Ferdinand Herold (1791-1833)

[robnewman]

Popular French operatic composer of the 19th century. Composition student of Etienne Mehul at the Paris Conservatoire.

Ferdinand Herold (1791-1833)
Overture to the Opera, 'Zampa'
Paris, 1831

http://www.mediafire.com/?5j3m13dzoij

LIST OF WORKS

La gioventù di Enrico quinto (oc, 2, Herold, Landriani, after A.V. Pineux-Duval), Naples, Fondo, 5 Jan 1815, vs (c1890)

Charles de France, ou Amour et gloire [Act 2] (oc, 2, E. de Rancé, M.E.G.M. Théaulon de Lambert and F.V.A. d'Artois de Bournonville), OC (Feydeau), 18 June 1816, vs (1816) [Act 1 by A. Boieldieu]

Les Rosières (oc, 3, Théaulon de Lambert), OC (Feydeau), 27 Jan 1817 (1817)

La Clochette, ou Le diable page (opéra féerie, 3, Théaulon de Lambert), OC (Feydeau), 18 Oct 1817 (1817)

Le Premier Venu, ou Six lieus de chemin (oc, 3, J.B.C. Vial and F.A.E. de Planard), OC (Feydeau), 28 Sept 1818 (1818)

Les Troqueurs (oc, 1, F.V.A. d'Artois and L.C.A. d'Artois, after J.-J. Vadé, after J. de la Fontaine), OC (Feydeau), 18 Feb 1819 (1819)

L'amour Platonique (oc, 1, A. Rousseau), comp. 1819, unperf.

L'auteur Mort Et Vivant (oc, 1, Planard), OC (Feydeau), 18 Dec 1820 (1820)

Le Muletier (oc, 1, P. de Kock, after La Fontaine, after Boccaccio), OC (Feydeau), 12 May 1823 (1823)

L'asthénie (opéra, 1, B. Chaillou), Opéra, 8 Sept 1823 (c1824)

Vendôme en Espagne (opéra, 3, E. Mennechet and A.-J.-S. d'Empis), Opéra, 5 Dec 1823 [collab. Auber]

Le Roi René, ou La Provence au XVe siècle (oc, 2, G.A. Belle and Sewrin [C.A. de Bassom Pierre]), OC (Feydeau), 24 Aug 1824

Le Lapin Blanc (oc, 1, Mélesville [A.-H.-J. Duveyrier] and P. Carmouche), OC (Feydeau), 21 May 1825

Marie (oc, 3, Planard), OC (Feydeau), 12 Aug 1826 (?1826)

Astolphe et Joconde (ballet, 2, Aumer), Opéra, 29 Jan 1827

La somnambule (ballet, Scribe and Aumer), Opéra, 19 Sept 1827

Le dernier jour de Missolonghi (incid music, 3, J.G. Ozaneaux), Odéon, 10 April 1828 (1828)

Lydie (ballet, 1, Aumer), Opéra, 2 July 1828

La Fille Mal Gardée (ballet, 2, d'Auberval and Aumer), Opéra, 17 Nov 1828, suite, arr. J. Lanchbery (London, 1960)

La belle au bois dormant (ballet, 4, Scribe and Aumer), Opéra, 27 April 1829

L'Illusion (oc, 1, J.-H. Vernoy de Saint-Georges and C. Ménissier), OC (Ventadour), 18 July 1829 (?1829)

Émmeline (oc, 2, Planard), OC (Ventadour), 28 Nov 1829 (c1830)

La Noce de Village (ballet-tableau, 1), Palais des Tuileries, 11 Feb 1830

L'auberge d'Auray (oc, 1, C.F.J.B. Moreau de Commaguy and J.-B.V. d'Epagny), OC (Ventadour), 11 May 1830 (1830) [collab. Carafa]

Zampa, ou La fiancée de marbre (oc, 3, Mélesville), OC (Ventadour), 3 May 1831 (1831)

La marquise de Brinvilliers (drame lyrique, 3, E. Scribe and Castil-Blaze) [F.-H.-J. Blaze]), OC (Ventadour), 31 Oct 1831 (1831), collab. Auber, Batton, H.-M. Berton, Blangini, Boieldieu, Carafa, Cherubini and Paer (1831), autograph lost

La médecine sans médecin (oc, 1, Scribe and J.F.A. Bayard), OC (Bourse), 15 Oct 1832 (?1832)

Le pré aux clercs (oc, 3, Planard, after P. Mérimée), OC (Bourse), 15 Dec 1832 (?1833)

Ludovic (oc, 2, Saint-Georges), OC (Bourse), 16 May 1833 (1833) [completed by F. Halévy after Herold's death]

Fragments: Idoménée, 1808 [Act 1]; Corinne au Capitole (Gosse), 1816/17 [1 act]; Kasem (A. Bursay), c1817 [1 act]; Les puritains [Act 1 finale, 2 scenes Act 3]; Le clerc de la Basoche (Scribe), c1830; Le porte-faix (Scribe), c1830, [Acts 1 and 2]; Sophonès

Projected works: La princesse de Nevers, c1817; Les florentines (E. Théaulon), c1822

Many excerpts and arrangments - published separately

//

[Scion7]

Allow me to try and group his compositions somewhat:

       Chamber
=====================================
Duo for piano and horn, viola or cello (1810)
2 Sonatas for violin (1811)
String Quartet in D  (1814)
String Quartet in C  (1814)
String Quartet in g  (1814)
Caprice, for piano and string quartet, Op.8  (1817)
Trio concertante for two bassoons and horn
Grande bacchanale, for piano, violin, bass and tambourine, Op.13  [an arr. of Spontini]


        Orchestral
===============================================
Piano Concerto No.1 in E, Op.25, 1810 (1820s)
Piano Concerto No.2 in E, Op.26, 1811 (1820s)
Piano Concerto No.3 in A, 1813 (1870s)
Piano Concerto No.4 in e, 1813 (1887)
Symphony No.1 in C, (1813)
Symphony No.2 in D, (1814) 
Air and variations, solo bassoon, 2 violins, viola, bass, 2 clarinets and 2 horns
La Fille Mal Gardée [ballet]


           Piano
===============================
3 sonatas, 1811 
7 sonatas, opp.1, 3, 5, 9 
Variations, on divers themes, Opp.2, 11, 19, 30, 35, 48, 56 
9 caprices in 3 suites, Opp.4, 6, 7 
Divertissement on Les rosières, Op.10 
Caprice on La clochette, Op.12 
23 rondos, on original or operatic themes, opp.14, 16, 17 (4 hands) 
La promenade sur mer, fantasia on a Neapolitan barcarolle, Op.15 
Polonaise on Les voitures versées, Op.20 
11 fantaisies brillantes, on operatic themes
Air de ballet, Op.50 
Allegro bacchanale, Op.51 
Scène de ballet on La belle au bois dormant, Op.52 
Caprice on La médecine sans médecin, Op.58


           Opera/Vocal
==================
Zampa
Le Pré Aux Clercs
Ariane, for mezzo-soprano and orchestra

[Scion7]

from The New Grove:

              As with Bizet, again, Herold's premature death ended a musical career full of promise for the future. Of all French operatic composers, Herold was certainly the most strongly influenced by German music. He shared Weber's ideas of musical dramatization and his sometimes bold use of harmonics. However, he was very much the paradigm of French music of his time, and many of his contemporaries regarded him as the greatest composer in France.

For those interested:   https://www.slideshare.net/Aavmvazquez/ferdinand-herold-biography-3354694

[Scion7]

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[Scion7]

 

[Scion7]

Herold himself did not hold his symphonies in very high regard (they are pleasant time-wasters), but the concertos and the ballet (at least) deserve some study.  There is a plethora of his work posted on YT.