Those with interest in Hiller's orchestral music (don't we all..?) should find my latest Noteperformer recreation a pleasant surprise: the Symphonische Phantasie (op.127) is a worthwhile work with a lot of energy and contrasting moods. It is set in five movements – though strictly speaking the sections are not numbered in the score – which are to be played without breaks. No specific metronome marks are given, but it should take around 23-25 minutes.
Curiously, both this work and Hiller's 1831 Overture to 'Faust' share the same opening motif. One can only wonder why Hiller decided to reintroduce this melody here over 30 years since composing the overture.
Overall I find the writing very creative. Hiller does make great use of his brass section and there is a rich melodic and rhythmic variety throughout the work. Lacks development of its ideas, maybe, but even Mendelssohn would be proud of that exuberant finale. Let me know what you think!
https://youtu.be/RIoZJMz-urM (https://youtu.be/RIoZJMz-urM)
A concert review (in German) from the work's premiere in 1867:
https://pastebin.com/4JqvkVwV (https://pastebin.com/4JqvkVwV)
Here's rough translation, using Google Translate with the odd alteration:
The second part of the concert featured a "Symphonic Phantasy", also by Hiller, consisting of five connected movements.
First of all, we note with satisfaction that the trends of the modern age have not left the composer unscathed. The form of the "Symphonic Phantasy", which in principle seems to mean the same thing as "Symphonic Poem", proves that Hiller recognized the inadequacy of the usual symphonic form when attempting to create new, contemporary content. Even if his creation still lacks the compulsory redevelopment and logic of development, the effort to escape from conventional, vague music-making and to draw characteristic moods and situations and to combine them into an inner unity can be clearly heard.
The transitions between the individual movements can be described as very clever. As far as the purely musical aspect is concerned, we see that, while Hiller's other compositions, insofar as they move within the conventional forms, also lack independence to a greater or lesser extent with regard to invention, here, too, where he indulges in freer forms, a truly creative imagination could emerge more clearly, even if there are some individual touches. The whole thing is kept very lively, the themes are very varied, especially rhythmically, the thematic work is rich in its own and meaningful features, even if it sometimes seemed to us to be introduced somewhat arbitrarily. The instrumentation also shows freshness of color and the flow of new ideas.
The reception of the work was rather reserved compared to the ovations given to the composer that evening.
Thank you Alan, that's much appreciated!
Loved it! A real tonic!
This is a great, and very welcome, surprise. Hiller can be disappointingly humdrum, but what a pleasure to hear him on top form in this individual and unconventional work. Thanks so much.
You're very welcome Alan and Mark.
I'm not planning to recreate any more of Hiller's works, but I should make one recommendation to any conductors browsing this forum – Hiller's "Lustspieloverture" should be considered for revival. It would fit like a glove in any programme with Schumann's PC, anyway, as this overture featured as the opening piece in the very concert that premiered the PC back in the day. Its scoring looks very good "on paper" and great fun. I'm sure it would be well received in a concert setting.
Thank you so much once again for your work, Tuomas. In fact I would say that Hiller is due a revival anyhow. He's one of those composers that is always entertaining. Not everything is earth-shattering perhaps, but it is never dull. In that sense he reminds me of someone like Gouvy.
It's a good point that he never seems so dull as to be unapproachable. What was it in his operas that damned them to be unsuccessful, I wonder? I have enjoyed his earnesty in the "Zerstörung Jerusalems" which is not a work spoiled by its musical content or its modest length, even.
In this recreation of the Symphonic Fantasy, I felt it very difficult to assume something of the now lost performance practices of Hiller's music. Since we have none of that, it's hard to tell how this music should be performed; besides how it technically appears on manuscript paper. Even on the tempo department we have no conception of what an Hiller 'Andante' or a Hiller 'Allegro' should sound like. In the 3rd movement scherzo I put a high tempo in which all string players should hate to be any part of. The finale likewise is a high-charged fast affair for all members of the orchestra.
But as for the second movement, what should 'Allegro vivace' mean? I felt the bouncy cantabile melody suited a more relaxed approach, which is the reason I chose a slower approach than the tempo designation strictly speaking might call for.
Above all, I think Hiller's music should deserve more recognition. Unlike Liszt's, whose oeuvre needed just the right pianist – Howard – to perform the necessary scholarly work, Hiller's is orchestral, which means the difficulty in staging performances is compounded tenfold. In the future, I would like to help this mountain of difficulties by creating scores of some the works I've showcased here, but, the practical stage of studying the manuscripts of his compositions might be out of my reach, since I'm not situated in Germany.
Unless I can study the manuscript parts, which are only accessed at libraries in Germany, I couldn't create suitable editions of Hiller's orchestral works, no matter if some of the autograph full scores have been digitized. (1) Overture to 'Faust' (2) Symphonic Fantasy (3) Symphony in C – they are all in this category. The future is full of possibilities, and much as I would love to present these scores for everyone, it would be enirely dependent on whether I could thoroughly immerse myself in the study of these manuscripts.
I'm also grateful to have digitized copies of manuscripts though sometimes (... not only with Hiller and not only with these libraries) their resolution leaves too much to be desired, I agree.
Dear Tpaloj,
my congratulations for this Hiller work that you have brought to light with a masterful Noteperformer rendition! At my first listen I enjoyed the Andante intro, even more the Allegro vivacce with the beautiful cantabile second theme, and especially the powerful and unique Allegro energico - wonderful! The last 2 movements did not quite reach me yet.
Did you also try a faster version of the Allegro vivacce ? I find there is hardly a recognisable tempo change between the Andante intro and the Allegro vivacce . I understand your point regarding the melodic theme, but maybe this sounds also great with a faster tempo ...
Gerd
Thank you Gerd! It's a good suggestion about the 2nd movement's tempo. You could try changing the playback speed of the youtube video in the gear icon on bottom right just below the playback bar of the video, to see how it might sound like.
Also, I went to browse the other thread on Hiller's Symphony in C, and I just noticed your comment about Christina Ihl, the Hiller archivist who has compiled those catalogues on the manuscripts. She did a wonderful and enormous work with her research, and it's a nice coincidence that you happen to know her!
Another Noteperformer sample of Hiller's music: this is Prometheus und die Oceaniden, a concert-overture, composed in 1845-46. In this rendition it runs for around 14 minutes. Unrecorded and unpublished, I'm not sure if it was ever premiered in Hiller's time. Hiller also composed a large setting/cantata to "Der gefesselte Prometheus" in the 1870s. It's unknown to me if this overture and that work are connected in some way.
Here, in Hiller's adaptation of the famous Greek myth, the Oceanids have changed careers to play in a loud brass band. I think it's an enjoyable, though episodic and not too serious piece, concluding in a great brass chorale coda.
I've edited and uploaded the full score to IMSLP: https://imslp.org/wiki/Prometheus_und_die_Oceaniden_(Hiller%2C_Ferdinand) (https://imslp.org/wiki/Prometheus_und_die_Oceaniden_(Hiller%2C_Ferdinand))
Audio on youtube: https://youtu.be/D1SnYRw-c-M (https://youtu.be/D1SnYRw-c-M)
Great work - thanks! A really rousing (not to say occasionally noisy!) piece - very exciting, but almost certainly too long.
The final pages reminded me somewhat of Dudley Moore trying to end a 'Beethoven' sonata:
https://www.youtube.com/watch?v=GazlqD4mLvw
You're right, I also think this "Prometheus" could survive with a few more limbs and minutes being cut. I like some of the more lushly scored sections like (1:15) while some passages are just obnoxious (2:20). The rising and falling dynamics in the contrasting calmer sections (3:20) are tough to bring out in a soundfont recreation, but passages like that would more than likely make good music in a real performance.
One thing I keep noticing in Hiller's works is his love for dotted and syncopated rhythms and textures, they're everywhere. His works rarely come off as monotonous or boring for me, neither melodically or rhythmically. I've yet to find a truly distinct musical personality in him as a composer, but there's plenty of good music to be had no matter what.
You're right. He's definitely not dull. Overlong, yes, but not dull.
Thanks very much for enabling us to hear this.
Great work Tpaloj ! And it's dated about 1845 so earlyish romantic.
The Dudley Moore clip made me laugh. I haven't seen that in donkey's years ;D
To mark Hiller's passing 136 ago, yesterday, I've uploaded a Noteperformer recreation of his Idyll for orchestra on youtube. It was composed around early 1880s - the undated manuscript full score has "op.200" written but crossed over, and a surviving set of orchestral parts have performance dates in 1882-84. Either way, this work was never published.
Formally, it resembles the Symphonische Phantasie op.127 in that it consists of five short movements to be played without pauses. The mood is, well, pastoral and idyllic as the name implies! The second and third movements are definitely my favorite - excellent melodic writing. A fun part-Waltz, part-bacchanale Finale rounds up the work with good humor. I hope you enjoy it!
https://youtu.be/kMyqKp9cAqs (https://youtu.be/kMyqKp9cAqs)
Thank you Tuomas! I haven't found anything by Hiller sofar that I didn't like, and I'm looking forward to hearing this.
Thanks very much. Hiller really deserves more recognition from commercial recording labels.
Well done Tuomas!
Full of surprises, especially at the end of the final movement, the stalled ending.
Terrific work, Thomas. I really enjoyed the Idyll. Some beautiful writing there. You did a magnificent job. I do wish someone would record the VC and the Fantasiestuck for violin and orchestra. Hyperion really ought to try to include them in their RVC series if they can find a violinist who is (a) good enough and (b) prepared to learn them.
Thank you Gareth (and everyone previously as well!). I've typed out the VC, but I'm hesitant to create a Noteperformer youtube video for it - having to listen and endure a synth violin going on for half an hour might be a little too much to ask of you...
I'm not a violinist, but the solo part of the VC does seem pretty difficult. It resembles the solo parts in J Joachim's concertos a great deal. Very few chances to rest - it's almost all but a continuous stream of notes. Yet, thankfully lightly orchestrated so that the soloist does not have to struggle to get his voice heard over the accompaniment.
Please do create a Noteperformer video if it is not too much trouble. It will be immensely useful to get a clear idea of the work and, of course, to use it as a way of getting performers and recording companies interested in it.
Absolutely. This is a potentially important work.
Ferdinand Hiller's Violin Concerto (Op.152a) is a modest, sensitively written work dedicated to Joseph Joachim. The orchestral writing for the most part is kept light and complimentary towards the soloist, whose solo part, at least according to Toskey's Encyclopedia "provides no challenge of any kind" (thank you Alan!). The music unravels with a kind of nonchalant, sunny disposition immediately evident in the mellow opening movement, which includes a Cadenza written by Joachim. There are some dramatic and soaring moments in the second movement, and the final rondo calls for some endurance with its quick passagework and countless arpeggios.
Apologies in advance for having to endure a Noteperformer violin, it's no substitute for the real thing! Hopefully this audio can be enjoyed to some extent and might be useful in evaluating this concerto better regardless.
YOUTUBE: https://youtu.be/sG49KuVwEkw (https://youtu.be/sG49KuVwEkw)
Wow! Thank you, Tuomas. I think "sunny disposition" is a perfect description. It's life-affirming and grand, without being pretentious. I'll leave it to others to react in technical terms, but for me this is a concerto I could listen to again and again - Noteperformer notwithstanding. Let's hope someone takes up the challenge and that it eventually makes its way into the Hyperion series.
I'm very happy to hear that semloh. And that you could enjoy it despite this sound format and quality speaks well of the music itself. It really is an unpretentious and enjoyable work which was a complete delight for me to study. It would work well, such easily approachable music as it is, in a real performance no doubt. We have plans of a recording project next year and the score will be made available by then as well. Until then, the autograph full score should hopefully suffice to those who can read music: Hiller's handwriting is pretty neat as far these things usually go.
Dear Tuomas, I just listen to this new gift which you present to us here - very beautiful!!I love especially the splendid tutti/brass passages of the 1st movement ... and what a beautiful and melodious Andante main theme - so good! Also, I think the solo violin you have treated very well with NotePerformer :-)
And another awesome amount of work you have put into this project, but it was worth it. THANK YOU!
Gerd
This is very exciting...thanks for all your efforts!
I like the work - don't get me wrong - but find it a rather anonymous piece, especially in comparison to the roughly contemporary PC3. Of course I might simply be having a bad day. And Hiller's not my favourite composer. Maybe I shouldn't have listened to the magnificent Kufferath Symphony in C first movement beforehand?
Well, I think it is lovely and I am so grateful to you for having produced this for us. What a lot of hard work - but I really believe it has paid off. And what is this you say about a recording? Please tell us more.
Yes, do tell! I'd certainly buy a recording!
I agree with Alan in that this concerto can be somewhat unrelatable and underwhelming, while being a lovely piece of music at the same time. There's a strong improvisatory feeling in how the piece unfolds (not necessarily a bad thing in itself) and this affects the form also. Opening movement follows sonata form but the form is somewhat muddled and lacks strong contrasts. The rondo is a lot of fun yet maybe slightly too long.
Hiller's melodies can be fine overall, even great, but in this piece as in some of his other works you likely won't remember them after the work has ended. The andante mvts main theme is beautiful though and remains memorable to me. I still maintain this concerto would work great in a real performance, pretty music overall as it is. The serene tutti opening, for example, I find remarkable.
Recording is planned a year from on, still ways to go and more details to come. I'll share more as I learn more, too.
I'll definitely buy the recording! Do keep us informed - and thanks for all your great work. It's much appreciated.
The Schillerfest of 1859 was celebrated from 8 to 10 November. In Cologne, Hiller's festival cantata "An Schiller's Wiege" was performed just once on November 10, 1859, then forgotten.
I've always had some mixed feelings on Hiller as composer, but then again studying his orchestral scores have positively surprised me more often than not. This cantata is one of those pleasant exceptions and contains many finely written numbers and enchanting passages. I hope you might enjoy listening to it despite the fact that no real voices could be provided: vocal music really is difficult to put together convincingly with Noteperformer.
As for the work's sources: Goethe Universität in Frankfurt-am-Main has the autograph full score and copyist's parts of the soprano, alto and tenor soloists. Frustratingly, Hiller had not written in the words of the chorus in the score. It was very difficult to try adding the texts back in, and I had to give up with this in the finale, which is why I didn't typeset it and the video has manuscript images for that movement.
Youtube: An Schiller's Wiege (noteperformer rendition) (https://www.youtube.com/watch?v=AfGsOVZupKk)
Thanks!
I haven't learned how but am told that Lilypond is pretty good with text inclusion. Not as good at midi synthesis, maybe.
Hiller's Die Klage der Oceaniden from 1869 is the second of a set of three unpublished orchestral Fantasiestücke, which at one point had been intended as Op.143*. This designation, written on the front cover of the autograph, is crossed over. The other pieces in this set are No.1 Meeresruhe and No.3 Corsarer. Autographs of these works can be viewed online at the website of Goethe Universität Frankfurt-am-Main.
The piece opens with some tremolo string patterns that continue to brew in the background, generating rhythmic motion throughout the work. The woodwinds, with their wailing melodies contrast the passion of the crashing waves underneath. The atmosphere of the piece is at times tender and foreboding, at times stormy and passionate. I hope you all will enjoy this short tone poem by Mr. Hiller!
YOUTUBE LINK: https://youtu.be/lW3-efMvAGs
* A set of 8 Gesänge were instead published as Hiller's Op.143.
A very interesting and indeed exciting find, Tuomas. Interesting, because we hear Hiller experimenting with sounds more associated with, say, Liszt, albeit without the heavy brass writing of the New German school - or maybe along a line of influences from Mendelssohn (Hebrides Overture) to Abert (Symphony No.4 'Columbus')...
Thank you very much!
Thank you Alan.
In a hilarious turn of events, Youtube actually just took the video down. Their reason... according to the mail I received:
QuoteWe wanted to let you know our team reviewed your content, and we think it violates our sex and nudity policy.
I always knew Hiller could write some rowdy music, but wow!
(Yes, the video's thumbnail painting by Doré:
The Naiads of the Sea was the actual reason. I just had to change the thumbnail and the video is now back up.)
Oh dear. But thanks for uploading the piece - rather fine, I thought, and I'd've been stumped to name the composer.
That Gustave Dore, he was such a wicked pervert. Quick, let's destroy all his illustrations - wouldn't want youtubers to be corrupted. Honestly! Words fail me.
On a more general note, Tuomas, I do want to express my admiration for the way in which you continue to explore the works of this very important and very talented composer, and make it possible for others to hear his music.
Hear, hear! Thank you very much, Tuomas.
Three cheers for Tuomas!
Cheers again for Tuomas!
Incidentally, Tuomas, do you have any more news on the possible recording of Hiller's VC?
Thank you friends! One reason I enjoy transcribing Hiller's music is because of the ease of means in his orchestration. Just so many or just so few instruments are employed as the music calls for (often enough). Perhaps sometimes less inspired than many of his peers were, he was still an outstanding musician with a large amount of good music still waiting to be given new chances.
Quote from: Gareth Vaughan on Sunday 15 September 2024, 20:54Incidentally, Tuomas, do you have any more news on the possible recording of Hiller's VC?
No unfortunately not. I hope it's proceeding, but I haven't heard or asked of it lately.
Here is a reproduction of Hiller's first
Concert-Overture, op.32. Composed and revised over several years in the mid-to-late 1830s, it was eventually published in 1844. It's a quirky piece based on a persistent three-note ostinato, with softer melodic sections in between its more hot-headed fanfares. I couldn't find a full score of it online, so I put the piece together from a digitized set of published parts from 1844.
YOUTUBE: https://youtu.be/IxMXvNztmlQ (https://youtu.be/IxMXvNztmlQ)
Hiller gives an anecdote to the overture's initial, later discarded subtitle in his book "Mendelssohn: Letters and Recollections":
QuoteI had given my first Concert Overture in D minor ... the title of "Overture to the Old Drama of Fernando;" this brought about the expressions "Old Drama," and the like, which we shall find often repeated [referring to how Mendelssohn tended to address Hiller as "Old Drama" in their letters for a time]. When [the overture] was published I omitted the title, as it referred to a drama which is only now by degrees becoming an old one.
For further reading, there is also a detailed report written by Mendelssohn to Hiller about the overture and a performance of it in 1837 in this book (see pages 82-86).
This is, it seems to me, a very strong piece - memorable thematically, varied in texture and powerful in utterance. We need a lot more recordings of orchestral works by Hiller. Much appreciated, Tuomas!
Re Hiller's Op.32: the Ries & Erler 2021 publication advertises itself as the "Erstfassung", meaning I assume the first score publication. (Similarly with another Op.32 also edited by Bert Hagels - Spohr's - that also only was published in parts hitherto.) So- yup.
'Erstfassung' means 'First Version'.
The lengthier description on Worldcat of the Ries score says "Includes the revised version based on the first printed edition (1844) of the Ouverture de concert, and the first version (Ouvertüre zum alten Drama "Fernando") based on the autograph score (shelfmark: MS. M. Deneke Mendelssohn c. 82) preserved in the Bodleian Library, Oxford
Preface and critical report in German".
It's a great piece - an object lesson in a composer having an idea, executing it expertly, with focus and no padding. Thanks very much Tuomas for continuing to add to our appreciation of Hiller, still woefully neglected apart from your efforts.
Considering his importance and influence, arguably the most egregious case of the neglect of a major composer. And this piece goes some way in making clear why his music needs more exposure. Many thanks to Tuomas!
Thanks for the supportive comments everyone, yes, Hiller had his shortcomings as a composer but it's always been such a joy working on his music. It doesn't always impress with its depth but I believe there is much good to be had and never is it for nothing. Even his operas! Die Katakomben is, for example, very good. Now that 2025 is something of a celebratory year for Hiller (140 years since his passing), I will want to transcribe at least a few more forgotten works of his this year to highlight it :)
Quote from: tpaloj on Monday 20 January 2025, 10:25I will want to transcribe at least a few more forgotten works of his this year
And we will greatly look forward to hearing them. Thanks again.
I recently finished transcriptions of the following two small character pieces of Hiller's. They are both published works but I don't believe either of these pieces have been recorded.
The first, Palmsonntagmorgen Op. 102, a work for soprano, women's chorus and orchestra is set to a poem of the same name by Emanuel Geibel. (The accompaniment was transcribed from the vocal score which was the only source I had at hand.) While the published full score and piano arrangements of this work are found in a few libraries, Hiller's autograph manuscript of this work appears in the catalogue of the antiquarian Leo Leipmannssohn in 1932, indicating it has likely disappeared into private collectors' hands since then...
Youtube link (https://youtu.be/R6jceyrcLvM?si=Ve0Hz8Pe1-LUYtcY)
For the second work we have Gesang Heloïsens und der Nonnen am Grabe Abälards, Op. 62, set for alto solo, women's chorus and small orchestra. Intended to be sung in Latin, the score is nevertheless coupled with a German translation by G. A. Königsfeld. The music is rather original and I find it very fitting for the mood of this beautiful text and setting.
Youtube link (https://youtu.be/eywFa36YNBQ?si=t5O9v28p9JgTLm2o)
The first of these, Palm Sunday Morning, is a very beautiful setting. Of course, there's the problem of the chorus' words, but there's easily sufficient evidence here of the quality of the music to imagine what a real-world performance would be like. Thank you!
An anonymous work for orchestra by HillerHere is a transcription of a score in Hiller's musical estate at the
Goethe Universitat (Mus Hs 129 Nr. 4), found in a bound volume containing other orchestral pieces as well, some of which are unfinished. A few works in this tome can be dated into the 1870s. This particular work, in sonata-allegro form and in the key of D major, is untitled and undated. I find the work thoroughly optimistic, noble and spirited without any pretense for unnecessary effects. Another joyful creation from the pen of the very industrious Mr. Hiller!
Link to youtube (https://youtu.be/Kq_ouWUwRfM)
Identifying an untitled and undated manuscript can be difficult. Some of my thoughts:
- Is it an overture, either a concert overture or an overture to an unrealized opera? Possibly, but it's rather long for one.
- It doesn't appear to be the opening movement to Hiller's lost "Im freien" symphony in G major, due to being in D major.
- The same bound tome which contains this piece also has an orchestral work simply titled "Finale", which could be related to it (same instrumentation, instrument/staff layout and key), but it's tough to say for sure.
- Curiously, this piece has one very, very similar theme to Hiller's (second) Lustspielouverture, whose digitized score can be found via SBB's website.
- If only for a mismatching tempo designation, neither does it appear to be the first movement to Hiller's final Symphonic attempt from 1884, which I will try to detail below...
Hiller's unfinished Symphony from 1884Hiller did in fact begin composing a symphony in early 1884. There are several brief mentions of it in his personal diaries from early 1884, but no mention of completion. Later, in 20 October 1885, the first movement was performed at a
Gürzenich-Concert in Cologne in honor of the composer who had passed away in May that year. The newspaper review of this concert clarifies that Hiller only finished the first movement and begun the second so the Symphony was indeed left unfinished. The tempo designation for the first movement was Allegro energico and it was apparently a movement where we would continously "see the spirit rousing itself, shaking off its gloomy thoughts, and rising to new life, only to soon offer its sacrifice to melancholy and renunciation." (full article in German below)
QuoteKölnische Zeitung (Erstes Blatt)
22.10.1885, nro 293 p. 2. (Wednesday)
Erstes Gürzenich-Concert unter Leitung des stätischen Kapellmeisters Herrn Professors Dr. Franz Wüllner.
Dienstag, den 20. October.
Das erste Wort in der neuen Saison sprach Ferdinand Hiller, denn an der Spitze des Programms stand sein Allegro energico für Orchester. Wie es scheint, hat der verstorbene Meister in seinen letzten Lebenstagen noch eine neue Symphonie schaffen wollen. Doch ist er nicht über den ersten Satz — eben dieses Allegro energico — und den Anfang eines langsamen Satzes hinausgekommen, und er hat auch seitdem keine weitern musicalischen Arbeiten unternommen. Demnach wäre dieses Allegro, das bereits im April 1884 vollendet vorlag, das letzte musicalische Vermächtnis Hillers. Wir greifen nicht fehl, wenn wir darin ein Stück Programmmusik erkennen, eine Art Monolog aus der Krankenstube. Unaufhörlich sehen wir den Geist sich aufraffen, die trüben Gedanken abschütteln und sich zu neuem Leben aufeuern, um dann aber auch bald wieder der Wehmut und der Entsagung sein Opfer zu spenden. Der milden Lichtblicke, welche die Schale des Trostes darreichen sollen, sind nur wenige und sie dauern nur kurze Zeit. Überwiegend zittert Schmerz und Klage, ja, ein gewisser Zorn durch die Composition, wir sehen vor uns das Seelenleben eines Mannes, der sich noch stark fühlt zu kühnen Thaten, aber von dem gebrechlichen Körper im Stiche gelassen wird. Als solche musicalisch-dramatische Declamation ist diese letzte Arbeit Hillers von großem psychologischen Interesse. Sie wurde vortrefflich vom Orchester ausgeführt. [...]
I thought it might be interesting enough of a tidbit to share for any of you other "Hillerites" here! I don't think I've ever seen this unfinished Symphony mentioned in any Hiller biographies before. I found out about it just recently and it was certainly news to me.
Goethe Universitat's Hiller estate doesn't appear to have any scores fitting the description of an orchestral work with the tempo designation Allegro energico, so it's unknown to me where its score might be, whether it's preserved or lost in any case...
Thanks, Tuomas. How intriguing. It's another very attractive work from Hiller which, to me at least, does have the broad sweep and general feel of an opening symphonic movement. I can find no reference to it, though, in Michael Gehlmann's comprehensive book on Hiller.
Yes: yet more tantalising glimpses of Hiller's compositional processes - thanks very much!
Es muss doch Frühling werden, for men's chorus and orchestra, Op. 136
Hiller composed a setting of Emanuel Geibel's poem Hoffnung around 1864–67 for men's chorus and orchestra. In this realisation I've used the piano accompaniment as I could only find the vocal score online.
A powerful work and a powerful poem, I felt Hiller had done great justice to the setting. The music captures well the strong opposing sentiments of harsh winter and gentle spring. Especially accomplished to me are the alternating stanzas of the beginning and the fugato starting from Allegro con fuoco towards the coda. A worthwhile work I feel should deserve a real recording!
The piano is Noteperformer, and for the digital voices, I experimented for the first time with Cantamus voices.
Youtube link (https://youtu.be/z9cN3cd9ptw?si=adgKBkz_jQPkr1Wf)
This is very interesting Tuomas and well done for trying it and with a great deal of success imo. How did you find working with Cantamus? Do they need a fairly clean typeset PDF or would an original MS suffice?
As Martin has already written, this is quite an achievement. If I say it's "surprisingly" convincing, the surprise is at what the software can achieve, not in your musicality or ability Tuomas!
Thank you! I used musicxml transfer after editing the piece in Dorico, so I did no editing in the editor of Cantamus itself. Just the conversion process. For this 13 minute piece with 4 choir staves, the render took a full 30 minutes. So, it takes a while. Strangely, after about 7 minutes of music, the playback of voices became garbled for some reason. I had to split the files in half and render the two parts of the music separately to prevent it.
Also, I found out Cantamus didn't always know what to do with rit. and stringendo instructions, and in some cases failed to notate them in its playback. There is perhaps something I'm missing in this regard as I'm just starting to learn this tool's capabilities. Might be something one can fix in Cantamus's editor.
As much as I understand the limitations of Cantamus, you have to admit that it's a huge leap forward in the digital rendering of voices. And in this case, it's particularly rewarding; Hiller's music is always interesting to get to know. Thank you!
Der Spielmann, Ballade mit Intermezzi für eine Violine mit Orchesterbegleitung
Today, we have a very curious and obscure piece from the ever industrious Hiller. This work is essentially a set of seven (rather brief) interludes to a ballade by the author Johanna Baltz (1849–1918). The autograph full score and piano arrangements of this work* include snippets of Baltz's text, but unfortunately the full text is not preserved with these materials.
As far as I can tell, the existence of this work has never been brought up in any listings or catalogues of Hiller's music before. I've been unable to find out if it was ever performed, either.
The work is scored for solo violin and orchestra. The full orchestra, which includes double woodwind, two horns and trumpets each, a timpani and strings, is only used in three of the seven movements. For the most part, the accompaniment is kept to strings only. To my mind, I quite like the violin writing throughout this work, especially in Nrs. 2, 4 and 5.
Due to very poor resolution of the digitized scans, I was not fully able to transcribe the text into the score in the video, so there are a few missing words here and there. Let me know what you think!
YOUTUBE LINK: https://youtu.be/pHf5jr_qt4Y (https://youtu.be/pHf5jr_qt4Y)
* Found in the collections of the Historisches Archiv Köln, under shelf number Best. 1051. [A60 - 1 Paket Noten - ohne Datum.] Materials consist of a full score, clavierauszug and a set of performance parts.
What a fascinating work. From the text you were able to transcribe did you get an understanding about the subject matter of Baltz's ballade?
Quote from: cypressdome on Sunday 22 February 2026, 12:18What a fascinating work. From the text you were able to transcribe did you get an understanding about the subject matter of Baltz's ballade?
Based on the available fragments (and to make some broad assumptions), the ballade appears to depict the artistic and/or spiritual awakening of its protagonist.
Much of the action appears to be obscured by the missing portions of the text. Only at start do we get a bigger picture of where the action begins, that is, in a forest at night. Some sort of a sound or sensation is experienced which awakens the senses of the protagonist. Then, a violin's melody is heard from afar (Nr. 2). After this, some sort of loss or a deep feeling is experienced, perhaps a religious one (Nr. 3)? The playing of the violin represents Spring and the awakening of love (Nr. 4/5). The text concludes with the symbolic approach of morning dawn (Nr. 7).
QuoteIntroduction
So still [...] vom Wald umkränzt
Vom Silberlicht des Mond's beglänzt;
Verlassen von dem lauten Schwarme,
Ihr Tags hier lautes Leben schuf.
Die milde Nacht auf Gottes Ruf
Umfängt die Welt mit weichem Arme.
Ein süßes Duften steigt empor.
Es prangt im vollen Blüthenflor
Dort im [...] die alte Linde
Am Erkenfenster leis und sacht
[...], gute Nacht!
Dem wunderholden [...].
Schon [...] sinnt, sie blickt hinan,
So still der Mond die [...]!
Hinwandelt in dem Himmelsgarten
Zu dieser Stunde hörte sie
Jüngst zaubervolle Melodie —
Sie lauscht in ahnungssel'gen Worten.
Sie lauscht ihr dunkles Auge glüht
Die [...] sie ins [...] blüht;
"O [...] zurück!" so fleht sie leise
Bringst du die Antwort, Abendwind?
Nr. 2
Auf weicher Schwinge trägt erbend'
Ihr zu die sehnsuchtsvolle Weise.
Nr. 3
So blickt sein Auge weltentrückt
Und schaut in weite, dunkle Fernen.
Nr. 4
Spiel auf! Von Lenz und Liebe sag
Daß dies uns all ihr Zauber werde!
Nr. 5
Horch! da ertönt der Geige Klang,
wie ein berührend Liebeswerden.
Nr. 6
Was ich empfand, die Lust, die Qual
[...] Sangs erklingen lassen!
Nr. 7
Dir lenkt ein Höherer die Hand
Erleuchtet dich mit seinem Lichte
Schau etc. den Morgensegen! —
Psalm 126Ferdinand Hiller's setting of Psalm 126, composed for alto solo, chorus and orchestra, was composed during August 1853 and finished on the 22th at Brühl. Lasting around 12 minutes, the work was premiered on 25 October 1853 in Cologne. A second performance took place in January 1854. The orchestration is standard for the period, although unconventionally, trumpets are omitted altogether.
In its premiere, the work was very well received. It was never published, however. Below, I've included a review of the premiere, which appeared in the
Rheinische Musik-Zeitung on 29 October 1853. The review goes to describe each of the four numbers of this work in some detail.
In my realisation, I've typeset the work following Hiller's MS score, and attempted to give some life to the "singers" by realising those parts with Cantamus synthetic voices.
YOUTUBE: https://youtu.be/4RDKtrkY9cQ (https://youtu.be/4RDKtrkY9cQ)
QuoteDie Composition des 126. Psalms von Ferdinand Hiller besitzt alle die Vorzüge durch die sich des Meisters Arbeiten dieser Gattung, namentlich sein Oratorium allgemeine Anerkennung errungen haben. Die musikalischen Gedanken sind edel und entsprechen dem Sinn der herrlichen Dichtung; ihre Form und künstlerische Durchbildung ist klar und fliessend, die Mittel des Solo und Chorgesanges getragen von reicher Orchestration sind von der sichern Hand des erfahrenen Künstlers in schöner und äusserst wohlthuender Weise entfaltet. In dem ersten Chor wird der Zustand der Seele die sich ans langer Noth und Gefangenschaft endlich errettet sieht, und das neue Glück noch nicht fassend, sich wie vom Traume befangen findet, in sinniger Weise ausgedrückt. Das Glück ist noch ein zukünftiges und aus der Mitte des Leidens heraus wird es nur vorgestellt. Auf dem dunkel gehaltenen Grunde einer getragenen Orchestration heben sich in wehmüthig sanfter Klage die Stimmen des Chors ab, sie steigern sich nur bei den Worten "dann wird unser Mund voll Lachens sein" zu einem freudigen Ausdruck, bald wieder zur Trauer und zu dem Gefühl zurücksinkend, dass ihnen, wie später das Leiden, so jetzt noch das Glück nicht mehr denn ein Traumbild ist. Das Recitativ einer Altstimme vermittelt den Uebergang zur Erinnerung an die grossen Thaten Gottes, denen das Volk oft seine Erlösung verdankte. Hell und schön ist die Ausführung dieses Chores gehalten, wenn auch in der Erfindung der Motive vielleicht nicht so bedeutend, als das folgende. Dieses, ein Alt-Solo mit Chor, bildet den Kern und den Schluss des Ganzen: "Die mit Thränen säen, werden mit Freuden ernten"; hier nimmt die Composition einen höhern Schwung. Die Läuterung der Seele durch Leiden und die sanfte Freude nach überstandenen Schmerzen kommen hier zum vollkommenen Ausdruck und die edele empfundene und schön geführte Cantilene der Altstimme, das Eingreifen des Chorgesanges der bald capella, bald mit Orchester-Begleitung das Motiv aufnimmt und weiter entwickelt, machen einen höchst wohlthuenden und wahrhaft harmonischen Eindruck. Das Ganze maassvoll in seinem Umfang wie seinem Inhalt nach, ist eine schöne Gabe, womit der Meister nach langer Abwesenheit bei seiner Rückkehr die Freunde ächter Musik beschenkt hat.
His setting of Psalm 125 (Op.60, for tenor, chorus and orchestra) by contrast was quite popular and republished often, it seems. (Listed in HMB as Psalm 25 but in Worldcat and IMSLP as Psalm 125.) (He wrote two other settings of Psalm 126, published in 1844 and 1871 (Israels Siegesgesang) respectively...)
Quote from: eschiss1 on Monday 06 April 2026, 19:50His setting of Psalm 125 (Op.60, for tenor, chorus and orchestra) by contrast was quite popular and republished often, it seems. (Listed in HMB as Psalm 25 but in Worldcat and IMSLP as Psalm 125.) (He wrote two other settings of Psalm 126, published in 1844 and 1871 (Israels Siegesgesang) respectively...)
Indeed! Thanks for the additional info, and, if one hasn't had enough Psalm 126 with their morning cereal yet, I did also finish a video of Israels Siegesgesang a few years ago: Youtube link (https://youtu.be/R7EyRd-OIBk?si=yTalQefusyQ4ulv8) :)