The style of Hans Werner Henze is quite peculiar. He knew everything an bout the so-called "second viennese school" and its serial techniques and the Darmstadt school and its overall serial technique. But he felt better following a personal, rather lyrical techniques to express what he felt that he had to express. The wide scope of expressions available for him led him to write works in very different styles. The powerful of his inspiration was quickly acknowladged by critics and music lovers, and he became soon a familiar figure of the post-WWII musical landscape. In fact, most of his works sound as he was using a quasi-tonal language within quite modern and innovative frameworks. This way of saying things may sound as a paradox or at least as an affirmation of stylistic discepancies, but this is almost never the case. Henze's music is technivcally perfect, and gives us complex and mixed feelings. When you have experienced it once, you will feel the need come back to it from time to time - and rather often ......
Been listening to a lot of Henze - especially larger ensemble works like the symphonies and concertos. Also some of the incidental music. All of it quite distinctive and quite good.
His sound track for Swann in Love 1981 ( Dir. Volker Scholondorff / Jeremy Irons Olma Mutti Alain Delon) was described as the music acknowledged by God. His soundtrack for Chabrol's Love Beyond Death was also fascinating.
I honestly can't see many orchestras programming this: it's long, complex, competent but not very memorable and I'd guess it's got very little to appeal to the majority of concert goers. Like, I suppose, 98% of all symphonies ever written.
The man oozes clear, musical logic that is brimming with melody and modern harmony and that starts early and lingers and builds bar after bar after bar. He is in the 2% club.
Not memorable - This has the most memorable climaxes of basically any piece of music ever written. The sonority at the end of the 1st mvmt for example.
It's less offensive than most atonal music, and more expressive, but it IS atonal, and as such it does leave me fairly cold, as do most atonal works. Henze's complex unapproachable style is bizarre when given his Marxist politics. The working class could certainly not understand the majority of his works, even if he is occasionally setting a Marxist text for the singers.
Un véritable choc musical
The style of Hans Werner Henze is quite peculiar. He knew everything an bout the so-called "second viennese school" and its serial techniques and the Darmstadt school and its overall serial technique. But he felt better following a personal, rather lyrical techniques to express what he felt that he had to express. The wide scope of expressions available for him led him to write works in very different styles. The powerful of his inspiration was quickly acknowladged by critics and music lovers, and he became soon a familiar figure of the post-WWII musical landscape. In fact, most of his works sound as he was using a quasi-tonal language within quite modern and innovative frameworks. This way of saying things may sound as a paradox or at least as an affirmation of stylistic discepancies, but this is almost never the case. Henze's music is technivcally perfect, and gives us complex and mixed feelings. When you have experienced it once, you will feel the need come back to it from time to time - and rather often ......
its a wonderful and consistent piece
Meraviglioso!
Been listening to a lot of Henze - especially larger ensemble works like the symphonies and concertos. Also some of the incidental music. All of it quite distinctive and quite good.
His sound track for Swann in Love 1981 ( Dir. Volker Scholondorff / Jeremy Irons Olma Mutti Alain Delon) was described as the music acknowledged by God. His soundtrack for Chabrol's Love Beyond Death was also fascinating.
Sinfonia Henze
this lowkey reminds me of the psycho soundtrack.
I honestly can't see many orchestras programming this: it's long, complex, competent but not very memorable and I'd guess it's got very little to appeal to the majority of concert goers. Like, I suppose, 98% of all symphonies ever written.
The man oozes clear, musical logic that is brimming with melody and modern harmony and that starts early and lingers and builds bar after bar after bar.
He is in the 2% club.
That says more about the sophistication of concertgoers than it does about the quality of Henze's music.
Not memorable - This has the most memorable climaxes of basically any piece of music ever written. The sonority at the end of the 1st mvmt for example.
It's less offensive than most atonal music, and more expressive, but it IS atonal, and as such it does leave me fairly cold, as do most atonal works. Henze's complex unapproachable style is bizarre when given his Marxist politics. The working class could certainly not understand the majority of his works, even if he is occasionally setting a Marxist text for the singers.