Album insights
Heinrich Herz, born on January 6, 1803 (some sources mention 1806) in Vienna as the son of a musician, received his first music lessons from his father. After studying in Koblenz with the organist Franz Hünten's father - a pianist and composer, Herz continued his education at the Paris Conservatoire under the tutelage of Louis Pradère, Anton Reicha, and Victor Dourlen. In his first year, Herz won the first prize for piano performance, greatly influenced by the visit of the renowned pianist, composer, and educator Ignaz Moscheles to Paris in 1821.
Settling in Paris, Heinrich adopted the name Henri. Paris remained his base for the rest of his life, where he pursued a remarkably successful career as a pianist, composer, teacher, inventor, and piano maker. Despite the neglect his music faces today, Herz enjoyed a reputation unparalleled by his contemporaries in the early 1820s and beyond. Luminaries such as Liszt, Chopin, Thalberg, and others could not overshadow Herz, except for Moscheles and Kalkbrenner. His works commanded triple to quadruple the fees of his rivals and remained unmatched until the 1840s. Herz's compositions included over 200 opus numbers, ranging from eight piano concertos to various piano genres, emphasizing an abundance of variations. Mendelssohn questioned whether the Parisians could comprehend anything beyond variations, reflecting Herz's preconceptions.
Amidst his success, Schumann harbored intense envy towards Herz, often ridiculing him in his publication. Herz's former publisher, Moritz Schlesinger, consistently disparaged Herz in his music journal, leading to a long-standing feud, culminating in a duel and defamation penalty for Schlesinger. Although Herz primarily focused on performing his own music, his exceptional skill as a pianist is undeniable, evident through the immensely challenging piano parts in his concertos uniquely tailored to highlight his talents. Praised not only for virtuosity but also a "sensually charming touch, setting the Parisian school apart from the brilliant Viennese and emotional English styles," Herz's prowess was esteemed.
In the late 1830s, Herz collaborated with Parisian piano maker Klepfa, a venture that ultimately failed. Undeterred by significant financial losses, Herz established his own piano manufacturing company, incorporating valuable improvements to Erard's revolutionary repeating action mechanism. Alongside the construction of a concert hall on Rue de la Victoire, Herz's enterprise thrived post-1844, producing 400 instruments annually, marking a successful venture despite initial provocations against playing Herz pianos in the hall. Aiming to recuperate previous monetary setbacks, Herz embarked on the first American concert tour by a prominent European pianist in 1845, paving the way for other virtuosos, such as Thalberg, Gottschalk, and Anton Rubinstein. Chronicling his journey through the United States, Mexico, and the West Indies, Herz's ventures were documented in his published work "Mes Voyages en Amérique" in 1866.
Returning home in 1851, Herz reaped financial rewards, expanding his piano manufacturing business, culminating in winning the first prize at the 1855 World's Fair with one of his instruments. Retiring from his professorship at the Paris Conservatoire in 1874, which he held since 1842, Herz passed away in 1888.
Herz’s music, diverging significantly from Beethoven's and Schumann's Germanic musical stylings prevalent in the mid-19th century, emphasizes joyous exuberance over profound seriousness. Despite contemporary dismissal of his music as superficial, listening to Herz's piano concertos, like the ones featured in his Nos. 1, 7, and 8, reveals the sheer delight, melodic creativity, and skillfully orchestrated instrumentation, rekindling a sense of conviviality and light-heartedness in music appreciation. Contrary to the prevailing notion that music serves introspection or self-pity, Herz’s compositions offer jubilant entertainment and mood enhancement.
During his first London visit in 1833, Herz performed alongside Moscheles and Cramer in a concert at the Philharmonic Society's venue in Hanover Square. Returning two years later for the premiere of his Piano Concerto No. 3 in D minor, dedicated to the Philharmonic Society of London, Herz's presence was notable in the capital.
Herz’s distinct style unfolds in his Piano Concerto No. 4 in E major, maintaining conservative structural elements but infused with surprises and unorthodox passages. The first movement showcases catchy themes initiated by the strings and woodwinds, leading to variations allowing the soloist nuanced moments. Transitioning seamlessly into the slower second movement, characterized by graceful melodies in 9/8 time, Herz's melodic inventiveness captivates listeners. The energetic finale, a lively Russian Rondo in E minor, punctuated with bell-like chimes, draws the concerto to a triumphant conclusion in E major.
Though Herz employed conventional pianistic techniques, his execution remained unpredictable. The shorter Piano Concerto No. 5 in F minor exemplifies this unpredictability, commencing with a hesitant, rhapsodic prelude in the first movement, gradually evolving into expressive themes and a captivatingly fiery coda. The subsequent Andantino movement forgoes clarinets, trumpets, trombones, and timpani for horns and bassoons, showcasing Herz's operatic lyricism. The brisk, spirited final movement, an Allegro agitato Rondo, culminates in spirited runs and a triumphant F major conclusion.
Jeremy Nicholas © 2006
Translation: ChatGPT