Nico Dostal - His Music and His Life

 

Nico Dostal (full name: Nikolaus Josef Michael Dostal) (27 November 1895 – 27 October 1981) was an Austrian composer who later specialised in operetta and film music.

Dostal was born in Korneuburg, Lower Austria, and was the nephew of composer Hermann Dostal. He initially studied law at the University of Vienna, but turned to studying music at the Academy for Church Music in Klosterneuburg, and made a name for himself when his Great Mass in D major premiered in Linz in 1913.

After participating in World War I, Dostal worked as the theatre Kapellmeister in Innsbruck, St. Pölten, Vienna, Chernivtsi and Salzburg, before moving to Berlin in 1924, where he turned his hand to secular music. He worked in music publishing and as a freelance arranger for Oscar Straus, Franz Lehár and Robert Stolz, among others.

Whilst working as a Kapellmeister and composer, Dostal wrote the music for the film The Emperor's Waltz (1933) and enjoyed great success with his first operetta Clivia. This was followed by Die Vielgeliebte (1934) (The Much-Loved), Die ungarische Hochzeit (1939) (The Hungarian Wedding), and numerous pieces of film music.

In 1946 Dostal moved to Vienna, then in 1954 to Salzburg, where he continued to devote himself to composition, writing there among other pieces the chamber musical So macht man Karriere (1961) (How To Make a Career). Dostal also composed church music along with operettas and film music.

In 1942 he married the opera singer Lillie Claus, by whom he had one son, Roman Dostal, later a conductor. Dostal died in Salzburg, where he is buried in a grave of honour in the main cemetery, the Salzburger Kommunalfriedhof.

Works

Operettas

Die exzentrische Frau, 1922 (The Eccentric Woman)

Lagunenzauber, 1923 (Lagoon Magic)

Clivia, 1933

Die Vielgeliebte, 1934 (The Much-Loved)

Prinzessin Nofretete, 1936 (Princess Nefertiti)

Extrablätter, 1937 (Extra Sheets)

Monika, 1937

Die ungarische Hochzeit, 1939 (The Hungarian Wedding)

Die Flucht ins Glück, 1940 (The Flight into Happiness)

Die große Tänzerin, 1942 (The Great Dancer)

Eva im Abendkleid, 1942 (Eva in Evening Dress)

Manina, 1942

Verzauberte Herzen, 1946 (Enchanted Hearts)

Ein Fremder in Venedig, 1946 (A Stranger in Venice)

Süße kleine Freundin, 1949 (Sweet Little Girlfriend)

Zirkusblut, 1950 (Circus Blood)

Der Kurier der Königin, 1950 (The Queen's Courier)

de:Doktor Eisenbart, 1952 (Dr. Eisenbarth)

de:Der dritte Wunsch, 1954 (The Third Wish)

Liebesbriefe Operette, 1955 (Love Letters Operetta)

So macht man Karriere, 1961 (How To Make A Career)

Rhapsodie der Liebe, 1963 (Rhapsody of Love)

Der goldene Spiegel (The Golden Mirror)

Don Juan und Figaro oder Das Lamm des Armen, 1990 (Don Juan and Figaro, or the Lamb of the Poor)

Film music

Jedem seine Chance, 1930 (To Each, His Chance)

Three Days Confined to Barracks (1930)

Headfirst into Happiness (1931)

The Emperor's Waltz (1933)

The Cabbie's Song (1936)

Der Optimist, 1938, with Theo Lingen (The Optimist)

Mordsache Holm, 1938 (The Holm Murder Case)

Thirteen Chairs (1938)

Heimatland, 1939, with Wolf Albach-Retty (Homeland)

Das Lied der Wüste, 1939, with Zarah Leander, Gustav Knuth (The Desert Song)

The Vulture Wally (1940)

Black on White (1943)

Glück bei Frauen, 1944, with Johannes Heesters (Luck/Happiness with Women)

Child of the Danube (1950)

Spring on Ice (1951)

Das Herz einer Frau [de], 1951 (The Heart of a Woman)

Seesterne [de], 1952 (Sea Stars)

A Night in Venice (1953)

Die Ungarische Hochzeit, 1969, with Maria Schell (The Hungarian Wedding)

This Polish wartime composer’s music lay buried in a suitcase ...

 

... in his garden. Now, it lives again.

Polish wartime composer's music lay hidden in suitcase for years. Picture: iStock

By Maddy Shaw Roberts, ClassicFM London

 

Until after his death, the score for Polish composer Ludomir Różycki’s forgotten violin concerto lay buried in a suitcase in the garden of his deserted Warsaw home.

Amid the countless horrors of the Second World War were policies designed to try to extinguish Poland’s cultural identity, from its thriving music scene to its treasured artworks.

During the Nazi occupation, thousands of Polish artists were killed, several historical artefacts were looted, and many musicians and orchestras were forced to go underground in the face of a cultural genocide.

Ludomir Różycki, a Polish composer, belonged to a group of music-makers who, after the First World War, sought to reinvigorate their country’s music. He found great success with his ballet Pan Twardowski, which became the first Polish large-scale ballet to be performed abroad.

Różycki began work on his Violin Concerto in 1944, the summer of the Warsaw Uprising – an operation to liberate Warsaw from German occupation.

It became clear that Różycki and his family urgently needed to find a safe haven. They fled their home in Warsaw, but not before Różycki had hidden the manuscript in a suitcase and buried it at the bottom of his garden.

Janusz Wawrowski premiered Różycki’s Violin Concerto in 2018. Picture: Fabrizio Maltese

Różycki’s family home didn’t survive the traumatic uprising. After the war, he found work teaching and composing in Katowice, some 300km south-west of the Polish capital, and had resigned himself to the loss of the concerto.

Years later, construction workers clearing the ruins of his house came across the unexpected piece of history. The scores inside found their way to the archives of Poland’s National Library, where they lay forgotten until very recent years.

In 2018, violinist Janusz Wawrowski came across the scores and was mesmerised. “It was some years ago that I first encountered fragments of the manuscript,” says Wawrowski, who is one of Poland’s leading classical violinists.

“This wonderful work spoke to me immediately, and the thought was planted in my head that, like a phoenix rising from the ashes, it should be reborn and enjoyed by audiences around the world.”

With the help of a researcher and much scouring of the archives, Wawrowski managed to piece the work together and track down the missing, opening 87 bars of the orchestrated full score.

Working with pianist and composer Ryszard Bryła, he set about reworking the concerto, editing the solo part to fit comfortably under a violinist’s fingers. The project took several years, and in 2018, Wawrowski eventually premiered the opulent, post-Romantic concerto to a live audience.

“The result, we hope,” says Wawrowski, “Is as close to Różycki’s original thinking as possible…

Read more: 10 incredible photos of composers’ original pianos >

“To me, the concerto is full of the energy and life of Warsaw before the war, and I think the composer was trying to conjure up and convey this positive energy as he wrote it in 1944 – a very dark time, as the artillery of the Nazis rained down on the city,” the violinist adds.

Now, the concerto has been officially released as a recording, in a new album paired with Tchaikovsky’s Violin Concerto. While the latter has long been one of the world’s favourite violin concertos, the Różycki was never performed in the composer’s lifetime, and assumed lost by the composer himself, who died in 1953 before it was rediscovered.

“Looking back at the turbulent history of our civilisation and at times of unrest, we see that culture and art have always played an essential role in humanity,” Wawrowski says. “Artists, in the face of sad realities, have consciously used their creative power to produce works bringing both hope and joy.

“This is the message of the two violin concertos recorded on this album. Both were written at very difficult moments in the lives of their creators – Tchaikovsky was seeking refuge in composition after the painful breakdown of his marriage.”

Wawrowski adds: “It is incredible that Różycki’s concerto was written in the darkest times and carries such positive energy. In spite of the daily reality engulfing the composer, his spirit of hope for a better future was well and truly still alive.”

German Language Course in Davao City/Deutsche Sprache Kurs in Davao City

 

Nicole Kidman’s husband claims ‘violence at the opera'...

... as details of etiquette attack revealed

Sydney Opera House audience member ‘whacked’ Nicole Kidman with his program in standing ovation dispute. Picture: Getty

By Maddy Shaw Roberts, ClassicFM London

 

Keith Urban claims “violence at the opera” after his wife, actor Nicole Kidman, found herself the victim of a Sydney Opera House audience member’s bewildering rage.

Actor Nicole Kidman was “whacked” by an angry opera audience member brandishing a program, her husband, singer Keith Urban, has alleged in a radio interview.

Wanting to show their appreciation for Opera Australia’s acclaimed production of Franz Lehár’s The Merry Widow, the pair joined their fellow opera lovers at Sydney Opera House in a standing ovation for the night’s star performers.

But one man, sitting behind the couple, grew irritated with their enthusiasm and told them to sit back down, according to Urban. Wanting to show his appreciation for the cast, Urban refused and carried on standing and clapping.

“We were sitting down with Nic’s mum and we were clapping,” Urban said on Australia’s The Kyle & Jackie O Show on KIIS FM radio. “It was a bloody great performance, and everyone was cheering and cheering.

“I looked around and I see a few people standing and a few more and I thought ‘Oh, I’m getting up’. And then this guy behind me just whacked Nic, like really hit her, with the program.”

Kidman then allegedly told Urban that the aggrieved Lehár lover had “just hit me”.

Urban added: “I was like, ‘What?! Violence at the opera!’ It’s a bit of a pickle I was in because I’m a husband and you want to defend your wife, but it took a lot of restraint. I was pretty upset.”

Read more: Tourists who paid £1,400 to watch Andrea Bocelli complain he sang a ‘boring’ opera >

The Hollywood star enjoyed a night at the opera in Sydney. Picture: Instagram/Nicole Kidman

Urban explained that he did not know standing ovations weren’t usual practice at the Opera House, as he had never attended an opera before.

The pair enjoyed their night out with Kidman’s mum, after completing mandatory quarantine, in Sydney, where live performances can now take place again with social distancing and mask-wearing.

After the incident, Urban called over their bodyguards to escort Nicole and her mum out of the venue. The opera house’s security also intervened, and police were soon summoned.

“Police have been told a 53-year-old man and a 67-year-old man were both attending the entertainment centre when an argument broke out. Officers spoke to both men and no further action was taken,” NSW Police had said in a statement.

After the incident was all cleared up, Nicole and Keith stayed behind at the venue so they could greet the star singers backstage.

Opera Australia boss, Lyndon Terracini, led the couple through to the stage door, where they took a photo with Australian-Italian tenor Virgilio Marino.

“Thank you Opera Australia! So beautiful to be back at the theatre,” Kidman posted in a message to her Instagram Stories, adding: “Making my mumma happy at The Merry Widow.”

Never a dull night at the opera...

Classical music festivals 2021: What's up in Germany and elsewhere?

 

Bayreuth Festival's main performance venue, the Richard Wagner Festspielhaus

• Author Anastassia Boutsko

Bachfest, Bayreuth Festival, Salzburg Festival: Organizers are hopeful even as the coronavirus forces them to modify their plans for spring and summer concerts.

 Despite a decrease in infections and an increase in vaccinations, the coronavirus pandemic will continue to influence all aspects of life in the coming months — including the classical music scene, where many music festivals fear they could go under. Nevertheless, organizers are reacting with creativity and flexibility to make the best of a challenging situation.

DW took a look at the strategies, plans and programs of a few major festivals set to take place between March and September 2021, and also spoke with festival directors.

Baden-Baden Easter Festival (March 27 — April 5)

Festival organizers in Baden-Baden are hopeful. Artistic director Benedikt Stampa enjoys the thought of being able to "prepare for the Easter Festival with the Berliner Philharmonic" as a kind of small musical reawakening. Though it is not yet clear what exactly the cooperation with the Berlin Philharmonic will look like, Stampa said that the artists are ready and excited. 

Information on when and how the 2021 Easter Festival in Baden-Baden might take place will be published "as late as possible and as early as necessary," Stampa said.

Dresden Music Festival (May 14 — June 12)

"Dialogues" — that is the Dresden Music Festival's motto this year. Cellist Jan Vogler, who has directed the festival since 2009, looks to the future with cautious optimism: "My responsibility as artistic director and also as a Dresden resident is to preserve as much as possible of the festival's charisma and musical power during the coronavirus crisis," he told DW.

Jan Vogler wants to perseve the character of the Dresden Music Festival despite the coronavirus

"We are creative and flexible. Formats with limited audiences, streaming, open air and a lot of communication with our worldwide audience will carry the Dresden Music Festival through this difficult time."

Leipzig Bachfest (June 11 — June 20)

The Leipzig Bachfest offers an extensive and varied program. Under the 2021 motto "Redemption," the festival features a tremendous undertaking: from June 12 to 15, Bach's Messiah chronicles the life of Jesus in three oratorios, the St. Matthew Passion and 33 selected cantatas by Johann Sebastian Bach.

Initially, each venue will only offer limited seating capacity. In the spring, the organizers will decide to what extent additional seats can be added. "This is the only way we can ensure that the 2021 Bach Festival can actually proceed as planned," festival director Michael Maul told DW. "I am pleased that we have found a solution allowing us to start advance sales on time with all planned events despite the pandemic."

Spannungen Festival (June 17 — June 21)

The Spannungen (literally, "tensions") Festival is currently looking to go ahead with  its plan B. Artistic director and pianist Lars Vogt told DW this means having "a reduced number of artists, a smaller audience (130 instead of 550 people) and programs of 60 to 70 minutes without an intermission, played twice each evening." 

It's 'plan B' at the art nouveau power plant that hosts the Spannungen Festival

Vogt founded the festival, which is known as the "Bayreuth of Chamber Music." It is held at an art nouveau power plant in the western German town of Heimbach. Last year, Spannungen took place as a kind of "ghost festival" in Berlin, with broadcasts online and on the radio, as well as in the DW Festival Concerts series. There will be broadcasts again this year, too. "And if the situation eases enough to allow for regular concerts, we can increase the program on relatively short notice," Vogt said.

PODIUM Esslingen (July 15 — July 25)

Similar to 2020, this year's PODIUM Esslingen festival will take place later than usual. "Due to the current situation, we have decided with a heavy heart to postpone the festival from spring to summer again this year," Steven Walter, the festival's artistic director, said. This is his last year in charge: As of 2022, he will be artistic director of the Beethovenfest Bonn.

"We very much hope that by [summer] we will once again be able to experience the unique power and beauty of music along with our audience — albeit at a distance and with strict hygiene measures." Advance ticket sales are expected to start at the end of April.

Salzburg Festival (July 17 — August 31)

Austria's Salzburg Festival was the big exception last summer: It was the only traditional festival that dared open in a modified form and with a strict hygiene concept supervised by medical experts. There was not a single positive COVID-19 case at the festival, neither among the artists and organizers, nor among the 76,500 visitors.

This year, the "miracle of Salzburg" enters its second round: 168 performances are scheduled over 46 days from mid-July to the end of August, including a much-anticipated premiere of a new production of Mozart's Don Giovanni, postponed from 2021, directed by Romeo Castellucci and with Teodor Currentzis conducting.

Bayreuth Festival (July 25 — August 25)

The Bayreuth Festival, one of the world's most traditional festivals, is going to go ahead — welcome news after its cancellation last summer due to the coronavirus.

For 2021, festival director Katharina Wagner has presented a bold program scheduled to take place both inside the Festspielhaus and outdoors. There will be a new production of Richard Wagner's Flying Dutchman, featuring Ukrainian conductor Oksana Lyniv as the first woman to lead the Festival Orchestra. The program also includes revival productions of The Master Singers of Nuremberg and Tannhäuser.

It is not yet clear how big the indoor audience can be, since the famous "Wagner shed," an old wooden theater with no air conditioning where people sit close together, is highly unsuitable as a concert venue for pandemic times.

Customers who came away empty-handed in 2020 and those who waived their right to a refund will be prioritized in ticket sales. There will also be an online sale on the homepage starting June 6.

The Bayreuth Discourse series, the festival's podium for premieres, discussions and concerts, will take place both in the Festspielhaus and in the surrounding park and promises to an exciting and international part of the program. 

Beethovenfest Bonn (August 20 — September 10)

After a large part of the Beethovenfest Bonn had to be canceled last year, the 250th anniversary of Beethoven's birth, music lovers are excited about 2021. Most of the 54 events originally planned for 2020 should be able to go ahead this year.

The festival will take place under the directorship of Nike Wagner for the last time, and under the motto "Auferstehn, ja auferstehn!"(Rise, yes, rise!).

Much of the 250th birthday celebrations for Beethoven as part of the Beethovenfest had to be canceled.

Organizers are cautiously optimistic that the festival might be able to perform for real audiences, even if smaller than usual, and feature large orchestras. "However, we are also working on plans B and C — for instance with smaller casts, shorter programs that can be repeated several times for this purpose, and alternative formats, such as televised screenings," said Michael Gassmann, the festival's new commercial director.

(C) 2021 by DW (Deutsche Welle)

This article has been translated from German.

The amazing story of the Welsh village choir that inspired Pavarotti to take up singing

 

The amazing story of the Welsh village choir that inspired Pavarotti to take up singing. Picture: Courtesy of The Fron Choir

By Maddy Shaw Roberts, ClassicFM London

 

From a local community choir to a worldwide choral sensation – here’s the remarkable history of the tiny Welsh singing ensemble that played a beautiful role in inspiring a young Luciano Pavarotti to deploy his now-legendary pipes.

The Fron Choir is a Welsh village ensemble with an extraordinary history.

Founded in 1947, the all-male chorus has its roots in the Llangollen International Musical Eisteddfod, a competition itself started after the Second World War to promote peace and cultural exchange around the world.

And on the day of the festival, who should show up but a young Luciano Pavarotti.

Luciano came with his conductor father, Fernando, whose own male voice choir, the Chorale di Rossini, had travelled from Modena, Italy to take part.

“In those days, competing choirs were lodged with local families,” the choir tells Classic FM. “The mother of two of the Fron Choir choristers, Travis and Vince Griffiths, offered hospitality to two Italian choristers.

“She was allocated a father and son called Fernando and Luciano Pavarotti.”

It was the Chorale di Rossini who took home the Male Voice Choir competition that day. And on hearing all the beautiful music from the Land of Song, young Luciano was inspired to take up singing and joined the Modena choir himself, which he later described as the most important musical experience of his life.

International participants competing at the Llangollen International Musical Eisteddfod. Picture: Getty

“Luciano was just a teenager at the time. He apparently enjoyed the experience so much he vowed to return one day,” the choir added.

And, true to his word, he did – some forty years later, in 1995.

“That connection, made in 1955, resulted in his old choir being lodged with members of The Fron Choir,” the choir explains.

“Pavarotti stayed in a local hotel. We had several opportunities to spend time with him and, although we could not share the stage, he requested that we sing a Welsh song for him, which we did – in the car park of the hotel.

“Thus, Fron Choir, Rossini Choir and Pavarotti all came together for a short impromptu performance of about 15 minutes.”

“He was idolised by all the members of his own choir,” a choir member said. “Not even The Pope could have been more revered.

“It was great to watch him rehearse and then to be in the audience at his concert that weekend where all the accolades were fully justified.”

The great Christopher Plummer passed away

 

He was a classical pianist, and played Rachmaninoff between Sound of Music scenes...

Christopher Plummer was a classically trained pianist, and loved Rachmaninov. Picture: Getty/YouTube

By Maddy Shaw Roberts, ClassicFM London

 

The beloved star of stage and screen was an accomplished pianist, and often tickled the ivories to keep his cast mates entertained during breaks on set.

Christopher Plummer, or as he was most famously known, Captain von Trapp from The Sound of Music, died on 5 February and left behind an extraordinary legacy.

With a gloriously resonant voice, a wicked smile and seemingly sculpted features, the Canadian actor was first choice time and time again for the great Shakespearean roles, and he would leave an immeasurable mark on the acting world.

But as a boy, it was the thought of a pianistic career that occupied Plummer’s mind.

As a schoolboy, Plummer began studying to be a concert pianist, training in all the great classical works. Eventually, his love of acting would eclipse all serious thought to the instrument. But he always returned to the ivories.

Read more: The time Princess Diana casually sat at a piano and played Rachmaninov >

Before he became an actor, Christopher Plummer studied to be a concert pianist. Here he is playing between takes on ‘The Sound of Music.’ pic.twitter.com/4u8CyKFzqC

In this wonderful discussion of The Sound of Music with Julie Andrews, the legendary soprano recalls the time the late actor played for the cast.

“You were phenomenal off the set in that you kept us all very jolly,” Andrews tells Plummer. “You would play the piano brilliantly until very, very late at night.”

“Thank you very much but I think you were all very south to be able to say I played brilliantly…” Plummer says, modestly. “But I was constantly at that piano.”

(C) 2021 by ClassicFM London

An organist was put on hold for 70 minutes ...

 

... so she played along with the hold music.

Organist Anna Lapwood plays along with on-hold music. Picture: Twitter/Anna Lapwood

By Maddy Shaw Roberts, ClassicFM London

 

Never leave a musician on hold. Especially not with a relentless, undeveloped loop of Mozart…

Mozart’s arguably most popular symphony, his No.40, has been on a long and beautiful journey since the late 18th century. It was well-liked during the composer’s lifetime, with one of the catchiest opening movements of any symphony.

Then, flash-forward nearly a quarter of a century and its first movement was reincarnated in ‘90s mobile phones, as a now-nostalgically tinny ringtone.

Now, in 2021, it appears the seven-minute movement is being used as an energy company’s on-hold music.

And while on a call to sort her energy bill, one musician was having none of it.

When she was about to hear those sweeping, opening notes for the nth consecutive time, organist and conductor Anna Lapwood decided there was only one thing for it – to provide a live accompaniment.

Taking to her electric organ at home, Anna, who is also Director of Music at Pembroke College, Cambridge, added a sprinkling of musical relief to her Mozartian Groundhog Day (watch above).

Anna first tweeted about the incessant musical loop just after 11am on 27 January, which also happened to be the 265th anniversary of Mozart’s birth. 

“I have been on hold with my energy provider for 30 minutes and they are playing the first movement of Mozart 40 in an endless loop,” she tweeted her 14.5k followers.

“Worse than that, it’s just the exposition so we don’t even get any development or recap. AAAAAAAAAAA. Is this what hell feels like?”

I have been on hold with my energy provider for 30 minutes and they are playing the first movement of Mozart 40 in an endless loop. Worse than that, it's just the exposition so we don't even get any development or recap. AAAAAAAAAAA. Is this what hell feels like? 

Quick theory lesson – in Sonata form, which Mozart readily uses in this famous movement, the first section is the Exposition which usually contains two contrasting themes. A Development section, that’s usually full of drama, follows before all is resolved in a Recapitulation of the first themes.

But it seems for their on-hold music, the gas and electricity supplier decided to leave their customers hanging, with just a looping Exposition – with bat-eared listeners like Anna left yearning for the never-arriving harmonic resolution of the Recapitulation.

Finally, as Anna was getting really into her live accompaniment, she was taken off hold.

“Hello?” she answers, turning the camera off, finally alone without the incessant sound of the Molto Allegro...

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