Which Composer Had the Worst Childhood?

 by Emily E. Hogstad, Interlude

It’s not easy to be a composer, and many have had dramatic lives full of pain and struggle.

But some composers have had worse times than others, especially in their vulnerable childhood years.

Today we’re looking at five composers who had particularly difficult childhoods.

Gustav Mahler

Gustav Mahler as a child

Gustav Mahler struggled with three major issues during his childhood and adolescence.

First, he came from an impoverished background. (His grandmother had actually been a street peddler.) His father began his career as a coachman and ultimately became an innkeeper. But the large Mahler family never felt financially comfortable.

They were also Jewish, which made them minorities in Bohemia. As a result, Gustav always felt like an outsider within broader Austrian cultural life.

Finally, Gustav’s mother gave birth to fourteen children over the course of her life, and half of them died young.

The timeline is devastating: Gustav watched younger siblings die in 1865, 1871 (two brothers died on the same day in December), 1873, 1874, 1875, and 1881. This series of losses led to an understandable obsession with fate and death.

The consequences of these traumas turned out to be far-reaching, both personally and professionally. All are echoed in the music that he wrote as an adult decades later. 

Ludwig van Beethoven

Beethoven at 13 years old

Ludwig van Beethoven came from a musical family.

His paternal grandfather was also named Ludwig. Ludwig the Elder had grown up in destitution. Fortunately, his raw musical talent got him noticed by the Prince-elector Clemens August of Bavaria, whose court was in Bonn. By 1761, Beethoven’s grandfather became Kapellmeister there.

Ludwig the Elder’s youngest son was Johann, born around 1740. Johann inherited his father’s musical talent and also worked in the Bonn court.

In 1767, Johann married a young widow named Maria. Together they had three children who lived to adulthood, the eldest of whom was Ludwig van Beethoven.

From an early age, it was clear that little Ludwig was extremely musically talented. Johann decided he wanted to train him and make money off of him. Wolfgang Amadeus Mozart’s father had recently gone on tour across Europe, showcasing his children’s prodigious talent, and Johann considered doing the same with Ludwig.

Unfortunately, Johann struggled with severe alcohol addiction. Johann would drag Ludwig out of bed in the middle of the night and force him to perform for his drinking buddies all night long. He was also abusive, beating Ludwig or locking him into the cellar if he didn’t practice enough.

This was all bad enough, but Ludwig’s beloved mother Maria died in 1787, when he was just sixteen.

Johann’s drinking problem had led him to neglect his job, and responsibility for supporting the household was placed on the son’s shoulders.

In 1789, the situation got so bad that Ludwig had to petition for half of Johann’s paycheck to be sent directly to him, just so that his father wouldn’t spend it all on alcohol.

In 1792, when he was eighteen, Ludwig left his dysfunctional childhood home in Bonn to make a name for himself in Vienna. Not long after he left, he got word that his father had died.

The stormy personality that Ludwig developed during his long abusive childhood endured…and, arguably, appeared in his music for years to come. 

Johann Sebastian Bach

Johann Ambrosius Bach, J.S. Bach’s father

Johann Sebastian Bach was born in March 1685, the youngest child of Johann Ambrosius Bach and his wife Maria. Johann Ambrosius was director of the town musicians in Johann Sebastian’s birthplace of Eisenach and was likely Johann Sebastian’s first teacher.

Not a lot of documentation exists about Bach’s childhood, but we know enough to extrapolate that it was a difficult one. His first major loss came when his mother died in the spring of 1694, just a few weeks after Johann turned nine years old.

Johann Ambrosius needed a wife to help him raise his children, and six months later, he married his second wife. But in February 1695, Johann Ambrosius died, too. Johann Sebastian was now nine years old and an orphan.

After this horrifying year, Johann Sebastian moved in with his oldest brother, Johann Christoph.

Johann Christoph became another one of Johann Sebastian’s early keyboard teachers. The brothers lived together for five years, and then, as a teenager, Johann Sebastian moved out to join the choir of St. Michael’s Convent in Lüneburg.

Around the time that he left, Johann Sebastian composed a Capriccio dedicated to his eldest brother. It’s now known as BWV 993. 

Joseph Haydn

Haydn in London

Joseph Haydn was born in the small town of Rohrau, Austria, in 1732, the second of twelve children.

His father was a wheelwright by day and amateur singer by night. Young Joseph soaked up the music around him like a sponge.

His idyllic childhood was shattered when he was six years old. A distant relative named Johann Matthias Frankh, a schoolmaster and choirmaster, came to visit and noticed Joseph’s musical talent. He proposed that he take Joseph away with him as his apprentice. Haydn’s parents agreed. Tragically, however, once he arrived in the Frankh household, little Haydn was starved and beaten.

The following year, yet another traveling musician noticed Joseph’s talent. His name was Georg von Reutter, and he was in charge of selecting boys for the choir at St. Stephen’s Cathedral in Vienna. So in the spring of 1740, at the age of just eight, Haydn arrived in Vienna to be trained as a professional musician.

Haydn’s life at the cathedral was difficult. His general education was less thorough than he would have liked, and he still had trouble securing enough food. He was relieved whenever he was invited to aristocratic parties to sing, because at least he could eat there.

However, he was acutely aware he couldn’t stay at the Cathedral forever. His voice began to break in 1749, the year he turned seventeen. Apparently the Empress referred to his singing as “crowing.”

Around the same time, a prank during which he snipped off the pigtail of a fellow chorister went wrong. The choirmaster threatened to cane him for insubordination. Haydn responded that he’d rather leave the choir than be hit. He ended up on the streets of Vienna both beaten and fired, with nothing to his name. For all intents and purposes, his childhood was over.

Clara Wieck Schumann

Clara Wieck, 1828

Clara Wieck Schumann was born in September 1819 in Leipzig to an ambitious piano teacher named Friedrich and his singer/pianist wife Mariane.

Friedrich desperately wanted a child who he could use to experiment on pedagogically, and use as an advertisement for his methods. Friedrich chose Clara to be his golden child.

Unfortunately, around the same time, the Wiecks’ marriage fell apart. Mariane couldn’t handle Friedrich’s controlling nature and embarked on an affair with Friedrich’s best friend. The two were divorced.

Clara stayed with her mother as a toddler, but once she turned five, Friedrich exercised his custody rights. From that point forward, he would have free rein with her.

He taught her piano, violin, and voice, as well as theory subjects like counterpoint and harmony. She was also taught languages because Wieck believed fluency in multiple languages would ease her path as a professional touring virtuoso.

Underlining his attitude of ownership toward her, Friedrich kept a joint diary with Clara in which he sometimes wrote entries from her point of view. This behavior demonstrated a deeply unnerving level of what a modern observer might call enmeshment.

In 1828, at a salon concert, she met an up-and-coming pianist named Robert Schumann. She was nine and he was eighteen. Schumann was so impressed by her training that he signed up to study under Friedrich. Friedrich’s plan was working as intended.

Clara toured throughout Europe as a child. She was a continent-wide sensation, celebrated not only for her playing but also for her compositions.

Disaster struck in her teens when she fell in love with Robert, inciting a family civil war. Her efforts in her teens to assert her independence and to extract herself from Friedrich’s sphere of influence proved to be incredibly challenging. She had to fight in the courts to make sure that Friedrich would not take away the money she’d earned…and to win the right to marry Robert without Friedrich’s permission.

Although the legal battles were deeply traumatising, she emerged victorious. After all of the heartbreak and trauma of her youth, she ended up becoming one of the greatest, most influential musicians of the nineteenth century.

Piano Music for Springtime

by Frances Wilson, Interlude

Springtime – the turning of the season, the weather growing milder and the days longer, the first fresh buds of blossom appearing – is fertile territory for musical inspiration, as this selection of piano pieces inspired by Spring or emblematic of its reveal:

Christian Sinding: Rustle of Spring

Perhaps the most famous piano piece about Springtime, this late Romantic miniature suggests nature waking up after the long, dark winter and the hope which accompanies the new season in rippling (‘rustling’) semiquavers with a flowing melody beneath. It has a Wagnerian flavour in the way the composer repeats phrases a step higher each time, creating a sense of increased energy and drama.

Tchaikovsky: March (Song of the Lark) and April (Snowdrop)

By contrast to the joyous outpouring of the Rustle of Spring, March, from Tchaikovsky’s suite The Seasons, reminds us that the chill of winter still lingers in the air, with a poignant melody evoking birdsong – the song of the lark – and an introspective mood. April is more cheerful – a whimsical little waltz which suggests the weather is definitely growing warmer as snowdrops and other flowers appear.

Doug Thomas: March from The Seasons

This piece was written for me as part of a project which paid homage to Tchaikovsky’s The Seasons. 12 pieces were composed for 12 pianists who submitted their own recordings which were then mastered into an album. Although in a minor key, the mood of this piece, with its chirruping, pulsing rhythm and cascading arpeggios in the upper register of the piano, suggests nature bursting into life in all its colourful glory after the gloom of winter.  Thomas Official · 03 March (with Frances Wilson)

Pēteris Vasks: Pavasara Muzika (Spring Music)

Another piece from a suite of piano pieces evoking the seasons, Spring Music by Latvian composer Pēteris Vasks is a 20-minute reflection on that season rather than a depiction of it, though it contains many evocative motifs which suggest birdsong, spring breezes and a sense of the world growing green again after the stark white scenery (the first piece in Vasks’ cycle) of winter. And while his White Scenery is a minimalist reflection on winter, Spring Music is florid, virtuosic and at times highly dramatic, before subsiding into slower, more meditative passages.

Schubert (arr. Liszt): Die Forelle (The Trout)

Schubert’s ‘Trout’ Quintet is definitely springlike in its carefree melodies and joyful atmosphere, and this transcription for solo piano by Franz Liszt – with its rippling accompaniments and optimistic character – is a virtuosic evocation of the new season. 

Rachel Grimes: Every Morning Birds from The Book of Leaves

Although not specifically about Spring time, this piano miniature by contemporary American composer Rachel Grimes definitely has a flavour of that season with its opening passage of actual birdsong and tracery of treble notes, interspersed with decorative motifs which suggest the chirruping of birds.

Happy Birthday Johann Sebastian Bach

by Hermione Lai, Interlude

Johann Sebastian Bach—one name says it all! On 21 March, we celebrate one of the most revered and influential composers who ever lived. His compositions fill the air with harmony and joy, and his genius continues to inspire the world.

J.S. Bach

Bach’s music has left an indelible mark. From the intricate melodies in his fugues to the emotional depth of his cantatas, Bach’s work pushed the boundaries of what music could express.

Bach’s genius transcends time! His music is a living and breathing testament to the power of creativity and the beauty of sound; they will continue to inspire admiration and awe.

To celebrate his birthday, let’s dive into the wondrous world of his Orchestral Suites, where Baroque brilliance dances with every single note. These timeless masterpieces have enchanted listeners for centuries, and here are the 10 most popular gems that make these suites unforgettable.

Air on a G String (Suite No. 3 in D Major, BWV 1068 “Air” 

We just as well get started with one of Bach’s biggest hits ever. The “Air” from his Suite No. 3 is pure and unadulterated musical magic. Many times we see it referenced as “Air on a G String.” That title is not by Bach but comes from an arrangement fashioned in the 19th century.

The soothing and relatively simple melody is one of the composer’s most serene and timeless works. With its hauntingly delicate strings and serene atmosphere, it sounds like a gentle musical embrace.

In Bach’s original version, the piece is typically played on a single string on the violin, and in the lower register. That warm tone is central to the feeling of calm and elegance. The melody unfolds naturally and almost seems to breathe on its own. It transcends time with its graceful simplicity and profound beauty.

Suite No. 2 in B Minor, BWV 1067 “Badinerie” 

Bach had this unbelievable genius for turning a simple theme into an unforgettable masterpiece. If you need proof, just listen to the “Badinerie” from his 2nd Orchestral Suite. It is one of his most recognisable and frequently performed compositions.

The title “Badinerie” designates a piece of music light-hearted in character. In French it literally means “jesting,” and Bach presents a vibrant and playful piece characterised by a lively tempo and spirited rhythm.

The melody is primarily carried by the flute and seems almost mischievous at times. It dances through a series of short and rhythmic motifs, and Bach cleverly repeats and transforms these ideas to maintain both interest and drive. It is a masterpiece full of energy and charm and presents Bach’s skill in creating a highly dynamic but intricate musical conversation.

Suite No. 1 in C Major, BWV 1066 “Overture” 

One of the all-time Bach favourites, the “Overture” from his 1st Orchestral Suite blends grandeur and elegance in a way that only Bach can. It sets the ceremonial tone for the entire work, and for Bach the title “Overture” generally means “French Overture.”

Musically, that means a slow and majestic introduction followed by a lively and highly contrapuntal section. We can hear the ceremonial dignity in the stately and dotted opening rhythm, but Bach is also building anticipation for the lively section ahead.

Everything starts to dance in the second part, as Bach shifts to a more joyful character with different instrumental voices interacting in lively conversation. The strings lead and create an energetic exchange with the woodwinds and brass. The overture returns to the slow opening rhythm, giving us the impression of having witnessed something noble and celebratory.

Suite No. 3 in D Major, BWV 1068 “Gavotte I & II” 

Nobody dances like Johann Sebastian Bach. For some of his most popular examples we don’t need to look further than the Gavotte movements from his 3rd Orchestral Suite. This Gavotte pair reflects the grace of this courtly dance, which Bach infuses with great musical sophistication.

The first “Gavotte” immediately grabs the listener’s attention. The theme is simple, but it feels luxuriously rich due to Bach’s use of harmony and ornamentation. The upbeat rhythm and evenly spaced phrases provide a natural sense of forward motion.

The second “Gavotte” is a bit more reflective, with a slower and more lyrical quality. The musical texture is more transparent with woodwinds and strings creating moments of dialogue. This movement sounds more introspective, yet always retains a feeling of gracefulness. It’s pure Bach, as he blends rhythmic playfulness with harmonic depth and creates timeless delights.

Suite No. 4 in D Major, BWV 1069 “Bourrée I & II” (Cologne Chamber Orchestra; Helmut Müller-Brühl, cond.)

Monument of J.S. Bach in Eisenach, Germany

Bach was the undisputed master of turning simply dance forms into something both dynamic and sophisticated. If you don’t believe me, just take a listen to the pair of Bourrées from the 4th Orchestral Suite.

Bach’s treatment of these fast-paced and duple-time French dances is brimming with infectious energy captured within an intricate musical structure. The first Bourrée opens with a buoyant and immediately recognisable theme. What a sprightly and straightforward melody that gives this dance a playful and almost conversational feel.

The second Bourrée, while still in the same lively spirit, introduces a bit more contrast with a slightly different character. It opens in a similar fashion, with an energetic, clear melody, but there is a subtle shift in tone with the movement feeling slightly more intricate. Although rooted in the tradition of the Baroque dance, Bach is simply genius by elevating a simple form to a level of enduring artistic expression.

Suite No. 2 in B Minor, BWV 1067 “Rondeau” 

Let’s next feature another favourite lively and charming dance movement. The “Rondeau” from the 2nd Suite is in a basic rondo structure, where a recurring theme alternates with contrasting episodes. It’s all about creating a sense of continuity and variety.

The “Rondeau” theme is bright, rhythmically energetic, and immediately engaging. We can easily feel the strong dance-like pulse, and a feeling of momentum and lightness. And just listen to that delightful and lively conversation between the strings and the woodwinds.

The contrasting episodes are more lyrical but harmonically more complex. With the string section in the background, the woodwinds are given the opportunity to shine by adding colour and texture. The recurring theme sounds familiar and joyful, while the contrasting episodes offer variety and a touch of elegance.

Suite No. 2 in B Minor, BWV 1067 “Sarabande”

J.S. Bach’s Orchestral Suite No. 2 – III. Sarabande

The lively and high-spirited dances in the Bach Orchestral Suites are contrasted by deeply expressive and poignant movements. Such is the case with the “Sarabande,” a slow and elegant dance originating from Spain, from the 2nd Suite.

From the very beginning, this dance radiates a sense of gravity and introspection. In this particular dance the focus falls on the second beat of each measure, creating a slight emphasis. This in turn creates a gentle lilt that drives the movement forward without rushing it.

Bach composes a noble and flowing melody, with long legato phrases providing a vocal-like quality. And astonishingly, every phrase unfolds naturally, inviting the listener into a space of reflection. Bach also adds a harmonically rich tapestry, shifting unhurriedly beneath the long melodic lines. It’s all about the subtle emotional nuances as Bach creates a deeply expressive movement of timeless splendor.

Suite No. 1 in C Major, BWV 1066 “Forlane” 

If you’re looking for a sense of joyous celebration, look no further than the “Forlane” from Bach’s Orchestral Suite No. 1. This dance of Italian origin is typically in a moderate 6/8 metre, and Bach uses this basic structure to create a piece full of rhythmic momentum, melodic charm, and intricate phrasing.

While the overall form is straightforward, Bach deliciously propels the music forward by relying on the natural division of each measure into two groups of three beats. The melody is lively and playful, and it dances across the strings using crisp motifs that often occur in the form of a question and answer.

The harmony moves through major keys providing a sense of openness and warmth with occasional slight harmonic surprises. Unexpected modulations or shifts in tonality add a touch of colour and keep the music from becoming predictable. What a perfect and popular example of Bach’s ability to infuse dance music with both vibrancy and grace.

Suite No. 2 in B minor , BWV 1067 “Polonaise”

Johann Sebastian Bach playing the organ, c. 1881

For a beautiful dance of grace and dignity, let’s turn to the “Polonaise” from the 2nd Orchestral Suite. This dance is charming and expressive, with Bach showcasing a graceful melody, elegant ornamentation, rhythmic vitality, and subtle harmonic shifts.

Since it is written in the minor mode, this dance has a slightly sombre and reflective tone. But not to worry as Bach often brightens the mood with delicious modulations and harmonic shifts. The flute plays a key role, presenting the main theme while the string section provides a rich harmonic backdrop.

The rhythmic drive and moderate tempo allow for a stately procession, while the melodies and ornaments provide a sense of joyful elegance. The dance feels lively by capturing both the grandeur of the courtly setting and the joyful spirit of dance. Bach once again blends technical mastery with musical expressiveness.

Suite No. 3 in D Major, BWV 1068 “Gigue” 

Every good dance needs a rousing finale, and that’s exactly what we get in the “Gigue” from the 3rd Orchestral Suite. The gigue was a very common dance during the Baroque, and its fast pace and often skipping rhythm reflects the joyful spirit of this particular dance form.

The memorable melody in this dance unfolds in long, flowing phrases that are energetic and graceful. Bach adds a number of ornaments to the lively rhythm to add a layer of expressivity and elegance.

What a fantastic, high-energy movement full of rhythmic complexity and joyful exuberance. And just listen to the marvellous interplay between the instruments to create that sense of dialogue and energy. The music is never standing still, and the same can truly be said of Johann Sebastian’s incredible musical mind.

The Orchestral Suites are a radiant celebration of Bach’s elegance and musical ingenuity. Each suite presents a tapestry of contrasting emotions, weaving together joyous dances, delicate melodies, and intricate counterpoint. Together, they stand as some of the most cherished works in Bach’s orchestral repertoire, leaving us with an uplifting sense of musical fulfillment and joy.

Lea Salonga--Disney Medley (Hercules, Tarzan, and Mulan)

4,851,408 views Mar 13, 2013

Artist: Lea Salonga Songs: 1:22 - Go The Distance (Hercules) 3:35 - You'll Be In My Heart (Tarzan) 5:37 - Reflection (Mulan) Album: Lea Salonga Live! Year: 2000 Other Info: Concert was held at The Philippine International Convention Center *Lea Salonga was named a Disney Legend in 2011 for her work with The Walt Disney Company.

Beethoven | Concerto for Violin, Cello, and Piano in C major "Triple Concert

1,412,295 views Jan 8, 2014

Español: Concierto para violín, chelo y piano en Do mayor, Op. 56 1st Movement (Allegro) 0:53 2nd Movement (Largo (atacca)) 19:00 3rd Movement (Rondo alla Polacca) 24:10 Work: Concerto for Violin, Cello, and Piano in C major, Op. 56 Composer: Ludwig van Beethoven Orchestra: Israel Philharmonic Orchestra Violinist: Giora Schmidt Cellist: Zuill Bailey Pianist: Navah Perlman Conductor: Itzhak Perlman Place: Mann Auditorium, Tel Aviv

While My Guitar Gently Weeps (Taken from Concert For George)

82,664,523 views Jan 26, 2018

Music video by Paul McCartney, Eric Clapton performing While My Guitar Gently Weeps. (C) 2018 Oops Publishing, Limited Under exclusive license to Craft Recordings, a division of Concord Music Group, Inc. http://vevo.ly/bmz4BH

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While My Guitar Gently Weeps (Live)

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Lola - Mariage d'Amour (Live with Orchestra)

1,249,101 views Mar 4, 2025 #relaxmusic #relaxingpianomusic #pianist

​‪@LolaAstanova‬ Mariage d'Amour Live performed by Lola. Orchestral arrangement by Lola. Sheet music: https://www.musicnotes.com/sheetmusic... Apple: https://music.apple.com/us/album/mari... Spotify: https://open.spotify.com/track/7CeTkn... Originally broadcast on ‪@SitelTV‬

Lea Salonga - Bayan Ko

Southern Philippines Medical Center

 MCEI extends its heartfelt gratitude to Southern Philippines Medical Center for the incredible opportunity to be the welcome performers for Fr. Pedro Tramontin, MI, at the St. Camillus de Lellis Chapel-SPMC. It is both an honor and a privilege to share our cultural heritage through music and dance, creating an atmosphere of warmth and celebration as we welcome a distinguished servant of faith and compassion. Our performance is a humble offering, symbolizing unity, gratitude, and the deep spiritual connection that binds our community.

As we extend our warmest welcome to Fr. Pedro Tramontin, we also recognize his invaluable mission in service to others. May his visit bring renewed inspiration and blessings to the entire SPMC community and beyond. Once again, thank you, SPMC, for this meaningful collaboration. We look forward to more opportunities to share our artistry in service of faith, culture, and community.

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