Johann Vesque von Püttlingen, alias Johann Hoven (1803-1883)

[adriano]

https://en.wikipedia.org/wiki/Johann_Vesque_von_P%C3%BCttlingen

A still forgotten early Romantic composer, who named himself "Hoven" to affirm that he was only half as good as Beethoven.

Over 20 years ago I handed over my scores of his songs (set on Heinrich Heine's poems) to my friend, the tenor Markus Schäfer. He was so enthusiastic about it that the recorded 3 CDs on the Signum label. The 3rd volume ist still available from jpc:
https://www.jpc.de/jpcng/classic/detail/-/art/Johann-Hoven-1803-1883-Die-Heimkehr-Vol-3/hnum/3614114

And here is the complete Heine album:
https://ks4.imslp.net/files/imglnks/usimg/d/d6/IMSLP471504-PMLP765354-vesque_P%C3%BCttlingen_88_gedichte_heine.pdf

In my earlier "would-be-baritone" days I used to sing those songs with great pleasure. Tempi passati!
Hoven also wrote 8 operas, like "Turandot" and "Joan of Arc".

[Alan Howe]

Wow! I never fail to be amazed at the composers you've uncovered, Adriano. Do you know any of his operas?

Here's the Wikipedia article about him:
https://en.wikipedia.org/wiki/Johann_Vesque_von_P%C3%BCttlingen

[adriano]

Thanks, Alan.
Unfortunately I could not find out more about his operas (and operettas!) - which were even performed outside Austria.
I had quite a few more similar "research projects", but during these last years I've given up struggling, since there is no way that I can conduct CDs anymore... I feel very much embittered, therefore I just come up with sparse recommendations from time to time...

Some commercial albums of his songs can be found here:
https://www.zvab.com/servlet/SearchResults?an=hoeven&hl=on&sortby=20&pt=music&cm_sp=pan-_-srp-_-ptmusic

Various other publishrs also took care of his work. In total he wrote about 300 songs.

On his Heine settings Berlioz meant that they were "masterworks of humour, phantasy and grace". Some musicologists even admit that they were more congenial and appropriate than the ones by Robert Schumann.

Heres is another article (later down in English):
https://www.l-m-m.de/downloads/Einst_Jetzt_Vorwort.pdf

[Alan Howe]

Absolutely fascinating. And be encouraged: you may not feel able to see new projects through yourself, but your legacy is wide-ranging and your example an inspiration for so many of us. Without you, the interest in unsung music may not have gathered the momentum that we are experiencing today.

[adriano]

Too much of praise, Alan!
On the other hand I too I could learn quite a lot in this unique forum :-)

[Alan Howe]

The difference, though, is that you have followed through so many projects by making recordings. You have a legacy.

[Gareth Vaughan]

your legacy is wide-ranging and your example an inspiration for so many of us

May I most heartily and warmly endorse Alan's remarks, Adriano.

[adriano]

Thanks again, and to you too Gareth Vaughan :-)
A musicologist once wanted to give me a friendly advice by asking me: "Why haven't you ever tried to conduct in concert-halls? This would at least make you better known".
As if I hadn't! Generally, it's the other way round: A conductor makes recordings once he is known enough on the concert podium. My "career" started the other way round - and that's why it never worked. After my first recordings on Marco Polo (at the age of 43), I contacted various concert agents. They found me already "too old" and "too risky to invest in" - and also admitted that they were not interested in or did not have the time for listening to my recordings. Other agents were hostile because I was working for Marco Polo/Naxos, and therefore accepting its "price-dumping" conducting fees.
Today, young men of just over 20 are allowed to conduct Brahms Symphonies without the experience (or maturity) such a thing requires; this is not only a musical or "generally artistic" experience, but a human one too.
In other words, this "CD legacy" of mine is a maverick one too - and will be soon forgotten. Already before Corona, it had become impossible for me to find sponsors for the many "unsung" recording projects I still could propose. Professional conductors are more "secure", since they have their contracted orchestras and good connections with broadcasting studios - or propose live recordings of their concerts. This is cheaper than to hire a studio just for a CD.
Sorry for this out-of-theme memoir, but it can be useful to give mélomanes an insight of what happens sometimes in the music business. At my age (shortly before 77) I have become "relaxed" about all this; what's happening in the world during these last years (Corona figures on the list's last place) concerns me much more than what is happening to me.