From 1840-57, Heinrich Ernst was one of the most famous and
significant European musicians, and performed on stage, often many
times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan,
Clara Schumann, and Joachim. It is a sign of his importance that,
in 1863, Brahms gave two public performances in Vienna of his own
and Ernst's music to raise money for the now mortally ill
violinist. Berlioz described Ernst as 'one of the artists whom I
love the most, and with whose talent I am most sympathetique',
while Joachim was in no doubt that Ernst was 'the greatest
violinist I ever heard; he towered above the others'. Many felt
that he surpassed the expressive and technical achievements of
Paganini, but Ernst, unlike his great predecessor, was also a
tireless champion of public chamber music, and did more than any
other early nineteenth-century violinist to make Beethoven's late
quartets widely known and appreciated. Ernst was not only a great
virtuoso but also an accomplished composer. He wrote two of the
most popular pieces of the nineteenth century - the Elegy and the
Carnival of Venice - and he is best known today for two solo pieces
which represent the ne plus ultra of technical difficulty: the
transcription of Schubert's Erlking, and the sixth of his
Polyphonic Studies, the variations on The Last Rose of Summer.
Perhaps he made his greatest contribution to music through his
influence on Liszt's outstanding masterpiece, the B minor piano
sonata. In 1849, Liszt conducted Ernst playing his own Concerto
Pathetique, a substantial single-movement work, in altered sonata
form, using thematic transformation. Soon after this performance,
Liszt wrote his Grosses Konzertsolo (1849-50), his first extended
single-movement work, using altered sonata form, and thematic
transformation. This is now universally acknowledged to be the
immediate forerunner of the sonata, which refines and develops all
these techniques. Liszt made his debt clear when, three years after
completi
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