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

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
WORKS ALBUMS
TITLE/COMPOSER
LABEL
1. Allegretto, con grazia
2. Notturno: Lento
3. Allegro con moto
1. Movimentato
2. Adagio
3. Moto perpetuo
crotchet = 92
un poco meno mosso
meno mosso
Corona
meno mosso del tempo I
Lento
Song to Freedom
Largo
dotted crotchet = 66
crotched = 66
crotchet = 92
piů mosso
meno mosso
piů mosso, con fuoco
dotted crotchet = 100
1. Lento
2. Allegro molto vivace
3. Adagio
1. Invocation Of Apollo
2. Dithyramb Moderato
3. Conjuring Dance
Crotched = 50
Crotched = 100 (T./b. 15)
Crotched = 80 (T. 49)
Crotched = 80 (T.72)
Crotched = 80 (T.155)
Dotted Crotched = 84 (T.205)
Crotched = 132 (T.272)
molto ritardando (T.418)
Quaver = 92 (T.460)
1. Largamente, rubato - Allegro molto
2. Vivacissimo (tempo 1) - Alla marcia (tempo 2)
3. Andante con moto
4. Allegro molto vivace
1. Calmo - attaca:
2. Vivo
3. Tranquillo
4. Tempo d'una marcia solenne, ma non lenta - attacca:
5. Grave - Come un inno
1. Moderato cantabile
2. Vivace
3. Ciacona
1. Moderato
2. Vivace - Meno mosso - Tempo
3. Moderato -
4. Vivace -
5. Lento -
6. Vivace
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
1. "Darest thou now, o soul" (Moderato)
2. "No map there" (Tranquillo)
3. "I know it not, o soul" (Adagio)
4. "Till when the ties loosen" (Allegro)
5. "Then we burst forth" (Allegro molto)
(versuch über schweine) "deine versuche sind"
langer exkurs für entenlockflöte "einmal hieß es von ihm"
abschiedsformeln "es ist nicht strafbar"
feststellung "besser ist es"
müder anlauf und vorläufiges ende "der verstorbene naive"
"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. Pastorale
2. Adagio
3. Silenus. Vivace
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. 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 Foręt)
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 Prętres)
11. Der Aufstand (The Uprising - Le Soulčvement)
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. Planimetry
2. Attempts At Molestation
3. The Veiled Messengers
4. The Listless Spy
5. Introduction To The Difficult Bourgeoisie
6. The Difficult Bourgeoisie: Attempted Return No.1
7. Attempted Return No.2
8. Attempted Return No.3
9. Geodesy
10. Speech Practice
11. Metapenthes
Ah! Schnee fällt aufs Blütenmeer
Gut. Gut. Genau wie es mir passte
Wie reizend du bist!
Nimm Platz, mein Kind
Du mein, ganz mein
Aus dem Garten, paradiesisch
Schon morgen von den Bergen
Grüss Gott. Auf ein Wort nur
Eins. Zwei. Drei. Vier. Wen bewundern wir?
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 Foręt)
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 Prętres)
11. Der Aufstand (The Uprising - Le Soulčvement)
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. Largamente, rubato - Allegro molto
2. Vivacissimo (tempo 1) - Alla marcia (tempo 2)
3. Andante con moto
4. Allegro molto vivace
1. Calmo - attaca:
2. Vivo
3. Tranquillo
4. Tempo d'una marcia solenne, ma non lenta - attacca:
5. Grave - Come un inno
1. Moderato cantabile
2. Vivace
3. Ciacona
Henze: Concerto For Piano And Orchestra No.2 - 1. Moderato
Henze: Concerto For Piano And Orchestra No.2 - 2. Vivace - Meno mosso - Tempo
Henze: Concerto For Piano And Orchestra No.2 - 3. Moderato -
Henze: Concerto For Piano And Orchestra No.2 - 4. Vivace -
Henze: Concerto For Piano And Orchestra No.2 - 5. Lento -
Henze: Concerto For Piano And Orchestra No.2 - 6. Vivace
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 1. Prologue
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 2. Lament
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 3. Preludes and Variations
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 4. Tristan's Folly
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 5. Adagio - Burla I (Valse) - Burla II (alla turca) - Ricercare I - Burla III (Marcia) - Ricercare II
Henze: Tristan (1973) Preludes For Piano, Tapes And Orchestra - 6. Epilogue
"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. Pastorale
2. Adagio
3. Silenus. Vivace
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


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