Wesendonck-Lieder

During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze’s focal point of interest.
In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.'
- Hans Werner Henze