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C.F.E. Horneman& Asger Hamerik

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C.F.E. Horneman& Asger Hamerik C.F.E. HornEman asgEr HamErik String Quartets & Arild String Quartet C.F.E. HornEman asgEr HamErik C.F.E. HORNEMAN (1840-1906) & String Quartet No. 2 in D major (1861) ������������������������������ 21:36 String Quartets Arild String Quartet 1 � I�Allegro�������������������������������������������������������������������� 5:39 2 � II�Adagio������������������������������������������������������������������ 8:07 3 � III�Minuet:�Allegro��������������������������������������������������������� 2:40 arild string Quartet 4 � IV�Finale:�Allegro ���������������������������������������������������������� 5:10 Tobias Durholm, 1st violin Anna Zelianodjevo, 2nd violin ASGER HAMERIK (1843-1923) Rafael Altino, viola Quartetto (1859) Ingemar Brantelid, cello 5 � Allegro�energico����������������������������������������������������������� 6:16 C.F.E. HORNEMAN String Quartet No. 1 in G minor (1859). 25:02 6 � I�Allegro�vivace�������������������������������������������������������������� 7:25 7 � II�Andante������������������������������������������������������������������ 7:26 8 � III�Scherzo:�Allegro�molto���������������������������������������������������� 4:33 9 � IV�Finale:�Allegro�molto ���������������������������������������������������� 5:36 Total 52:55 Dacapo is supported by the Danish Arts Council Committee for Music C.F.E. HornEman & asgEr HamErik: string QuartEts by Inger Sørensen and�according�to�Horneman’s�own�account�it�was�performed�at�one�of�the�ordinary� evening�entertainments�at�the�Conservatory,�but�no�record�of�this�has�survived�in�the� official�annals C.F.E. Horneman (1840-1906)�and�Asger Hamerik (1843-1923)�were�cousins� Unfortunately,�after�two�years�of�study,�Horneman�had�to�return�to�Copenhagen� Horneman’s�mother,�Agnes�Horneman,�née�Scheuermann,�was�the�sister�of�Hamerik’s� in�1860,�because�his�father�was�on�the�verge�of�bankruptcy,�so�from�the�age�of�20� mother,�Julie�Hammerich,�and�the�two�sisters�were�also�cousins�of�the�composer�JPE� Horneman�had�to�struggle�hard�to�earn�a�living,�primarily�by�teaching�But�in�order�to� Hartmann’s�wife�Emma�Hartmann,�who�was�herself�a�composer�and�the�mother�of�the� contribute�to�the�maintenance�of�the�family�he�also�started�a�new�music�publishing� composer�Emil�Hartmann�That�is�how�close�the�family�connections�were�in�the�Copen- house�with�his�father�as�manager�For�this�he�wrote�a�long�succession�of�piano�arrange- hagen�music�milieu�of�the�time,�and�they�were�all�members�of�the�Zinn�clan�that�has� ments�under�foreign-sounding�pseudonyms�like�Pierre�Lenoir�and�Victor�Willy�to�show� meant�so�much�for�Danish�musical�life�Horneman�and�Hamerik�both�grew�up�in�musi- the�‘international’�approach�of�the�publisher cal�homes�which�were�thus�closely�connected�So�Horneman�made�his�first�attempts� The�year�after�his�return�Horneman�also�composed�his�second�String Quartet in D at�music�drama�in�close�collaboration�with�his�cousin�Asger,�who�wrote�the�libretto�for� major,�which�already�shows�clear�signs�that�he�wanted�to�go�his�own�way Horneman’s�first�opera,�The Iron Key,�which�was�about�robbers�As�far�as�Horneman� In�1867�he�was�awarded�the�grant�Det�Anckerske�Legat,�enabling�him�to�travel�and� himself�remembered,�he�was�then�12-13�years�old�and�his�cousin�was�thus�9-10�years� make�the�acquain�tance�of�dramatic�music�all�over�Europe�We�do�not�know�his�exact� old!�The�little�opera�was�a�big�success�when�it�was�performed�on�the�birthday�of�Asger’s� travel�route,�but�according�to�Horneman’s�own�information�it�was�in�Munich�that�he� father,�the�theology�professor�Frederik�Hammerich�A�few�years�later�Horne�man�and� composed�his�Ouverture héroïque,�and�it�was�there�too�that�he�was�staying�when�his�Alad­ Hamerik�parted�company,�and�their�lives�went�very�different�ways din overture,�which�he�had�begun�in�1864,�was�performed�at�a�Gewandhaus�concert�in� Leipzig�under�the�baton�of�Carl�Reinecke C.F.E. Horneman Throughout�life�Horneman�was�full�of�ideas�and�initiatives,�but�unfortunately�few� In�the�1850s�CFE�Horneman’s�father,�the�composer�and�music�dealer�Emil�Horneman,� of�them�lived�very�long�For�example�in�1865,�with�among�others�Edvard�Grieg,�whom� earned�a�good�deal�of�money,�partly�as�a�music�publisher,�partly�through�property� he�knew�from�Leipzig,�he�formed�the�music�society�“Euterpe”�as�an�alternative�to�the� investments�with�his�second�wife�So�he�could�afford�to�fulfil�his�son’s�fervent�wish�to� Copenhagen�Music�Society,�because�they�thought�that�the�young�Nordic�composers� be�allowed�to�study�at�the�famous�Conservatory�in�Leipzig,�which�had�been�founded�in� should�have�their�own�platform�Although�there�was�great�interest�in�the�society,�it�had� 1843�by�Felix�Mendelssohn�Bartholdy,�and�where�Niels�W�Gade�had�been�a�teacher�from� to�close�its�doors�two�years�later�for�financial�reasons;�but�as�early�as�the�autumn�of�1868� 1844�until�1848�There�he�had�a�number�of�famous�names�from�the�German�musical� Horneman�was�ready�with�a�new�concept:�Saturday�soirées�in�the�popular�Casino�estab- establishment�of�the�time�as�teachers,�such�as�the�Gewandhaus�Orchestra’s�concert- lishment�Now�the�idea�was�to�give�a�wider�public�the�opportunity�to�hear�good�music�at� master,�Fer�di�nand�David,�the�music�theoretician�Moritz�Hauptmann�and�the�pianist� afford�able�prices;�this�time�too,�unfortunately,�the�income�was�substantially�less�than� Ignaz�Moscheles the�expenses,�so�this�concert�project�also�soon�went�to�the�wall It�was�during�his�studies�in�Leipzig�that�Horneman�composed�his�String Quar­ Finally,�in�1873,�Horneman�co-founded�the�concert�society�“Koncertforeningen”,� tet in G minor. It�was�submitted�as�an�examination�work�for�the�final�exam�in�1860,� where�he�was�to�conduct�alternately�with�Otto�Malling�Horneman�was�no�great�conduct- 4 5 ing�talent,�so�even�though�the�concert�society�proved�more�viable�than�the�other�two� of�inspiration�to�him�Horneman�was�a�composer�of�rich�talents,�but�he�never�had�the� concert�enterprises,�his�participation�was�short-lived,�since�by�1876�he�had�taken�his� opportunity�to�unfold�his�abilities�as�they�deserved leave�after�disagreements�with�his�co-conductor Not�until�1875�does�Horneman�seem�to�have�found�his�own�niche,�when�he�started�up� Asger Hamerik a�course�in�music-reading,�a�discipline�he�considered�a�very�important�element�in�musi- At�the�time�when�Horneman�had�gone�off�to�Leipzig�in�1857,�Asger�Hamerik�still� cal�cultivation�He�expe�rienced�such�great�success�with�this�that�in�1879�he�expanded�the� thought�he�would�follow�in�his�father’s�footsteps�and�study�theology,�but�in�1859�he� educational�options�to�include�other�subjects,�so�that�his�music�institute�became�a�true� began�instead�to�study�music�theory�with�Gottfred�Matthison-Hansen,�who�was�then� alternative�to�the�Copenhagen�Academy�of�Music,�which�was�headed�by�Niels�W�Gade,� the�organist�at�the�German�church�Frederiks�Kirke�in�Chris�tians�havn,�the�present�day� JPE�Hartmann�and�HS�Paulli Christians�Kirke�This�was�the�same�year�as�he�wrote�his�Quartetto in A minor (still�under� Horneman�put�heart�and�soul�into�his�music-teaching�career,�but�it�took�up�so�much� his�original�name�Hammerich),�a�distinctive�piece�that�alternates�between�a�strongly� of�his�time�that�he�hardly�had�the�opportunity�to�compose,�although�he�regarded�this� rhythmic�theme�and�more�lyrical�passages�Whether�it�was�intended�as�an�independent� as�his�true�vocation�It�is�therefore�symptomatic�that�he�toiled�for�almost�twenty�years� piece�or�Hamerik�had�conceived�it�in�several�movements,�we�do�not�know�The�next�year� on�his�principal�work,�the�opera�Aladdin,�which�he�then,�after�a�scandalous�premiere�in� he�arranged�his�cousin’s�G�minor�string�quartet�for�piano�duet,�but�also�composed�a� 1888�on�the�occasion�of�Christian�IX’s�25th�jubilee,�reworked�radically�Fourteen�years� symphony�which�has�however�been�lost later�it�was�taken�up�again�and�enjoyed�a�deserved�success Hamerik�also�had�his�relative�JPE�Hartmann�and�Niels�W�Gade�as�his�teachers�in� Horneman’s�total�production�is�therefore�regrettably�small�Although�he�composed� compo�sition,�and�it�was�they�who�urged�him�to�study�abroad�like�his�cousin�At�first�he� a�number�of�songs,�the�main�emphasis�is�on�stage�music�of�various�kinds,�among�other� went�to�London�and�from�there�on�to�Berlin,�where�he�studied�piano�and�conducting� reasons�because�his�daughter�became�an�actress�at�the�Dagmar�Theatre�and�his�later� with�the�famous�pianist�and�conductor�Hans�von�Bülow;�but�perhaps�he�was�not�very� son-in-law,�PA�Rosenberg,�was�a�stage�director�In�addition�he�composed�several�oc- comfortable�there,�for�among�the�many�compositions�from�those�years�there�is�also� casional�cantatas,�and�thus�came�to�share�the�fate�of�JPE�Hartmann:�that�many�of�their� one�entitled�Homesickness,�composed�and�dated�1862�In�Berlin�Hamerik�got�to�know� compositions�–�regardless�of�the�qualities�of�the�music�–�can�no�longer�be�performed,� Bülow’s�father-in-law�Franz�Liszt,�and�through�his�wife�Cosima�also�Richard�Wagner,� because�they�are�associated�with�texts�that�are�no�longer�relevant with�whom�she�embarked�on�an�affair�in�those�years�and�whom�she�later�married�Wag- Horneman�was�a�controversial�personality�in�Copenhagen�musical�life�Especially�in� ner�took�an�interest�in�the�young�Danish�composer�and�wanted�Hamerik�to�visit�him�in� his�later�years,�he�felt�persecuted�by�everything�and�everyone�to�a�degree�that�took�on�a� Munich,�but�when�the�war�between�Denmark�and�Prussia�broke�out�in�1864,�Hamerik� pathological�character�As�the�director�of�the�Royal�Danish�Theatre,�Einar�Christiansen,� left�Germany�and�travelled�on�to�Paris,�where�he�became�part�of�the�circle�around�Hector�
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