Heinrich Herzogenberg

Biography

Born: June 10, 1843   Died: October 9, 1900  
A contemporary of Johannes Brahms, Heinrich von Herzogenberg spent most of his compositional life living in the shadow of Brahms' gigantic stature. Herzogenberg's works represent a great divergence in styles and influences. His output is vast and takes the form of every musical genre with the exception of opera. He wrote many concert works with sacred texts, three oratorios; several choral orchestral works, including two psalms, a mass, a Read more requiem, several motets, and a sacred cantata; two symphonies; chamber music including three string quartets; music for piano and organ; many secular part songs (with and without accompaniment for mixed, men's, and women's choirs); and despite being a lifelong Catholic, many short liturgical works for the Protestant liturgy. In general, his music can be said to exhibit a general Brahmsian surface. The piano works in particular, which were initially influenced by Schumann, as well as the chamber music, are clearly modeled on the music of Brahms. However, beneath these surface commonalties, Herzogenberg's music illustrates not only a variety of other influences, but also the hand of a master composer in his own right. In some of his early works, he was intent upon following the path of the "New German School." A later rejection of the "New German" compositional ideology led the young Herzogenberg to a course of study using as a model the music of J.S. Bach. This interest in early music (especially the music of Bach and Schutz) was a trait that was greatly fostered by Spitta and took form in Herzogenberg's church music, especially that of the composer's later years. The son of an Austrian Court official, Herzogenberg was born on June 10, 1843, in Graz, Austria. The young Heinrich received his early education in the humanities at the Gymnasien in Feldkirch (Vorarlberg), Munic, Dresdan, and Graz. In 1861, he enrolled at the University of Vienna and began a course of study in law and philosophy. This, however, was short-lived, as in 1862 he left the university to become a composition student of Felix Otto Dessoff, a professor at the Vienna Conservatory. Herzogenberg was to study with Dessoff for the next two years. It was at Dessoff's house that Heinrich first encountered Brahms. The two soon formed a lifelong friendship, with Herzogenberg devoting himself to the promotion of Brahms' music. Although he seems to have valued Herzogenberg's criticism of his own work, Brahms appears to have never found it in himself to take Herzogenberg seriously as a composer. In 1868, Herzogenberg married Elisabeth von Stockhausen (born in Paris on April 13, 1847; died in San Remo January 7, 1892), the daughter of a Hanoverian Court diplomat, and a pianist and composer in her own right. Von Stockhausen too shared a close friendship with Brahms, who seems to have valued von Stockhausen 's insights even more than those of Heinrich. It was through the family's interactions with Brahms that the Herzogenbergs came into contact with some of the most notable figures in German music at that time, including Robert and Clara Schumann.

For a period of four years, the Herzogenbergs lived in Graz, where Heinrich worked as a freelance composer. Then, in 1874, they moved to Leipzig where, with Philipp Spitta and several others, Heinrich was to found the Leipzig Bach-Verein (Bach Society). He became the director of the group in 1875, a position he held for the next ten years. In 1885, Herzogenberg was appointed professor of composition at the Berlin Hochschule für Musik, succeeding Friedrich Kiel. From 1889, in addition to his other teaching duties, he also conducted a master class in composition at the Hochschule. It was also in 1889 that Herzogenberg was elected a member of the Akademie and when he began his tenure as director of the Meisterschule für Komposition in Berlin, a position he was to hold from 1889 to 1892 and again from 1897 to 1900. Elisabeth's death, in 1892, seems to have been a heavy blow to Heinrich, who subsequently buried himself in his work. Later that year, he returned to his position at the Hochschule after an absence due to ill heath, no doubt compounded by his grief over the death of his wife. Herzogenberg continued teaching until 1900 when further ill health forced him to retire; he died shortly afterwards, on October 9 in the town of Wiesbaden. Read less

There are 34 Heinrich Herzogenberg recordings available.

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Works

Heinrich Herzogenberg


MOST POPULAR WORKS
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 1. Allegretto
Herzogenberg: Trio For Oboe, Horn & Klavier, Op.61 - 2. Presto
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 3. Andante con moto
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 4. Allegro
WORKS
Part I, Die Verheissung (The Promise): Dies ist der Tag, den Gott gemacht (Organ, Chorus)
Part I, Die Verheissung (The Promise): Ich harre des Herrn, meine Seele harret (Tenor I, Tenor II, Bass I, Bass II, Chorus)
Part I, Die Verheissung (The Promise): So sprach der Herr zur Schlange (Bass II, Chorus)
Part I, Die Verheissung (The Promise): So saget der Horer gottlicher Rede (Bass I, Chorus)
Part I, Die Verheissung (The Promise): So sprach der Knecht des Herrn (Tenor II, Chorus)
Part I, Die Verheissung (The Promise): Solches verheisst der Eifer (Tenor I, Tenor II, Bass I, Bass II)
Part I, Die Verheissung (The Promise): Kommst du, Licht der Heiden (Chorus)
Part I, Die Verheissung (The Promise): Ich lag in schweren Banden (Chorus)
Part II, Die Erfullung (The Fulfillment): Recitative: Der Engel Gabriel ward gesandt (Soprano, Alto, Tenor I)
Part II, Die Erfullung (The Fulfillment): Jesus ist ein susser Nam' (Chorus)
Part II, Die Erfullung (The Fulfillment): Recitative: Der wird gross sein (Alto)
Part II, Die Erfullung (The Fulfillment): Sei gesegnet, teures Reich (Chorus)
Part II, Die Erfullung (The Fulfillment): Maria aber sprach (Soprano, Tenor I)
Part II, Die Erfullung (The Fulfillment): Erklinge, Lied, und werde Schall (Soprano, Alto, Tenor II, Bass II, Chorus)
Part II, Die Erfullung (The Fulfillment): Recitative: Es begab sich aber zu der Zeit (Tenor I)
Part II, Die Erfullung (The Fulfillment): Es ist ein Ros' entsprungen (Chorus)
Part II, Die Erfullung (The Fulfillment): Zwischenspiel
Part II, Die Erfullung (The Fulfillment): Joseph, lieber Joseph mein (Soprano, Bass I)
Part II, Die Erfullung (The Fulfillment): O heiliges Kind, wir grussen dich (Chorus)
Part II, Die Erfullung (The Fulfillment): Recitative: Und es waren Hirten (Alto, Tenor I)
Part II, Die Erfullung (The Fulfillment): Ehre sei Gott in der Hohe (Chorus)
Part II, Die Erfullung (The Fulfillment): Allein Gott in der Hoh' sei Ehr (Chorus)
Part III, Die Anbetung (The Adoration): Hirtenmusik
Part III, Die Anbetung (The Adoration): Kommt und lasst uns Christum ehren (Chorus)
Part III, Die Anbetung (The Adoration): Recitative: Und da die Engel von Ihnen (Tenor I, Chorus)
Part III, Die Anbetung (The Adoration): Kommet, ihr Hirten (Chorus)
Part III, Die Anbetung (The Adoration): Recitative: Und sie kamen eilend (Tenor I)
Part III, Die Anbetung (The Adoration): Nun singet und seid froh (Soprano, Alto, Tenor II, Bass II, Chorus)
Part III, Die Anbetung (The Adoration): Recitative: Da sie es aber gesehen hatten (Tenor I)
Part III, Die Anbetung (The Adoration): Als ich bei meinen Schafen wacht' (Tenor II, Chorus)
Part III, Die Anbetung (The Adoration): Recitative: Maria aber behielt (Tenor I)
Part III, Die Anbetung (The Adoration): Gelobet sei der Herr (Tenor I, Tenor II, Bass I, Bass II, Chorus)
Part III, Die Anbetung (The Adoration): Also hat Gott die Welt geliebt (Chorus)
Part III, Die Anbetung (The Adoration): Sei willekomm, du edler Gast (Chorus)
Requiem
Dies irae
Offertorium
Sanctus
Agnus Dei
Communio
I. Allegro
II. Andantino
III. Allegretto moderato
Einleitung: Trauermarsch mit Chor Der Mensch, vom Weibe geboren
Recitative und Arie: Herr, warum trittst du so ferne (Bass)
Was ich tue - Ich lieg' im Streit (Alto, Chorus)
Ich bin die Auferstehung (Chorus, Soprano)
Recitative und Arie: Da ich den Herrn suchte (Bass)
Soloquartett und Chorale: Ich hab' dich eine kleine Zeit
Wenn der Herr die Gefangenen Sions (Chorus)
Aria: Wie lieblich sind deine Wohnungen (Soprano)
Der Herr hat's gegeben (Bass, Chorus)
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 1. Allegretto
Herzogenberg: Trio For Oboe, Horn & Klavier, Op.61 - 2. Presto
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 3. Andante con moto
Herzogenberg: Trio for Oboe, Horn & Klavier, Op.61 - 4. Allegro


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