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 J.P.E. 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 acquaintance 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 Horneman 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 C.F.E. 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, Ferdinand David, the music theoretician Moritz Hauptmann and the pianist affordable 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 experienced 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 Christianshavn, the present day J.P.E. Hartmann and H.S. 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 J.P.E. Hartmann and Niels W. Gade as his teachers in Horneman’s total production is therefore regrettably small. Although he composed composition, 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, P.A. 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 J.P.E. 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 said: “He possessed an inherent, effortless talent for falling foul of people, even those Berlioz. The latter came to regard him as a substitute for the son who had died shortly who wished him well, so that he sometimes fell into the comical quandary of being before this, and he too took a keen interest in the Dane. During the stay in Paris Hamerik unable to remember who was his enemy and who was not.” This also cost him his close composed busily and with the support of Berlioz mounted a concert of his own works friendship of many years with Grieg, because he felt inferior and looked down on, which at the Salle Pleyel in 1865, including extracts from the opera Tovelille. Two years later he was not the case. On the contrary, Grieg often stated that Horneman was a great source enjoyed great success with his Hymn for Peace during the World Exposition in Paris – a 6 7 giant work for soloists, choir and brass band, 12 harpists, organs and church bells as might be his successor – that was a matter for the administration of the Music Society well as a chorus of 700 singers! and the board, and Gade had not contacted them. When Berlioz died in 1869 Hamerik left Paris and travelled around Europe. During a Whatever had been agreed or not agreed, Hamerik travelled back to Baltimore, where stay in Italy, where his opera La Vendetta had been performed in Milan, he was contacted they were celebrating the centenary in 1895 of the birth of the founder of the Peabody by the American Consul, who offered him the post as director of the large Peabody Institute with a performance of Hamerik’s Requiem, opus 34, composed in 1886-1887. Institute in Baltimore, which had been founded in 1857 as the USA’s second music In 1898 they decided to discontinue the symphonic concerts, which prompted Asger conservatory. The conservatory also had a symphony orchestra with 80 musicians and a Hamerik to leave Baltimore. With his wife, the composer and pianist Margaret Williams, choir with 150 members, and in the building there was a concert hall with room for an he then travelled around Europe for some years performing his own works in the Euro- audience of 1500. pean music metropolises Vienna, Berlin, Dresden, Leipzig, Paris and Milan, before he The decision to leave and settle in the USA was hard to make, but it proved to be the definitively settled down in Copenhagen in 1900. During the last 23 years of his life he right choice, for Hamerik was to hold the post for 27 years, teaching music theory and composed little. On his return he had composed music for the ancient lur-horns of the conducting a number of symphonic concerts every year. He made a great effort to pro- National Museum, which were of great interest to his brother Angul Hammerich, but mote Scandinavian music by performing music by his Nordic contemporaries, but also by otherwise all he produced was Ballad with Variations, opus 41, which was performed in composing a number of Nordic Suites over a period of five years. He engaged several Scan- Copenhagen in 1913, and the reworking of the large Choral Symphony which had been dinavian teachers at the conservatory, which until then had been dominated by Germans. performed in Baltimore in the spring of 1898, just before he had left the city. But Hamerik did not forget Denmark, and although his music was not performed in Denmark, he was not forgotten in his native country either. In April 1890 Niels W. Besides the family relationship, C.F.E. Horneman and Asger Hamerik shared the fact Gade was in poor health for an extended period, so he consulted with the chairman of that their music was never really appreciated as it deserved in their native Denmark dur- the Music Society, J.P.E. Hartmann, on whether they should approach Hamerik to see if ing their own lifetimes. Horneman’s because his output was very small and because of he would like to “take up a new post – in smaller dimensions; – Fragen ist frei!”, as Gade his difficult character; Hamerik’s because his main activities took place abroad, and in wrote to Hamerik’s brother, the music historian Angul Hammerich – that is, whether As- his youth he fell under the influence of Berlioz and Wagner, no great recommendation ger Hamerik would like to come home and become Gade’s successor as the conductor of in the Copenhagen of the time. True, Horneman was rehabilitated in the very last years the Society. Gade and Hartmann agreed that it was worth a try. In the summer Hamerik of his life with the revival of Aladdin and the large Cantata for the University’s Memorial was back home in Denmark, when he was on his way to St. Petersburg, and took the Celebration for Christian IX, while Hamerik’s Requiem was received with enthusiasm opportunity to visit Gade in Fredensborg. What exactly was agreed between the two men with performances in Copenhagen in 1908; but later in the century their music was is unknown, but after Gade’s sudden death in December 1890 the situation was still considered old-fashioned. Only with the renewed interest in Late Romanticism has unresolved. Hartmann wrote to Angul Hammerich that the last he had heard about the Horneman’s and Hamerik’s music again seen the light of day. matter from Gade was: “We shall probably have to give up on Asger, since he is tied up Inger Sørensen er is a research librarian at the Danish Library of Education and has written over there and cannot get away”, and as the lawyer he was, he also pointed out that Gade the books “Horneman – en kunstnerslægt” (2011) and “Et venskab. C.F.E. Hornemans korre by no means had the authority to enter into binding agreements on his own about who spondance med Edvard Grieg” (2011). 8 9 The Performers C.F.E. Horneman & Asger Hamerik: Strygekvartetter af Inger Sørensen Since its debut in 1998 the Arild String Quartet has profiled itself among the leading Danish chamber ensembles and garnered great acclaim for its mature, elegant playing. The quartet consists of Tobias Durholm (first violin), Anna Zelianodjevo (second violin), C.F.E. Horneman (1840-1906) og Asger Hamerik (1843-1923) var fætre. Hornemans Rafael Altino (viola) and Ingemar Brantelid (cello) and they are all experienced chamber mor, Agnes Horneman, født Scheuermann, var søster til Hameriks mor, Julie Hamme musicians with leading positions in the Royal Danish Orchestra and in the Odense rich, og de to søstre var i øvrigt kusiner til J.P.E. Hartmanns kone Emma Hartmann, der Symphony Orchestra. The Arild String Quartet has toured in Brazil, Greece, Sweden and også var komponist og mor til komponisten Emil Hartmann. Så tætte var de familie Scotland. The recording of the quartets of the Danish Romantics C.F.E. Horneman and mæssige forbindelser i datidens københavnske musikmiljø, og alle var de af den Asger Hamerik is the Arild String Quartet’s first CD release. zinnske slægt, der har betydet så meget for dansk musikliv. Både Horneman og Hamerik voksede op i musikalske hjem, der altså havde tæt forbindelse. Derfor gjorde Horneman sine første musikdramatiske forsøg i tæt samarbejde med fætteren Asger, der skrev librettoen til hans første opera “Jernnøglen”, der handlede om røvere. Så vidt Horneman selv erindrede, var han dengang 12 à 13 år og fætteren følgelig 9 à 10 år! Den lille opera blev en stor succes, da den blev opført ved Asgers fars, teologiprofessoren Frederik Hammerichs fødselsdag. Nogle år senere skiltes Hornemans og Hameriks veje, og deres livsforløb blev meget forskellige.

C.F.E. Horneman I 1850’erne havde C.F.E. Hornemans far, komponisten og musikhandleren Emil Horne- man, tjent en del penge, dels som musikforlægger, dels gennem ejendomsinvesteringer sammen med sin anden kone. Derfor havde han råd til at opfylde sønnens brændende ønske om at få lov til at studere ved det berømte konservatorium i Leipizg, der var grundlagt i 1843 af Felix Mendelssohn Bartholdy, og hvor Niels W. Gade havde været lærer fra 1844 til 1848. Her fik han en række kendte navne i datidens tyske musikliv som lærere, såsom Gewandhaus-orkestrets koncertmester, Ferdinand David, musikteoretikeren Moritz Hauptmann og pianisten Ignaz Moscheles. Det var under studietiden i Leipzig, at Horneman komponerede sin strygekvartet i g-mol. Den blev indleveret som eksamensopgave til den afsluttende eksamen i 1860, og ifølge Hornemans egne oplysninger blev den opført ved en af de almindelige aftenunder- holdninger på konservatoriet, men det er der intet overleveret om i de officielle annaler.

10 11 Desværre måtte Horneman efter to års studier i 1860 vende tilbage til København, Først i 1875 synes Horneman at have fundet sin egen niche, da han oprettede et fordi hans far var på fallittens rand, så allerede fra 20-års alderen måtte Horneman kursus i nodelæsning, en disciplin han anså for at være et meget vigtigt led i musikalsk kæmpe en hård kamp for dagen og vejen primært gennem at undervise. Men for at dannelse. Her fik han så megen succes, at han i 1879 udvidede undervisningstilbud- bidrage til familiens understøttelse oprettede han også et nyt musikforlag med fade- det til også at omfatte andre fag, så at hans musikinstitut blev et regulært alternativ ren som bestyrer. Hertil skrev han en lang række klaverarrangementer under frem- til Københavns Musikkonservatorium, der lededes af Niels W. Gade, J.P.E. Hartmann medklingende pseudonymer som Pierre Lenoir og Victor Willy for at vise forlagets og H.S. Paulli. “internationale” tilsnit. Horneman gik med liv og sjæl op i sin musikpædagogiske gerning, men den optog Året efter sin hjemkomst komponerede Horneman også sin anden strygekvartet i så meget af hans tid, at han næsten ikke fik mulighed for at komponere, selv om han be- D‑dur, der allerede viser tydelige tegn på, at han ønskede at gå sine egne veje. tragtede det som sit egentlige kald. Det er derfor symptomatisk, at han arbejdede i hen I 1867 fik han tildelt Det Anckerske Legat med det formål at stifte bekendtskab med ved tyve år på sit hovedværk, operaen Aladdin, som han så efter en skandaløs uropførelse dramatisk musik rundt om i Europa. Den nøjagtige rejserute kendes ikke, men ifølge i 1888 i anledning af Christian IX’s 25-års regeringsjubilæum omarbejdede gennem Hornemans egne oplysninger var det i München, at han komponerede sin Ouverture gribende, inden den fjorten år senere blev genoptaget og fik sin fortjente succes. héroïque, og det var også her, han opholdt sig, da hans Aladdin-ouverture, som han Hornemans samlede produktion er derfor beklagelsesværdig lille. Selv om han har havde påbegyndt i 1864, blev opført ved en Gewandhaus-koncert i Leipzig under ledelse komponeret en del sange, ligger hovedvægten på scenemusik af forskellig art, bl.a. af Carl Reinecke. fordi hans datter blev skuespillerinde ved Dagmarteatret, og hans senere svigersøn, Livet igennem var Horneman fuld af ideer og initiativer, men desværre var det kun P.A. Rosenberg, var sceneinstruktør. Desuden har han komponeret flere lejligheds de færreste, der levede ret længe. Således stiftede han i 1865 sammen med bl.a. Edvard kantater, og derved er han kommet til at dele skæbne med J.P.E. Hartmann: at en del af Grieg, som han kendte fra Leipzig, musikforeningen “Euterpe” som et alternativ til Mu- deres kompositioner – uanset musikkens kvaliteter – ikke mere kan opføres, fordi de er sikforeningen, fordi de mente, at de unge nordiske komponister skulle have deres egen knyttet til forældede tekster. platform. Selv om der var stor interesse for foreningen, måtte man dog dreje nøglen om Horneman var en kontroversiel personlighed i det københavnske musikliv. Især i to år senere af økonomiske årsager, men allerede i efteråret 1868 var Horneman parat sine senere år følte han sig forfulgt af alt og alle i en grad, der antog sygelig karakter. med et nyt koncept: Lørdagssoiréer i det folkekære Casino. Her var det idéen at give et Som Det Kongelige Teaters chef, Einar Christiansen, udtalte: “Han besad en medfødt bredere publikum mulighed for at høre god musik for en billig penge, men desværre var Lethed til at lægge sig ud med Mennesker, selv med dem, der vilde ham det bedst, saa at indtægterne også denne gang væsentlig mindre end udgifterne, så også dette koncert- han stundom geraadede i den komiske Kasus ikke at kunne huske, hvem der var hans projekt gik snart sin død i møde. Uven og hvem ikke”. Det kostede ham også hans mangeårige nære venskab med Grieg, Endelig var Horneman i 1873 medstifter af Koncertforeningen, hvor han skulle være fordi han følte sig underlegen og set ned på, hvad der ikke var tilfældet. Tværtimod. dirigent alternerende med Otto Malling. Horneman var ikke den store dirigentbega- Grieg gav ofte udtryk for, at Horneman var en stor inspirationskilde for ham. Horneman velse, så selv om Koncertforeningen viste sig at være mere levedygtig end de to andre var en rigt begavet komponist, men han fik aldrig mulighed for at udfolde sine evner, koncertforetagender, så blev hans deltagelse kortvarig, da han allerede i 1876 meldte sig som de fortjente. ud efter uoverensstemmelser med sin meddirigent. 12 13 Asger Hamerik taktet af den amerikanske konsul, der tilbød ham at blive direktør for det store Peabody Da Horneman var rejst til Leipzig i 1857, troede Asger Hamerik endnu, at han skulle gå Institute i Baltimore, der var blevet grundlagt i 1857 som USA’s andet musikkonservato- i sin fars fodspor og studere teologi, men i 1859 begyndte han i stedet at studere musik- rium. Til konservatoriet var der også tilknyttet et symfoniorkester på 80 mand og et kor teori hos Gottfred Matthison-Hansen, der på det tidspunkt var organist ved Frederiks med 150 medlemmer, og i bygningen fandtes en koncertsal med plads til 1500 tilhørere. Tyske Kirke på Christianshavn, den nuværende Christians Kirke. Det var samme år, Beslutningen om at bryde op og slå sig ned i USA var svær at træffe, men det viste sig at han skrev sin Quartetto i a-mol (endnu under sit oprindelige navn Hammerich), en at være det rigtige valg, for Hamerik kom til at bestride posten i 27 år, hvor han både ejendommelig sats, der veksler mellem et stærkt rytmisk motiv og mere lyriske passager. underviste i musikteori og dirigerede en række symfonikoncerter hvert år. Han gjorde Om det var tænkt som en enkeltstående sats, eller Hamerik havde tænkt sig flere satser en stor indsats for skandinavisk musik ved at opføre musik af sine nordiske samtidige, er uvist. Året efter arrangerede han sin fætters g-mol strygekvartet for firhændigt klaver, men også ved over en periode på fem år selv at komponere en række Nordiske Suiter. men komponerede også en symfoni, der dog er gået tabt. Desuden ansatte han flere skandinaviske lærere ved konservatoriet, der indtil da havde Hamerik fik også sin slægtning J.P.E. Hartmann og Niels W. Gade som læremestre i været domineret af tyskere. komposition, og det var dem, der opfordrede ham til i lighed med fætteren at studere Men Hamerik glemte ikke Danmark, og selv om hans musik ikke blev opført i i udlandet. I første omgang rejste han til London og derfra videre til Berlin, hvor han Danmark, var han dog heller ikke helt glemt i sit fødeland. I april 1890 følte Niels W. studerede klaver og direktion hos den berømte pianist og dirigent Hans von Bülow, men Gade sig i længere tid dårlig og rådslog derfor med Musikforeningens formand, J.P.E. måske befandt han sig ikke særlig godt der, for mellem de mange kompositioner fra Hartmann, om de skulle rette henvendelse til Hamerik, om han kunne tænke sig at de år, er der også en med titlen “Hjemvé”, komponeret og dateret 1862. I Berlin lærte “begynde en ny Stilling – og i mindre Dimensioner; – Fragen ist frei!”, som Gade skrev Hamerik Bülows svigerfar Franz Liszt at kende og gennem hans kone Cosima også til Hameriks bror, musikhistorikeren Angul Hammerich, det ville altså sige, om Asger Richard Wagner, med hvem hun i de år indledte et forhold, og som hun senere giftede Hamerik kunne tænke sig at komme hjem og blive Gades efterfølger som foreningens sig med. Wagner interesserede sig for den unge danske komponist og ønskede, at dirigent. Gade og Hartmann var enige om, at det var et forsøg værd. Om sommeren var Hamerik skulle besøge ham i München, men da krigen mellem Danmark og Preussen Hamerik hjemme i Danmark, da han skulle videre til St. Petersborg, og benyttede lejlig- brød ud i 1864, forlod Hamerik Tyskland og rejste videre til Paris, hvor han kom ind i heden til at besøge Gade i Fredensborg. Hvad der præcist blev aftalt mellem de to mænd kredsen omkring Hector Berlioz. Denne kom til at betragte ham som en erstatning for står hen i det uvisse, men efter Gades pludselige død i december 1890 var situationen den søn, der var død kort forinden, og han interesserede sig levende for ham. Under uafklaret. Hartmann skrev til Angul Hammerich, at det sidste han havde hørt fra Gade pariseropholdet komponerede Hamerik flittigt og gennemførte med støtte af Berlioz en om sagen var: “Asger kommer vi nok til at opgive, da han er bunden derovre og ikke kan koncert med egne værker i Salle Pleyel i 1865, deriblandt uddrag af operaen Tovelille. To komme løs”, og som den jurist han var, påpegede han også, at Gade slet ikke havde haft år senere fik han stor succes med sin Fredshymne under Verdensudstillingen i Paris. Et bemyndigelse til alene at indgå bindende aftaler om, hvem der eventuelt skulle være gigantisk værk for soli, kor og harmoniorkester, 12 harpenister, orgler og kirkeklokker hans efterfølger, det var et anliggende for Musikforeningens administration og repræ- samt et kor på 700 sangere! sentantskab, og dem havde Gade ikke kontaktet. Ved Berlioz’ død i 1869 forlod Hamerik Paris og rejste rundt i Europa. Under et Hvad der nu end var aftalt eller ikke aftalt, så rejste Hamerik tilbage til Baltimore, hvor ophold i Italien, hvor han havde fået opført sin opera La Vendetta i Milano, blev han kon- man i 1895 fejrede 100-året for Peabody Institute’s grundlæggers fødsel med en opførelse 14 15 af Hameriks Requiem, opus 34, komponeret 1886-1887. In 1898 besluttede man at De medvirkende nedlægge symfonikoncerterne, hvad der fik Asger Hamerik til at forlade Baltimore. Sam- Arild Kvartetten har siden sin debut i 2008 markeret sig blandt de førende danske men med sin kone, komponisten og pianisten Margaret Williams, rejste han derefter i kammerensembler og høstet mange roser for sit modne og noble spil. Kvartetten nogle år rundt i Europa, hvor han opførte egne værker i de europæiske musikmetropoler består af Tobias Durholm (violin og primarius), Anna Zelianodjevo (violin), Rafael Wien, Berlin, Dresden, Leipzig, Paris og Milano, inden han i 1900 definitivt slog sig ned Altino (bratsch) samt Ingemar Brantelid (cello), der alle er erfarne kammermusikere i København. I de sidste 23 år af sit liv komponerede han kun lidt. Ved sin hjemkomst med ledende stillinger i Det Kgl. Kapel og i Odense Symfoniorkester. Arild Kvartetten havde han komponeret musik for Nationalmuseets lurer, der interesserede hans bror har turneret i Brasilien, Grækenland, Sverige og Skotland. Indspilningen af de danske Angul Hammerich meget, men ellers blev det kun til Folkevise med Variationer, opus 41, romantikere C.F.E. Hornemans og Asger Hameriks kvartetter er Arild Kvartettens første der blev opført i København i 1913, og omarbejdelsen af den store Kor-Symfoni , som var CD-udgivelse. blevet opført i Baltimore i foråret 1898, umiddelbart inden han havde forladt byen.

Udover slægtskabet havde C.F.E. Horneman og Asger Hamerik det til fælles, at deres musik aldrig blev værdsat efter fortjeneste i deres hjemland i deres egen levetid. Horne mans, fordi hans produktion var meget lille og på grund af hans egen vanskelige karakter, Hameriks, fordi hans hovedvirke kom til at ligge i udlandet, og han i sin ungdom var under indflydelse af Berlioz og Wagner, hvad der ikke faldt i god jord i København. Horneman fik godt nok oprejsning i de allersidste år af sit liv med genopførelsen af Aladdin og den store Kantate til Universitetets Mindefest for Christian IX, mens Hameriks Requiem blev modtaget med begejstring ved opførelser i København i 1908, men senere i århundredet blev deres musik betragtet som gammeldags. Først med den fornyede interesse for senromantikken er Hornemans og Hameriks musik atter kommer frem i lyset. Inger Sørensen er forskningsbibliotekar ved Danmarks Pædagogiske Bibliotek og har skrevet bøgerne: “Horneman – en kunstnerslægt” (2011) og “Et venskab. C.F.E. Hornemans korre spondance med Edvard Grieg” (2011).

16 17 d Recorded at Takkelloftet, Operaen, Copenhagen, on 6-9 June 2011 Recording producer: Aksel Trige Sound engineer: Christian Skriver Editing and mastering: Aksel Trige 2013 Dacapo Records, Copenhagen © 2013 Dacapo Records, Copenhagen Liner notes: Inger Sørensen English translation: James Manley Proofreader: Svend Ravnkilde Photo p. 18: © Michael Bennati Schou Graphic design: Denise Burt, www.elevator-design.dk Dacapo Records acknowledge, with gratitude, the financial support of Augustinus Fonden, Weyse Fonden, Oticon Fonden, Solistforeningen af 1921 and Dansk Musikerforbund

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Arild STRING Quartet Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards. 18 19