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Henri Vieuxtemps

 
 
Columbia Encyclopedia: Henri Vieuxtemps
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Vieuxtemps, Henri (äNrē' vyötäN'), 1820-81, Belgian violinist and composer. He toured Europe and the United States and taught in St. Petersburg (1846-51), where he was also court violinist, and at the Brussels Conservatory (1871-73). His six violin concertos are still in the standard repertory.
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Artist: Henri Vieuxtemps
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Henri Vieuxtemps
  • Period: Romantic (1820-1869)
  • Born: February 17, 1820 in Verviers, Belgium
  • Died: June 06, 1881 in Mustapha, Algiers, Algeria
  • Genres: Concerto

Biography

Henri Vieuxtemps was a child prodigy and one of the most important composers of violin music in the latter nineteenth century. He was an innovator within the Romantic movement, though he was not always successful in that role. Vieuxtemps' melodies are generally attractive, and if they are a bit saccharine at times, they nevertheless have strong appeal. Almost all his music involves the violin, whether in orchestral, chamber, or solo genres. He may have left an equally lasting legacy in the realm of violin performance, having been central to the development of the Russian School and influential throughout Europe, as well.

Henri Vieuxtemps was musically precocious, taking his first violin lessons at the age of four from his father, an amateur violinist, who by trade was a weaver. He later studied with Lecloux-Dejonc and, incredibly, performed a violin concerto by Rode at age six! He went on concert tour at eight years of age, appearing in Liege, Brussels, and other nearby cities. He caught the notice of Charles de Bériot, who subsequently took him on as a student. In 1829, de Bériot introduced him to Parisian audiences, who were strongly enthusiastic at the youth's debut concert.

Bériot's marriage and concert obligations forced him to end his private lessons with Vieuxtemps in 1831. Young Henri then traveled to Brussels and worked with Pauline Garcia, Bériot's sister-in-law. While she did not instruct him, she was of great assistance in the performance of duets. Two years later Vieuxtemps went on a concert tour of Germany and Austria, accompanied by his father. He performed Beethoven's violin concerto in Vienna, and decided to settle there temporarily and take instruction in composition from Sechter. At his London debut in mid-1834, he met Paganini, and the two were mutually impressed. Vieuxtemps then went on to study composition in Paris with Antonin Reicha.

By 1836, Vieuxtemps he had composed his first violin concerto, published later as No. 2, in F sharp. Further concert tours ensued, including two to Russia, in 1837 and 1840, respectively. In between, he suffered from an illness that required a long period of recuperation. During his last tour of Russia, Vieuxtemps wrote his Second Violin Concerto, which received much acclaim, especially in Paris.

Vieuxtemps made his first of three concert tours of the United States in 1843-1844. In the latter year, he married Viennese pianist Josephine Eder. Having had much success in Russia, he accepted a post in St. Petersburg as Court violinist in 1846. During this period he composed his most popular violin concerto, No. 4 in D minor, Op. 31.

He left Russia in 1851 and resumed his career as a virtuoso performer. His second American tour occurred in 1857-1858, Vieuxtemps again achieving great success with critics and public alike. His Fifth Violin Concerto came in 1861. The composer and his wife and family moved to Paris five years later, owing to the unstable political situation in Frankfurt, where they had been living since 1855. His wife died suddenly in 1868, after which he resumed foreign concert tours for a time. He took a teaching post at the Brussels Conservatory in 1871, where his students included Eugène Ysaÿe, and two years later suffered a stroke resulting in paralysis of his right arm. This episode effectively ended his career as a soloist, though he eventually regained enough ability to perform chamber music in private concerts. He was also able to compose in his last decade. In 1879, he moved to Algeria where his daughter lived. His inability to play with proficiency in his final years was a source of great frustration for him. ~ Robert Cummings, All Music Guide
Wikipedia: Henri Vieuxtemps
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Home > Library > Miscellaneous > Wikipedia
Henri Vieuxtemps

Henri François Joseph Vieuxtemps (February 17, 1820 – June 6, 1881) was a Belgian composer and violinist. He occupies an important place in the history of the violin as a prominent exponent of the Franco-Belgian violin school during the mid 1800s.

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Biography

Vieuxtemps was born in Verviers, Belgium, son of a weaver and amateur violinist and violin-maker. He received his first violin instruction from his father and a local teacher and gave his first public performance at the age of six, playing a concerto by Pierre Rode. Soon he was giving concerts in various surrounding cities, including Liège and Brussels where he met the violinist Charles de Bériot with whom he began studies. In 1829, Bériot took him to Paris where he made a successful concert debut, again with a concerto by Rode, but he had to return the next year because of the July Revolution and Bériot's marriage to his mistress Maria Malibran and departure on concert tour. Back in Brussels, Vieuxtemps continued developing his violin technique on his own, his musicianship deepened by playing with the deeply musical mezzo-soprano Pauline Viardot, Malibran's sister. A tour of Germany in 1833 brought friendship with Louis Spohr and with Schumann who compared the boy to Paganini. During the following decade he visited various European cities, impressing with his virtuosity not only audiences but also famous musicians such as Berlioz and Paganini himself, whom he encountered at his London debut in 1834.

Memorial in Verviers

But he had aspirations of becoming a composer as well and, having already taken lessons with the respected Simon Sechter in Vienna, spent the winter of 1835–1836 studying composition with Antoine Reicha in Paris. His first violin concerto, later published as Concerto No. 2, dates from this time.

Vieuxtemps's Violin Concerto No. 1 was acclaimed when he played it in Saint Petersburg on his second visit in 1840 and in Paris the next year; Berlioz found it "a magnificent symphony for violin and orchestra". Based in Paris, Vieuxtemps continued to compose with great success and perform throughout Europe. With the pianist Sigismond Thalberg, he concertized in the United States. He was particularly admired in Russia where he resided permanently between 1846 and 1851 as a court musician of Nicholas I and soloist in the Imperial Theatre. He founded the violin school of the Saint Petersburg Conservatory and guided the formation of a "Russian school" of violinists. In 1871, he returned to his native country to accept a professorship at the Brussels Conservatory, where his most illustrious pupil was Eugène Ysaÿe.

A paralytic stroke disabled his right arm two years later and he moved to Paris again, his violin class being taken over by Henryk Wieniawski. Although he seemed to be gradually recovering from his stroke, another one in 1879 ended his career as a violinist for good. He spent his last years in a sanatorium in Mustapha Supérieur, Algeria, where his daughter and her husband had settled, and continued to compose, though frustrated by his inability to play or, far from the musical centres of Europe, even hear his music played by others.

The bulk of Vieuxtemps's compositions were for his own instrument, including seven concertos and a variety of short salon pieces, though towards the end of his life, when he had to give up the violin, he often turned to other instruments, writing two cello concertos, a viola sonata and three string quartets among other things. It is because of his seven violin concertos, however, that Vieuxtemps is generally known to audiences and musicians around the world. Through his own concertos and his advocacy of the concertos of Beethoven (he also played Beethoven's sonatas and string quartets) and Mendelssohn, he added a more classical dimension to the violin repertoire which had tended towards technically brilliant but often shallow variations and fantasies on popular operatic themes. Vieuxtemps never indulged in sheer virtuosity for its own sake like some of his predecessors.

List of works by genre

Violin and orchestra

  • Violin Concerto No. 1 in E Major, Op.10 (1840)
  • Violin Concerto No. 2 in F♯ Minor “Sauret”, Op.19 (1836)
  • Violin Concerto No. 3 in A Major, Op.25 (1844)
  • Violin Concerto No. 4 in D Minor, Op. 31 (c.1850)
  • Violin Concerto No. 5 in A Minor “Le Grétry”, Op.37 (1861)
  • Violin Concerto No. 6 in G Major, Op.47 (1865) (Op.1 posthumous)
  • Violin Concerto No. 7 in A Minor, Op.49 “À Jenő Hubay” (1870) (Op.3 posthumous)
  • Ballade et polonaise, Op.38 (c.1858)
  • Fantasia appassionata, Op.35 (c.1860)
  • Fantaisie-caprice, Op.11 (1838)
  • Hommage à Paganini, Op.9 (1845?)
  • Norma, Fantasia on the G String, Op.18 (c.1845)

Other orchestral

  • Cello Concerto No. 1 in A Minor, Op.46 (1877)
  • Cello Concerto No. 2 in B Minor, Op.50 (1879) (Op.4 posthumous)
  • Duo brilliant in A Major for Violin, Cello (or Viola) and Orchestra or Piano, Op.39 (1864?)
  • Overture (with the Belgian National Anthem) for Chorus and Orchestra, Op.41 (1863)

Violin and piano

  • Air varié in D Major (on a Theme from Bellini’s Il Pirata), Op.6 (c.1845)
  • Allegro de concert, Op.59 (Op.13 posthumous)
  • Bouquet américain – 6 Variations sur mélodies populaires, Op.33 (c.1855)
  • Chansons russes (1854?)
  • 6 Divertissements d’amateurs (on Russian Themes), Op.24 (c.1850)
  • Duo concertante No. 1 on Themes from Auber’s Le duc d’Olonne, Op.13 (c.1845)
  • Duo concertante No. 2 on Themes from Weber’s Oberon, Op.14 (c.1845)
  • Duo concertante No. 3 on Themes from Mozart’s Don Giovanni, Op.20 (c.1845)
  • Duo concertante No. 4 on Themes from Meyerbeer’s L’étoile du nord, Op.23 (c.1845)
  • Duo concertante No. 5 on Themes from Meyerbeer’s Le prophète, Op.26 (c.1850)
  • Duos concertantes Nos. 6-12
  • Élégie in F Minor, Op.30 (?1854)
  • Fantaisie slave, Op.27 (c.1850)
  • Fantaisies brilliantes, Op.54 (Op.8 posthumous)
  • Fantasia on Themes from Gounod’s Faust (1870)
  • 3 Fantasias on Themes from Verdi’s I lombardi, Ernani and Luisa Miller, Op. 29 (1854?)
  • 3 Feuilles d’album, Op.40 (1864)
  • Greeting to America, Op.56
  • Impressions et réminiscences de Pologne, Op. 57 (Op.11 posthumous)
  • Introduction et Rondo in E Major, Op.28 (c.1850)
  • Les arpéges (Caprice) in D Major for Violin and Piano or Orchestra (with Cello), Op.15 (c.1845)
  • Ma marche funèbre, Op. 58 (Op.12 posthumous)
  • 3 Märchen, Op.34 (1859)
  • 6 Morceaux de salon, Op.22 (1847?)
  • 3 Morceaux de salon, Op.32 (c.1850)
  • Old England, Caprice on 16th- and 17th-Century English Airs, Op.42 (1866)
  • 3 Romances sans paroles, Op.7 (1841)
  • 4 Romances sans paroles, Op.8 (c.1845)
  • Salut à América for Violin and Piano, Op.56 (Op.10 posthumous)
  • Souvenir d’Amérique – Variations burlesques sur Yankee Doodle, Op.17 (1844)
  • Souvenir de Russie (Fantasie), Op.21 (c.1845)
  • Suite in B Minor, Op.43 (1871)
  • Violin Sonata in D Major, Op.12 (c.1845)
  • Voies de cœurs, 6 pièces, Op.53 (Op.7 posthumous)
  • Voix intimes, 6 pensées melodiques, Op. 45 (1876)

Violin solo

  • Divertissement
  • 36 Études, Op.48 (Op.2 posthumous)
  • 6 Études de concert, Op.16 (c.1845)
  • Cadenzas to Beethoven’s Violin Concerto
  • 6 Morceaux suivis d’un capriccio, Op.61 (Op.15 posthumous)

Viola

  • Capriccio in C Minor “Hommage à Paganini” for Viola Solo, Op.55 (Op.9 posthumous)
  • Élégie in F Minor for Viola (or Cello) and Piano, Op.30 (?1854)
  • Étude in C Minor for Viola and Piano
  • Sonate inachevée in B♭ Major (Allegro and Scherzo) for Viola and Piano, Op.60 (Op.14 posthumous)
  • Viola Sonata in B♭ Major, Op.36 (1863)

Chamber

  • Félicien-César David’s Le Desert: La Nuit (1844)
  • Mozart Clarinet Quintet
  • Piano Trio on Themes from Meyerbeer’s L’Africaine
  • String Quartet No. 1 in E Minor, Op.44 (1871)
  • String Quartet No. 2 in C Major, Op. 51 (Op.5 posthumous)
  • String Quartet No. 3 in B♭ Major, Op.52 (Op.6 posthumous)

List of works by opus number

Works with opus number Op.1 ~ Op.5 not used

  • Op.6 – Air varié in D Major (on a Theme from Bellini’s Il Pirata) for Violin and Piano (c.1845)
  • Op.7 – 3 Romances sans paroles for Violin and Piano (1841)
  • Op.8 – 4 Romances sans paroles for Violin and Piano (c.1845)
  • Op.9 – Hommage à Paganini for Violin and Orchestra or Piano (1845?)
  • Op.10 – Violin Concerto No. 1 in E Major (1840)
  • Op.11 – Fantaisie-caprice for Violin and Orchestra or Piano (1838)
  • Op.12 – Violin Sonata in D Major (c.1845)
  • Op.13 – Duo concertant No. 1 on Themes from Auber’s Le duc d’Olonne for Violin and Piano (c.1845)
  • Op.14 – Duo concertant No. 2 on Themes from Weber’s Oberon for Violin and Piano (c.1845)
  • Op.15 – Les arpéges (Caprice) in D Major for Violin and Piano or Orchestra (with Cello) (c.1845)
  • Op.16 – 6 Études de concert for Violin Solo (c.1845)
  • Op.17 – Souvenir d’Amérique – Variations burlesques sur Yankee Doodle for Violin and Piano (1844)
  • Op.18 – Norma, Fantasia on the G String for Violin and Orchestra or Piano (c.1845)
  • Op.19 – Violin Concerto No. 2 in F♯ Minor “Sauret” (1836)
  • Op.20 – Duo concertant No. 3 on Themes from Mozart’s Don Giovanni for Violin and Piano (c.1845)
  • Op.21 – Souvenir de Russie (Fantasie) for Violin and Piano (c.1845)
  • Op.22 – 6 Morceaux de salon for Violin and Piano (1847?)
  • Op.23 – Duo concertant No. 4 on Themes from Meyerbeer’s L’étoile du nord for Violin and Piano (c.1845)
  • Op.24 – 6 Divertissements d’amateurs (on Russian Themes) for Violin and Piano (c.1850)
  • Op.25 – Violin Concerto No. 3 in A Major (1844)
  • Op.26 – Duo concertant No. 5 on Themes from Meyerbeer’s Le prophète for Violin and Piano (c.1850)
  • Op.27 – Fantaisie slave for Violin and Piano (c.1850)
  • Op.28 – Introduction et Rondo in E Major for Violin and Piano (c.1850)
  • Op.29 – 3 Fantasias on Themes from Verdi’s I lombardi, Ernani and Luisa Miller for Violin and Piano (1854?)
  • Op.30 – Élégie in F Minor for Viola (or Cello or Violin) and Piano (?1854)
  • Op.31 – Violin Concerto No. 4 in D Minor (c.1850)
  • Op.32 – 3 Morceaux de salon for Violin and Piano (c.1850)
  • Op.33 – Bouquet américain – 6 Variations sur mélodies populaires for Violin and Piano (c.1855)
  • Op.34 – 3 Märchen for Violin and Piano (1859)
  • Op.35 – Fantasia appassionata for Violin and Orchestra or Piano (c.1860)
  • Op.36 – Viola Sonata in B♭ Major (1863)
  • Op.37 – Violin Concerto No. 5 in A Minor “Le Grétry” (1861)
  • Op.38 – Ballade et polonaise for Violin and Orchestra or Piano (c.1858)
  • Op.39 – Duo brilliant in A Major for Violin, Cello (or Viola) and Orchestra or Piano (1864?)
  • Op.40 – 3 Feuilles d’album for Violin and Piano (1864)
  • Op.41 – Overture (with the Belgian National Anthem) for Chorus and Orchestra (1863)
  • Op.42 – Old England, Caprice on 16th- and 17th-Century English Airs for Violin and Piano (1866)
  • Op.43 – Suite in B Minor for Violin and Piano (1871)
  • Op.44 – String Quartet No. 1 in E Minor (1871)
  • Op.45 – Voix intimes, 6 pensées melodiques, for Violin and Piano (1876)
  • Op.46 – Cello Concerto No. 1 in A Minor (1877)
  • Op.47 – Violin Concerto No. 6 in G Major (1865) (Op.1 posthumous)
  • Op.48 – 36 Études for Violin Solo (Op.2 posthumous)
  • Op.49 – Violin Concerto No. 7 in A Minor “À Jenő Hubay” (1870) (Op.3 posthumous)
  • Op.50 – Cello Concerto No. 2 in B Minor (1879) (Op.4 posthumous)
  • Op.51 – String Quartet No. 2 in C Major (Op.5 posthumous)
  • Op.52 – String Quartet No. 3 in B♭ Major (Op.6 posthumous)
  • Op.53 – Voies de cœurs, 6 Pièces for Violin and Piano (Op.7 posthumous)
  • Op.54 – Fantaisies brilliantes for Violin and Piano (Op.8 posthumous)
  • Op.55 – Capriccio in C Minor “Hommage à Paganini” for Viola Solo (Op.9 posthumous)
  • Op.56 – Salut à América for Violin and Piano (Op.10 posthumous)
  • Op.57 – Impressions et réminiscences de Pologne for Violin and Piano (Op.11 posthumous)
  • Op.58 – Ma marche funèbre for Violin and Piano (Op.12 posthumous)
  • Op.59 – Allegro de concert for Violin and Piano (Op.13 posthumous)
  • Op.60 – Sonate inachevée in B♭ Major (Allegro and Scherzo) for Viola and Piano (Op.14 posthumous)
  • Op.61 – 6 Morceaux suivis d’un capriccio for Violin Solo (Op.15 posthumous)

Works without opus number

  • Cadenzas to Beethoven’s Violin Concerto
  • Chansons russes for Violin and Piano (1854?)
  • Divertissement for Violin Solo
  • Duos concertantes Nos. 6-12 for Violin and Piano
  • Étude in C Minor for Viola Solo
  • Fantasia on Themes from Gounod’s Faust for Violin and Piano (1870)
  • Félicien-César David’s Le Desert: La Nuit (1844)
  • Mozart Clarinet Quintet
  • Piano Trio on Themes from Meyerbeer’s L’Africaine

References

External links


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