Beethoven plays a new concerto

Nowadays, soloists in a concerto play from memory, especially pianists. Occasionally, players of other instruments will use written music, but I have only seen one pianist using music. He was on the faculty when I was in graduate school, and students discussed the oddity for days afterward. Since the piano requires the use of both hands, memorizing music for performances has the obvious benefit of not requiring a third hand to turn pages. It may come as a surprise, then, to learn that pianists have not always performed from memory and audiences have not always expected them to. For a … Continue reading

A historical perspective on orchestra concerts: programing and ritual

Today, American orchestra concerts usually have three or four pieces. In one very typical formula, they have some kind of overture, a concerto, and a symphony. If the program should happen to include music by a living composer–or even by one who died some time after, say, 1945–it typically comes right before intermission, sandwiched between two popular standards. That way the audience will come on time to hear the opening piece and be forced to stay in their seats through the new piece in order to hear whatever delight awaits after the intermission. Certain unwritten laws dictate concert ritual, including … Continue reading

Franz Liszt at an artistic crossroads

In the early decades of the nineteenth century, a social division arose between two kinds of music. Some loved what they called classical music. They quarreled with people who preferred what William Weber has called high-status popular music. Classical music specifically meant the masterpieces of Haydn, Mozart, Beethoven, and a few others. High-status popular music included popular operas by Rossini, Meyerbeer, and others. It also included traveling virtuosos who performed largely in salons. That is, they performed before invited guests in the homes of aristocratic or upper-middle-class hosts. Robert Schumann began his career as a critic specifically to protest against … Continue reading

Live vs recorded music

Discussion of the relative merits of live and recorded music probably started as soon as recordings became widely available. As the fidelity of recorded sound improved, the discussion evolved somewhat, but it still continues. One of my professors in college disapproved of recorded music, but frequently attended concerts. He did not even own a record player. I have never met anyone else who prefers live music to the absolute exclusion of listening to recordings, but I know lots of people who agree that there is an immediacy in live performances that recordings cannot duplicate. What’s more, recordings must be almost … Continue reading

Vienna, 1800: the divergence of classical and popular music

Revised February 27, 2017 What kind of music do you think of when you think of Vienna? Classical music, of course. Extra credit if you thought of Johann Strauss and realize that his waltzes aren’t classical music. But did you know classical music was hard to find in Vienna in 1800? Mozart had been dead for nine years. Haydn was an old man close to retirement from composing. The young Beethoven had made a strong start in establishing his reputation. Schubert was only three years old. And most of the public idolized musicians you’ve probably never heard of. In fact, … Continue reading

An ear for music

Lest anyone doubts that Rossini’s music was once deemed contemptible by lovers of classical music, English publisher Vincent Novello visited Europe in 1829 with the hope of hearing good music (specifically Mozart) in the land of its birth. He was disappointed. In Mannheim, he noted in  his  journal, “Heard Rossini’s Overture to “Barbiere de Siviglia” on the Piano Forte. . . I should have preferred hearing something by their celebrated townsman John Cramer, but sterling music appears to be at a very low ebb here, . . .” In Vienna, he wanted to find Beethoven’s last residence, and was upset … Continue reading

A Friday the 13th post

For most of his life, Arnold Schoenberg experienced fear not only of the number 13, but multiples of it.  He was sure that he would die during a year that was a multiple of 13, such as 1939 (’39 = 13 x 3). An astrologer assured  him that the year would be dangerous, but not fatal. In 1950, when he turned 76, another astrologer pointed out that 7 + 6 = 13. July 13, 1951 was the first Friday the 13 of his 76th year, he spent the day in bed, afraid of death. The story goes that his wife … Continue reading

Beethoven rises to a challenge!!

Everyone knows about Ludwig van Beethoven. He is a towering figure in Classical music, renowned for his contributions to the symphony, the string quartet, the piano sonata, and much more. No one but musicologists know much about Daniel Steibelt. They mostly remember him for using the tambourine in so many of  his piano sonatas (his wife played tambourine), for introducing the Chinese gong into his opera Romeo et Juliette (although later musicologists have determined it was some kind of tuned bell instead), and for coming out the loser in a brash challenge to Beethoven. Steibelt was born in Berlin. He … Continue reading

A Dog’s Taste for Bruckner

Some of Anton Bruckner’s students decided to play a trick on him. While he was out to  lunch, they played music on the piano for Bruckner’s dog. As one of them played a motive from Richard Wagner’s music, the others chased the dog around the room and slapped him. But when they played from Bruckner’s own Te Deum, they gave the dog treats. Once the dog started running away every time he heard Wagner’s music and came bounding toward the piano with his tail wagging every time he heard Bruckner’s, the students prepared the next part of their plan. When … Continue reading

Would a university hire Mozart?

I have no idea where the following letter came from. Someone forwarded it to me on email years ago. Now that I’ve found it again, it’s too good not to share. March 15 Dear Dean X: I write in response to your suggestion of an appointment to our faculty for a Mr. W.A. Mozart, currently of Vienna, Austria. While the Music Department appreciates your interest, faculty are sensitive about their prerogatives in the selection of new colleagues. While the list of works and performances that the candidate submitted is undoubtedly a full one, though not always accurate in the view … Continue reading