Roaming the Romantic Period
tue 22 sep 2026 10:00 hrs
This programme features choral music by three composers: two Germans and one Austrian.
The nineteenth century was the century of the choir. Choirs of all shapes and sizes were founded throughout Europe, most of them made up of amateurs. Several composers worked as choral conductors themselves, including Robert Schumann and Johannes Brahms. They also wrote works for choir. In this programme, we hear choral works by three lesser-known composers.
The first is Moritz Hauptmann (1792—1868), who was born in Dresden and built a career as a violinist after studying with Louis Spohr. He also established a reputation as a composer and theorist. In 1842, he was appointed Thomaskantor in Leipzig, a position he held until his death. In 1850, he was one of the founders of the Bach-Gesellschaft, which aimed to publish a complete edition of Bach’s works. Hauptmann edited the first three volumes of the edition. Most of his own output consists of motets and sacred songs. For the songs we hear here, he set texts by, among others, Goethe.
The second composer is Peter Cornelius (1824—1874), who was born in Mainz and was active not only as a composer but also as an actor, music critic and poet. In Weimar, he was part of the so-called Liszt circle. Liszt was also the conductor of the premiere of Cornelius’s opera Der Barbier von Bagdad. Later, in Vienna, Cornelius became friends with Brahms and Wagner. His best-known work today is Die Könige, from the Weihnachtslieder, Op. 8, which is sung throughout the world during Advent and Christmas, usually in an English translation. We hear, among other works, Liebe, Op. 18, a cycle of three songs. The texts of the other songs come from poets including Goethe, Heine, Uhland and Rückert.
The third and final composer in this programme is Heinrich von Herzogenberg (1843—1900). He was born in Graz, Austria, into a family of French aristocratic origin. His study of Bach’s works led him to develop a deep appreciation of the classical tradition and become an admirer of Brahms. In 1872, he settled in Leipzig, where he founded the Bach-Verein with Philipp Spitta. In 1885, he became a composition teacher in Berlin. For his Sechs Lieder, Op. 10, von Herzogenberg used texts by Goethe, Mörike, Uhland and Eichendorff, as well as several folk songs.
Moritz Hauptmann (1792–1868)
Im Sommer, Op. 25 No. 1 (Jacobi)
Wandrers Nachtlied, Op. 25 No. 2 (Goethe)
Mailied, Op. 25 No. 3 (Goethe)
Frühzeitiger Frühling, Op. 25 No. 5 (Goethe)
Frühlingsliebe, Op. 32 No. 3 (Keil)
Der Lärchenbaum, Op. 47 No. 3 (Polish folk song)
Bach-Chor Hagen, conducted by Franz-Leo Matzerath
Recording: “Chormusik der frühen Romantik” – Ars Produktion FCD 368 353, 1995
Peter Cornelius (1824–1874)
Liebe, Op. 18 (Silesius)
(Liebe, dir ergeb’ ich mich; Ich will dich lieben, meine Krone!; Thron der Liebe, Stern der Güte!)
So weich und warm (Heyse)
Trost in Tränen, Op. 14 (Goethe)
Die Vätergruft, Op. 19 (Uhland)
An den Sturmwind, Op. 11 No. 2 (Rückert)
Der Tod, das ist die kühle Nacht, Op. 11 No. 1 (Heine)
Die drei Frühlingstage, Op. 11 No. 3 (Rückert)
Andreas Lust, tenor; Carl-Heinz Müller, baritone
Norddeutscher Figuralchor, conducted by Jörg Straube
Recording: “Chorwerke” – Thorofon CTH 2033
Heinrich von Herzogenberg (1843–1900)
Sechs Lieder, Op. 10
Frühling: Er ist’s (Mörike)
Entlaubet ist der Walde (folk song)
Hüt Du Dich (folk song)
Nachtgesang (Goethe)
Der Kehraus (Eichendorff)
Frühlingsglaube (Uhland)
Rheinische Kantorei, conducted by Hermann Max
Recording: “An Mutter Natur – Works for Mixed Choir a cappella” – CPO 777 728-2
Addition
Johannes Brahms (1833–1897)
Intermezzo in A minor, Op. 118 No. 1
Gwendolyn Mok, fortepiano [Érard, 1868]
Recording: “Late Piano Works, Opp. 116–119” – MSR Classics MSR 1420, 2013
Image: Peter Cornelius (Hyperion Records)
