More Herz from Hyperion

[Gareth Vaughan]

As you know, Eric, the chorus parts are there on the score at IMSLP. It's just the orchestra that's missing. Such a pity.

[pianoconcerto]

It great to see that Herz's piano concerto 2 will be coupled with three other piano-and-orchestra works:

Fantaisie et variations sur la marche d'Otello de Rossini, Op. 67 (publ. 1832)
Grande fantaisie militaire sur La fille du régiment, Op. 163 (publ. 1850)
Grande polonaise brillante, Op. 30 (publ. 1837)

Hyperion A68100:  Howard Shelley (pf, cond.)/Tasmanian SO

background notes etc. available at
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68100

[eschiss1]

*sigh* all I meant was "full score" wasn't quite so important as "full, complete, entire set of performable material" (orchestral, choral, solo piano)- which we don't have, just the piano, chorus, and hints of the orchestral contribution here and there but not a full, complete set of parts. 

It's true yes that -- e.g.!!!!!! (this is _just_ an example. Yes. I know this is neither Romantic nor unsung. Do. Not. Shoot. Me. Please. It is an example for learning.) Mozart's piano concertos were mostly (except for the best-known ones) not released in full piano/orchestral scores until the 1860s or so (by Richault of Paris) but almost all of them _were_ released in full performing-edition sets of _parts_ by 1810 or so (iirc) by one publisher or another.  So I'm not entirely being nitpicking, one, and from the point of view of would-be performers, the lack of a full-score is not disabling if complete parts are available, again, so I just thought the wrong word ("score") was being fixated on at the expense of the actual point of Jim's question (unless I did miss Jim's point!)

[edurban]

I'm dying to know...what text did Herz feel was just the thing to end a piano concerto?  A hymn to champagne?  A poetic description of a day at a fashionable spa?  Paradise Lost?  Someone please tell me. 

David

[eschiss1]

End (or all?) of text, in French, from p.31 of the vocal/choral score (at IMSLP, downloaded from Bavarian library):

Mais oublions et dangers et misère
Non, ce n'est pas un mirage trompeur,
Et l'oasis réfuge tutélaire,
Va nous offrir un ? protecteur.

A nous son onde, a nous son frais ombrage,
Encore un pas, nous y voilà!...

Oui nous touchons au terme du voyage,
Gloire au prophète Allah!

(Ah. My mistake- the chorus does start earlier, all the way back on page 19, with
Fils du prophète, allons que l'on s'éveille...
À l'horizon le soleil apparait.
La brise est douce et l'aurore vermeille.
D'un ciel clément nous promet le bien-fait.
Comme le serpent la longue caravane
Dans le desert s'en va se déroulant,
Sinistre et noir là haut le vautour plane,
Espérant de nous un destin sanglant.

Followed by a Prière which concludes as above ending the work.

[Claude Torres]

Just to complete :

pp. 19-21 (Chœur seul)

Fils du prophète, allons que l'on s'éveille.
À l'horizon le soleil apparaît.
La brise est douce et l'aurore vermeille,
D'un ciel clément nous promet le bienfait.
Comme le serpent la longue caravane,
Dans le désert s'en va se déroulant.
Sinistre et noir là haut le vautour plane,
Espérant de nous un destin sanglant.

pp. 26-30
Prière

De nos voix, entends le concert,
Oh Mahomet, divin prophète.
Que tout péril dans le désert,
Soit écarté de notre tête.
Tous à genoux, nous t'implorons, protège-nous.
Oh Mahomet, veilles sur nous.

pp. 31-33 (Chœur et Tutti)

Mais oublions et dangers et misère.
Non, ce n'est pas un mirage trompeur.
Et l'oasis refuge tutélaire,
Va nous offrir un abri protecteur.
A nous son onde, a nous son frais ombrage.
Encore un pas, nous y voilà!
Oui nous touchons au terme du voyage.
Gloire au prophète Allah! Allah!
 
pp. 34-35 (Chœur puis Chœur et Tutti) (répétition)
 
Oui nous touchons au terme du voyage.
Gloire au prophète Allah! Allah!


C.T.

[edurban]

Crikey!  Shades of Felicien David.  Very unexpected and delightful. 

Many thanks, all.

David

[Gareth Vaughan]

No need to sigh, dear Eric. I understood what you meant exactly. I was only pointing out the slightly unusual presence of full choral parts in the existing piano score of No. 6 - so often these would just have been cued. I should have said "just the orchestral parts that are missing". I was not implying we should expect a full score. And, of course, I am aware that earlier concertos were often released as sets of parts only, not in full score. I think I made reference to the fact that this was the case with the Dreyschock concerto (and also, from my researches for Hyperion, the Carl Hartknoch 2nd concerto, where the solo piano part exists but the orchestral parts are sadly missing).

[Gareth Vaughan]

Just listened to the extracts on Hyperion's site. Utterly delightful. I do so WISH someone would attempt a reconstruction/orchestration of the 6th concerto. One longs to hear such a "perfumed" work.

[DennisS]

I too echo Gareth's wish that someone attempt a reconstruction/orchestration of the 6th concerto. In my case, I would particularly like to hear the final movement "Rondo Oriental" which includes of course a part for chorus. I do so enjoy classical music with a touch of the exotic/oriental to it!

[eschiss1]

Carl Hartknoch? ... ...
(HHRrrrrmmmmm... Karl Eduard Hartknoch, 1796-1834. Sambeek of Amsterdam republished a few works of his in 2011; wrote a violin sonata op.2, a piano trio op.4 published ca.1823, etc. ... will have to try to turn up more and see -what- turns up. How intriguing. Cheers...)

[Gareth Vaughan]

That's right, Eric. Though his name is spelled "Carl" on the British Library copy of the printed piano part of PC No. 2 (at least, I think it is - it's a long time since I looked at the music). Don't know anything about the first PC.

[Gareth Vaughan]

Just checked the record on COPAC and it is spelled Carl.
"Second grand concerto pour le piano-forte avec accompagnement de grande orchestre... Oeuvre 14... piano seul"
Pub. Leipzig: Fr Hofmeister (c. 1830)
It's rather a nice piece. Wish we could locate a set of orchestral parts.

[Gareth Vaughan]

I see I wrote on the forum in July 2013 in a thread on Tausig:

Carl Eduard Hartknoch (1796-1834), born in Riga, which (I think) was then part of Russia. Pupil of Hummel. Wrote, among other things, 2 PCs (first lost -?) and a Grand Rondeau Russe for pfte (Pub. St Petersburg, 1830). The "Second grand concerto pour le pianoforte avec accompagnement de grand orchestre" was published by Hofmeister in Leipzig, also in 1830. British Library has the piano solo part (and also the Grand Rondeau). The orchestral parts of the 2nd PC were known to have existed in the Staatsbibliothek, Berlin, before the outbreak of WW II, and it is thought they were taken to Poland by the Russians. Parcels of music which disappeared during the occupation of Berlin by the allies are still coming to light and (sometimes) being returned to the Staatsbibliothek. I hope Hartknoch's PC will turn up eventually. It is an accomplished work in the early Romantic style. Hyperion wanted to record it.

[Gareth Vaughan]

Van Sambeek published some piano music of his, including the Op. 6 Grand Rondeau Russe.
See: http://www.tfront.com/g-4976-hartknoch-carl-eduard.aspx