Hans Werner Henze

Henze, Hans Werner(b Gtersloh, 1 July 1926). German composer. His formidably numerous operas, ballets, symphonies and concertos have gained an established place in the international repertory. His personal and compositional development has been documented in numerous interviews, articles, autobiographical essays and books. Striving for a communicative, impure music concerned with feelings, ideas, history, people and politics, he has drawn inspiration for his vocal and instrumental works from a broad spectrum of renowned poets, writers and librettists.1. Youth and education, 192649.2. Composing for the stage, 194652.3. Italian intermezzo, 195365.4. Musical activism, 196676.5. Reflection and synthesis, 1976 and after.WORKSWRITINGSBIBLIOGRAPHYVIRGINIA PALMER-FCHSELHenze, Hans Werner1. Youth and education, 192649.Henze was the eldest of six children born to the schoolteacher Franz Henze and his wife, Margarete (ne Geldmacher). Due to financial considerations, Margarete and the children remained in Gtersloh until 1930, when Franz brought the growing family to live with him in Bielefeld. Budget cuts forced him to accept another position at the collective school. A proficient amateur musician, he directed a workers' chorus and brass ensemble and played the viola in a local chamber orchestra. As befitting the eldest child of a teacher, Hans Werner received his first piano lessons soon after beginning primary school. In 1935, by order of the Nazi regime, the socialist-orientated collective school was dissolved. Franz Henze was sent to the small village of Dnne, near Bnde, where, in the framework of village life, he could hardly escape the political and social pressure exerted by the Nazis. Henze recalls in his memoirs, Reiselieder mit bhmischen Quinten, how fascist, anti-communist and anti-Semitic literature gradually filled his father's bookshelves, replacing banned books by Jewish and Christian authors. With all the fervour of an uneasy convert to the Nazi party, Franz Henze imposed the new order and philosophy conscientiously. Religious instruction ceased and the older boys donned the brown uniform of the Hitler Youth. Radio propaganda and news programmes became obligatory fare for the entire family.But the radio also nourished Henze's musical appetite; through surreptitious enjoyment of the classical music programmes he became acquainted with a great deal of Mozart. And despite the onset of war, he remembers many pleasures. A puppet theatre opened the children's imaginations to the world of drama. A gift of the Anna Magdalena notebook introduced him to the music of J.S. Bach. He formed an ensemble with some other schoolchildren and occasionally attempted a composition. In addition to his weekly piano and theory lessons with a local teacher, he was allowed to accompany his teacher to a chamber music circle in a partly Jewish household. Until his father discovered their secret, Henze, together with a boyhood friend who had obtained access to the library's room for proscribed books, steeped himself in the literature of authors such as Trakl, Wedekind, Werfel, Hofmannsthal, Mann, Zweig and Brecht.By 1942 Henze's father had finally become reconciled to the boy's vocation as a musician. Having narrowly escaped being sent to a military music school, Henze won a stipend to attend the Brunswick State Music School for orchestral musicians, where he studied the piano, percussion and music theory. He improved his piano technique under Ernst Schacht and studied Thuillian harmonic theory with Rudolf Harting. Although he was able to obtain a brief glimpse into contemporary music outside Germany through a performance of Frank Martin's Le vin herb, the music of Hindemith, Bartk, Stravinsky, Schoenberg, Webern and Berg remained a rumour. Meanwhile he utilized his freedom from the constraints of his family to hear and make as much music as possible, hardly missing a concert, opera or theatre piece. Mozart's operas, especially Figaro, became synonymous with classical beauty, humour and drama. He earned some pocket money and gained more practical experience by accompanying fellow musicians and singing in the cathedral choir.As timpanist in the school orchestra, he learned to appreciate much of the traditional orchestral literature from its acoustical depths. This perspective permeates many works, beginning with the neo-classical First Symphony (1947) in which the timpani, low woodwinds and low strings form the rhythmic and melodic foundation. The slow Notturno, which Henze left almost untouched in his 1963 revision of the symphony, evokes his father's favourite instrument with an extended viola solo.Henze's father volunteered for re-entry into the army in 1943; he was later sent to the Eastern front, from which he never returned. The difficult relationship with his father fuelled Henze's growing hatred of fascism, the Nazi regime and war in general. Following several months of forced labour at the beginning of 1944, most of the 17-year-olds were conscripted. Commanded to an armoured tank division stationed in Magdeburg, Henze learned the duties of a radio officer. In his free time he practised the art of composing and hearing scores without a piano. He escaped more active duty through his good fortune in being chosen for a military training-film team, but his film idyll in Prague was cut short by the Russian offensive. As the allied armies closed in, Henze's troupe made their way via Berlin towards Denmark. During his brief internment in a British prisoner of war camp, Henze used every opportunity to improve his English and find out about life outside the cultural prison of the Third Reich. He listened hungrily to works by foreign and exiled composers broadcast by the BBC. 40 years later he could still say: Everything that the fascists persecute and hate is beautiful to me.For his first major commission, Henze composed out some of his feelings about the war with a choral and orchestral lament drawn from the second part of Goethe's Faust, the Chor gefangener Trojer (1948). His sensitivity to public and personal shame long continued to motivate musical statements: in his Ninth Symphony he emulated Beethoven with a seven-movement choral symphony, setting poems by Hans-Ulrich Treichel based on Anna Seghers's Das siebte Kreuz, a novel about the trials and martyrdom of young antifascists.After returning to his family's new quarters near Bielefeld, Henze assumed the responsibilities of an eldest son, contributing to the support of his mother and siblings through jobs as a transport worker. Despite postwar rubble, hunger, poverty and cold, a seemingly insatiable appetite for new sounds and music fed his compositional urges. He gained helpful experience and connections through volunteer work as a rptiteur for the Bielefeld Stadttheater. Friends convinced him that, in order to study composition, he would have to leave Bielefeld. Through a series of fortunate circumstances, he landed in Heidelberg, where he met Wolfgang Fortner. Fortner accepted him as a composition student, enabled his enrolment in the Heidelberg Evangelisches Kirchenmusikalisches Institut, and placed him with a family as live-in tutor. Under Fortner's disciplined instruction, he gained a solid foundation in Fuxian counterpoint, score reading, instrumentation and music history. At the same time, he recalled, Fortner gave me a comprehensive introduction to the realm of modern music and the aesthetic problems connected with contemporary composition. His student attempts reflect this rapid study of modern works, beginning with those of Hindemith, Bartk and Stravinsky. In the summer of 1946, he attended the first Darmstadt summer courses for new music, for which he composed the short Kammerkonzert (1946), a neo-baroque concerto grosso for piano, flute and strings dedicated to his teacher. Although in many respects still an apprentice piece, this at its first performance nevertheless won him a contract from the influential publisher Willy Strecker, the auspicious beginning of an enduring association with the firm Schott.A year later, following his first hearings of Bartk's and Berg's violin concertos, he gradually distanced himself from the confines of post-Hindemithian neo-classicism, exploring the possibilities of 12-note composition. The first movement of his First Violin Concerto contrasts a folk-like melody in A Lydian with a 12-note melodic theme, while the repetitive bitonal opening theme of the third movement betrays his growing fascination with Stravinsky's melodic and harmonic idiom. More than 30 years later, in his published notebook Die Englische Katze, he confessed that even today, in my new works, one notices the influence of Stravinskian harmony. Under the occasional tutelage of Josef Rufer in Munich and Ren Leibowitz in Darmstadt and Paris, Henze became the first of the younger German composers to embrace the 12-note method as an answer to his aesthetic and technical difficulties. His gradual mastery of the principles can be observed in such works as Whispers from Heavenly Death (1948), a cantata for high voice and eight solo instruments, and the Kammersonate for piano trio (1948, rev. 1963). Henze came to regard the chamber concerto for harpsichord and eight solo instruments Apollo et Hyazinthus (19489), as one of his first mature works, uniting the abstract 12-note method and the formal ideal of the concerto-sonata with an extra-musical story culminating in a poem. Following a contrapuntal scherzo and the expected harpsichord cadenza, an alto stands and, to a lyric melody outlining successively three permutations of the row, sings Trakl's autumn lament Im Park. This textually orientated tangle of associations, styles, means and themes became characteristic of Henze's mature idiom. As the Darmstadt school of 12-note composition closed ranks, Henze became the first to question the reign of serialism, preferring an undogmatic, tonally flexible approach to dodecaphonic composition. The use of 12-note rows as vital material during the conceptual stages can be observed in the sketches even of works from the 1990s.Henze, Hans Werner2. Composing for the stage, 194652.Whereas at the beginning of his 20s Henze was still struggling for a living, within a few years he was in the enviable position of having more commissions than he could handle. His student years in Gttingen were followed by brief periods in Konstanz, Berlin, Wiesbaden and Munich: it was a frenetic time of beginnings, first successes and scandals. He made his way in a life-sized theatre, juggling roles, masks, costumes, scenery, relationships, puzzles and games of identity. In search of the right sounds for the given dramatic moment, he assimilated many musical styles, unifying diverse elements within his lyrical, tonally orientated 12-note idiom. He became adept at stylistic quotation and parody. Still distrusting the bourgeois milieu of opera, he used actors for his first experiment with imaginary musical theatre, Das Wundertheater (1948, revised in 1964 for singers and orchestra), based on an intermezzo by Cervantes. Meanwhile his sympathies were being drawn increasingly to dance. His first choreographic poem, Ballett-Variationen (1949, rev. 1992 and 1998), was inspired by a performance of the Sadler's Wells Ballet in Hamburg. In the summer of 1949 he was appointed musical adviser to the short-lived German Theatre in Konstanz. His next ballet, Jack Pudding, was compiled from music composed for performances of Molire's Georges Dandin. (Henze recomposed the ballet in 19925 under the new name Le disperazioni del Signor Pulcinella, adding some song numbers based on Neapolitan texts.) Dance metaphors also mould his First Piano Concerto (1950). The scenario moves from a lively dialogue between orchestra and piano in the first movement, Entre, through the intimate Pas de deux to a toccata-like Coda. Following the disappointing Berlin premire of Wundertheater, Henze won the patronage of the chief choreographer of the Berlin Stdtische Oper, Tatjana Gsovsky. While angling for a ballet commission, he composed his Third Symphony (194950) with the suggestive subtitles Invocation of Apollo, Dithyramb and Evocation Dance. The East German composer Paul Dessau befriended him, beginning a fatherly dialogue that anticipated Henze's later politicization. But it proved too difficult at this time for the young provincial composer to make his way in postwar Berlin. Henze wove many impressions from this failure-ridden winter into a ballet piece, Das Vokaltuch der Kammersngerin Rosa Silber (1950). This exercise with Stravinsky on a picture of Paul Klee, which he revised in 1990, combines classical ballet exercises, variations on a French folksong and compositional touches recalling Stravinsky and Blacher, to whom the piece was dedicated.In 195053 Henze received commissions for dramatic music of various kinds, beginning with an operatic modernization of the Manon Lescaut material, Boulevard Solitude (1950) and ending with Wolfgang Hildesheimer's loveless legend Das Ende einer Welt (radio opera, 1953). A picture of Henze's increasingly stressed lifestyle can be drawn from the statistics: five ballet pieces, a monodrama, a wind quintet, a piano sonata, his second string quartet and four sets of incidental stage music were composed and produced between the aforementioned operas. Many of these works were occasioned by Henze's new position in Wiesbaden as artistic director and conductor of the Hessisches Staatstheater ballet. Later he judged the mixed quality of these pieces severely. Three were withdrawn completely from his 1964 list of works. Many underwent thorough revisions. Four decades later some of the rejected ballet sketches inspired new compositions.Henze, Hans Werner3. Italian intermezzo, 195365.With the help of friends advances, a small stipend and meagre savings, Henze fled from mounting personal and social pressures to Italy. He chose a seaside house in Forio on the island of Ischia for his hermitage, devoting his days to studying the local language and culture, composing, writing, and the critical evaluation of his compositional methods and goals. His initial task was the completion of the cello concerto Ode an den Westwind (1953), the first piece in which he attempted a closer interaction between instrumental music and text, a kind of poetry for the instruments. The five sonnets of Shelley's ode inspire not only the form and mood of the concerto, but are sung by the cello voice.Henze's primary attention was then given to the realization of Heinz von Cramer's libretto for Knig Hirsch, a retelling of Gozzis fairytale about magical transformation, metamorphosis and liberation. The composition process lasted three years, becoming a compositional diary in which Henze worked through his impressions of Italian musical life, both high and low. Whereas at the beginning he was still employing 12-note methods, over time his style grew more vocally and tonally orientated. He explored simpler elements of song which could touch the listener at the primal, sensual level. As he recalled: the discovery of melody brought about an enrichment of my expressive means. The difficult process of simplifying my musical language was accelerated by the discovery of the remarkable vigour and immediacy of street cries and canzonetti resting on simple intervallic relationships. In place of serial melody, which outwardly guaranteed a certain contemporaneity, came the most simple sequence of notes the basic intervals that were naturally related to song were to contain everything that was to be said.For his modern rendition of a Baroque Mrchenoper, Henze strung together scenes based on closed, historical forms: arias, duets, cabalettas, canzoni, ensembles, passacaglias and hunt music. Bridge passages joined the broad scenes, lending the whole a through-composed continuity, the finale of the second act, a seasonal forest symphony, became the Symphony no.4 (1955). But even before its premire in September 1956, the opulently scored opera in three acts was doomed. Convinced of the impossibility of this long and, in his opinion, unfashionable opera, Hermann Scherchen, the conductor, undertook radical cuts. The mutilated opera earned justifiably mixed reviews. Henze and Cramers compromised version, retitled Il re cervo, oder Die Irrfahrten der Wahrheit (1963), compensated for discarded scenes with some new recitatives and a narrative speaking role, the magician Cigolotti. The original score was not performed in its entirety until 1985.The Austrian poet Ingeborg Bachmann joined Henze at his island retreat in the summer of 1953, strengthening a friendship that yielded six collaborations. Their probing dialogue about literature, history, music and philosophy laid the foundation for Henze's understanding of the reciprocal relationship of text, music and signs. In a 1959 lecture about the message of music, he wrote: Language and music are two parallel spheres that are often connected; more than half of all existing music consists of settings of words. This relationship has diverse forms; sometimes music seizes violently upon language, and crushes it in its embrace, or sometimes language wants to seize upon music; they both can degrade but also can elevate one another.At Henze's request, Bachmann worked on a new concept and text for his ballet-pantomime Der Idiot (scenario by Gsovsky based on Dostoyevsky's novel), which had received its Berlin premire in 1952. Bachmann replaced Gsovsky's pastiche of quotes with a dramatic Monologue of Prince Mishkin. Her superior text, however, disrupted the delicate balance of pantomime, dance, poetry and music, necessitating a revision of the music (completed in 1990). While finishing Knig Hirsch, Henze composed an orchestral counterpoint to Bachmann's radio play, Die Zikaden. With Quattro poemi (1955), commissioned by the city of Darmstadt for the tenth of the international summer courses for new music, Henze declared his independence from the Darmstadt avant garde. For his next two ballets he ventured into hitherto alien territory, exploring jazz in Luchino Visconti's social critique Maratona (1956) and 19th-century Romanticism for Frederick Ashton's evocative vehicle for Margot Fonteyn, Undine (19567). Impressions of Henze's new residence in Naples coloured orchestral songs such as the Fnf neapolitanische Lieder (1956, composed for Dietrich Fischer-Dieskau and dedicated to Bachmann) and Nachtstcke und Arien (1957), three orchestral movements framing two Bachmann poems for lyric soprano and orchestra.Henze's bittersweet honeymoon with classical Greece and Italy reverberated in Kammermusik 1958, a setting of a Hlderlin ode on classical themes. The original 12 movements, balancing three songs for tenor and guitar and three tentos for solo guitar with three octet movements and three movements for the full ensemble, attain melodic and harmonic unity through intervallic relationships introduced in the first movement. A final Adagio for the octet was added in 1963, in honour of Josef Rufer's 70th birthday. Notwithstanding the choice of title, Kammermusik 1958 is the antithesis of abstract music. The recurring themes and semantic chains of the poem are associated with musical elements and signs, thus facilitating an audible relationship between words and music. In his search for means to express the inexpressible within the intimate confines of chamber music, Henze drew upon models as diverse as Dowland, Miln, Monteverdi, Britten (to whom the work is dedicated), Schoenberg and Webern. As with most of his concertos and chamber works, Kammermusik 1958 was composed for specific musicians, enhancing and challenging the artistry of the tenor Peter Pears and the guitarist Julian Bream.The musical and textual themes of Kammermusik 1958 unfolded in his next opera, Der Prinz von Homburg (1958), which he dedicated to Stravinsky. Bachmann's perceptive adaptation of Heinrich von Kleist's play focusses on the opposition of reality and dreams, freedom and force, choice and compulsion, Olympian classicism and German Romanticism. The resulting conflicts are echoed in the carefully balanced musical tension between vocal and instrumental idioms, contrapuntal polyphony and homophonic lyricism, structural serialism and free tonality.Emboldened by the success of Homburg, Henze asked W.H. Auden and Chester Kallmann for a psychological drama suitable for a chamber opera on the scale of Mozart's Cos. They responded with Elegy for Young Lovers, a tragicomic opera of mutually exploitative relationships revolving around a Romantic genius-hero, the poet Mittenhofer. The passage of time amid the snow-covered Austrian Alps of the scenario suggested the cold sound of percussive instruments, including the celesta, tubular bells, marimba, vibraphone, timpani, drums, crotales and metal blocks. Each of the six singers received a personal musical idiom and an instrumental consort suited to their character and vocal range. Henze refined this technique in later operas. For this one he also took on the additional role of stage director, in order to be able to realize the drama he had envisioned while composing. Due to the short time between commencement and the May 1961 premire at the Schwetzingen Festspiele he worked with several assistants in Berlin in order to facilitate the composition, translation, score production and stage direction for what turned out to be one of his most successful operas.Needing to live closer to Rome and an international airport, yet longing for a quiet country residence, Henze found his heart's home in the Castelli Romani, settling at first in Castel Gandolfo. He also accepted a composition masterclass at the Salzburg Mozarteum (19626) and worked on his Fifth Symphony (1962). The opening notes of a song from Elegy pervade this work, again illustrating Henze's premise that Everything moves towards theatre, and thence returns again. In May 1963 he flew for the first time to New York for the premire of his Fifth Symphony under Bernstein. The grim contrast of Harlem and Fifth Avenue spurred his quest for Mozartian beauty, culminating in three vocal works: Ariosi (settings of five Tasso poems for soprano, violin and orchestra), the choral Cantata della fiaba estrema and Being Beauteous, a cantata for coloratura soprano, harp and cello quartet. His setting of the enigmatic Rimbaud poem evokes an image of beauty on the verge of being, elusive, beyond reach. Within a sonata-like structure, Being Beauteous balances severe counterpoint with vocal coloratura. Surreal waltzes surround an ethereal pas de deux between the harp and soprano. The four atonal, disguised canons contrast with homophonic passages employing tonal devices such as prolonged pedal points, tense stacks of fully-diminished seventh chords and unresolved cadences.Now Henze was finally able to enjoy the pleasure of conquering Berlin. On 9 and 12 April 1964 all five of his symphonies were performed under Karajan by the Berlin PO, together with the premire of Being Beauteous, sung by Ingeborg Hallstein. And the Deutsche Oper Berlin commissioned a new opera, for which Henze turned to Bachmann. Bachmann suggested Wilhelm Hauff's parable Der Affe als Mensch. Her elegantly satirical libretto foils the eccentric whims of an outsider, a rich English Lord, against the Gemtlichkeit of a small German city's populace. Taking buffo operas of Rossini and Mozart for his models, Henze limited himself to a Classical orchestra with few modern trimmings. The escalating confusion of the ensemble numbers framing the lovers' duets provided ample opportunity for humorous parody spiced with quotations, contrasting established conventions with contemporary techniques: In my works for the theatre I have therefore never completely left tonality, not even in the earliest ones. My music is nourished by just this state of tension: the abandonment of traditional tonality and the return to it. Rather like tensing a bow, it is here a kind of tensing the ear.Proceeds from the widely performed opera Der junge Lord financed the completion of Henze's countryside villa, La Leprara, in nearby Marino. While composing the score he expressed his gratitude to his sister with a Chorfantasie, Lieder von einer Insel (1964), setting poetic impressions from Bachmann's first days with Henze in Ischia. Intimately contrapuntal dialogues between two cellos connect the choruses. In keeping with the thoughtfully festive nature of the poems, the chamber choruses are accompanied by low melodic instruments.The subject for Henze's next opera, The Bassarids (19645), was proposed by Auden in 1961. When Henze requested a new libretto for the Salzburg Festival in August 1966, Auden assented to the task, provided Henze take a corrective dose of Wagner's Gtterdmmerung. Auden and Kallmann's opera seria, a psychoanalytical reinterpretation of Euripides' play, links major characters to similar manifestations from antiquity to the belle poque. Immediately after the premire of Der junge Lord Henze went to work at a feverish pace in order to be ready for the Salzburg production by the Berlin Elegy and Lord team (the Deutsche Oper of Berlin with Rudolf Sellner as director, Christoph von Dohnnyi conductor and Filippo Sanjust designer; fig.2). Despite Auden's prescription, Wagner's dramas left few traces in Henze's music at this time; rather he invoked Mahler and mocked Strauss. Brief Bachian quotations underline pivotal developments. Cast in the form of a symphony in four movements, with Auden's farcical intermezzo interrupting the long adagio scene between Pentheus and Dionysus, The Bassarids condensed all that Henze had learnt since emigrating to Italy.Henze, Hans Werner4. Musical activism, 196676.The travails of travelling, teaching, conducting engagements, commissions, revisions of earlier works and composing two so very different operas withing the space of one and a half years led to a personal and compositional crisis. This time Henze's compulsive questioning of himself and the world around him led in new directions. Bachmann and friends among the left-wing intelligentsia had already prodded him out of his musical isolation, directing his attention towards antifascist literature and current events. This had resulted in musical statements such as the collective oratorio Jdische Chronik (1960, compositions by Blacher, Dessau, Hartmann, Henze and Wagner-Rgeny to texts by Jens Gerlach) and In memoriam: Die Weie Rose (1965), a double fugue for 12 instruments dedicated to the young antifascist martyrs Hans and Sophie Scholl. Henze's operatic loner figures (such as the leading male roles of Knig Hirsch, Elegy, Der junge Lord and The Bassarids) now gave way to a new concern for the analogous conflicts between individuals and society inherent in the concerto form. In Musen Siziliens (1966), a concerto for mixed choir, two pianos, wind instruments and timpani on fragments from the Eclogues of Virgil, he highlighted the concertante piano duo and melodic instruments, relegating a declamatory, almost accompanimental role to the amateur chorus. With the Double Bass Concerto (1966), composed for Gary Karr, his search for friendship, fellowship, understanding yielded a more social, discursive relationship between the protagonists. The virtuoso doubles of the Double Concerto (1966) for oboe, harp and strings were composed for Heinz and Ursula Holliger, whose pioneering expertise encouraged Henze to experiment with new techniques for the soloists, such as percussive effects, harmonics, double trills and microtones. The nocturnal opening of his one-movement Piano Concerto no.2 (1967, composed for Christoph Eschenbach and the Bielefeld PO) gives way to a rhythmically aggressive battle between the piano and orchestra, with the pianist pitted against the percussion battery. Henze's tormented self-examination concludes with saturnine music inspired by the Shakespeare sonnet The expense of spirit in a waste of shame.Triggered by a teaching stint in Dartmouth, New Hampshire (summer 1967), and the student protests in Berlin (19678), Henze's internal unrest exploded into action. He met with leaders of the socialist student groups, participated in peace demonstrations and co-initiated the Vietnam Congress. The socialist poet Hans Magnus Enzensberger introduced him to Gastn Salvatore, a Chilean student who contributed the outraged poems for his first experiment with avant-garde vocal techniques in Versuch ber Schweine (composed in 1968 for the unique vocal range and talents of Roy Hart). But his revolt first became public on 9 December 1968, when scandal wrecked the premire of his oratorio volgare e militare Das Floss der Medusa, for soprano, baritone, mixed chorus, boys' voices and large orchestra. Encouraged by the work's dedication to Ernesto Che Guevara (occasioned by the guerrilla hero's assassination in October 1967), students hung a red flag from Henze's conducting podium, provoking a spontaneous boycott by the NDR SO and the RIAS Chamber Choir which escalated into a full-blown battle. Henze fell uncomfortably between stools. The promoters held him responsible for the fiasco; critics, patrons and the concert-going public were outraged by his betrayal; and Marxist agitators accused him of armchair communism.Many of his vocal compositions of the late 1960s and early 70s can be regarded as period pieces, barely separable from the events that produced them. His recital for four El Cimarrn (196970), however, transcended its Cuban impetus (stimulated by the premire of his Sixth Symphony in Havana) to become one of his most frequently performed chamber works. He wrote it for the black American baritone William Pearson, Karlheinz Zller on a wide selection of flutes, the Japanese percussionist Stomu Yamash'ta and the Cuban composer and guitarist Leo Brouwer. The four performers co-create a dramatic portrayal of the runaway slave Estaban Montejo (adapted freely by Hans Magnus Enzensberger from Miguel Barnet's documentary novel); Caribbean colours and expressive contemporary techniques enrich Henze's unconventionally notated score. The emotionally charged vocal part expands on song, recitative and Sprechgesang with special effects such as falsetto, whistling, scat, screams, chanting and laughing.This series of experiments with political vocal works culminated in Voices (1973), a collection of songs for mezzo-soprano and tenor. The 22 German, English, Italian and Spanish songs (a personal selection of protest, resistance, socialist and communist poems ending with an Enzensberger happy-end duet) are dedicated to a symbolic list of comrades and friends. Henze's deliberately eclectic palette blends exotic folksong elements, protest songs, touches of Weill and Dessau, standard dances, marches, light opera, cabaret and popular traits of classical music with contemporary features such as 12-note writing, extended instrumental techniques, aleatory passages and controlled improvisation. Calling for over 80 individual instruments, the work was tailored to the capabilities of the 15 core players of the London Sinfonietta.Henze's doubts, concerns and socialist dreams were also echoed in his instrumental works. Compases para preguntas ensimismadas (196970, for viola and 22 instrumentalists) carries musical individualism to its logical extreme: every player is a soloist. The viola's opening short notes about passing moods develop toward a seemingly anarchical climax out of which the viola ascends, leading the way towards agreement. Electronically processed tape elements pervaded works such as Henze's monodrama Der langwierige Weg in die Wohnung der Natascha Ungeheuer (1971), the Second Violin Concerto (1971) and Tristan (19723). The concerto, a theatrical commentary on Enzensberger's Hommage Gdel, includes a bass-baritone part and a tape. Tristan, subtitled preludes for piano, electronic sounds and orchestra is an elegiac homage to the Wagner opera and its legendary beings. Tristan's folly expressed Henze's grief over the recent deaths of Bachmann, Auden, the choreographer John Cranko, Neruda and Salvador Allende.Henze, Hans Werner5. Reflection and synthesis, 1976 and after.Beginning with his leadership of the Cantiere Internazionale d'Arte in Montepulciano, Henze began to devote more time to his musical past and posterity. In the mid-1980s he donated his manuscripts to the Paul Sacher Foundation and later, while writing his memoirs and putting his works in order for an up-to-date annotated catalogue, undertook revisions of works that failed to meet his current compositional standards. Hardly a year passed without new honours, workshops and professorships, including a composition class at the Staatliche Hochschule fr Musik in Cologne (198091), the Bach Prize of Hamburg (1983), a chair at the RAM in London (1987), artistic direction of the Munich Biennale festival for new music theatre (beginning in 1988), the Grosses Verdienstkreuz der Bundesrepublik Deutschland (1991), the Accademico Onorario of the Accademia di S Cecilia, Rome, and an honorary doctorate from the University of Osnabrck (1996).During the first years of the socio-cultural experiment in Montepulciano, Henze contributed many new compositions. Performances of his versions of the Paisiello operas Don Chisciotte (1976) and Il re Teodoro in Venezia (19912), involved local talent as much as possible. His first sonata for solo guitar, Royal Winter Music (19756), more than repaid Julian Bream for teaching masterclasses during the first Cantiere. Portraying Shakespearean characters, the six movements probe the dramatic, musical and technical range of the instrument. A second Shakespearean sonata for guitar followed in 1979. The operatic fairy tale Pollicino (1980) strove towards an educationally useful and musically rewarding integration of children and professional musicians. Many assistants were rewarded with chamber pieces. For instance, the mixed quintet Amicizia! (1976) was written for the composer's loyal Hamburg comrades from Hinz und Kunst, a politically active group of composers and instrumentalists who were also featured in his imaginary theatre for a singer and a small instrumental ensemble El rey de Harlem (1979). For his through-composed setting of Garca Lorca's ode, he experimented with a system of textual-musical signal motives. Using a chromatic scale linked to the alphabet, Henze wove key words into the densely contrapuntal texture. Surface signs such as street noises, Spanish ornamentation and jungle effects help the listener imagine the action.A Sonata for solo violin (19767, rev. 1992) became the first of a constellation of works prompted by Monteverdi's Orfeo. Still mourning the death of his mother, Henze asked Edward Bond for a ballet treatment of the myth. In Orpheus (1978) instruments replace voices, singing a drama that the dancers enact. The central five poems were later set for a cappella chorus in Orpheus behind the Wire (19813). Barcarola for large orchestra (1979) was dedicated to the memory of Dessau; the viola introduces a variation theme that Henze identified with the river Styx. His preoccupation with the themes of life and death, fear, war and love later found poignant expression in the wordless Requiem for solo piano, concertante trumpet and large chamber orchestra (199092), created as a memorial to Michael Vyner. The nine sacred concertos are based musically on the withdrawn Concerto per il Marigny for piano and seven instruments (1956), motifs from the requiem mass and two 12-note rows.As with Bachmann and Auden, Henze's collaborations with Edward Bond yielded two very different operas. Their violent actions for music We Come to the River (19746), relate a politically motivated morality tale performed on three stages, each with its own orchestra. For the controversial Covent Garden premire, Henze again directed the staging. Following Orpheus, he asked Bond for a comic animal opera based on Balzac's Peines de coeur d'une chatte. Behind a deliberately clich-ridden, pseudo-Victorian mask, satirical strokes underline comparisons with contemporary hypocrisies. As in Elegy, the lovers are sacrificed unjustly to the higher good. Henze delineates the main characters with signature instruments and individual melodic-harmonic styles. Lord Puff dithers with an English Renaissance air, Tom swaggers with bravura, while Minette warbles elaborate coloratura arias. For the benefit of his composition students in Cologne, Henze kept a detailed autobiographical diary of the work's progress, Die Englische Katze, which was published in time for the opera's premire at the Schwetzingen Festival on 2 June 1983, once again with Henze as stage director.15 years after his Cuban Sixth Symphony for two orchestras (1969, revised in 1994), Henze responded to a commission from the Berlin PO with a retrospective, four-movement treatment of the standard form. His Seventh Symphony (19834) begins with an allemande, after which a slow lied and a scherzo in perpetual motion are followed by a calm, cheerless finale expressing the essence of Hlderlin's poem Hlfte des Lebens. In contrast with the sombre Germanic nature of this work, the lighter Eighth Symphony (19923) reaffirmed his affection for England and Italy. Three scenes from A Midsummer Night's Dream provided the impetus for this piece of imaginary theatre. Voicing Oberon's command to Puck, the airy first movement suggests Mendelssohn's music for the same play. In the second movement, groups of instruments become the actors for a danced dialogue between the love-sick Titania and the ludicrous Bottom (to be compared with the treatment of Bottom's dream in the second Royal Winter Music sonata). The adagio finale, based loosely on images from Puck's epilogue, unveils the 12-note theme of the variations heard in the preceding movements.Desirous of composing German operas again, Henze now found it necessary to train a young poet in the art of writing words for his music. He chose Hans-Ulrich Treichel for his next pair of operas, Das verratene Meer (19869) and Venus und Adonis (19935). In both a tragic love triangle forms the dramatic core. In Henze and Treichel's two-act adaptation of Yukio Mishima's novel The Sailor who Fell from Grace with the Sea, the conflicts inherent in a mother-son, mother-lover complex are intensified by the gap between teenage ideals and adult compromises. The through-composed score identifies with the characters and their drama within a dispassionate structure representing universal symbols such as seasons, colours and the betrayed sea.Henze's youthful passion for drama, ballet, mythology and classic themes of love come full circle with Venus und Adonis (19935). In their one-act reinterpretation of Ovid and Shakespeare, Henze and Treichel extended the triangle symbolism to all formal aspects. The tragic development of a backstage affair involving a prima donna, a heroic actor and a young tenor are shadowed by dancers enacting Venus, Adonis and Mars. Three orchestras support the mythic prototypes. A brief pantomime by masked dancers represents the animalistic level of mare, stallion and boar. Often to the detriment of the dramatic development, the orchestral and vocal music express Henze's ongoing search for wild, free beauty and Mozartian perfection of form. As in The English Cat, he reserves his most moving counterpoint for choral interludes, here sung by six pastoral madrigalists fulfilling the role of a Greek chorus. Lonely was I when torn by the boar.Now I am a star among stars.Lonely was I when my feet touched the ground.Lonely was I when a heart beat within me.Adonis's epilogue speaks on behalf of an aging composer who still wishes only to understand and to be understood.Henze, Hans WernerWORKSoperas and music-theatreballetsother dramatic workssymphoniesorchestralchoralsolo vocalchambersolo instrumentalarrangements and reconstructionsHenze, Hans Werner: Worksoperas and music-theatreDas Wundertheater (op for actors, 1, after M. de Cervantes, trans. A. Graf von Schack), 1948, Heidelberg, Stadttheater, 7 May 1949; rev. for singers, 1964, Frankfurt, Staatstheater, 30 Nov 1965

Boulevard Solitude (lyric drama, 7 scenes, G. Weil, scenario by W. Jockisch), 1951, Hanover, Oper, 17 Feb 1952

Ein Landarzt (radio op, after F. Kafka), 1951, Hamburg, 19 Nov 1951, broadcast 29 Nov 1951; rev. 1994; stage version 1964, Frankfurt, Staatstheater, 30 Nov 1965

Das Ende einer Welt (radio op, prol, 2, epilogue, W. Hildesheimer), 1953, Hamburg, 4 Dec 1953; rev. 1993; stage version, 1964; Frankfurt, Staatstheater, 30 Nov 1965

Knig Hirsch (3, H. von Cramer), after C. Gozzi), 19525, Berlin, Stdtische Oper, 23 Sept 1956; rev. 1962 as Il re cervo, oder Die Irrfahrten der Wahrheit, Kassel, Staatstheater, 10 March 1963

Der Prinz von Homburg (3, I. Bachmann, after H. von Kleist), 1958, Hamburg, Staatsoper, 22 May 1960; reorchd 1991, Munich, Bayerische Staatsoper, 24 July 1992

Elegy for Young Lovers (3, W.H. Auden and C. Kallman), 195961, Schwetzingen, Schwetzinger Schloss, 20 May 1961; rev. 1987, Venice, La Fenice, 28 Oct 1988

The Bassarids (os with intermezzo, 1, Auden and Kallman, after Euripides: The Bacchae), 19645, Salzburg, 6 Aug 1966

Der junge Lord (comic op, 2, Bachmann, after W. Hauff), 1964, Berlin, Deutsche Oper, 7 April 1965

Moralities (3 morality plays, Auden, after Aesop), 1967, Cincinnati, 18 May 1968; rev. version, Saarbrcken, Kongresshalle, 1 April 1970

Der langwierige Weg in die Wohnung der Natascha Ungeheuer (show, G. Salvatore), 1971, Rome, RAI, 17 May 1971

La Cubana, oder Ein Leben fr die Kunst (vaudeville for TV, 5 scenes, H.M. Enzensberger, after M. Barnet), 1973, New York, WNET Opera Theater, 4 March 1974; Munich, Staatstheater am Grtnerplatz, 28 May 1975; chbr version La piccola Cubana, 199091

We Come to the River (actions for music, E. Bond), 19746, London, CG, 12 July 1976

Pollicino (musical fairy tale, G. Di Leva, after Collodi, J.L. and W.C. Grimm and C. Perrault), 197980, Montepulciano, 2 Aug 1980

The English Cat (story for singers and instrumentalists, 2, Bond, after H. de Balzac), 198083, Stuttgart, Staatsoper, 2 June 1983; rev. 1990, Montepulciano, 9 Aug 1990

dipus der Tyrann (musical play, H. Hollmller), 1983, collab. H.-J. von Bse, S. Holt, D. Lang, Kindberg, 30 Oct 1983; withdrawn

Das verratene Meer (music drama, 2, Treichel, after Y. Mishima: Gogo No Eiko [The Sailor who Fell from Grace with the Sea]), 19869, Berlin, Deutsche Oper, 5 May 1990

Venus and Adonis (1, Treichel), 19935, Munich, Staatsoper, 11 Jan 1997

Henze, Hans Werner: WorksballetsBallet-Variationen, 1949, concert perf. Dusseldorf, 28 Sept 1949, staged Wuppertal, 21 Dec 1958; rev. 1992, concert perf. Berlin, 14 Nov 1998

Jack Pudding (3 pts, S. Sivori, after Molire: Georges Dandin), 1949, Wiesbaden, Hessisches Staatstheater, 30 Dec 1950; withdrawn, incorporated into ballet Le disperazioni di Signor Pulcinella, 19925

Das Vokaltuch der Kammersngerin Rosa Silber, 1950, concert perf. Berlin, Titiana-Palast, 8 May 1951, staged Cologne, 15 Oct 1958; rev. 1990, concert perf., London, 14 Jan 1991

Le Tombeau d'Orphe, 1950, withdrawn

Labyrinth (1. M. Baldwin), 1951, concert perf. 29 May 1952; new version, 1996, Schwetzingen, Schwetzinger Schloss, 25 May 1997

Der Idiot (Mimodram, Bachmann, after F.M. Dostoyevsky), 1952, Berlin, 1 Sept 1952, rev. 1990

Pas daction, 1952, Munich, Bayerische Staatsoper, 1952; withdrawn, incorporated into Tancredi, 1964

Maratona (Tanzdrama, 1, L. Visconti), 1956, Berlin, Stdtische Oper, 24 Sept 1957

Undine (3, F. Ashton, after F.H.K. de la Motte Fouqu), 19567, London, CG, 27 Oct 1958

Lusignolo dellimperatore (balletto-pantomima, G. di Majo, after H.C. Andersen), 1959, Venice, La Fenice, 16 Sept 1959; red. H. Brauel, fl, cel, pf, perc, 1970

Tancredi (2 scenes, P. Csobdi), 1964, Vienna, Staatsoper, 18 May 1966 [based on Pas d'action, 1952]

Orpheus (6 scenes, E. Bond), 1978, Stuttgart, Wrttembergische Staatsoper, 17 March 1979; concert version, spkr, orch, 1978

Le disperazioni del Signor Pulcinella (commedia di balletto con canto, S. Sivori, after Molire: Georges Dandin), 19925, Schwetzingen, Schwetzinger Schloss, 25 May 1997 [extended rev. of Jack Pudding, 1949]

Le fils de l'air (L'enfant chang en jeune homme) (ballet, J. Cocteau), 19956, Schwetzingen, Schwetzinger Schloss, 25 May 1997

Henze, Hans Werner: Worksother dramatic worksDie Gefangenen (incid music, M. Kommerell), 1950

Der tolle Tag (incid music, Beaumarchais), 1951, withdrawn

Judith (incid music, J. Giraudoux), 1952

Sodom und Gomorrha (incid music, Giraudoux), 1952

Der sechste Gesang (incid music for radio, E. Schnabel), 1955

Die Zikaden (incid music for radio, Bachmann), 1955, withdrawn

Les caprices de Marianne (incid music, J.-P. Ponnelle, after A. de Musset), 1962, withdrawn

Muriel (film score, dir. A. Resnais), 1963

Der Frieden (incid music, Aristophanes, trans. P. Hacks), 1964

Der junge Trless (film score, dir. V. Schlndorff, after R. Musil), 1966

Die verlorene Ehre der Katharina Blum (film score, dir. Schlndorff, after H. Bll), 1975

Der Taugenichts (film score, dir. B. Sinkel), 1977

The Woman (incid music, Bond), 1978, withdrawn

Montezuma (film score), 1980

Nach Lissabon (film score, J. Melo), 1982

Un amour de Swann (film score, dir. Schlndorff, after M. Proust), 1983

L'amour mort (film score, dir. Resnais), 1984

Henze, Hans Werner: WorkssymphoniesSymphony no.1, chbr orch, 1947, rev. 1963, 1991

Symphony no.2, 1949

Symphony no.3, 194950

Symphony no.4, 1955 [from op Knig Hirsch]

Vokalsinfonie (H. von Cramer), solo vv, orch, 1955 [from op Knig Hirsch]

Symphony no.5, 1962

Symphony no.6, 2 chbr orch, 1969, rev. 1994

Symphony no.7, 19834

Symphony no.8, after W. Shakespeare: A Midsummer Night's Dream, 19923

Symphony no.9 (H.-U. Treichel, after A. Seghers: Das siebte Kreuz), chorus, orch, 19957

Henze, Hans Werner: WorksorchestralKammerkonzert, pf, fl, str, 1946

Concertino, pf, wind, perc, 1947

Violin Concerto no.1, 1947

Ballett-Variationen, 1949, rev. 1992 and 1998

Suite, small orch, 1949 [from ballet Jack Pudding]

Piano Concerto no.1, 1950

Sinfonische Variationen, chbr orch, 1950, withdrawn

Sinfonische Zwischenspiele, 1951 [from op Boulevard Solitude]

Tancredi, suite, 1952 [from ballet Tancredi]

Tanz- und Salonmusik, 1952, rev. 1989 [from ballet Der Idiot]

Ode an den Westwind, after P.B. Shelley, vc, orch, 1953

Quattro poemi, 1955

Sinfonische Etden, 1956, rev. as Drei sinfonische Etden, 1964

Maratona, suite, 2 jazz bands, orch, 1956

Jeux des Tritons, pf, orch, 19567, rev. 1967 [from ballet Undine]

Hochzeitsmusik, wind, 1957 [from ballet Undine]

Sonata per archi, 19578

Drei Dithyramben, chbr orch, 1958

Trois pas des Tritons, 1958 [from ballet Undine]

Undine, suite no.1, 1958 [from ballet]

Undine, suite no.2, 1958 [from ballet]

Antifone, 11 str, wind, perc, 1960

Los caprichos, fantasia, 1963

Zwischenspiele, 1964 [from op Der junge Lord]

Mnadentanz, 1965 [from op The Bassarids]

In memoriam: die weisse Rose, double fugue, 12 insts, 1965

Double Bass Concerto, 1966

Double Concerto, ob, hp, str, 1966

Fantasia, str, 1966, arr. str sextet, 1966 [from film score Der junge Trless]

Piano Concerto no.2, 1967

Telemanniana, 1967

Compases para preguntas ensimismadas, va, 22 insts, 196970

Violin Concerto no.2 (H.M. Enzensberger: Hommage Gdel), B-Bar, vn, 33 insts, tape, 1971, rev. 1991

Heliogabalus imperator, allegoria per musica, 19712, rev. 1986

Tristan, preludes, pf, orch, tape, 19723

Katharina Blum, suite, chbr orch, 1975 [from film score]

Ragtimes and Habaneras, sinfonia, arr. H. Brauel, brass band, 1975 [from TV op La Cubana]; arr. M. Wengler, sym. wind band, 1982; arr. D. Purser, brass ens, 1986

Aria de la fola espaola, chbr orch, 1977

Il Vitalino raddoppiato, chaconne, vn, chbr orch, 1977 [based on chaconne by T. Vitali]

Apollo trionfante, winds, kbds, perc, db, 1979 [from ballet Orpheus]

Arien des Orpheus, gui, hp, hpd, str, 1979

Barcarola, 1979

Dramatische Szenen aus Orpheus I, 1979 [from ballet]

Dramatische Szenen aus Orpheus II, 1979 [from ballet]

Spielmusiken, amateur orch, 197980 [from op Pollicino]

Deutschlandsberger Mohrentanz no.1, 4 rec, gui, perc, str qt, str, 1984

Kleine Elegien, Renaissance insts, 19845 [from film score Der junge Trless]

Liebeslieder, vc, orch, 19845

Deutschlandsberger Mohrentanz no.2, 4 rec, gui, perc, str qt, str, 1985

Fandango, 1985, rev. 1992

Cinque piccoli concerti e ritornelli, 1987 [from op The English Cat]

Requiem: 9 geistliche Konzerte, pf, tpt, orch, 199092

La selva incantata, aria and rondo, 1991 [from op Knig Hirsch]

Introduktion, Thema und Variationen, vc, hp, str, 1992

Appassionatamente, fantasia, 19934 [from op Das verratene Meer]

Erlknig, fantasia, 1996 [from ballet Le fils de l'air]

Pulcinellas Erzhlungen, chbr orch, 1996 [from ballet Le disperazioni del Signor Pulcinella]

Sieben Boleros, 1996 [from op Venus und Adonis]

Violin Concerto no.3, 3 portraits from T. Mann: Doktor Faustus, 1996

Zigeunerweisen und Sarabanden, 1996 [from ballet Le fils de l'air]

Fraternit, air, 1999

A Tempest, rounds, 2000

Henze, Hans Werner: WorkschoralFnf Madrigle (F. Villon), small chorus, 11 insts, 1947

Chor gefangener Trojer (J.W. von Goethe: Faust, pt ii, act 3), chorus, orch, 1948, rev. 1964

Wiegenlied der Mutter Gottes (L. de Vega, Ger. trans. A. Altschul), solo boy's v/unison boys' chorus, 9 insts, 1948

Szenen und Arien, S, T, chorus, orch, 1956 [from op Knig Hirsch]

Jdische Chronik (J. Gerlach), 2 spkr, A, B, chbr chorus, chbr orch, 1960, collab. Blacher, Dessau, K.A. Hartmann, Wagner-Rgeny

Novae de infinito laudes (cant., G. Bruno), S, A, T, Bar, chorus, ens, 1962

Cantata della fiaba estrema (E. Morante), S, chbr chorus, 13 insts, 1963

Lieder von einer Insel (Bachmann), chbr chorus, trbn, 2 vc, db, chbr org, perc, timp, 1964

Muzen Siziliens (choral conc., Virgil: Eclogues), chorus, 2 pf, wind, timp, 1966

Das Floss der Medusa (orat, Schnabel), S, Bar, spkr, chorus, 9 boys' vv, orch, 1968, rev. 1990

Mad People's Madrigal (Bond), 12-pt chorus, 19746 [from music-theatre We Come to the River]

Orpheus Behind the Wire (Bond), 8-/12-pt chorus, 19813

Hirtenlieder (S, S, Mez, T, Bar, B)/(chbr chorus), 19935 [from op Venus and Adonis]

Henze, Hans Werner: Workssolo vocalSechs Lieder, high v, wind qnt, 1945, withdrawn

Whispers from Heavenly Death (cant., W. Whitman), S/T, tpt, vc, cel, hp, 4 perc, 1948; arr. S/T, pf, 1948

Der Vorwurf (concert aria, F. Werfel), Bar, tpt, trbn, str, 1948, withdrawn

Apollo et Hyazinthus (improvisations, G. Trakl: Im Park), A, hpd, fl, cl, bn, hn, str qt, 19489

Chanson Pflastersteine, S, pf, 1950, withdrawn

Fnf neapolitanische Lieder (anon. 17th-century), Bar, chbr orch, 1956

Nachtstcke und Arien (Bachmann), S, orch, 1957

Kammermusik 1958 (F. Hlderlin: In lieblicher Blue), T, gui/hp, cl, hn, bn, str qnt, 1958, rev. 1963

Drei Fragmente nach Hlderlin, T, gui, 1958 [from Kammermusik 1958]

Three Arias, Bar, small orch, 1960, rev. 1993 [from op Elegy for Young Lovers]

Ariosi (T. Tasso), S, vn, orch, 1963; arr. S, vn, pf 4 hands, 1963

Being Beauteous (cant., A. Rimbaud), coloratura S, hp, 4 vc, 1963

Ein Landarzt (Monodram, Kafka), Bar, orch, 1964 [from op]

Versuch ber Schweine (G. Salvatore), Bar (Sprechgesang), orch, 1968

El Cimarrn (recital, trans. H.M. Enzensberger, after M. Barnet), Bar, fl + pic + a fl + b fl, gui, perc, 196970

Voices (various), 22 songs, Mez, T, 15 insts, 1973

Heb doch die Stimme an (M. Walser), Bar, cl, tpt, vc, perc, pf, 1975 [for Hommage Kurt Weill, collab. others]

Kindermund (R. Thenier), S/B/spkr, pf, tpt, 1975 [for Hommage Kurt Weill, collab. others]

El rey de Harlem (Imaginres Theater I) (F. Garca Lorca), Mez, cl, tpt, trbn, perc, elec gui, pf, va, vc, 1979

Three Auden Songs, T, pf, 1983

Drei Lieder ber den Schnee (H.-U. Treichel), S, Bar, cl + b cl, bn, hn, 2 vn, va, vc, db, 1989

An Sascha, S, A, 1991, unpubd

Zwei Konzertarien, T, small orch, 1991 [on material from op Knig Hirsch]

Lieder und Tnze, Mez, s sax, cl, tpt, trbn, perc, gui, pf, db, 19923 [from TV op La Cubana, oder Ein Leben fr die Kunst]

Heilige Nacht (Treichel), medium v, rec/fl/ob/vn, 1993

Heimlich zur Nacht, 1v, pf, 1994, unpubd

Nocturnal Serenade (E. Bond), arr. M. Zehn, S, pf, 1996 [arr. of chbr work Notturno]

Sechs Gesnge aus dem Arabischen (Henze), T, pf, 19978

Henze, Hans Werner: WorkschamberKleines Quartett, ob, vn, va, vc, 1945, withdrawn

Sonata, vn, pf, 1946

Sonatina, fl, pf, 1947

String Quartet no.1, 1947

Kammersonate, pf trio, 1948, rev. 1963

String Quartet no.2, 1952

Wind Quintet, 1952

Concerto per il Marigny, pf, cl, b cl, hn, tpt, trbn, va, vc, 1956, withdrawn [partially reworked into Requiem, pf, tpt, orch, 199092]

Quattro fantasie, cl, bn, hn, str qnt, 1963 [from 1963 version of Kammermusik 1958]

Divertimenti, 2 pf, 1964 [interludes from op Der junge Lord]

Der junge Trless, fantasia, str sextet, 1966 [arr. of Fantasia, str]

L'usignolo dell'imperatore, fl, cel, pf, 3 perc, vib + tubular bells ad lib, 1970 [concert version of ballet]

Fragmente aus einer Show, hn, 2 tpt, trbn, tuba, 1971 [from op Der langwierige Weg in die Wohnung der Natascha Ungeheuer]

Prison Song (H Ch Minh), perc, tape, 1971

Carillon, Rcitatif, Masque, mand, gui, hp, 1974

String Quartet no.3, 19756

Amicizia!, cl, trbn, vc, perc, pf, 1976

String Quartet no.4, 1976

String Quartet no.5, 1976

Konzertstck, vc, ens, 197785, withdrawn [material incorporated into Introduktion, Thema und Variationen, 1992]

L'autunno, fl, ob, cl, bn, hn, 1977

Trauer-Ode fr Margaret Geddes, 6 vc, 1977

Sonata, va, pf, 19789

Sonatina, vn, pf, 1979 [from op Pollicino]

Le miracle de la rose (Imaginres Theater II), solo cl + E, fl + pic, ob + eng hn + ob d'amore, bn + heckelphone ad lib, hn, tpt, trbn, perc, pf, 2 vn, va, vc, db, 1981

Variation, brass qnt, 1981, unpubd

Von Krebs zu Krebs, S, fl, pf, 1981, unpubd

Canzona, ob, pf, hp, 3 vn, vc, 1982 [on material from op The English Cat]

Sonata, pic tpt, 2 tpt, flugel hn, b tpt, 2 trbn, b trbn, 1983

Sonata, fl, cl, vn, vc, perc, pf, 1984 [from film score L'amour mort]

Selbst- und Zwiegesprche, trio, va, gui, small org/other kbd, 19845

Ode an eine olsharfe, after M. Mrike, solo gui, a fl, b fl, ob d'amore, eng hn, b cl, bn, perc, hp, va d'amore, 2 va, va da gamba, 2 vc, db, 19856

Eine kleine Hausmusik, gui, pf, 1986, unpubd

Allegra e Boris, vn, va, 1987, unpubd

Fnf Nachtstcke, vn, pf, 1990

Paraphrasen ber Dostojewsky (Bachmann), actor, fl, cl, bn, tpt, trbn, perc, pf, str qt, 1990 [from ballet Der Idiot]

Piano Quintet, 199091

Adagio, str sextet, 1992, unpubd

Adagio adagio, serenade, vn, vc, pf, 1993

Drei geistliche Konzerte, arr. M. Eggert, tpt, pf/org, 19946 [from Requiem]

Notturno, 2 fl, ob, eng hn, 2 cl, 2 bn, 2 hn, pf, db, 1995 [based on op The English Cat, scene 2]

Leons de danse, (2 pf)/(pf, hp), 1996 [from ballet Le fils de l'air]

Minotauros Blues, concert music, 6 perc, 1996

Neue Volkslieder und Hirtengesnge, bn, gui, str trio, 1996 [from musical play dipus der Tyrann]

Voie lacte soeur lumineuse, fl, cl, bn, hn, tpt, trbn, timp, perc, vib, mar, pf, cel, 2 vn, va, vc, db, 1996

Drei Mrchenbilder, arr. J. Ruck, 2 gui, 1997 [from op Pollicino]

Henze, Hans Werner: Workssolo instrumentalSonatina, pf, 1947, withdrawn

Serenade, vc, 1949; arr. L. Drew, db, 1981

Variationen, pf, 1949

Drei Tentos, gui, 1958 [from Kammermusik 1958]

Piano Sonata, 1959

Six Absences, hpd, 1961

Lucy Escott Variations, hpd/pf, 1963

Memorias de El Cimarrn, gui, 1970; arr. E. Csoli and J. Ruck, 2 gui, 1995

Sonatina, tpt, 1974; arr. M. Harvey, trbn, 1974

Royal Winter Music, sonata no.1, gui, 19756

Capriccio, vc, 1976, rev. 1981

Sonata, vn, 19767, rev. 1992

Lndler, vn, 1977, withdrawn

S. Biagio 9 agosto ore 12.07, db, 1977

Five Scenes from the Snow Country, mar, 1978

Margareten-Walzer, pf, 1978, unpubd

Epitaph, vc, 1979, unpubd

Etude philarmonique, vn, 1979

Royal Winter Music, sonata no.2, gui, 1979

Toccata senza fuga, org, 1979 [from ballet Orpheus]

Drei Mrchenbilder, gui, 1980 [from op Pollicino]

Sechs Stcke fr junge Pianisten, 1980 [from op Pollicino]

Cherubino, 3 miniatures, pf, 198081

Euridice, fragments, hpd, 1981, rev. 1992 [from ballet Orpheus]

Une petite phrase, pf, 1984 [from film score Un amour de Swann]

Serenade, vn, 1986

La mano sinistra, pf left hand, 1988

Piece for Peter, pf, 1988

Clavierstck, pf, 1989, unpubd

Fr Manfred, vn, 1989, unpubd

Das Haus Ibach, pf, 1991, unpubd

Pulcinella disperato, fantasia, arr. M. Eggert, pf, 19912 [from ballet Le disperazioni del Signor Pulcinella]

Minette, arr. A. Pfeifer, descant zither, 1992 [from The English Cat]; arr. J. Ruck, 2 gui, 1995

An Brenton, va, 1993, unpubd

Fr Reinhold, pf, 1994, unpubd

Toccata mistica, pf, 1994

Serenata notturna, arr. M. Zehn, pf/2 pf, 1996 [arr. of chbr work Notturno]

Trio, vn, va, vc, 1998

Henze, Hans Werner: Worksarrangements and reconstructionsDie schlafende Prinzessin (ballet after Tchaikovsky, prol, 4 scenes, H. Zehden) 1951, withdrawn

Don Chisciotte (comic op, arr. of Paisiello), 1976, collab. H. Brauel; concert suite, 2 S, T, Bar, wind band, chbr orch, 1976, rev. 1978; suite, arr. N. Studnitzky as Die Abenteuer des Don Chisciotte, concert band, 1990

Jephte (orat, orch of Carissimi), 3 S, A, T, 2 B, 6vv, fl, hp, gui, mand, banjo, perc, 1976

Wesendonck-Lieder, S, chbr orch, 1976 [arr. of Wagner songs]

Il ritorno d'Ulisse in patria (op, reconstruction after Monteverdi), 1981; concert extracts, Scene e Arie da Il ritorno d'Ulisse in patria, S, A, T, Bar, orch, 1981

I sentimenti di Carl Philipp Emanuel Bach, fl, orch, 1982 [transcr. of Clavier-Fantasie, h536 (w80)]

Der Mann, der vom Tode auferstand (mini-op after sketches by K.A. Hartmann), 1988

Frwahr ?! (mini-op after sketches by K.A. Hartmann), 1988

Drei Mozartsche Orgelsonaten, a fl, b fl, ob d'amore, eng hn, b cl, bn, hp, gui, va d'amore, 2 va, 2 vc, cb, 1991 [arr. of Mozart k336/336d, k67/41h, k328/317c]

Il re Teodoro in Venezia (op, arr. of Paisiello), 19912, collab. D.P. Graham

Drei Orchesterstcke, 1995 [after K.A. Hartmann pf sonata 27. April 1945]

Richard Wagnersche Klavierlieder, Mez, Bar, chorus, orch, 19989

MSS in CH-Bps

Principal publisher: Schott

Henze, Hans WernerWRITINGSUndine: Tagebuch eines Balletts (Munich, 1959) Essays (Mainz, 1964) with H.M. Enzensberger: El Cimarrn: ein Werkbericht, ed. C.H. Henneberg (Mainz, 1971) Musik und Politik: Schriften und Gesprche 19551975, ed. J. Brockmeier (Munich, 1976, enlarged 2/1984; Eng. trans., 1982) [incl. Essays, 1964] ed.: Neue Aspekte der musikalischen sthetik (Frankfurt, 197997) Pollicino, eine Oper fr Kinder: der Komponist erzhlt, Musik und Bildung, xiii (1981), 2169; Eng. trans. in MT, cxxi (1980), 7668 Die englische Katze: ein Arbeitsbuch 19781982 (Frankfurt, 1983) An eine olsharfe: ein Tagebuch, Der Komponist Hans Werner Henze, ed. D. Rexroth (Frankfurt, 1986), 2915, 3026 Einige Beobachtungen und Hinweise betreffend die Auffhrungspraxis meiner Werke, Das Orchester, iv (1987), 38082 Kanle, Schluchten, Flchen: Sonate in Prosa, Berliner Lektionen, ed. M. von Ardenne (Berlin, 1988), 20113 Die Befreiung der Musik, Die Befreiung der Musik: eine Einfhrung in die Musik des 20. Jahrhunderts, ed. F.X. Ohnesorg (Bergisch Gladbach, 1994), 1011 Reiselieder mit bhmischen Quinten: autobiographische Mitteilungen 19261995 (Frankfurt, 1996; Eng. trans., 1998) Ein Werkverzeichnis 19461996 (Mainz, 1996) ed.: Komponieren in der Schule: Notizen aus einer Werkstatt (Frankfurt, 1997) Henze, Hans WernerBIBLIOGRAPHYmonographsD. de la Motte: Hans Werner Henze: Der Prinz von Homburg (Mainz, 1960) K. Geitel: Hans Werner Henze (Berlin, 1968) Geboren am 1. Juli 1926 in Gtersloh: Hans Werner Henze zum Geburtstag (Gtersloh, 1986) [pubn of Gtersloh Kulturamt] E. Restagno, ed.: Henze (Turin, 1986) D. Rexroth, ed.: Der Komponist Hans Werner Henze (Frankfurt, 1986) P. Petersen: Hans Werner Henze, ein politischer Musiker: zwlf Vorlesungen (Hamburg, 1988) H.-J. Wagner: Studie zu Boulevard Solitude: lyrisches Drama in 7 Bildern von Hans Werner Henze (Regensburg, 1988) V. Palmer-Fchsel: The Solo Vocal Chamber Music of Hans Werner Henze (diss., Technical U. of Berlin, 1990) J. Buttmann: Die Kulturpdagogische Arbeit Hans Werner Henzes am Beispiel des Cantiere Internationale DArte die Montepulciano (Regensburg, 1992) W. Schottler: Die Bassariden von Hans Werner Henze: der Weg eines Mythos von der antiken Tragdie zur modernen Oper (Trier, 1992) P. Petersen: Hans Werner Henze: Werke der Jahre 19841993 (Mainz, 1995) C. Mattenklott: Figuren des Imaginren: zu Hans Werner Henzes Le Miracle de la rose (Hamburg, 1996) H. Lck, ed.: Stimmen fr Hans Werner Henze: die 22 Lieder aus Voices (Mainz, 1996) NZM, Jg.157, no.4 (1996) [Henze issue; incl. articles by W. Grimmel, H.-W. Heister, W. Konold, A. Krause, C. Mattenklott, A. Rochroll, H.-U. Treichel] T. Beck: Bedingungen librettistischen Schreibens: die Libretti Ingeborg Bachmanns fr Hans Werner Henze (Wrzburg, 1997) B. Wilms: Von der Schnheit Alter Jahrhunderte: Hans Werner Henzes Bearbeitungen von Claudio Monteverdis Il ritorno dUlisse (Saarbrcken, 1997) S. Giesbrecht and S. Hanheide, eds.: Hans Werner Henze: politisch-humanitres Engagement als knstlerische Perspektive (Osnabrck, 1998) D. Jarman, ed.: Henze at the Royal Northern College of Music: a Symposium (Todmorden, 1998) interviewsG.-W. Baruch: Hans Werner Henze am Tyrrhenischen Meer: sditalienischer Dialog, Melos, xxiii (1956), 7073 P. Heyworth: I can Imagine a Future : Conversation with Hans Werner Henze, The Observer (23 Aug 1970) H. Lck: Der lange Weg zur Musik der Revolution: Fragment zu einer Standortbestimmung des Komponisten Hans Werner Henze, Neue Musikzeitung, xx (1971), 34 H.K. Jungheinrich: 4 Stunden auf Henzes neuem Weg, Melos, xxxix (1972), 20713 U. Strzbecher: Werkstattgesprche mit Komponisten (Cologne, 1971) The Bassarids: Hans Werner Henze Talks to Paul Griffiths, MT, cxv (1974), 8312 K.-R. Danler: Gesprche mit Henze: die Musik muss aus ihrer Sprachlosigkeit herausfinden, Das Orchester, xx (1972), 1378 A. Dmling: Vieles von Brechts Theaterdenken ist mir in Fleisch und Blut bergangen, Lasst euch nicht verfhren: Brecht und die Musik (Munich, 1985), 64048 U. Hbner: Hans Werner Henze im Gesprch, Musica, xl (1986), 33942 D. Rexroth: Ich begreife mich in der Schnberg-Tradition, NZM, Jg.147, no.11 (1986), 237 D. Rexroth: Ich kann mich in Zusammenhngen sehen, Der Komponist Hans Werner Henze, ed. D. Rexroth (Frankfurt, 1986), 31521 I. Strasfogel: All Knowing Music: a Dialogue on Opera, ibid., 13742 J. Bultmann: Sprachmusik: eine Unterhaltung, Neue Aspekte der musikalischen sthetik, iv: Die Chiffren: Musik und Sprache, ed. H.W. Henze (Frankfurt, 1990), 724 A. Dmling: Man resigniert nicht, man arbeitet weiter , NZM, Jg.157, no.4 (1996), 511 H. Krellmann: ber Musik nachdenken: Hans Werner Henze im Gesprch, Venus und Adonis (Bayerische Staatsoper, 1997), 1219 [programme book] D. Jarman, ed.: Henze at the Royal Northern College of Music: Conversations (Todmorden, 1999) other literatureE. Kuntz: Hans Werner Henze, Melos, xvii (1950), 3413 K.H. Wrner: Hans Werner Henze, ZfM, Jg.112 (1951), 240 R. Stephan: Hans Werner Henze, Die Reihe, iv (1958), 327; Eng. trans. in Die Reihe, iv (1960), 2935 H. Pauli: Hans Werner Henzes Undine, Schweizer Monatshefte, xxxviii (19589), 1053 H. Pauli: Hans Werner Henze, Musica, xiii (1959), 7612 H. Pauli: Hans Werner Henzes Italian Music, The Score, no.25 (1959), 2637 Melos, xxxii/2 (1965) [Henze issue] Meine Musik auf dem Theater, Mz, xxi (1966), 36973 [special no. on The Bassarids] E. Schnabel: Das Floss der Medusa: Text zum Oratorium von Hans Werner Henze: zum Untergang einer Urauffhrung Postscriptum (Munich, 1969) P. Heyworth: Henze and the Revolution, Music and Musicians, xix/1 (197071), 3644 S. Walsh: Henze's Sixth Symphony, The Listener (4 March 1971) A. Porter: Henzes Voices, Financial Times (7 Jan 1974) R. Blackford: The Road to the River, Music and Musicians, xxiv/11 (19756), 2024 W. Burde: Tradition und Revolution in Henzes musikalischem Theater, Melos/NZM, ii (1976), 2715 R. Henderson: Hans Werner Henze, MT, cxvii (1976), 5668 C.M. Schmidt: ber die Unwichtigkeit der Konstruktion: Anmerkungen zu Hans Werner Henzes 6. Symphonie, Melos/NZM, ii (1976), 27580 D. Symons: Hans Werner Henze: the Emergence of a Style, SMA, iii (1969), 3552 W. Burde: Tradition und Revolution in Henzes musikalischen Theater, Melos/NZM, ii (1976), 2715 W. Klppelholz: Henzes El Cimarrn: eine didaktische Analyse fr die Sekundarstufe II, Musik und Bildung, x (1978), 95104 H.-K. Jungheinrich: Komponieren ohne Dogma: ein Versuch, die gegenwartige Arbeit von Hans Werner Henze zu beschreiben, HiFi-Stereophonie, xv (1976), 70912, 71618 P. Moor: Hans Werner Henze's Late-Night Revolution, High Fidelity/Musical America, xxviii/6 (1978), MA22, 40 only K. Lindemann: Die Sehnsucht nach dem hchsten Ausdruck: zu meiner filmischen Umsetzung von Henzes Tristan-Romantik: ein imaginrer Dialog, NZM, Jg.141 (1980), 21720 E.H. Flammer: Politisch engagierte Musik als kompositorisches Problem (Baden-Baden, 1981) G. Gronemeyer: Zu Hans Werner Henzes El Rey de Harlem, Mz, xxxvi (1981), 5512 H. Heise: Annherung an ein unkonventionelles Stck: 2. Violinkonzert, Zeitschrift fr Musik Pdagogik, xix (1982), 1438 H.-W. Heister: Kinderoper als Volkstheater: Hans Werner Henzes Pollicino, Oper heute: Formen der Wirklichkeit im zeitgenssischen Musiktheater, ed. O. Kolleritsch (Vienna, 1985), 16687 E. Voss: Musica da piazza und Musica da camera oder Lied und Kunstmusik: zu Hans Werner Henzes Fnf neapolitanische Lieder, Melos, xlvii (1985), 221 A. Dmling: Ein reflektierter Freudentanz: Versuch einer Interpretation des 1. Satzes von Hans Werner Henzes 7. Symphonie, Musik, Deutung, Bedeutung: Festschrift fr Harry Goldschmidt, ed. H.-W. Heister and H. Lck (Dortmund, 1986), 10711 H. Floray and J. Wolff: Kammermusikalische Formen Hans Werner Henzes: aufgefhrt von Hinz& Kunz, Geboren am 1. Juli 1926 in Gtersloh: Hans Werner Henze zum Geburtstag (Gtersloh, 1986), 5960 H.-W. Heister: Tod und Befreiung: Henzes imaginares Musiktheater in den Werken El Cimarrn, El Rey de Harlem und Le Miracle de la Rose, Musik, Deutung, Bedeutung: Festschrift fr Harry Goldschmidt, ed. H.-W. Heister and H. Lck (Dortmund, 1986), 5960 R.U. Ringger: Richard Wagners Wesendonck-Lieder transponiert von Hans Werner Henze,Von Debussy bis Henze: zur Musik unseres Jahrhunderts (Munich, 1986), 12530 S. Zehle: Der Schillernde, Zeit Magazin (1988), no.24, pp.2834 M. Klger: Hans Werner Henzes Gitarrenmusik als Spiegel seiner Musiksthetik, Gitarre und Laute, xii/5 (1990), 1319, xiii/1 (1991), 4551 U. Mosch: Zum Formdenken Hans Werner Henzes: Beobachtungen am Particell der 6. Symphonie, Quellenstudien, ii: Zwlf Komponisten des 20. Jahrhunderts, ed. F. Meyer (Winterthur, 1993), 169204 P. Petersen: Klischee als Sujet: Hans Werner Henzes The English Cat und sein Arbeitstagebuch, Klischee und Wirklichkeit in der musikalischen Moderne, ed. O. Kolleritsch (Vienna, 1994), 6291 R. Braunmller: Der einsame Fremde: Hans Werner Henzes Oper Der junge Lord und die Tradition der Komdie, Musica, l (1996), 1848 H.-K. Jungheinrich: Alles ist sprachfhig: Reflexionen ber Hans Werner Henze, Neue Musikzeitung, xlv/3 (1996), 3 P. Petersen: Ein unbekanntes Skizzenheft zu Knig Hirsch von Hans Werner Henze, Opernkomposition als Prozess, ed. W. Breig (Kassel, 1996), 14764 H.-J. Schaal: Musik aus dem Geiste des Theaters: Hans Werner Henze zum 70. Geburtstag, Das Orchester, xliv/11 (1996), 711 J. Bokina: Political Ideas in Opera, from Monteverdi to Henze (New Haven, CT, 1997)