How does someone become a famous composer? It takes more than talent. A comparison of two child prodigies, Wolfgang Amadeus Mozart and George Enescu, amply demonstrates that.
History means more than dates and battles. Classical music history means more than lists of compositions. It’s personalities that make it interesting. Sometimes, for example, composers and their associates go to desperate means to solve a problem. People have loved classical music anecdotes as long as classical music has existed. Writers have long supplied trivia about musical personalities, including themselves, to an eager readership. Most have stuck to the facts, but occasionally a story has broken into print with no corroborating evidence. But hey, that just makes it fiction. It’s still a good read. … Continue reading
It is quite possible to enjoy or appreciate music, or any other artform, without knowing anything about the person who created it. But in whatever form, art is a human creation. Real people composed classical music. Real people have personalities, and knowing something about those personalities can put a human face on the music and rescue it from being a mere object. Enjoy these glimpses into moments in the lives of the people whose music brings so much pleasure. Franz Schubert Between March 1811 and October 1828, Schubert wrote more than 600 songs, not to mention symphonies, church music, operas, … Continue reading
Mozart’s Requiem, the last piece he ever worked on, has a trombone solo in the Tuba mirum movement. So far as I know, there is nothing like it anywhere in the standard sacred music repertoire. The important word in that sentence is “standard.” People who wrote about musical performances in the nineteenth century were all too aware of the uniqueness of that solo. Throughout the century in every country from which I have seen magazine or newspaper articles, critics rarely mentioned the trombones in classical music except to complain that they were too loud. Along with more than one author … Continue reading
Spanish tenor Manuel Garcìa was the patriarch of four generations of singers. He and his children greatly influenced opera and singing in four countries for more than a century. In fact, his son lived for more than a century! Manuel Garcìa (1775-1832) Manuel Garcìa was born in Seville, Spain and educated in music in the choir school of the cathedral. He was a well-known singer, composer, and operatic conductor in Spain before his 18th birthday. His operetta El poeta calculista(1805) was successful not only in Spain, but in other countries as well. At the time, Spain was not a musically … Continue reading
Every opera buff knows and loves Rossini’s Barber of Seville and Mozart’s Marriage of Figaro. Perhaps even the most casual opera goers realize that they share many of the same characters. That’s because they were based on plays by the same person: Pierre-Augustin Caron de Beaumarchais. The one-time royal watchmaker had served time in prison over a failed business deal and developed intense hostility toward the French legal system by the time he wrote his satirical and somewhat autobiographical play The Barber of Seville (1775). In the character of Figaro, Beaumarchais portrayed himself–perhaps not quite how he had lived, but … Continue reading
When an opera performance starts, the overture is the first thing the audience hears, but it is the last thing the composer writes. Rossini disliked writing overtures, and the various impresarios he worked for had legendary difficulties keeping him on track. I haven’t found why Mozart waited so long to compose the overture to Don Giovanni, but for whatever reason, it produced a drama equal to anything Rossini did. Don Giovanni received its first performance in Prague, and Mozart had to travel there for the rehearsals. After the dress rehearsal, that is, the night before the opening performance, Mozart decided … Continue reading