Adolf von Henselt

Portrait of Adolf von Henselt, with scrap of music

Adolf von Henselt (12 May 1814 – 10 October 1889) was a German composer and virtuoso pianist.

Life

Henselt was born at Schwabach, in Bavaria. At the age of three he began to learn the violin, and at five the piano under Josepha von Fladt. With financial help from King Ludwig I of Bavaria, he studyied under Johann Nepomuk Hummel in Weimar for some months. In 1832, he went to Vienna, where, besides studying composition under Simon Sechter (the later teacher of Anton Bruckner), he was successful as a concert pianist.[1]

In 1836, to improve his health, he made a prolonged tour through the chief German towns. In 1837, he settled at Breslau, where he had married Rosalie Vogel—but the following year migrated to Saint Petersburg, where previous visits made him welcome. He became court pianist and inspector of musical studies in the Imperial Institute of Female Education, and was ennobled in 1876. Henselt usually spent summer holidays in Germany. In 1852, and again in 1867, he visited England, though in the latter year he made no public appearance.[1] Saint Petersburg was his home nearly until his death from cardiac disease during a stay at Warmbrunn, Germany (now in Poland).

Statue of von Henselt in his hometown of Schwabach

To some ears, Henselt's playing combined Franz Liszt's sonority with Hummel's smoothness. It was full of poetry, remarkable for his use of extended chords and technique.[1] His cantabile playing was highly regarded. "Find out the secret of Henselt's hands," Liszt told his pupils.[2] Once he commented on the lengths Henselt took to achieve his famous legato, saying, "I could have had velvet paws like that if I had wanted to." Henselt's influence on the next generation of Russian pianists is immense. Henselt's playing and teaching greatly influenced the Russian school of music, developing from seeds planted by John Field. Sergei Rachmaninoff held him in very great esteem, and considered him one of his most important influences.

He excelled in his own works and in those of Carl Maria von Weber and Frédéric Chopin. His Piano Concerto in F minor, Op. 16[3] was once frequently played in Europe, and of his many valuable studies, Étude in F-sharp major Si oiseau j'étais was very popular. At one time Henselt was second to Anton Rubinstein in the direction of the Saint Petersburg Conservatory.[1]

However, despite his relatively long life, Henselt ceased nearly all composition by the age of thirty. The reasons are unclear. Chronic stage fright, bordering on paranoia, caused him to withdraw from concert appearances by age thirty-three.

Works

Piano Solo

(selective list)

 No. 1 in D minor, "Orage, tu ne saurais abbattre"
 No. 2 in D-flat major, "Pensez un peu à moi"
 No. 3 in B minor, "Exauce mes voeux"
 No. 4 in B-flat major, "Repos d'amour"
 No. 5 in C-sharp minor, "Vie orageuse"
 No. 6 in F-sharp major, "Si oiseau j'etais"
 No. 7 in D Major, "C'est la jeunesse..."
 No. 8 in E minor, "Tu m'attires, m'entraines"
 No. 9 in F Major, "Jeunesse d'amour, plaisir céleste"
 No. 10 in E minor, "Comme le ruisseau dans la mer repand"
 No. 11 in E-flat major, "Dors tu ma vie"
 No. 12 in B-flat minor, "Plein de soupirs, de souvenirs"
 No. 1 in E-flat major, "Eroica"
 No. 2 in G major
 No. 3 in A minor, "Hexentanz"
 No. 4 in E major, "Ave Maria"
 No. 5 in F-sharp minor, "Verlorene Heimath"
 No. 6 in A-flat major, "Danklied nach Sturm"
 No. 7 in C major, "Elfenreigen"
 No. 8 in G minor, "Romanze mit Chor-Refrain"
 No. 9 in A major
 No. 10 in F minor, "Entschwundenes Glück"
 No. 11 in B major, "Liebeslied"
 No. 12 in G-sharp minor, "Nächtlicher Geisterzug"
 No. 1 in G-flat major, "Schmerz im Glück" (1839)
 No. 2 in F major, "La Fontaine" (1839)
 Introduction
 Variation I
 Variation II
 Variation III
 Variation IV
 Variation V
 Finale
 No. 1, "Air russe de Noroff" (1840–1841)
 No. 2 in G-flat major, "La Gondola" (1841)
 No. 3, "Cavatine de Glinka"
 No. 4, "Barcarolle de Glinka"
 No. 5 in D-flat major, "Air de Balfe" (1846)
 No. 6, "Mazurka et polka" (1846)
 No. 7, "Rakoczy-Marche" (1843)
 No. 8, "Marche, dédiée à S.M. l'Empereur Nicholas I"
 No. 9, "Polka" (1850)
 No. 10, "Romance russe de S. Tanéef"
 No. 1 in E-flat major (1847–1848)
 No. 2 in B-flat minor, "Der Dombau" (1848)
 No. 3 in B-flat major (1843?)
 No. 4 in C-sharp minor (1843?)
 No. 1 in D minor
 No. 2 in A major
 No. 1 in F major (1854)
 No. 2 in C major (1854)
 No. 1, Compte Koucheleff-Besborodko. See Op. 49.
 No. 2, Prince Kotschoubey
 No. 2, "Der Abendstern" (1868–1869)
 Transcription of Beethoven's Coriolan Overture (Op. 62)
 Transcription of Beethoven's Egmont Overture (Op. 84)
 Transcription of Romance by O.K. Klemm
 Transcription of a Waltz by Johann Strauss
 Transcription of Weber's Invitation to the Dance
 Transcription of Weber's Overture to Euryanthe
 Transcription of Weber's Overture to Oberon
 Transcription of Weber's Polacca (Op. 72)
 Set 1 (1854–1855)
 Set 2 (1881)

Orchestral

Chamber

Vocal

 1. "Morgenlied"
 2. "Pakitas Klage"
 3. "Die Auswanderer"
 4. "Liebesfahrt"
 5. "Stumme Liebe"

Notes

  1. 1 2 3 4  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Henselt, Adolf von". Encyclopædia Britannica. 13 (11th ed.). Cambridge University Press. p. 302.
  2. ↑ Harold C. Schonberg, The Great Pianists from Mozart to the Present, 1963, p. 201
  3. ↑ Referred to as "Henselt's F-minor exercise in narcissism" by Glenn Gould in: Tim Page (ed.), The Glenn Gould Reader (Knopf, New York 1984), 74.

References

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