Papa Heinrich - Critical Analysis

Reviews

From a Louisville newspaper,

It is with much pleasure we print the following article from the Euterpeiad, a periodic publication at Boston devoted to musical science, as it is in unison with the judgment of those to whom the compositions of Mr. Heinrich are familiar. It is the well earned tribute due to the merit of a gentleman whose modest and unassuming manners are not less remarkable than hi sterling worth. Mr. Heinrich lives in retirement in the neighborhood of this town, devoting his time to musical compositions which professors predict are to rank him as a composer with Mozart, Hayden, and Beethoven.

From an issue of The Euterpeiad,

We have the pleasure of presenting another original effusion from the pen of the above highly gifted author of ‘The dawning of Music in Kentucky’ and the ‘Western Minstrel.’ It is but a few years since this extraordinary man, from the very height of commercial prosperity, was suddenly precipitated into the abyss of poverty and domestic affliction. Bereft of all other means, he had recourse to music for support , and from a mere amateur, became, as suddenly, perhaps the most profound and scientific composer of the New World. There was, however, so much eccentricity mixed with the real merit of his compositions; so much of that somber cast which betrays a protracted struggle with the evils of life, and a spirit wounded past all cure by the tragic loss of a beloved friend; so much more of a comet than a regular planet; and so much laborious execution at the onset, that his voluminous works, shunned by amateurs on account of their forbidding aspect and difficulty of access, and disdained by professors for their originality, breaking forth in all the wilderness of native grandeur, have remained a mere burthen on the shelves of music sellers in the sister-cities, where they ought to have been known and appreciated. Indeed, they need only the pruning knife and a more frequent reprieve from intense labor to become popular and current in any part of the world.

Had we not already stated, on a former occasion, in what manner their value became known, the author’s own address which accompanies our present number would have been itself a sufficient explanation. The honor of the discovery belongs, therefore, of right, to Boston, and we claim the merit of having been the first to announce it to the public. The judgment we then ventured to promulgate, has since not only been ratified by our most intelligent professors and amateur, but they are about to give a more substantial proof of their approbation, by uniting in the generous effort to transplant the author himself from the wilderness where he now languishes, to their own atmosphere, more congenial to the exertion and expansion of musical talent. In other words, he has been invited to Boston, with a view to permanent residence; and a free benefit concert will be given him immediately on his arrival, in order to defray his traveling and other incidental expenses. Our feelings, as lovers of genuine merit, and our pride as citizens of Boston, are highly gratified by the opportunity of announcing an arrangement so honorable to all the parties concerned; and we cannot but indulge the hope, that the liberal public will cheerfully co-operate in vindicating the claims of neglected genius, and of securing new and valuable services to our circle of musical science.

Boston Daily Advertiser, May 29, 1823

The concert which is to take place this evening is calculated to excite more than common interest, not only on account of its choice performances, but in consideration of its object, the circumstances that led to it, and the manner of its annunciation . Mr. A.P. Heinrich, for whose benefit it is designed, is indeed the first regular or general American composer, the first who, notwithstanding his great practical skill on various instruments, has almost exclusively devoted himself to the sublime study of harmony. His fame is rising fast, and America will have good reason to be proud of him; while those who now patronize him, do best establishing their foremost claim to taste, discernment, and liberality.

The Liverpool Mercury 1827

We were last week introduced to Mr. A. P. Heinrich, a Bohemian by birth and a musician by profession, or perhaps we should say by nature, as music appears to be with him rather a natural instinct than an artificial acquirement. He is truly ‘il enthusiast per la music. He has resided of late in America, and the public journals speak in the highest terms of his talents. For our own part, we have seldom met with a more interesting character. He seems to combine great genius with the utmost simplicity of manner and character, and his physiognomy is so prepossessing, that, notwithstanding the eccentricity of his manners, it is impossible not to feel deeply interested for him at the first interview. Of his compositions, which are almost innumerable, it is impossible for us to speak, from a mere inspection of the score; but the public will soon be enabled to form a judgment of their merits, as he visits this country for the express purpose of submitting his works to the test of a British community. We have written this paragraph with the view of intimating to those to whom Mr. Heinrich may be introduced, that he brings with him from America the most un exceptional testimonials of the respectability of his character. He has dedicated one voluminous work to Mrs. Coitus, and we trust that generous patron of merit and genius will take a lively interest in the fate of this talented foreigner. Of these effusions only three copies are exant, one of which has been presented to the celebrated Dr. Crotch, President of the Royal Academy of Music.

Review of Heinrich’s Grand Music Festival

On Thursday evening we had the gratification of witnessing the complete triumph of a veteran musician who, although he has written voluminously and well, has not achieved here the reputation he deserves, until the tardy period of his greatly advanced years. Heinrich gave his festival at the tabernacle, and assembled for the performances a powerful orchestra, consisting of at least forty instruments, nine principle vocalist, and about sixty chorus singers. The music was chiefly from the compositions of the venerable Heinrich; the opening piece, a grand overture to The Pilgrim Fathers, consisted of four movements indicative of the origin and progress of civilization and freedom in America. The first movement was an ottetto adagio, giving the idea of solitude and repose in the vast forest of this continent; it was loudly applauded, but it disconcerted the composer for it interrupted the resolution into the next movement, which was another adagio the full orchestra, in which all is supposed to be gradually wakened into life. The third movement indicates the onward march and struggles of freedom; and the fourth its joyous completion. Nothing could be more grand than the conception, and few things were more beautiful than the enunciation of this plot; the melodies were good but the harmonies were magnificent. It is to be feared however, that the passages were upon too scientific and German principle to receive their due measure of applause, except in the hearing of musical critics. The general effect nevertheless was highly satisfactory, for at the conclusion of the piece the composer was honored with repeat rounds of applause from the thronged audience who had listened to it. It was a grateful sight, though an oppressive one, to witness the emotions of the veteran upon receiving the unequivocal testimony to his taste and talent. It shook the old man out of his composure, but we trust that after his excitement shall have subsided, that he will remember last Thursday evening with peculiar satisfaction. In the firstly movement of the piece to which we have alluded, the low notes on the bass horn did not mingle well with those of the violoncello and the contra bass, and the effect was somewhat harsh, but this diminished when the subject continued, and the intended effect became understood. We congratulate Heinrich on the deserved compliment he has received, and we equally congratulate the numbers who assembled to pay for it, for the good taste which they thereby displayed.

Boston Evening Transcript, June 10, 1846

Our papers announced that something’s to be done this week in the musical way, for the benefit of the good man who is Father Heinrich-an enthusiastic musician whose whole life has been a sad and eventful history, and whose great sacrifices have been made not for himself, but for the divine art which he has almost wildly and yet truly worshipped.

Review of concert in Boston

Father Heinrich’s concert in Boston was not a failure, and the “Caro Padre” received more than twice the amount of pecuniary compensation there as he did in New York, beside many touching private testimonials of the love in which he is held by the good and wise. The good old man came back yesterday, looking as fresh as a rose, and his eyes glistening as if a bright fountain had suddenly bubbled up under them. we are glad to make this correction regarding the Boston Concert, as his friends will be to read it.

Review of Heinrich’s Grand Benefit Concert

Father Heinrich’s grand benefit concert, which took place on Wednesday evening last, was, indeed, in many respects the most remarkable, exciting and never to be forgotten entertainment we have ever witnessed. Auditors, old and young, orchestra, chorus and solo performers, all seemed for a while to have gone partially mad, or to have become inflicted with the venerable beneficiary’s nervous and excitable enthusiasm. Such yelling screaming, cheering, laughing and stamping; such showers of bouquets and wreaths, were never before seen or heard of on a similar occasion. The signal for this excitement seemed to have been given by a child, which ascended the platform and presented a beautiful bouquet to Mr. Heinrich just after the first part of the concert was over.

May 7, 1846

Mr. Heinrich’s concert at New York, according to all accounts, was brilliant and successful, almost beyond parallel. The tribune says of it.

Criticisms

Analysis of Heinrich’s La Buona Mattina

Heinrich’s only sonata is like that of no other composer, most strikingly by the presence of a voice part at the beginning and end, and certainly by the final movement’s key of B-flat major ,un related to the D major and minor of the preceding movements. Heinrich’s La Buona Mattina sonata represents an early stage of musical interdependence from Europe in art-music.

Twentieth century critic Oscar G. Sonneck on Heinrich

Heinrich is the most commanding figure as a composer in America before 1860. While Heinrich’s works, even in their own day of somewhat obsolete style, have lost their musical interest, historically they retain their significance because Heinrich, an odd mixture of simpliminded sincerity and freakish eccentricity, presumably was the first composer deliberately to essay “Americanism” in music, and to build many of his works on American subjects.

Twentieth century critic Howard on Heinrich

Unfortunately for his place in history, Heinrich lacked the talent to match and carry out his intentionms successfully. He was short on genius, but if his gifts had equalled his energy and his boundless enthusiasm for anything that was American, he might have been one of our major composers. It is not for his extravagant, repititous works that we remember Father Heinrich but rather as a musical pioneer who not only believed in the American composer, but fought fiercely for the hearing that he felt all American composers were entitled to have.

Sablosky on Heinrich

.....the first composer who sought to create an American expression in symphonic terms. Unfortunately his gifts were far short of aspirations. Father Heinrich was defeated by the same deficiencies that defeated William H. Fry and George F. Bristow--lack of talent and training.

Wolverton in his studies of Heinrich’s early piano pieces

Just a glance at the printed page of a work by Heinrich is usually sufficient to distinguish it from any composition by an American contemporary. There is a richness of texture exhibited by the use of full chords in both hands spread over the entire range of the piano plus the usual procedure of filling out measures horizontally with runs and ornamented passages.