Here are three CDs charting Heinrich von Herzogenberg’s works
for piano and exploring Elisabeth von Herzogenberg’s Acht
Klavierstücke. All are performed sensitively and impeccably
by Natasa Veljkovic. The music evokes both the musical style and relationship
dynamic of Robert and Clara Schumann. In 1885 Heinrich said that Schumann
was ‘a master loved above all things, who exclusively filled
my own youth’.
Though lacking the extremity, depth and fortitude that the Schumann’s
music possesses, pieces such as Heinrich von Herzogenberg’s
Vier Phantasiestücke op. 4 are more than derivative
tributes. The second movement of this work (Langsam und sanft)
possesses moments of pure tranquillity, performed with direct feeling
and imaginative grace by Veljkovic. It seems that the main difference
between Herzogenberg and Schumann is that whilst Schumann’s
daring unfetters itself from musical structure, Herzogenberg’s
emotions are more reserved and fit within a tight rhythmical structure
and phraseology.
Atypically filigree in style, Herzogenberg’s pieces have a well-crafted
sense of unity. Each movement is a commentary on the previous one
and a foreshadowing of what is to follow. These pieces unfold and
relay an impression or feeling in a refined manner. For a composer
writing in the nineteenth century, this reserve infers that Herzogenberg
possessed modesty and humility, or at least did not overindulge in
sumptuous or dazzling virtuosity when composing.
Interesting comparisons can be made and parallels drawn between the
Herzogenbergs and the Schumanns. Listening to Veljkovic’s recording
of a selection Clara and Robert Schumann’s works for piano (Gramola
98827) highlights Herzogenberg’s points of stylistic similarity
and departure.
Best known for his chamber works and choral music, Heinrich von Herzogenberg
was an Austrian composer and conductor descended from a French aristocratic
family. Born in Graz, Herzogenberg studied law, philosophy and political
science in the university of Vienna. It was however his passion for
music that motivated him above all else. He soon turned his energies
to music and attended the composition classes of Felix Otto Dessoff until
1864. Initially he was attracted to the music of Richard Wagner, but
after studying J.S. Bach’s works he became an adherent of the
classical tradition — as seen in his use of the Gavotte. He
also became an advocate for the music of Brahms. It was at Dessoff's
house that Heinrich first encountered Brahms. The two soon formed
what was to become a lifelong friendship. Herzogenberg devoted
himself to the promotion of the music of Brahms, who in turn introduced
him to Robert and Clara Schumann. Although he seems to have valued
Heinrich’s criticism of his own work, Brahms appears to have
never taken seriously Heinrich’s work as a composer. In 1866
Herzogenberg married Elisabeth von Stockhausen who had been a piano
pupil of Brahms.
Not merely an epigone of Brahms, Heinrich’s compositions for
solo piano are pastiches of his surroundings rather than of the composers
he admired. Despite Elisabeth’s cajoling Brahms almost never
expressed approval of Heinrich’s compositions, perhaps due to
Brahms’ jealousy that Elisabeth never returned his affections.
It’s conjecture but no doubt he was piqued at Heinrich’s
agreeable marriage to a woman he dearly cherished. Towards the end
of his life, Brahms somewhat grudgingly relented saying that ‘Herzogenberg
is able to do more than any of the others’, thereby affirming
his abilities as a talented composer.
The Yugoslavian pianist Natasa Veljkovic studied in the University
of Music in Vienna and then the Juilliard School in New York. He formed
a long artistic friendship with the pianist Norman Shetler. Veljkovic
is an extraordinary musician who has been winning competitions since
the tender age of ten. After winning the Clara Haskil competition
in 1985 she embarked upon a concert career touring throughout Europe.
With the complete oeuvre of Mozart occupying the centre of her musical
passions, Veljkovic has recorded a wide range of piano works from
varying epochs. She is more than equipped and suited to these works.
The Gavotte of Heinrich von Herzogenberg’s Funf Klavierstücke
op. 37 interchanges between pep and the ephemeral. This mixture
is also to be found in the catchy Andantino from Klavierstücke
(Vierte Folge) Op. 68, and characterises the compositions on
this CD. Similarly, a recurrent feature of Herzogenberg’s style
appears in Sechs Kleine Charakterstücke op. 5 where
his simplicity, use of repetition and silence are all features making
this work particularly entrancing. The final section (Getragen)
is a notable example of this.
Rescued from a somewhat watery beginning, at 15:56 Herzogenberg’s
Variationen uber das Menuett aus ‘Don Juan’ becomes
tense, exciting, fraught with intricacy and gripping. Playing with
strength and devotion, Veljkovic extracts Herzogenberg’s innermost
sensibilities until the work’s seemingly deconstructed closure.
In the Fantastische Tanze op. 9, evidence that the Herzogenbergs
were friends of the Griegs becomes apparent. The fourth section has
a similar lyricism to that of the Norwegian composer and the sixth
segment possesses the same feminine, almost feline daintiness. Herzogenberg’s
touchingly desolate and despairing opening to Akrosticha op. 7
is a perfect example of where the composer’s intentions and
the performer’s execution coalesce to create a harmonious work
of art. This composition is complex, far-reaching with an abundance
of eloquence and penetrative lucidity. Both the first and third movements
(marked Langsam) contain utterly beautiful melodies, captivatingly
played.
Though in his early works Herzogenberg was intent upon following the
well-trodden path of the ‘New German School’, he later
somewhat rejected the ‘New German’ compositional ideology
and followed the precedents of J. S. Bach and Heinrich Schutz. This
shift can be heard in Fantasia quasi Sonata WoO 13 and Thema
from the Acht Variationen Op. 3.
If Heinrich is in some ways Baroque, Elisabeth’s composition
is more commanding and powerful. It brings to mind the Flemish Baroque
still-life painters. There’s an acute sense of the temporality
of vitality and a fleeting sense of spontaneity. The fifth of Elisabeth’s
Acht Klavierstücke is vivacious and virtuosic, demonstrating
a high technical ability and daring personality. The sixth (‘The
one dearest to me’, as Elisabeth said) is a negotiation between
contemplative states and gentle kindliness though never without a
tinge of sadness. Played Allegro appassionato, the final
part magnanimously demonstrates the influence of that astounding composer
and performer, Clara Schumann.
There we have it: a CD replete with skilful compositions evoking the
nineteenth century greats. Most notably the echoes are of Schumann
and Brahms but there are unequivocal allusions to Bach as well. The
interpretations are intelligent and alive with colour and texture.
An exquisitely crafted and energetically performed set of the complete
piano works of Heinrich and Elisabeth von Herzogenberg.
Lucy Jeffrey
