Henri Herz Henri Herz, born in Vienna around 1803 or 1806, was the son of a musician and received early piano lessons from his father. After his studies in Koblenz, he attended the Paris Conservatoire, where he received instruction from renowned artists and quickly gained recognition in Paris as a pianist and composer.[5][1] Herz soon rose to become one of the leading pianists of his time. Alongside greats like Liszt and Chopin, he shaped the European piano scene and undertook successful concert tours throughout Europe and America, which solidified his reputation as a virtuoso and composer.[5]
During his career, Herz published more than two hundred works, including eight piano concertos, a piano sonata, rondos, nocturnes, waltzes, marches, fantasias, and numerous variations.[1][4] His works fetched many times the income of other composers, which caused resentment among contemporaries like Schumann, as Herz received large sums for a cycle of variations, while others earned considerably less for larger works such as operas. Despite his enormous success, only a few of his compositions were commercially recorded, including three piano concertos, the variations on "Non più mesta" from Rossini's La Cenerentola, and his contribution to Liszt's Hexameron (Variation IV). Frank Cooper's 1971 recording is not yet available on CD.
Herz spent twelve years as one of the most successful composers before his fame waned in the late 1830s. Nevertheless, he was considered an excellent pianist and invented the "Dactylion," a finger exerciser. He also published an entertaining autobiography and was a respected teacher at various institutions. His musical talent and entrepreneurial acumen brought him great wealth and prestige.
Upon returning to Paris a wealthy man, Herz accepted a professorship and received numerous awards for his instruments. Although he never achieved the status of Chopin or Liszt, his pieces remained popular and appreciated by many, even though critics like Schumann frequently reprimanded him. J.B. Priestley aptly remarked: "In his day, Herz triumphed, but the laurels have long since crumbled to dust."
Although he never reached the status of Chopin or Liszt, his compositions remained popular and appreciated by many, even though critics like Schumann often reprimanded him.