JOHANN VON HERBECK - nca - new classical adventure

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It truly is the brilliance of bygone days that Herbeck conjures up here – as in his
Organ Symphony: Variation VI of the Symphonic Variations is reserved for the
ultimate test of polyphonic composing, a strict double counterpoint made up of
two autonomous voices which accompany each other. The middle section of the
Allegretto makes up a lovely contrast to this – a trio with bucolic idyll of the
woodwinds and bourdon fifths in the basses. The Baroque combination of
Prelude (Variation XI) and Fuge (Variation XII) is also important to Herbeck in the
Symphonic Variations; he finishes the cycle with these forms.
However, the gently-flowing theme – characterised in an unmistakeable fashion
by an octave jump upwards – is also joined by variations which, as in the case of
Symphony No. 4, document influences from the two main late nineteenth century
music trends. Herbeck’s son Ludwig not only mentions the finale from
Beethoven’s Eroica but also Robert Schumann, whose variations cycle of his
Symphonic Études for Piano served as more than just an inspiration for the title of
Herbeck’s variations. In addition, Johannes Brahms – whose Haydn Variations
had been written some two years earlier – keeps getting a word in regarding
instrumentation and expression, for example in Variation V and Variation VII;
Herbeck’s Symphonic Variations are dedicated to Eduard Hanslick, the critic ‘god’
from Vienna who was also a friend of Brahms.
In the Scherzo (Variation X) however, the influence of Anton Bruckner – who
MARTIN HASELBO¨CK
Hanslick always fought against – can be felt everywhere. An elaborate structure
(with the exception of the finale, the scherzo is the longest variation in the cycle),
orientation As conductor on and stamping organist, Upper Martin Austrian Haselböck folkdances is present in the on Scherzo the international and leisurely music
Ländler scene in in a the number trio as of well capacities. as rhythmically Decorated structured with prizes expanses won at of international sound from the
full competitions, orchestra characterise he gained an the excellent movement; reputation only the as scherzo’s a soloist early gently on dying his away career
ending – following has completion no single model of his in studies Bruckner’s in Vienna work. and Paris – and has performed
under the baton of conductors such as Abbado, Maazel, Muti and Stein. Martin
With Haselböck his Symphonic has recorded Variations over fifty Johann solo CDs von Herbeck and numerous created important a cycle whose composers
individual – including movements Ernst Krenek, were Alfred not Schnittke only inspired and by Cristóbal different Halffter stylistic – periods have dedicated but
which solo works in addition and concertos reflected to extremely him. Today, different he is characters still a regular – such guest as performer the bright as a
strolling soloist at semiquavers the world’s important of the Allegro music moderato centres (Variation and in 2005 III), will the be romantic, giving major dreamy
Canzonetta, organ recitals the at melancholic the Gewandhaus Adagio in with Leipzig, its lively the Disney middle Hall section, in Los the Angeles humorous, and
playful the Konzerthaus Scherzino in or Vienna, the serious, among solemn other Andante venues. (Variation IX). Nevertheless,
through the unifying influence of the ever-present theme, they form an integral
symphonic In his capacity whole; as court together organist with the in Vienna, Organ Symphony Haselböck’s these occupation variations with make the up
Herbeck’s extensive repertoire major symphonic of classical works. church music marked the beginning of his
dedication to conducting, leading to the formation of the Vienna Academy
(Wolfgang Ensemble in Doebel 1986. – With translation: his orchestra, Steven Haselböck Clark) stages a cycle of concerts
annually for the ‘Gesellschaft der Musikfreunde’ (Society of the Friends of Music)
in the Great Hall of the Vienna Musikverein. Guest performances have taken him
to the major music centres of Europe, U.S.A. and Japan for years and as an ‘Artist
In Residence’, Haselböck has already appeared with the Vienna Academy at the
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