Well, I have been mightily impressed by both the Hiller chamber works I've downloaded, in fine performances by Oliver Treindl and the Minguet Quartet. I've started this thread to discuss the works in question and the possibility of getting them on CD. I'd also like to see a thread on Triendl - his name has popped up a lot around here. Is he the Ponti of our times?
Well, since we seem to be starting threads with Wiki entries, here's mine:
Ferdinand (von) Hiller (24 October 1811 – 11 May 1885) was a German composer, conductor, writer and music-director.
Ferdinand Hiller was born to a wealthy Jewish family in Frankfurt am Main, where his father Justus (originally Isaac Hildesheim) was a merchant in English textiles – a business eventually continued by Ferdinand's brother Joseph. Hiller's talent was discovered early and he was taught piano by the leading Frankfurt musician Alois Schmitt, violin by Hofmann, and harmony and counterpoint by Vollweiler; at 10 he performed a Mozart concerto in public; and two years later, he produced his first composition.
In 1822 the 13-year old Felix Mendelssohn entered his life. The Mendelssohn family was at that time staying briefly in Frankfurt and the young Hiller visited them where he was immensely impressed by the playing of Felix (and even more so by that of his sister Fanny Mendelssohn). When their acquaintance was renewed in 1825 the two boys found an immediate close friendship, which was to last until 1843. Hiller tactfully describes their falling out as arising from "social, and not from personal susceptibilities." But in fact it seems to have been more to do with Hiller's succession to Mendelssohn as director of the Leipzig Gewandhaus Orchestra in 1843.
From 1825 to 1827 Hiller was a pupil of Johann Nepomuk Hummel in Weimar; while he was with Hummel at Beethoven's deathbed, Hiller secured a lock of Beethoven's hair. This lock is now at the San Jose State University, after having been sold at Sotheby's in 1994.
From 1828 to 1835 Hiller based himself in Paris, where he was engaged as teacher of composition at Choron's School of Music. He eventually gave up his position so that he might better equip himself as a pianist and composer.[1] He spent time in Italy, hoping that this would assist him to write a successful opera (a hope which was never fulfilled). In 1836, he was in Frankfurt devoting himself to composition. His abilities were recognized, and although but 25, he was asked to act as conductor of the Cäcilienverein during the illness of Schelble.
In addition to Mendelssohn, he attracted the attention of Rossini who assisted him to launch his first opera, Romilda (which was a failure), at Milan. Mendelssohn obtained for Hiller an entrée to the Gewandhaus, and afforded an opportunity for the public presentation of Hiller's oratorio Die Zerstörung Jerusalems (The destruction of Jerusalem, 1840). After a year of study in Church music at Rome, Hiller returned to Leipzig, and during the season of 1843-44 conducted the Gewandhaus concerts. By this time his position in the musical world was established, and honors and appointments were showered upon him. He became municipal kapellmeister of Düsseldorf in 1847, and in 1850 received a similar appointment at Cologne, where he founded Conservatorium der Musik in Coeln that year and remained as Kapellmeister until 1884. During this time, he was twelve times festival director of the Lower Rhenish Music Festival, and conducted the Gürzenich concerts. He worked in Dresden as well. Thus he played a leading part in Germany's musical life. And he was conductor at the Italian Opera in Paris during the season of 1852-53.
During Hiller's long reign in Cologne, which earned him a 'von' to precede his surname, his star pupil was Max Bruch, the composer of the cello elegy Kol Nidrei, based on the synagogue hymn sung at Yom Kippur. Bruch incidentally was not Jewish, although he has often been claimed as Jewish; his knowledge of the theme of Kol Nidrei came through Hiller, who introduced him to the Berlin chazan, Lichtenstein. Hiller's regime at Cologne was strongly marked by his conservative tastes, which he attempted to prolong by recommending, as his successor in 1884, either Brahms or Bruch. The appointment went however to a "modernist", Franz Wüllner, who, according to Grove "initiated his term [...] with concerts of works by Wagner, Liszt and Richard Strauss, all of whom Hiller had avoided."
Hiller was elected a member of the Royal Academy of Fine Arts, Berlin, in 1849, and in 1868 received the title of doctor from the University of Bonn.
Personality
Hiller's affability was one of his strongest assets; he made innumerable friends and his very extensive correspondence with all the leading musicians in Europe, still only partly published, is an important source for the musical history of his era. Yet another asset was his very beautiful wife Antonka, by profession a singer, whom he married in Italy in 1840, and who made their home a magnet for the intelligentsia wherever they settled.
Hiller and Wagner
Hiller's time in Dresden marked his initial encounters with Richard Wagner, who had become deputy Kapellmeister there in 1843, following the success of the premiere of his Rienzi (staged in Dresden the previous year). In his autobiography, written during 1865-70 when he was settling scores, real and imaginary, following the death of Giacomo Meyerbeer, Wagner is typically patronising about Hiller at this period, who, we are told, "behaved in a particularly charming and agreeable manner during those days." Antonka is described as "an extraordinary Polish Jewess who had caused herself to be baptised a Protestant together with her husband"; she is later shown as "enlist[ing] the support of a large number of her compatriots [...] for the opera of her husband." (The opera was Hiller's Konradin).
Wagner's dismissive remarks on Hiller throughout his autobiography Mein Leben and in his later review of Hiller's autobiography are not however representative of his relationship with Hiller as revealed through other documents. Wagner features quite frequently in Hiller's diary for the period. Amongst such notes are:
" [30.11.1844] Wagner dropped by to my room [...] [15.1.1845] With Wagner at the Liedertafel [...] [24.2.1845] Wagner came to discuss his affairs. Discussion on religion with Wagner [...] [28.4.1845] Went through last two acts of Tannhäuser with Wagner [...] "
and so forth. Hiller assisted with the staging of Tannhäuser in Dresden in October 1845. In November 1846 Hiller went to see Tannhäuser and notes "Mendelssohn is sitting in front of us" (but presumably no conversation took place). In 1847 he discusses his draft of Konradin with Wagner.
The discussion about Wagner's "affairs" and religion in 1845 must have been interesting; we know from correspondence that in the same month, Wagner attempted to borrow 2,000 thalers from Hiller; Hiller's apparent demurral did not however prevent Wagner recommending Hiller in June to the Dresden Court official Klemm as a potential composer to a libretto.
Work
Hiller's vast musical output is now more or less forgotten. It contained works in virtually every genre, vocal, choral, chamber and orchestral. Musically he is perhaps best remembered as the dedicatee of Schumann's Piano Concerto. He is also the dedicatee of the three Nocturnes, Op. 15, by Chopin.
He composed among other works six operas between 1839 and 1865, and a violin concerto.[2][3]
His large output of chamber music includes several quartets for strings with and without piano beginning with his piano quartet opus 1 in B minor, published by Haslinger of Vienna in the 1830s, and at least three string quartets, a string trio his opus 207 published in 1886 as (Nachgelassenes Werk No. 2) by Rieter-Biedermann of Leipzig, sonatas for solo piano (opus 47, published in 1852 by Schuberth of Hamburg) and opus 59 and for piano with cello (at least two - opus 22, published by Simrock and opus 174, published by Cranz ), and a piano quintet (opus 156), among other works. The fourth of his piano trios has been recorded along with the early piano trio of Max Bruch.
Hiller's three piano concertos have been recorded by Hyperion with Howard Shelley as pianist/conductor and the Tasmanian Symphony Orchestra. They are No. 1 in F minor, Op. 5 (Allegro moderato; Adagio; Allegro moderato e con grazia), No. 2 in F sharp minor, Op. 69 (Moderato, ma con energia e con fuoco; Andante espressivo; Allegro con fuoco), and No. 3 in A flat major, Op. 170 ('Concerto Espressivo': Allegro con anima; Andante quasi adagio; Allegro con spirito).
Hiller wrote at least two symphonies;Im Freien in G major, given in London in 1852, and one in E minor published by Schott as his opus 67 in Mainz in 1865.
He was also a very successful lecturer and a forceful writer, his contributions to reviews and newspapers having been since collected in book form. He also published among others: Musikalisches und Persönliches (1870), Wie hören wir Musik? (How do we hear music?, 1880); Goethes musikalisches Leben (Goethe's musical life, 1880); and Erinnerungsblätter (Reminiscences, 1884). He published an account of his friendship with Mendelssohn in 1874. Part of his vast correspondence with other musicians and artists of his period, which is in itself an important historical archive, has been published in seven volumes.
There seems to have also been an early Symphony in A minor dating from the Paris years.
and an earlier one still- Hyperion refers to the symphony in A minor as no.2 and says it was performed in the concert in which the concerto in F minor opus 5 was premiered (December 4 1831) (http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67655&vw=dc (http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67655&vw=dc)). I gather there were several later ones also, making the E minor one one of - 5?? 8??... not sure...
I recall vaguely I may have written that bit about "at least two symphonies" myself and like much else it needs revision :D
Schumann, in a 1849 letter to Hiller, writes that he hears favorable accounts of "your" (Hiller's) symphony from all quarters (and thanks him for conducting a symphony of Schumann's own). Whether this refers to Im Freien (which then was ready before its London performance in mid-1852), or to the A minor symphony, or to some other work, I have of course no idea... (though- hrm. I seem to recall vaguely now that the E minor symphony was composed and perhaps performed -quite- awhile before it was published... - yep, 1857 if not earlier, but published in 1865- maybe earlier in reduced score, though I don't think it was- should see if I can turn up anything along those lines. There are (I presume reliable :) ) reports of 1857 performances, anyway... hrm. And there is that performance conducted by Liszt which may be earlier still... 1852. Hrm. So Im Freien and Es muss were given performances in the same year, totally bollixing any attempt at approximating chronology that way- not that that's definite anyway...)
FLP has Hiller's cello concerto in manuscript score and parts. That would be a nice thing to hear...
I didn't even know there was a cello concerto. The violin concerto I know about, and I hope it's in somebody's works. Hyperion, maybe. It might make a good companion to the Brüll.
The double CD of his piano music (on Genesis), which includes the 24 Etudes, op. 15, and the 3 short Piano Sonatas opp. 47, 59 & 78, is impressive, not so much because of Hiller's music, but... IMHO it demonstrates once again that Adrian Ruiz is really an outstanding pianist.
I have to try some of Hiller's chamber music though.
Works
(printed works published in Leipzig unless otherwise stated)
Operas
all published in vocal score
Romilda (os, G. Rossi), Milan, Scala, 8 Jan 1839, selected pieces (Milan, c1839)
Der Traum in der Christnacht (3, C. Gollmick, after E. Raupach), Dresden, 9 April 1845 (c1845)
Konradin, der letzte Hohenstaufen (R. Reinick), Dresden, 13 Oct 1847
Der Advokat (komische Oper, 2, R.J. Benedix), Cologne, 21 Dec 1854
Die Katakomben (ernste Oper, 3, M. Hartmann), Wiesbaden, 15 Feb 1862 (Cologne, 1867)
Der Deserteur (komische Oper, 3, E. Pasqué), Cologne, 17 Feb 1865 (Mainz, 1865)
Vocal
Die Zerstörung Jerusalems (orat, S. Steinheim), op.24, vs (1840)
Saul (orat, Hartmann), op.80, vs (Düsseldorf, 1858)
Works for solo vv, chorus, orch
incl. Ps xxv, op.60 (Mainz, 1854); Palmsonntagsmorgen, op.102 (?c1865); Ostermorgen (E. Geibel), op.134 (Bremen, 1868); Nala und Damajanti (S. Hasenclever), op.150 (London, 1872); Israels Siegesgesang, op.151 (1872); Loreley, op.70 (?1873); Rebecca, op.182 (Cologne, 1878); Prinz Papagei (music to C. Görner's fairy tale), selected choruses and inst pieces, op.183 (1878); Gesang Heloisens und der Nonnen am Grabe Abelards, op.62 (?c1880); Ver sacrum (Die Gründung Roms) (L. Bischoff), op.75 (?1885); Zum neuen Jahr, op.167
Works for chorus, orch
incl. Gesang der Geister (J.W. von Goethe), op.36 (Berlin, 1847); Das Ständchen (J. Uhland), op.68 (Mainz, 1867); Es muss doch Frühling werden, op.136 (Mainz, 1868); Aus der Edda, op.107 (?c1870); Pfingsten, op.119 (?c1873); Bundeslied, op.174 (1876); Es fürchte die Götter das Menschengeschlecht (Goethe), op.193 (1881)
Works for solo vv, orch
incl. Christnacht, op.79 (?1865); Gudruns Klage, op.101; Frühlingsnacht, op.139 (Mainz, 1869)
Other works
c10 pieces, mixed vv, pf; c80 pieces, mixed/male/female vv unacc.; c12 songs, 4 or more solo vv, pf; c32 trios, 24 vocalises, 3 solo vv, pf; c60 duets, pf acc.; c150 lieder
Orchestral
Syms: Es muss doch Frühling werden, e, op.67 (Mainz, ?1860); Im Freien; 2 syms., 1829–34
Ovs.: d, op.32 (?c1845); Concertouvertüre, A, op.101 (Mainz, 1863); Demetrius, op.145 (?c1870); Dramatische Phantasie, sym. prol, op.166 (Mainz, 1874); Faust
Concs: Pf Conc., A, op.5 (Bonn, ?c1835); Pf Conc., f, op.69 (Hamburg, 1861); Konzertstück, op.113, pf (Hamburg, ?c1865); Vn Conc., op.152 (Mainz, 1875); Fantasiestück, op.152b, vn (?c1875)
Other works: Grosser Festmarsch, op.147 (?c1870); Karnevalsgalopp (Cologne, n.d.)
Chamber and other instrumental
Piano Quintet, op.156 (1873)
3 pf qts: op.1 (Vienna, ?1829), op.3 (Bonn, 1830), op.133 (?c1868)
Other qts: 3 str qts: opp.12, 13 (?c1835), op.105 (?c1865); Capriccio, 4 vn, op.203
Trios: 6 pf trios: op.6–8 (Bonn, ?c1835), op.64 (?1855), op.74 (?c1855), op.186 (1879); Str Trio, C, op.2
Vn, pf: Suite in kanonischer Form, op.86 (1860); other works
Vc, pf: Sonata, op.22 (Bonn, ?c1840), Sonata, op.172 (Hamburg, ?c1875), also arr. vn, pf; other works
Pf: c200 pieces, incl. 3 sonatas, e, op.47 (Hamburg, ?1853), g, op.78 (Breslau, 1859), A, op.59 (Mainz, 1863); pieces for pf 4 hands
Arrs./edns, incl. G. Carissimi: Jonas; G.F. Handel: Deborah, Jephtha
...taken from Grove online.
Manuscript score to cello concerto, A minor, Op.104 (Allegro moderato -- Intermezzo ; Allegretto ma non troppo -- Finale. Allegro con brio, (scored for cello solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings) according to Free Library of Philadelphia which also has the parts to the violin concerto opus 152 (I know there are three works "opus 152", but their listing says violin concerto); they also have score and parts to the Fantasiestück for violin opus 152b; vocal and full scores for Lorelei op.70, full score to the overture to Demetrius op.145 and the 2nd concert overture op.101; and score and parts for "Israels Siegesgesang" op.151, among some other things. Their Hiller collection is fairly good...
Above, that should say String trio, C, op.207 (emphasis mine :) ), not opus 2 which is not a string trio... opus 2 is a duo concertant for cello and piano according to
http://imslp.org/wiki/List_of_compositions_by_Ferdinand_Hiller (http://imslp.org/wiki/List_of_compositions_by_Ferdinand_Hiller). Opus 207 is mentioned in a number of other places as a string trio and is I believe his last published work.
That concerto list is off, at least in the piano department. The F minor concerto is Op. 5, there is no concerto in A that I've heard about, the Op. 69 is in F# minor, and there is no mention of the A-flat concerto, Op. 170.
ah . the Grove Online list I can only shrug about...
Quote from: JimL on Sunday 23 October 2011, 02:36Well, since we seem to be starting threads with Wiki entries, here's mine:
Quote from: Alan Howe on Sunday 23 October 2011, 13:10...taken from Grove online.
Quote from: eschiss1 on Sunday 23 October 2011, 17:03ah . the Grove Online list I can only shrug about...
Nice to see some acknowledgement of the great online resources available.
;D
I stand by my opinion. Grove Online - mix of good information and bad, and can't fix the bad information. IMSLP and Wikipedia- mix of good information and bad, but you can fix the bad. I know people (e.g. in the endless debates in newspapers and elsewhere about these things...) do not share my opinion that this is a difference worth noting, but despite the considerable problems I do have with both sites (and I admit to bias and I admit I am an admin at both IMSLP and Wikipedia, though inactive at the last) - I think that the difference pointed out is in fact a very important difference especially in this context...
And I use at the moment almost entirely online resources (plus a few books in my possession, but almost entirely a variety of online ones) so I'm not deprecating the breed.
About Konzertstück, op.113 for piano and orchestra, there is a vox recording by jerome Rose.
last movement is a wonderful tarantella. bye Andrea
Quote from: eschiss1 on Monday 24 October 2011, 22:30
I stand by my opinion. Grove Online - mix of good information and bad, and can't fix the bad information. IMSLP and Wikipedia- mix of good information and bad, but you can fix the bad. I know people (e.g. in the endless debates in newspapers and elsewhere about these things...) do not share my opinion that this is a difference worth noting, but despite the considerable problems I do have with both sites (and I admit to bias and I admit I am an admin at both IMSLP and Wikipedia, though inactive at the last) - I think that the difference pointed out is in fact a very important difference especially in this context...
And I use at the moment almost entirely online resources (plus a few books in my possession, but almost entirely a variety of online ones) so I'm not deprecating the breed.
It would be unwise to take
any secondary source as ultimately authoritative without personally undertaking the requisite primary research - but it is difficult to find the time, command the resources or muster the inclination to do this in any meaningful degree.
Both Grove and Wikipedia, whilst not infallible, are usually more than adequate repositories of fact if not of opinion and deserve acknowledgement - both represent a great deal of labour undertaken by many contributors.
:)
...and we have to remember that all sources of information are potentially inadequate and merely await the next addition, emendation, excision, etc.
Hmm... yes. Up to a point, Lord Copper. Many of the mistakes in Grove could have been avoided by a little bit of research rigorously undertaken.
Quite so, Gareth. I certainly found that when researching Percy Sherwood.
I have thoroughly acquainted myself with the two chamber works downloaded here: the Grand Piano Quartet No. 3, and the Piano Quintet. I find myself asking, somewhat rhetorically, what is the barrier to greatness? What is it objectively about these two works that resulted in them gathering dust while the quartets and quintets of Schumann, Brahms, Dvorak et al fill the programs? To make it even more easy, what is it subjectively about them? Don't get me wrong, I can't find anything myself. This is, in my mind, simply great music.
my concentration seems to have gone physically downhill lately - sleep troubles? - I keep promising myself I will listen to the Hiller and other recent downloads, I manage a few, I turn on others and - no fault of theirs, I am sleepy to begin with- I fall asleep for the most part. (Those I listen to at the right time I enjoy wonderfully- the Reizenstein concerto for instance.) The Hiller works, soon. But the Brahms (piano) quintet has risen so mightily in my estimation from a high place already since I was introduced to it- two decades ago or so? - that I can't imagine not wanting all, - I would not by any means want to drop the Brahms, not in the best performances- it is simply too good, and all the more remarkable for being only his opus 34 (well, among published works). (The chromatically- troubled, ambiguous, finale slow opener was not at all the only thing that impressed Schoenberg, for instance. Rightly so...) (The two string quintets likewise... anyhow. Sorry.) Some of the Romantic chamber works that fill the programs very regularly - see that http://bachtrack.com (http://bachtrack.com) site for a sort-of-representative view of what programs look like in various places this season - do, I of course can only agree - deserve this far less than others (while Schumann's quintet gets me less than his other chamber works- especially the wonderful first violin sonata - I prefer all of the works you mention to some of the works programmed on a regular basis. (Subjectively I will admit I am not fond of Schubert's Trout, or of a lot of light music. With exceptions.)
I could conjecture a few reasons just offhand.
BTW someone mentioned Edward Cowie recently? A string quartet of his is being performed later this month in Bristol...
Although this post is prompted by the upload (courtesy of Mathias) of various works by Hiller, I thought it appropriate to post my initial reactions here...
Well, first I must say that I am absolutely thrilled to hear the first movement of the Symphony in E minor, Op.67 "Es muss doch Frühling werden" which dates from the late 1840s. This is much more than simply the sort warmed-over Mendelssohn that one might expect. Instead, it is a dramatic, exciting movement of no mean thematic interest and compositional invention which makes me want to hear the rest of the piece - urgently. It has some absolutely thrilling brass writing and a momentum which hardly seems to let up for the fourteen minutes or so of its duration. How on earth has this wonderful music got forgotten?
Re Hiller's E minor first movement, I'd like to second Alan's encomium. This is stirring and masterly music by a composer with something to say. And the Berlin Chamber Orchestra acquits itself handsomely.
During the 1840s, Hiller, like Schumann, was a force to be reckoned with, and still among the more advanced German composers. His first piano sonata is IMHO second only to Chopin's opus 35 in originality among works of its immediate period (the Liszt -- in a class by itself-- comes later). His experiments with mixed meters in the etudes and the second sonata, were well ahead of their time. His second piano concerto, with it's revolutionary treatment of the soloist, showed a way to go, dramatically, beyond the Mozart/Kalkbrenner model. His translation of the Ghazal into pure music expanded the boundaries of prosodic music well beyond existing, typically recitative-derived efforts. We now know that he was an original symphonist as well.
I coming late to this re-appraisal of Hiller as I've been away for a few days but, having listened through a couple of times to the first movement of his "revolutionary spring" Symphony and sampled the choral works, I can only add my voice to those praising this music. I've always felt that Hiller was essentially a Mendelssohn-with-water composer and even the three piano concertos issued by Hyperion didn't totally dispel that impression, although they do have their moments. But first came the Piano Quintet and Piano Quartet broadcasts a couple of months ago, and now these performances, and suddenly one can why it was that in the 1840s and 50s Hiller was accorded so much respect from even the likes of Liszt (although no doubt not from Wagner). Both the chamber works and the Symphony torso display strong powers of invention and imagination, allied to a flair for the dramatic and both engage and enthuse the listener. The choral works clearly influenced Bruch, who was Hiller's star pupil. We must hear more, starting with the succeeding three movements of the Symphony.
I've always been curious about Hiller the operatic composer - as opposed to Hiller the symphonist (still hoping for a Romilda revival) - but I must agree that this symphonic movement far exceeded my expectations. I suppose that the relative weakness of certain parts of the Konzertstuck must have prejudiced me a bit... as well as Schumann's less than enthusiastic review of the op.15 Etudes...
I'll listen soon- Schumann does praise what I imagine is this symphony in that letter to Hiller (and I am now guessing that the praise was probably quite sincere, for all that it was coupled to regret that he couldn't conduct it himself that 1849 season. (Only just back yesterday.)
Quote from: Mark Thomas on Wednesday 30 November 2011, 16:00
I coming late to this re-appraisal of Hiller as I've been away for a few days but, having listened through a couple of times to the first movement of his "revolutionary spring" Symphony and sampled the choral works, I can only add my voice to those praising this music. I've always felt that Hiller was essentially a Mendelssohn-with-water composer and even the three piano concertos issued by Hyperion didn't totally dispel that impression, although they do have their moments. But first came the Piano Quintet and Piano Quartet broadcasts a couple of months ago, and now these performances, and suddenly one can why it was that in the 1840s and 50s Hiller was accorded so much respect from even the likes of Liszt (although no doubt not from Wagner). Both the chamber works and the Symphony torso display strong powers of invention and imagination, allied to a flair for the dramatic and both engage and enthuse the listener. The choral works clearly influenced Bruch, who was Hiller's star pupil. We must hear more, starting with the succeeding three movements of the Symphony.
I've been listening to the Hyperion CD again while considering these comments, and it's funny but I have almost the opposite take on the concertos (well, the last 2, anyway.) Compared to Mendelssohn, I find Hiller's music much more robust, and far less "watered-down". The 3rd concerto, especially, is conceived on a far grander scale than any of the 3 single-piano concertos left by dear Felix, and the celebrated F-sharp minor work has an earthy vigor to it that Mendelssohn can't even approximate in his music.
I too have found Hiller's PC3 a very definite development away from Mendelssohn, its scale being greater than any concertante work by by the older composer. In the same way, Reinecke's PC3 seems to me a substantial step removed from Schumann/Mendelssohn. It seems there was more than one way in which the conservative tradition was developed in the nineteenth century. We don't have to reduce it to Brahms...
And the 2nd concerto is even more concentrated than any of the Mendelssohn concertos, with a cadenza in the first movement that actually serves as a part of the recapitulation, rather than an elaboration tacked onto it. I disagree with that conductor wholeheartedly. Hiller is definitely overdue for a reappraisal.
I agree, Jim. Hiller definitely demands reassessment. Urgently.
Yes, I agree too - as I hope is clear from my post which Jim quoted.
I'm glad his (late) antipathy to Liszt didn't get in the way of his composing rather good music, at least. (For some composers, authors, artists, it has - it seems?- seemed more important to risk not resembling someone they've come to despise than to continue working well. (Hiller lived until 1885, almost as long as Liszt, though not quite as long as Clara Schumann. I wonder if he attended many concerts in his last years and what he thought of them- I should see if I can have a look at that new Hiller biography sometime in the next year or so, with a translating dictionary and some patience; I expect to be absorbed.)
Have you read Hiller's book on Mendelssohn, Eric? You'll find an english translation at least on archive.org. Hiller was a very modest man, sociable, well-spoken and liked in his circle of musical acquaintances and friends. Mendelssohn above all, with whom they had a real friendship - the two often shared conversation, ideas and critiqued each-others work (the book notes that Hiller's suggested improvements to Mendelssohn's compositions were accepted by him on a few occasions). It was in no small part thanks to Mendelssohn's help that Hiller's first oratorio "Die Zerstörung Jerusalems" met with such great success at its premiere, after all.
I still find it difficult to say how Hiller's musical style developed or changed especially into his later years, because of the limited amount of works recorded so far. But I'd be inclined to think he remained pretty conservative for all his life. He did keep composing all the way into the early 1880s, I think.
Conservative is one thing, and often a part of musical personality- and, as with Mendelssohn, compatible with a dose of sheer fire, of course. Which I think I hear in late Hiller too, from what I've heard of it, and I'll try to hear that again and other works..
PC3, written in 1874, is certainly conservative in its style, although more expansive than PCs 1 and 2 - rather as Reinecke's PC3 is in comparison to his three other works in the genre.
You can check out the MS of Hiller's Violin Concerto (op.152a) uploaded by Goethe University of Frankfurt on their site. I paid 200 euros for those scans so you're welcome ;D
You can see from the score that this is very attractive music, overall lightly and gracefully scored (the first movement could almost have come from Raff's pen) – think less of Brahms or Schumann and more Saint-Saëns or Dvorak etc. Hiller wrote this concerto for Joseph Joachim, who composed a cadenza for it. The violin part is very busy, with barely any rests for the poor violinist in the 14-15 minute opening movement alone...
Schott has published a complete piano reduction and a separate edition of the 2nd movement, edited by Emil Kross, aimed for violin students (probably with more detailed fingering and other instructions etc: the British Library seems to have a copy). It's unknown to me if this concerto was ever performed in Hiller's time. There are no rehearsal marks in the score, which might suggest that it wasn't, but again not 100% sure.
I've typeset most of the score at this point. But to be able to create a satisfactory performing edition, I'll have to find and study those above mentioned Schott editions to fill in some of the details that this MS is lacking. And with most libraries closed for orders for now, it might take who knows how long, unfortunately. If anyone here has the Schott piano reduction score, please let me know.
http://sammlungen.ub.uni-frankfurt.de/musikhs/content/titleinfo/11579123 (http://sammlungen.ub.uni-frankfurt.de/musikhs/content/titleinfo/11579123)
Yes, thank you. Did you also arrange for the digitization of the Hiller symphonies and overture by them earlier? :)
Fleisher has a complete set of printed parts for the Violin Concerto Op. 152, but no full score: https://catalog.freelibrary.org/Record/1682279 (https://catalog.freelibrary.org/Record/1682279)
As an aside, Fleisher also has full score and parts of the "Fantasiestück für Violine mit Begleitung des Orchesters", Op. 152b.
Quote from: eschiss1 on Saturday 06 February 2021, 17:44
Yes, thank you. Did you also arrange for the digitization of the Hiller symphonies and overture by them earlier? :)
Thanks Eric but no, the VC is the only score I've ordered from them.
Thank you Gareth, it's good to know if Fleisher indeed has the full set of parts.
The old Schott plate number catalogues have some info on the publications. I can't grasp all of it thanks to the German handwriting though. First image: it seems to me that the left-hand side lists 200 printed copies of the piano reduction. In the middle column, in red ink, 300 copies of the Emil Kross edition of the 2nd movement and cadenza. The right-hand side indicates maybe the printed parts? Or something else? "ohne principall St[imme]"? Not too sure.
The second image indicates a printed set of parts "nur quartett ?". 12 Bg. (Bogen?) curse the shorthand of these old music engravers :)
https://imgur.com/a/HjbP97e (https://imgur.com/a/HjbP97e)
A letter from Hiller to Schott which seems to say something about this work, but damn if I can't read a word of it either. Beautiful handwriting again though.
https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN1666993786&PHYSID=PHYS_0001 (https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN1666993786&PHYSID=PHYS_0001)
Ah, and Joachim's cadenza (not included in the full score) is digitized to those interested as well: https://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN1679363506 (https://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN1679363506)
without violin part?; only strings (quartett)
I heartily agree.
Thank you. I hope the final
ff didn't blast out your ears Reverie!
Quote from: Mark Thomas on Wednesday 12 May 2021, 17:40
Thanks very much. Hiller really deserves more recognition from commercial recording labels.
There might be a small ray of light at the end of that tunnel: I'm helping in a project which involves getting a few of his previously unrecorded works edited and performed. It's still too early to go into details, but things are looking good so far. Perhaps some time in the future I'll even try to look into a few of his cantatas and the two Masses and a Passion he has composed.
Then I'll do my best to make it a good one.
Thank you so much!
Seconded!
Toskey's Encyclopedia, by the way, says of Hiller's VC that 'the solo part provides no challenge of any kind', i.e. suggesting that it shouldn't be difficult to perform.
The concerto dates from 1875 - from around the same period as his very interesting, expansive PC3. Can't wait to hear it myself.