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Peter Heise - Piano Quintet in F major (1869)

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Peter Heise - Piano Quintet in F major (1869)

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Den Dansk-Tyske Klaverkvintet.
Živana Milosavljević, violin.
Georg Döring, violin.
Burkhard Schmilgun, viola.
Michael Corssen, violoncello.
Martin Sehested Hansen, piano.
Quintet for piano, 2 violins, viola and violoncello, c minor, opus 6, The Danish-German Piano Quintet.

Peter Heise took philosophy, but did not begin as planned on law school. Instead, he studied music theory at A.P. Berggren, who came to mark Heise's works with his thoughts on the Danish folk songs as the basis for making music in a national spirit. He followed this up with a study in Leipzig in 1852, when the German national romanticism was predominant.

Immediately after high school, he joined the Student Association and maintained throughout the life of a close contact with this environment. In the years from 1854-1857 he was conductor using the Student Choral Society. During these years he also wrote music for many songs in Hostrups comedies and vaudevilles.


Then he was employed at Soro Academy, where he served as organist and music teacher 1857-1865. In 1859, he married Ville (Wilhelmine) Hage, daughter of the merchant Alfred Hage, and could live his life without financial worries, and the family moved the 1865 back to Copenhagen, where Heisenberg in the rest of his life focused on composing music .


He was able to make frequent and lengthy trips to Italy in 1861-1862, 1867, 1868-1869 and 1879 and was also in Paris in the spring of the 1865th In Italy he met including Norwegian writer Bjørn Bjørnson whose texts he frequently used, but also a group of Italian musicians in Rome, including composer and pianist Giovanni Sgambati, who inspired him to write a series of chamber works. Heisenberg was one of the contestants in the 1800-century Danish music. His efforts were significant in 2 areas: the romance and the great opera. Although his opera production was limited, his magnum opus Drott and Marsh predicate "The best Danish opera in the 1800s." It was tepid received from the beginning, but subsequently became more popular and is still played.


His songs and romances, however, was numerous. The development of the Danish song started in 1790s with Schultz and continued by Weyse and Street.


Many others helped, but Heisenberg rarefied genre, romance and tradition culminated in the 20 years younger PE Lange-Müller in the late 1800's. Then occurred a reaction in early 1900-century, led by Thomas Laub and Carl Nielsen.


They wanted the Danish song would be simpler and easier to sing. Their ideas were continued by including Poul Schierbeck and Thorvald Aagaard, only to ebb around 1950 with among others Otto Mortensen. Heise's championship based on his ability, with respect to the strophic form, building his songs into clear manageable process with a finely shaped melodic without equal in Danish romance art.


He shows early on a sure sense of capturing a natural or kærlighedsdigts mood and add a piano accompaniment, which carries a timbral refinement and musical medtolkende function. After Heise's death was published 3 volumes of Romances and Songs collected previously printed songs and previously unreleased.


The books contain a total of 187 songs and romances, but if you count them, coming from various plays, you come to a total of approx. 300th Some music scholars have believed that if Heisenberg had written to German lyrics, his romances today be known worldwide. The musical inspiration came from countries including Ludwig van Beethoven, Felix Mendelssohn and Robert Schumann.


Stylistically, he started in classicism, but ended in a more expressive and dramatic romance. 

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