Noren, Heinrich Gottlieb

Heinrich Gottlieb Noren

Kaleidoscope
Variations and Double Fugue on an Original Theme for Full Orchestra, op. 30 (1907)

(baptized Graz, 5 January 1861 – d. Kreuth-Oberhof nr. Rottach-Egern, 6 June 1928)

Einleitung. Langsam, fast Adagio (p. 1) –
Thema. Sostenuto (p. 5) –
1. Variation – Præambulum. Un poco più mosso (p. 11) –
2. Variation – Elegischer Reigen. Allegretto (gemächliches Ländlertempo) (p. 24) –
3. Variation – Kanon. Moderato assai (p. 35) –
4. Variation – Scherzo (Humor). Vivace assai con spirito (p. 46) –
5. Variation – Im Dom. Andante sostenuto (p. 62) – Largamente (p. 72) –
6. Variation – Pastorale. Allegretto (p. 74) –
7. Variation – Trauermarsch. Langsam und feierlich (p. 86) – Mit steigerndem Ausdruck (p. 100) –
Poco più lento (p. 102) –
8. Variation – Frisch (Slawischer Tanz). Allegro molto (p. 103) –
9. Variation – Aus fernen Tagen. Adagio (p. 115) – Sehr breit (p. 131) –
10. Variation – Mazurka. (p. 133) – Poco più lento (p. 137) –
11. Variation – An einen berühmten Zeitgenossen. Fantasie. Maestoso un poco agitato (p. 147) – Bewegter (p. 154) – Etwas langsamer (p. 157) – Tempo I (p. 162) – Langsamer (p. 167) – Schneller (p. 170) – Grave (p. 174) –
Doppelfuge. Allegro molto moderato (p. 175) – Stringendo (p. 201) – Più mosso (p. 204) –
Choral. Moderato maestoso (p. 214) – Accelerando (p. 221) – A tempo (p. 223)

Preface
Heinrich Gottlieb Noren (baptized Heinrich Suso Johannes Gottlieb) was the son of Johann Gottlieb, a professor at the Joanneum in Graz, and only adopted the surname Noren in later life. He appeared in public as an excellent violinist while still a boy, and after completing his basic education in Graz he studied in Brussels with Henri Vieuxtemps (1820-1881) from 1878 and in Paris with Lambert-Joseph Massart (1811-1892) from 1883. He then worked as a concertmaster in Belgium, Spain, Russia, and Germany, studied composition in Berlin with Ludwig Bussler (1838-1900) and Friedrich Gernsheim (1839-1916), and added a study of counterpoint in Cologne with Otto Klauwell (1851-1917). In 1896 he settled in Krefeld, where he founded the local conservatory (it remained in existence until 1942), and then moved to Düsseldorf as head of the conservatory in that city. From 1901 to 1907 he taught at the Stern Conservatory in Berlin, and from 1907 to 1911 he was professor of composition at the Dresden Conservatory. In 1915 he moved to Rottach-Egern in Upper Bavaria, where he lived in Kreuth-Oberhof near Lake Tegernsee until his death.

Little is known about Noren’s life and nothing about his early works. In 1896 Challier & Co. in Berlin published an Album Leaf by him for violin and piano (op. 8). It was followed by an Aria religiosa for orchestra (op. 9), an Elegiac Song-Scene for cello with piano or orchestral accompaniment (op. 10), a Berceuse for cello and piano (op. 12), various vocal works, a Suite in E minor for violin and piano (Berlin: Eisoldt & Rohkrämer, 1903), and other lesser works, including several with harmonium. In 1906 a piano trio from his pen was published by Lauterbach & Kuhn (op. 28). Then, in 1907, he was surprisingly catapulted to sudden fame with Kaleidoscope (op. 30). Later works worthy of mention include Sunday Morning, a setting of Hugo Salus (1866-1929) for voice and orchestra, op. 31 (1909); Singing Lays, six pieces for violin and piano, op. 32 (Bisping, 1912); Sonata in A minor for violin and piano, op. 33 (Bote & Bock, 1909); Vita: Symphony for Modern Orchestra, op. 36 (Berlin-Schöneberg: Eos, 1913); Violin Concerto in A minor, op. 38 (1912); Divertimento for two solo violins and orchestra or piano, op. 42 (Eos, 1913); Notturno e Capriccio for violin and piano, op. 43 (1913); Sonata for Cello and Piano, op. 47 (Eos, 1914); Symphonic Serenade for orchestra, op. 48 (ca. 1915); and many songs with piano accompaniment. He also wrote an opera, Der Schleier der Béatrice.

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