Henselt's Second Piano Parts

Henselt was fond of adding second piano parts to his own compositions and existing works by other composers. Many of these were products of his middle to late years, after he settled in Russia. Imperial Russia at the time, though showing signs of decline in the prosperity of the Romanov dynasty, barely maintained its splendid power. Henselt served the Imperial Court and had many students from royal and noble families. Many published scores of Henselt's second piano parts, including this work, bear the inscription on their covers: "for the use of Imperial educational institutions for noble young ladies in Russia" (à  l’usage des établissements Impériaux d’ éducation des demoiselles nobles en Russie). It would have been common for not only music schools but also the magnificent residences of wealthy upper-class students to be equipped with multiple pianos. In such an ideal environment, Henselt would teach by accompanying the student's piano playing on another piano. The second piano parts were written for practical use in lessons, and their usefulness remains undiminished even today.

The Second Piano Part for Beethoven's Pathétique Sonata

Beethoven's Pathétique Sonata was dedicated to Mademoiselle la Baronne Ida de Hauff, a student of Henselt. Henselt was born in 1814, and Beethoven died in 1827, meaning Beethoven was still alive when Henselt was old enough to be aware of things. It is highly significant that Henselt, who grew up in the same German-speaking region feeling close to the great master and later gained renown as one of the foremost composer-pianists of his time, added a second piano part to the Pathétique Sonata. Henselt's second piano part enhances the original melody and counterpoint, heightening the breathtaking dramatic quality. All phrases derive from the original motifs, and arbitrary creativity is excluded. It conveys the depth of Henselt's interpretation and his unending respect for his predecessor. It is a magnificent second piano part that elevates the charm of the original while preserving its inherent qualities.

Henselt's Legacy in Russian Two-Piano Music

Henselt is counted among the representative composer-pianists of the 19th century and is also known for his meritorious contribution to laying the foundation of Russian pianism. In addition to this, his achievement in establishing two-piano playing in Russia should perhaps be re-examined. At least by 1838, when Henselt first visited Russia, no original two-piano works by Russian composers are confirmed to have existed. Henselt's active introduction and practice of two-piano playing formed an underlying current in this region, eventually leading to the birth of the overwhelming masterpieces for two pianos by modern Russian composers such as Rubinstein (the elder), Arensky, Glazunov, and Rachmaninoff? This proud tradition has been continuously passed down through the Soviet era to modern Russia.

Henselt's Character and Educational Approach

Henselt still has enthusiastic fans today. An international association of admirers states that Henselt was ennobled in Russia in his later years after many years of dedication to education. On the other hand, Harold Schonberg's book points out flaws in Henselt's character and mentions accusations that he was selfish and utterly dishonest as an educator. With both praise and criticism, Henselt's character remains somewhat elusive. Nevertheless, it is a fact that in many of his second piano parts, including this work, a consistent and solid compositional style is evident, conveying humility in respecting the original work and sincere consideration for the learner. After all, a teacher who is not dedicated to instruction would hardly diligently write second piano parts for ensemble playing with students. In some pieces, his sincere attitude as an educator is directly conveyed, for example, by mentioning in the dedication that he was inspired by his students, or by referring to the original work as "a work that we (Henselt and the student) continue to study." The second piano parts may also serve as a clue to understanding a new, previously unhighlighted aspect of Henselt.

Movements

• I. C minor, Introduction: Grave, 4/4 time; Main part: Allegro di molto e con brio, alla breve (2/2 time)
• II. A-flat major, Adagio cantabile, 2/4 time
• III. Rondo, C minor, Allegro, alla breve (2/2 time)