück for Piano, Op. 113 (2)
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Mein Schatz ("Mein holder Schatz"), for voice & piano, Op. 118/6 (1)
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Nähe des geliebten ("Ich denke dein"), for voice & piano, Op. 129/1 (1)
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O schneller, mein Ross, mit Hast!, for voice & piano, Op. 100/15 (1)
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O schwer ist mein Herz und im Auge die Trän', for voice & piano, Op. 41/1 (1)
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Pieces for Piano, Op. 4: no 2, Capriccio (1)
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Sonata for Piano in E minor, Op. 47 (1)
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Sonata for Piano in G minor, Op. 78 (1)
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Um Mitternacht ("Bedächtig stieg die Nacht an's Land"), for voice & piano, Op. 100/5 (1)
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Und ob der holde Tag vergangen, for voice & piano, Op. 100/1 (1)
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Wandrers Nachtlied ("Der du von dem Himmel bist"), for voice & piano, Op. 25/2 (1)
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Wandrers Nachtlied, for voice & piano, Op. 129/11 (1)
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Wandrers Nachtlied, Op. 129 no 11 (2)
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Wenn der Frühling kommt, for voice & piano, Op. 85/4 (1)
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Biography |
by Joseph Stevenson
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Ferdinand Hiller was one of the leading German pianists of the generation of Franz Liszt. (In fact, he was born two days after Liszt and died only about a year before.) He was a productive composer, though his best work is in shorter forms. His father was a wealthy Jewish merchant of Frankfurt who sent him to study music when he showed unusual interest. His main piano teacher was Alois Schmitt. Hiller made his concert debut at the age of ten. A number of leading musicians, including Spohr and Mendelssohn, took an interest in helping develop his career. It was on Mendelssohn's recommendation that he went to Weimar to become a pupil of Hummel, who took him along on a trip to Beethoven's deathbed. On one of these visits, Hiller snipped a lock of hair from the great composer, the rediscovery of which is recounted in the book Beethoven's Hair.
Hiller arrived in Paris in 1828, staying seven years and supporting himself as an organist, pianist, and teacher. He also promoted the most "advanced" composers of the time, such as Berlioz, Liszt, and Chopin. He conducted the Leipzig Gewandhaus and also conducted in Dresden and Düsseldorf. In 1850, he became city concertmaster of Cologne and stayed in that position until illness forced his retirement in 1884. During his tenure there, he reorganized the music school and made it one of the finest institutions in Germany. Hiller also excelled at organizing concert series, festivals, and competitions and at writing about contemporary music. Before his death, he was made a nobleman and added an aristocratic "von" to his name.
He composed an opera, Romilda, which was played in Milan without success, and other large-form works, but is best represented by his piano works. Robert Schumann, in his capacity as music teacher, remarked favorably on his mastery of formal techniques of music composition, but that his music as a whole "lacked that triumphant power which we are unable to resist." |
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