Hans Werner Henze

Biography

Born: July 1, 1926; Gütersloh, Germany   Died: October 27, 2012; Dresden, Germany  
Hans Werner Henze was a prolific composer over a career spanning six decades, writing extensively in all the standard genres such as symphony, concerto, opera, and song, in a remarkable variety of styles. As he once said, "I am bored by the idea of employing approaches which I have already tried." At times in his career, his controversial political views have attracted almost as much attention as his music.

Henze started
Read more composing at age 12, even before his formal music education began at the Braunschweig State Music School, which he attended from 1942-1944. From an early age, he was interested in political and social issues. His rejection of the bourgeois values of his upbringing and the Nazism that he encountered first hand probably had a large influence on his later political thinking. He served for a time in the German army in World War II and was briefly held as a prisoner-of-war. After the war, he continued his musical studies at the Institute for Church Music in Heidelberg, where he worked with Wolfgang Fortner, and at Darmstadt, where he studied with Schoenberg disciple René Leibowitz. His earliest acknowledged compositions date from this time, like the Chamber Concerto (1946) which was Henze's first publicly performed work. His first full-length opera, Boulevard Solitude, was completed in 1951.

Despite the hints of jazz and neo-Classicism in some of that early music, Henze was strongly identified with the post-Arnold Schoenberg serial composers for several years. With his move to Italy in 1953, Henze sought to change that perception and brought to his music a new lyricism. One can hear this in his second opera, König Hirsch, premiered in 1956, and the Symphony No. 4, "Il Re Cervo" (1955), which makes use of music from that opera's second act finale. W. H. Auden and Chester Kallman, Stravinsky's librettists for The Rake's Progress, provided the words for Henze's fourth and sixth operas, Elegy for Young Lovers (1961) and The Bassarids (1965-1966). It was around this time that Henze took his first teaching post, director of master classes in composition at the Salzburg Mozarteum.

The notorious premiere of the oratorio Das Floss der Medusa (The Raft of Medusa, a requiem for Che Guevara) in Hamburg in 1968, at which the work's librettist and others were arrested, brought Henze further notoriety. Interactions with German students and Italian intellectuals had motivated Henze to bring to his work an increasing political consciousness. Socialism and the New Left were very appealing to him, even more so after a year of teaching in Cuba in 1969-70, during which he led the Cuban National Symphony in the premiere of his Symphony No. 6 for two chamber orchestras.

Voices (1973), a song cycle with texts by Ho Chi Minh, Bertold Brecht, and others, reflects Henze's political commitment and his musical eclecticism. In his later works, Henze has incorporated such disparate elements as rock and popular music, electronics, taped sounds, microtones, and extended vocal and instrumental techniques. His harrowing Symphony No. 9, premiered in 1997, tells the story of prisoners who escape from a German concentration camp; the Symphony is dedicated to "the heroes and martyrs of German anti-fascism."

Henze wrote for many of the great performers of his time, such as Dietrich Fischer-Dieskau, Peter Pears, Julian Bream, Heinz and Ursula Holliger, and Christoph Eschenbach. He also actively championed his own music, traveling the world to conduct and record his compositions. Read less
Henze: Ode an der Westwind, Neapolitan Songs, Dithyrambs / Halffter, Rivinius
Release Date: 10/11/2005   Label: Arte Nova  
Catalog: 894040   Number of Discs: 1
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There are 113 Hans Werner Henze recordings available.

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Works

Hans Werner Henze


MOST POPULAR WORKS
"Solo chi ama conosce" - Andante ma non troppo
"Sei tu Giulietta?" - Allegretto
"Sono i tuoi giorni un prato lucente" - Allegretto
"Tu eri il paggio favorito alla corte d'Oriente" - Allegretto (lo stesso tempo)
"La bella trama, adorata dal mio cuore" - Corale
"Quando mi sei vicino" - Andante
"Passa la cacciatrice lunare" - Meno mosso
I. Largamente, rubato ? Allegro molto
II. Vivacissimo
III. Andante con moto
IV. Allegro molto vivace
Introduction "Herr Professor, ich nehme kein Blatt.."
Ob er uns gefallen wird oder nicht?
O Ida, liebste Ida
Zu uns kommt ein Edelmann
Vivat! vivat! Hoch lebe der reiche, englische Herr!
Hu, kaltes Land - und Leute gaffen
"Er ist es" / "Ist das Sir Edgar?"
Entr'acte
Mein liebes Kind
Frau Baronin. Der Mohr ist da
Dieser Mensch täuscht sich
Zwischenspiel
Hochverehrtes Publikum!
Der Engländer ist aus dem Haus
Hochverehrtes Publikum
Im Namen des Gesetzes dieser Stadt
"Wir sind ihm nicht gut genug" - Notturno
Hu, der böse Mohr, der so schwarz wie Sünde ist!
Leibhaftiger! Geister sind's nicht
"Meine Luise"... "Oh, mein Wilhelm"
Ihr Herren, hierher!
Er wird Ihre Bälle und auch alle die Konzerte
Zwischenspiel
Man nimmt ein halbes Pfund goldenen Sirup
Nur zu gerne ... und mit großer Erwartung
Welche Freude!
Dieser flegelhafte Mensch!
Es ist genug, was dieser Herr sich herausnimmt!
Zwischenspiel
Diese Benommenheit
Wo bin ich denn geblieben?
Walzer der Debütantinnen
Eine gewisse nationale Roheit
Es wird Schreckliches geschehen
Steht uns kein Himmel bei?
1. Die Welt (The World - Le Monde)
2. Der Cimarrón
3. Die Sklaverei (Slavery - L'Esclavage)
4. Die Flucht (Flight - La Fuite)
5. Der Wald (The Forest - La Forêt)
6. Die Geister (The Spirits - Les Fantômes)
7. Die falsche Freiheit (False Freedom - La Fausse Liberté)
8. Die Frauen (Women - Les Femmes)
9. Die Maschinen (The Machines - Les Machines)
10. Die Pfarrer (The Clergy - Les Prêtres)
11. Der Aufstand (The Uprising - Le Soulèvement)
12. Die Schlacht von Mal Tiempo (The Battle of/La Bataille de Mal Tiempo
13. Der schlechte Sieg (The Evil Victory - La Mauvaise Victoire)
14. Die Freundlichkeit (Friendliness - L'Amabilité)
15. Das Messer (The Knife - Le Couteau)
1. Adagio
2. Tempo eines Trauermarsches
3. Espressivo
4. Allegro moderato - Meno mosso
5. Air - Pastorale - Air
6. Vivace - Epilogo. Adagio
I. Moderato - Più mosso - Lo stesso tempo (Clarinet cadenza) (quasi attacca) -
II. Allegretto
III. Allegramente (Horn cadenza) - Malincolia - Allegretto (Bossoon cadenza) - attacca -
IV. Vivace - Allegramente - Molto meno mosso - Vivace e burlesco - Con moto - Un poco meno mosso - Ancora meno mosso
V. Quia respexit humilitatem ancillae suae
1. Aggio saputo ca la morte vene
2. A l'acqua de li ffuntanelle
3. Amaie 'na nenne pe' tridece mise
4. Amaie 'nu ninno cu' sudore e stiente
5. Arbero piccerillo, te chiantaie
I. Pastorale
II. Morgenlied
III. Ballade
IV. Tanz
V. Rezitativ
VI. Abendlied
VII. Ausklang
1. Calmo - attaca:
2. Vivo
3. Tranquillo
4. Tempo d'una marcia solenne, ma non lenta - attacca:
5. Grave - Come un inno
I. Adagio rubato
II. Poco allegretto
III. Pastorale
IV. Andante con moto, rubato
V. Vivace
VI. Tango
VII. Allegro marciale
VIII. Allegretto
IX. Menuett
WORKS
Qual Rugiada
Compianto
Maraviglioso Fior del Vostro Mare
Estro
Deh, vien, Morte soave
Three Auden Songs: I. In Memoriam L.K.A. 1950-1952
Three Auden Songs: II. Rimbaud
Three Auden Songs: III. Lay Your Sleeping Head, My Love
5. Poco Allegretto
4. Allegro marciale
"Solo chi ama conosce" - Andante ma non troppo
"Sei tu Giulietta?" - Allegretto
"Sono i tuoi giorni un prato lucente" - Allegretto
"Tu eri il paggio favorito alla corte d'Oriente" - Allegretto (lo stesso tempo)
"La bella trama, adorata dal mio cuore" - Corale
"Quando mi sei vicino" - Andante
"Passa la cacciatrice lunare" - Meno mosso
1. Moderato cantabile
2. Vivace
3. Ciacona
Moderato - Vivace - Meno mosso
Moderato - Vivace - Lento Vivace - Piu mosso
I. Largamente, rubato ? Allegro molto
II. Vivacissimo
III. Andante con moto
IV. Allegro molto vivace
I. Esmeralda: nicht eilen, tanzerisch gemutvoll
II. Das Kind Echo: Adagio - Tempo giusto
III. Rudi S.: Andante - Piu mosso
Introduction "Herr Professor, ich nehme kein Blatt.."
Ob er uns gefallen wird oder nicht?
O Ida, liebste Ida
Zu uns kommt ein Edelmann
Vivat! vivat! Hoch lebe der reiche, englische Herr!
Hu, kaltes Land - und Leute gaffen
"Er ist es" / "Ist das Sir Edgar?"
Entr'acte
Mein liebes Kind
Frau Baronin. Der Mohr ist da
Dieser Mensch täuscht sich
Zwischenspiel
Hochverehrtes Publikum!
Der Engländer ist aus dem Haus
Hochverehrtes Publikum
Im Namen des Gesetzes dieser Stadt
"Wir sind ihm nicht gut genug" - Notturno
Hu, der böse Mohr, der so schwarz wie Sünde ist!
Leibhaftiger! Geister sind's nicht
"Meine Luise"... "Oh, mein Wilhelm"
Ihr Herren, hierher!
Er wird Ihre Bälle und auch alle die Konzerte
Zwischenspiel
Man nimmt ein halbes Pfund goldenen Sirup
Nur zu gerne ... und mit großer Erwartung
Welche Freude!
Dieser flegelhafte Mensch!
Es ist genug, was dieser Herr sich herausnimmt!
Zwischenspiel
Diese Benommenheit
Wo bin ich denn geblieben?
Walzer der Debütantinnen
Eine gewisse nationale Roheit
Es wird Schreckliches geschehen
Steht uns kein Himmel bei?
= c.112 -
Andante ( = 50) -
= 80 -
Andante ( = 80)
1. Die Welt (The World - Le Monde)
2. Der Cimarrón
3. Die Sklaverei (Slavery - L'Esclavage)
4. Die Flucht (Flight - La Fuite)
5. Der Wald (The Forest - La Forêt)
6. Die Geister (The Spirits - Les Fantômes)
7. Die falsche Freiheit (False Freedom - La Fausse Liberté)
8. Die Frauen (Women - Les Femmes)
9. Die Maschinen (The Machines - Les Machines)
10. Die Pfarrer (The Clergy - Les Prêtres)
11. Der Aufstand (The Uprising - Le Soulèvement)
12. Die Schlacht von Mal Tiempo (The Battle of/La Bataille de Mal Tiempo
13. Der schlechte Sieg (The Evil Victory - La Mauvaise Victoire)
14. Die Freundlichkeit (Friendliness - L'Amabilité)
15. Das Messer (The Knife - Le Couteau)
1. Adagio
2. Tempo eines Trauermarsches
3. Espressivo
4. Allegro moderato - Meno mosso
5. Air - Pastorale - Air
6. Vivace - Epilogo. Adagio
Tiento Nr. 1
Tiento Nr. 2
Tiento Nr. 3
I. Moderato - Più mosso - Lo stesso tempo (Clarinet cadenza) (quasi attacca) -
II. Allegretto
III. Allegramente (Horn cadenza) - Malincolia - Allegretto (Bossoon cadenza) - attacca -
IV. Vivace - Allegramente - Molto meno mosso - Vivace e burlesco - Con moto - Un poco meno mosso - Ancora meno mosso
V. Quia respexit humilitatem ancillae suae
1. "In Urzeiten lebten friedlich" - Higgeli Pigelli"
2. "Ehe Zeit war, zu des Anfangs Beginn" - "Schwarz sollt ihr sein"
3. "Ein Schiff stach in See, verließ den Hafen" - Rauh wird die Nacht
1. Pastorale
2. Adagio
3. Silenus. Vivace
1. Aggio saputo ca la morte vene
2. A l'acqua de li ffuntanelle
3. Amaie 'na nenne pe' tridece mise
4. Amaie 'nu ninno cu' sudore e stiente
5. Arbero piccerillo, te chiantaie
I. Pastorale
II. Morgenlied
III. Ballade
IV. Tanz
V. Rezitativ
VI. Abendlied
VII. Ausklang
1. Calmo - attaca:
2. Vivo
3. Tranquillo
4. Tempo d'una marcia solenne, ma non lenta - attacca:
5. Grave - Come un inno
No. 1. What was Hell like?
No. 2. The Point to be Noted
No. 3. You Who Survived
No. 4. It was Changed
No. 5. Orpheus
I.Teil
II.Teil
III.Teil
I. quarter note = 112
II. Tempo di Foxtrot
III. Tempo di Son
IV. Tempo di Tango
V. quarter note = 100
VI. Tempo di Rumba
VII. Ragtime
VIII. Tempo di Tango
IX. quarter note = 120
X. eighth note = 112
XI. Allegro vivace
I. Quarter note = circa 80
II. Ruhig fliessend
III. Quarter note = 66
I. Adagio rubato
II. Poco allegretto
III. Pastorale
IV. Andante con moto, rubato
V. Vivace
VI. Tango
VII. Allegro marciale
VIII. Allegretto
IX. Menuett
1. Allegro
2. 32 Variazioni
Henze: Sonatina (for Solo Trumpet) - 1. Toccata
Henze: Sonatina (for Solo Trumpet) - 2. Canzona
Henze: Sonatina (for Solo Trumpet) - 3. Segnali
1. Prologue
2. Lament
3. Preludes and Variations
4. Tristan's Folly
5. Adagio - Burla I (Valse) - Burla II (alla turca) - Ricercare I - Burla III (Marcia) - Ricercare II
6. Epilogue


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