Adolph von Henselt
(1814-1889) www.henseltsociety.org
was born at Schwabach in Bavaria. After commencing violin and piano studies at
an early age he went on to study under Johann Nepomuk Hummel (1778-1837) in
Weimar. He later travelled to Vienna,
where he undertook composition lessons with Bruckner’s teacher, Simon Sechter (1788-1867),
whilst becoming successful as a concert pianist.
In 1837, he settled at Breslau, where he married but the
following year migrated to St. Petersburg where became court pianist and
inspector of musical studies in the Imperial Institute of Female Education. He
made a number of visits to England but St. Petersburg was his home until his
death during a visit to Warmbrunn, Germany (now in Poland).
Most of Henselt’s compositions are for piano and date from
the earlier years of his life. His influence on the next generation of Russian
pianists was immense, his playing and teaching greatly influencing the Russian
school of music. Sergei Rachmaninoff held him in very great esteem and
considered him one of his most important influences.
Daniel Grimwood’s www.danielgrimwood.co.uk new recording for Edition Peters www.editionpeters.com/eps provides
a good cross section of Henselt’s piano music from his Op. 1 Variations de concert sur le motif de l’opéra ‘L’elisire d’amore’
(1830) to his Ballade, Op. 31 in B
flat major (1854).
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Daniel Grimwood brings a lovely poise to the opening of the Variations de concert sur le motif de
l’opéra ‘L’elisire d’amore’ in E major, Op. 1 (1830) contrasted with sudden
rapid and fluent responses before moving through passages of tremendous
assurance with Schumannesque phrasing. This pianist brings a terrific fluency,
quite beautiful phrasing and a real sense of spontaneity as well as a really
lovely tone. This is an impressive and substantial set of variations, particularly
as this was Op.1.
Of Deux petites
Valses, Op. 28 (1854) there is a rather sultry No. 1 in F major with
Grimwood finding a lovely ebb and flow, beautifully shaping the music. No. 2 in C major again finds this
pianist with a lovely, subtle rubato, later pushing this fine waltz forward a
little more.
Grimwood finds the subtle rhythmic quality to Mon chant du cygne (‘Mein Schwanengesang’)
WoO in A flat major (published in 1885) with wonderful phrasing and an
equally subtle rubato with occasional hints of Chopin peering through.
Fantaisie sur un air bohémien-russe,
WoO (Op. 16) in A flat major (1843) brings another waltz rhythm with some harmonies.
The music builds in strength through some tremendous passages offset by moments
of great poetry. This pianist brings a lovely lilt to the quieter moments, still
maintaining a lovely flow as this develops into a rather magical piece, especially
in this pianist’s hands. The music rises through another dynamic passage before
the coda.
There is a fast flow to No.
1 ‘Schmerz im Glück’ in E flat minor
of Deux Nocturnes, Op. 6 (1839) Grimwood finding a darkness to
this music only rarely relieved by light.
No. 2 ‘La Fontaine’ in
F major recalls more of Schumann than Chopin or Field with this pianist
finding a lovely tempo, a constant underlying flow over which the melody runs.
Grinwood’s fabulous phrasing and rubato really lift the Valse mélancolique, Op. 36 in D minor (1857)
with a lovely trio section and occasional hints of Chopin this is a lovely
work.
The substantial Ballade,
Op. 31 in B flat major (original version 1854, second version 1854, third
revision 1879) has thoughtful
opening arpeggios before the melody emerges to flow forward. Grimwood brings a
beautifully rich piano tone, a real strength with his wonderful phrasing adding
to the expansiveness of many passages. The music rises through some terrific
passages, stormy in character, moving quickly ahead with lovely fluency. This
pianist finds so many details, sudden changes and ideas as the music
momentarily regains its turbulent quality only to lighten in mood. When the
music rises again through some tremendous, fast and furious passages Grimwood provides
great virtuosity with sudden outbursts before quietening to lead to a settled
coda.
This is a fabulous work, brilliantly played.
The Four Impromptus
are not a set, as they range across Henselt’s lifetime. The brief Impromptu No. 1, Op. 7 in C minor (1838) finds a lovely forward pushing
flow, Grimwood finding just the right pace and touch. Impromptu No. 2, Op. 17 in F minor (1843) has a lovely rippling, forward movement with this pianist
bringing a wonderful fluency and rubato. No’s 3 and 4 are longer with Impromptu No. 3, Op. 34 ‘Illusion perdue’ in
B flat minor (1854–1855) bringing
a slower opening that precedes a steadier forward flow through some quite
lovely ideas, often rather melancholy in feel, before a beautifully turned coda.
Impromptu No. 4, Op. 37 in B minor (1859) has a lighter feel, moving
quickly forward with a fast rhythmic idea, gaining even more in tempo through
some very fine moments where Grimwood finds a real zest and energy.
Vöglein-Etüde (‘Si
oiseau j’etais’) Op. 2, No. 6 in F sharp major (1837–1838) brings a fast
moving, delicate theme with subtly varying rhythms, this pianist showing again
his terrific agility and phrasing and a fine lightness of touch before a
quieter coda.
Chopin subtly appears again in the Berceuse ‘Wiegenlied’, WoO (Op. 45) in G flat major (1840) but, as
is usually the case with Henselt, he has his own voice, adding many exquisite
touches.
Broad, expansive chords open the Grande Valse ‘L’aurore boréale’ (‘Das Nordlicht’) in C sharp minor, Op.
30 (1854) before the waltz theme appears, given a lovely rhythmic lift here
by Grimwood, beautifully shaped with a lovely rhythmic buoyancy through the
many twists and turns of this fine piece before a spectacularly fine coda.
Daniel Grimwood brings such an assurance, such an authority
that one is convinced by these works that should prove a real discovery to
many. He is fabulously recorded at the Markgrafensaal,
Schwabach, Germany and there are excellent booklet notes from Daniel Grimwood.
See also:
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