Hans Werner Henze certainly has been one of the most important composers of our time. Having lived in Italy for nearly 60 years, he has developed his own distinct musical idiom rather influenced by the Italian sense of life. Henze's music "comes from theatre", as he often emphasized, it always used to take a political position, and the major human concerns tend to express themselves in and out of this music in a highly affecting manner.
Most of his 15 operas soon found their way into the international theatre repertory. The recording of his 10 symphonies, achieved by the Radio-Sinfonieorchester Berlin under Marek Janowski with WERGO has just been completed and was highly appreciated by the international music world. His list of works contains pieces of all musical genres.
Having established the "Cantiere Internazionale d'Arte Montepulciano" and the "Münchener Biennale - Internationales Festival für Neues Musiktheater" Henze, as educator and promoter of young talents, has created two festivals which mark a solid start of many now important careers and have become essential events in the international music festival calendar.
Henze has received numerous distinctions -
A Double Eulogy: Celebrating Hans Werner Henze and Elliott Carter
Two giants of twentieth century music left us within a week of each other a few weeks ago. Hans Werner Henze died in Dresden, on October 26; Carter followed him within a ten-day, as he passed away at his NY home on November 5th, at the youthful age of
There have been excellent obits written on both composers—I recommend the Guardian&#;s synthetic overview of Henze&#;s career, and New Music Box&#;s more personal remembrance of Carter by colleague and friend Joel Chadabe. For this blog I would rather spend a few words highlighting the tremendous amount of music that Carter and Henze gave to the guitar. Their contributions are different in scope and language. Carter&#;s include pieces from the two stylistic poles of his career: the neoclassical early years, and the ultramodernism of his maturity. Henze&#;s affair with the guitar was more sustained, as the composer kept incorporating the instrument in numerous chamber and stage works since its initial Holderin settings from Kammermusik . As a matter of fact, Henze should be celebrated as one of a handful of composers (others include Peter Maxwell Davies and Toru
A film documentary has been released in a package with the new recording of Royal Winter Music I and II
The much-awaited first recording of the manuscript version of Henze's Royal Winter Music has been released on CD and in print.
The composer's efforts to create a stage version of the television opera La Cubana date back to the early 90s of the 20th century. Now the magnificent result can be seen at the Staatsoper Berlin on the stage of Linden
In February , the Spanish National Orchestra and National Choir (OCNE) dedicated their annual festival "Carta Blanca" to Hans Werner Henze.
Here is an interview given by Hans Werner Henze during his first visit to Cuba on the occasion of the Cuban premiere of Das Floß der Medusa:
In , the composer experienced his first scandal at the Roman premiere of Boulevard Solitude. The claqueurs had been paid by someone else. And Igor Stravinsky, the greatest living composer at the time, was denied entry to the opera house, the Teatro Costanzi. Here is the excerpt from Henze's autobiography:
The catalogue of Sylvano Bussotti's correspondence () kept at the ‘NoMus’ Study and Research Centre on 20th and Contemporary Music in Mil
Hans Werner Henze was born in Germany in He began taking piano lessons at the age of five, and his first attempts at composing date from A member of the Hitler Youth, in which he was enrolled in at the age of twelve, he was mobilized in , then taken prisoner. He then worked as a pianist in a casino and an accompanist at the Bielefeld City Theatre. He returned to his music studies at Heidelberg University in , studying composition with Wolfgang Fortner at the Institute for Religious Music. He took part at the Darmstadt Courses from the beginning (), briefly exploring serialism with René Leibowitz. After two first jobs at the Constance Theater and the Hessisches Staatstheater Wiesbaden, and with a love life marred by the difficulties of living as a homosexual (he attempted suicide in ), Henze was offered a publishing contract with Schott, received his first prize (the Kunstpreis Robert Schuman in ) and met the poet Ingeborg Bachmann. In , he moved to Italy, where he would settle permanently. His first operas (including Boulevard Solitude) and ballets (including Undine, choreographed by Frederick Ashton) rapidly became part of the contemporary repertoire. Henze was awarded
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