Musical YouTuber reveals which cartoon characters *actually* play the piano correctly

Rhapsody Rabbit meets the cast of Family Guy... Picture: Alamy / Fox / Courtesy Everett Collection

By Sophia Alexandra Hall, ClassicFM

@sophiassocials

 

Are your favourite cartoon characters musical maestros or faking frauds? YouTuber Amosdoll Music explores the animation of the pixelised pianist.

Cartoon characters we know and love have often been proved to be unexpected musical maestros when a piano is placed in front of them.

From Bugs Bunny, to Lois Griffin, to various Simpson family members, a piano-playing character is almost a staple in the world’s most famed animations.

But one musical YouTuber has taken a deeper dive into the so-called ‘talents’ of these much loved animations, to see just how accurate their piano-playing is.

Last month, YouTuber Amosdoll Music started the series, ‘Piano Animated Vs What they Actually Sound Like’, on his channel which boasts over two million subscribers. The content creator has since made over 100 videos analysing scenes from shows like Peppa Pig, Looney Tunes, Spongebob Squarepants, The Simpsons, Snoopy, along with various Disney films.

Let’s take a look to see which of our favourite characters might have fallen into the trap of less than accurate animation...

1. Family Guy

   In season 2 episode 20 of Family Guy, created by voice actor and jazz singer, Seth MacFarlane, the protagonist of the show – Peter Griffin – is found out to have virtuosic piano abilities, which can only be accessed when he is extremely drunk.

   Peter plays numerous tunes throughout the episode, and his repertoire seems to be firmly ingrained into film and TV show theme songs.

   Throughout the 22-minute episode, Peter performs theme songs from Dallas, Nine to Five, The Incredible Hulk, and The X-Files.

   But it was his final performance of the Mary Tyler Moore Show theme which intrigued Amosdoll Music enough to make a takedown of Peter’s choice of notes.

   Listen above to hear how Peter really played the piece. The reality sounds (perhaps accurately) like a rather drunken performance.

2. The Simpsons

   Bart Simpson may not be the first person you associate from this iconic 33-season-long show with musical talent.

   His saxophone-playing younger sister Lisa is the usual culprit, and her talents are often shown off in episodes dedicated almost entirely to her musical abilities.

   However, in season 24 episode 20, Bart starts making rapid progress at the piano, shocking his family and friends and making Lisa pretty jealous of her brother’s newfound abilities.

   It’s later found out that Bart was actually just miming along to a CD which he had placed under the piano, hence the title of the episode, ‘The Fabulous Faker Boy’.

   Eagled-eyed musicians would have been able to tell that Bart was in fact faking from the start due to his pretty noticeable hand (and foot) placements during a rendition of Mozart’s Rondo Alla Turca, which is exactly what Amosdoll Music spies in the clip above.

   Tom and Jerry

3. This 1947 classic stars Tom and Jerry in ‘The Cat Concerto’, a short film which won the Oscar for Best Short Subject: Cartoons.

   In the short, animated cat, Tom, performs the opening of Franz Liszt’s Hungarian Rhapsody No. 2.

   Unbeknown to the musical cat however, the animated mouse, Jerry, is rudely awakened from his sleep inside the piano by Tom’s playing. This encounter leads to a host of visual gags as the pair swipe at each other on stage.

   While the opening of Tom’s piano performance of the Liszt is near perfect, it’s when the second hand joins in that things start to go awry...

   Regardless of the musical mistakes, it was a fantastic feat that the animators managed to get some of the notes right, especially considering that these animations would have been hand-drawn.

4. Fantasia

   Disney’s Fantasia, a musical film released in 2000, takes the viewer on a magical journey incorporating eight pieces of famous classical music.

   One of these pieces is George Gershwin’s Rhapsody in Blue, a 1924 piano composition that incorporates both classical and jazz influences.

   Impressively, this clip which Amosdoll Music has analysed is perfect. The animated pianist plays the difficult music accurately, even with the complex rhythms of the opening riff.

   Seeing the notes line up with what you’re listening to really makes all the difference, and the animators must have taken extra time to make sure this was accurate, knowing it would attract a musical audience. Bravo!

5. Soul (DIsney Pixar)

   Another clip found by Amosdoll Music where the animated musician gets it right is this scene from the 2020 Disney Pixar movie, Soul.

   This musical adventure film follows the life of a part time school music teacher and jazz pianist, Joe Gardner.

   Soul won the Oscar for Best Original Score at 93rd Academy Awards, and it’s easy to see that great care was taken over the representation of jazz musicians in the film. In fact, various jazz greats such as pianist and composer, Herbie Hancock, were consulted as part of the movie’s production process.

   What makes this scene so special is Gardner’s description of each part of what he is playing; “then he adds the inner voices, and it’s like he’s singing!”

Love Stories of Classical Composers (III - Giaochino Rossini)

Super Couple Giaochino Rossini and Isabella Colbran

by Georg Predota , Interlude

Giaochino Rossini , circa 1815

They probably first met in Bologna around 1815, and the union between Giaochino Rossini and Isabella Colbran was to become one of the most successful artistic alliances in the history of music. Rossini was a rising star when he was engaged by the impresario Domenico Barbaia to reside in Naples and to compose for its renowned opera houses. Barbaia was a drunkard and nearly illiterate loudmouth with a natural gift for seemingly endless self-promotion. He managed a stable of legendary opera singers and dancers, among them his mistress Isabella Colbran. The beautiful Spanish-born diva was the reigning prima donna and easily considered the finest coloratura soprano of her age. Colbran possessed a voice of great beauty, an extraordinary range of three octaves, and a technique of great virtuosity and astounding agility. The timbre of her voice was described as “sweet and mellow, with a rich middle register able to conjure touching lyricism,” and Rossini’s music specifically written for her suggests a perfect mastery of trills, half-trills, ascending and descending chromatic scales, and octave leaps.

Isabella Colbran

In 1815, Rossini composed the title role of “Elizabeth, Queen of England” specifically for the Spanish prima donna. Professional collaboration quickly translated into personal intimacy, and Rossini and Colbran became lovers. Over the coming years, Colbran became his muse and decisively shaped Rossini’s compositional art. Colbran was the daughter of the renowned violinist music teacher Juan Colbran, who was active at the Spanish court. He quickly identified the enormous musical potential of his daughter and resigned his position to support Isabella’s career. They departed for Paris and Italy, and by age twenty she had conquered the stages of Europe. And that included the Teatro di San Carlo in Naples, already home to a number of famous singers, including the castrato Farinelli. However, Isabella was not only famous for her voice, she was also a gifted composer who had written several collections of songs dedicated to the Queen of Spain and the Empress of Russia.

Isabella Colbran: 6 Petits airs Italiens

Castenaso

To complement Colbran’s talent, Barbaia signed Rossini under a seven-year contract. Already known as a composer of comedies, Rossini’s choice of subjects for his opera seria was greatly influenced by Colbran’s extraordinary talent for noble and dramatic roles. In all, Rossini composed seven operas for her, creating a number of powerful and vocally demanding roles. Colbran was at the height of her powers, and her performances proved immensely popular. After having lived together for almost seven years, it was time to legitimize the relationship. As such, the wedding took place on 16 March 1822 at the church of the “Beata Vergine del Pilar” in Castenaso, near Bologna. Since the happy event was scheduled during Lenten season, a special dispensation by Cardinal Oppizzoni was required for the ceremony to take place. And as expected, the celebrity couple became the toast of the European operatic scene.

Domenico Barbaia © Wikipedia

Paradoxically, the vocal demands of the roles created for her by Rossini probably contributed to the rapid deterioration of Colbran’s voice. For an engagement in Vienna and later Venice, Rossini composed Semiramide. Once again, the title role was specifically written for Colbran, with Rossini designing the vocal part to disguise her failing vocal prowess. The opera proved highly successful, but her performances were considered disappointing. After a disastrous tour of England in 1824 Colbran retired from the stage at age 42. Although their professional life had been highly successful and profitable, the couple’s married life was not a happy one. Colbran had developed a debilitating gambling habit, and the extraordinary rise of Rossini’s career as a composer allowed him to expand into new theatres and new cities, particularly Paris and London. As such, Rossini engaged in a number of personal liaisons, above all with the courtesan and model Olympe Pélissier. Rossini and Colbran separated around 1830, and her health continued to decline. Rossini kept supporting her financially, and when Isabella died on 7 October 1845 she was buried in the Rossini family plot. It would certainly be misleading to look at Isabella Colbran exclusively through her relationship with Rossini. More than any other singer of her time, she influenced the Italian melodrama, inspiring a great number of composers. Rossini, for one, always credited her as the “greatest interpreter of his music.”

Pleasure and Pain: On Being an Amateur Pianist

 by Frances Wilson, Interlude 

Practical Tips for Amateur Pianist

© 4.bp.blogspot.com

Alan Rusbridger’s book ‘Play It Again’ (published in 2013) shone a delightful and inspirational light on the world of amateur pianism, but people have been playing music at home and with friends for almost as long as keyboard instruments have been in existence. In the nineteenth century, when advances in design and production significantly reduced the cost of manufacturing pianos, an upright piano in the parlour was the norm for family entertainment, much as the PlayStation or smart TV is today (sadly).

Probably the single most positive aspect of being an amateur pianist is not having to make a living from playing the instrument. Recently, I have begun to play for solo performances and accompanying, which puts me in the hallowed category of “professional pianist”, but my main income comes from piano teaching, and I wouldn’t have it any different, to be honest. Not having to earn a living from playing the piano means one can truly indulge one’s passion for it. (Indeed, the word “amateur” comes from the Old French meaning “lover of” from the Latin amator.) All the amateur pianists I meet and know play the piano because they love it and care passionately about it.

© photos1.meetupstatic.com

That is not to say that professionals don’t love the piano too – of course they do, otherwise they wouldn’t do it, but a number of concert pianists whom I’ve met and interviewed have expressed frustration at the demands of the profession – producing programms to order, the travelling, the expectations of audiences, promoters, agents etc, all of which can obscure the love for the piano and its literature. Because of this, professionals are often quite envious of the freedom amateur pianists have to indulge their passion, to play whatever repertoire they choose and to play purely for pleasure.

Lucky pianists: the piano has a vast repertoire, more than enough to suit all tastes. One could spend a lifetime learning and playing only the music of, say, J.S. Bach or Frédéric Chopin and only scratch the tiniest surface of the piano repertoire. And in addition to solo works, there is music for three, four, six hands to enjoy with other pianists, not to mention being called upon to accompany other instrumentalists and singers… Really, we are spoilt rotten!

Being a pianist can be a lonely occupation/hobby and working alone on that knotty section of Liszt or Hanon exercises can at times be frustrating and demoralising. However, it needn’t be lonely: in recent years the popularity of piano meetup groups and piano clubs, or even informal get-togethers at one another’s houses, has created a wonderful community of like-minded people who meet regularly to play for one another, share repertoire and socialise.

© 1901artsclub.com

Some adult amateur pianists are shy about playing to others for fear of making mistakes and looking foolish, or because of negative experiences in childhood piano lessons. Piano meetups and clubs are a good way of overcoming these anxieties – you quickly discover that most people feel the same and playing to a friendly non-judgmental group of people is an excellent way of overcoming those performance nerves.

Adult pianists may also find it difficult to find the right teacher to support and encourage them. Some adults like to be pushed by a teacher, others need more gentle handling. Many come to lessons with a lot of “baggage” and anxieties, often a hangover from childhood music lessons, and need encouragement and support. Some have rather over-ambitious ideas about their capabilities and want to play repertoire which is just too challenging. In such instances, I recommend selecting repertoire that is well within one’s “comfort zone” to give one confidence, while gradually introducing more complex repertoire to extend and challenge one’s abilities, both technical and musical. And no repertoire should ever be considered “off limits” to the amateur pianist: the music was written to be played!

However, the music still has to be learnt and one of the greatest frustrations expressed by amateur pianists is finding the time to practise, especially if you have a busy day job and/or family commitments. We all know that “practise makes perfect”, but what is more important is that practise makes permanent and regular practise means notes are learnt, finessed and made secure. My personal mantra is “little and often” and I have become adept at sneaking practise sessions into a particularly busy day or if I am going to be away from the piano for a period of time. It’s amazing what just 10 minutes focused practising can achieve – but you need to know what needs to be done (a good teacher will offer guidance on this and give one tools to practise efficiently and effectively).

If you don’t have the benefit of regular lessons with a teacher, there are plenty of online resources in the form of blogs, YouTube tutorials, and forums, and there are also courses for adult amateur pianists where you can study with international concert pianists and acclaimed teachers or simply enjoy being amongst like-minded people. Such courses are a great way to meet other pianists and observing others being taught in the masterclass or group workshop setting can be really useful. Many of my pianist friends return to the same courses year after year and firm friendships have been forged.

Not everyone has the luxury of an acoustic piano (upright or grand) but there are some excellent digital pianos on the market now. There are also street pianos in public spaces, railway stations and airports just begging to be played, and if you crave the sleek elegance of a grand piano, there are rehearsal rooms available to hire for a modest fee. Seated at that glorious, gleaming black expanse of mahogany, you can set your imagination free and dream of playing to a full house at the Wigmore or Carnegie Hall.

‘Maestro’: First look at Bradley Cooper as Leonard Bernstein in Netflix biopic

Bradley Cooper as Leonard Bernstein. Picture: Netflix

By Sophia Alexandra Hall

@sophiassocials

 

Bradley Cooper and British actress, Carey Mulligan, star in the new Netflix biopic about the legendary American conductor and composer, Leonard Bernstein. 

Directed by and starring Bradley Cooper as the maestro himself, the film is set to hit Netflix in 2023. Alongside Cooper is Carey Mulligan who plays the conductor’s wife, stage and TV actor Felicia Montealegre Cohn Bernstein.

Fans of the streaming service have had an exclusive first look at Cooper and Mulligan in their biopic roles with images released on Netflix’s social media pages yesterday afternoon.

Here are the first stills of Cooper and Mulligan from the upcoming Netflix production portraying the ‘American classical music wonder boy’ and his star actress wife....

Carey Mulligan as Felicia Cohn Montealegre and Bradley Cooper as Leonard Bernstein. Picture: Netflix

Born on 28 August 1918, Leonard Bernstein married Chilean-American TV and stage actor, Felicia Cohn Montealegre, in 1951.

Though a somewhat unsettled marriage due to Bernstein’s well-documented homosexuality, there was a strong love between the two artists, making their connection much more than a relationship of convenience, despite their individual sexual preferences.

The couple had three children together; Jamie, Alexander and Nina.

Carey Mulligan as Felicia Cohn Montealegre and Bradley Cooper as Leonard Bernstein. Picture: Netflix

In an interview with Classic FM, Jamie Bernstein was quick to correct the description of the new netflix film saying, “It’s not a biopic, strictly speaking, it doesn’t tell the story of Leonard Bernstein from birth to death – it’s not that kind of a film at all.

“In fact, it’s a portrait of our parents’ marriage. It’s about something very specific and very personal for [my siblings and I].

“We’re really struck by the fact that this was the aspect of the story that Bradley decided to focus in on and we’re very excited about Carey Mulligan as our mother Felicia; I promise you she is going to send it to the moon in a rocket.”

Carey Mulligan as Felicia Cohn Montealegre and Bradley Cooper as Leonard Bernstein. Picture: Netflix

Montealegre was aware of Bernstein’s sexuality, and in a letter shortly after their marriage in 1951 she wrote, “If I seemed sad as you drove away today it was not because I felt in any way deserted but because I was left alone to face myself and this whole bloody mess which is our ‘connubial’ life.

“I’ve done a lot of thinking and have decided that it’s not such a mess after all. First: we are not committed to a life sentence – nothing is really irrevocable, not even marriage (though I used to think so). Second: you are a homosexual and may never change – you don’t admit to the possibility of a double life, but if your peace of mind, your health, your whole nervous system depends on a certain sexual pattern what can you do? Third: I am willing to accept you as you are, without being a martyr or sacrificing myself on the L.B. altar. (I happen to love you very much—this may be a disease and if it is what better cure?) Let’s try and see what happens if you are free to do as you like, but without guilt and confession, please!

“The feelings you have for me will be clearer and easier to express—our marriage is not based on passion but on tenderness and mutual respect.”

Bradley Cooper as Leonard Bernstein. Picture: Netflix

The film follows Bernstein across multiple decades, and fans are already excited to see Cooper’s visual similarity in the photographs of the actor’s portrayal of the conductor at an older age.

“If this is Bradley Cooper, the makeup artist should get an Oscar,” one Facebook commenter noted.

Another said, “It’s more than the makeup, it’s the posture, the gesture, the way he holds his cigarette.”

Bradley Cooper as Leonard Bernstein. Picture: Netflix

We’re just as excited as the Facebook comments section to see what Cooper will bring to this role of the beloved American artist.

With a due date yet to be announced, but the film expected next year, we’re sure that something’s coming... something good.

5-year-old Italian piano prodigy plays astonishing Mozart for competition audience

Alberto Cartuccia Cingolani, aged 5, is an Italian piano prodigy. Picture: Simone Cartuccia

By Sophia Alexandra Hall

@sophiassocials

 

Alberto Cartuccia Cingolani, a five-year-old Italian pianist, has gone viral for his prodigious performance of Mozart at a music competition in Italy, earlier this month.

Having only started learning the instrument in 2020, the five-year-old is already a multi-award winning musician. Cingolani has taken part in seven competitions so far in his early, but unquestionably promising, career, and placed first in each of them.

Two weeks ago, Cingolani entered his eighth competition; the 10th International Musical Competition in the Italian town of Penne.

The young star opened the competition with a captivating performance of the first movement of Mozart’s Piano Sonata No. 16 in C major impressing the in-person audience, and online viewers alike. Watch his mesmerising musical delivery below.

Like Mozart, Cingolani is from a musical family; both of his parents are music conservatoire graduates, but his mother has been quick to clear up any rumours about pushing their son into classical music.

Alessia Cingolani told the regional Italian newspaper, Corriere Adriatico, that, “He started playing during the months of the first lockdown. I was always at home, so we started playing with a small keyboard, in order to do something stimulating. From there I realised that Alberto was well suited. [Doing this, my] husband and I noticed that he had perfect pitch.

“For a year and a half now, [Alberto] has been doing remarkable things, both for his age and for the time it took him to learn.

“Even though he still doesn't know how to read [music] notes well, indeed almost not at all, he takes his position on the keyboard and repeats the pieces. He is very instinctive.” [translated from Italian]

The video of Cingolani’s competition performance has been viewed by millions of people across Twitter, Facebook, and YouTube.

But the five-year-old isn’t a stranger to being on the end of a phone camera. His father, Simone Cartuccia, often records pieces played by his son, and uploads them to his YouTube channel.

As the young musician performs, it’s clear he is engrossed in the music, and with this along with his technical pianistic skills, we’re sure he’s bound to go far in his musical journey.

Love Stories of Classical Composers (II - Joaquín Rodrigo)

 Joaquín Rodrigo and Victoria Kamhi Arditti

“The Light of my Eyes”

by Georg Predota , Interlude

Joaquín Rodrigo and Victoria Kamhi Arditti

On 14 March 1928 a concert honoring Manuel de Falla’s admittance to the French Légion d’Honneur took place in Paris. Falla insisted that music by some of his young Spanish colleagues should be heard as well, and Joaquin Rodrigo stole the show. A reviewer reports, “At that concert we admired both the spectacular piano performance of Joaquín Rodrigo (who lost his sight due to a grave childhood disease) and the dazzling way in which he composes for the piano.” Rodrigo’s compositions quickly attracted the attention of a number of eminent Spanish pianists, among them José Iturbi, Joaquín Nín and Ricardo Viñes. As it happened, Viñes was teaching Spanish piano repertoire to an exceptionally talented pianist from Istanbul. Victoria Kamhi Arditti was the daughter of Sephardic Jewish parents belonging to the cultural and economic elite of the Turkish high bourgeoisie, and she had started her piano studies at the age of four. Since her mother was Viennese, Victoria first furthered her studies in Vienna before moving on to Paris. She personally met Joaquín Rodrigo in 1929, and fell in love with his music. “First with his music and later with him.”

Joaquin Rodrigo: Cantico de la esposa (Song of the Bride)

Love is one thing, but the economic realities of a young composer with a severe disability struggling to make his way in the world seemed insurmountable. The relationship faced stern objections from parents, friends, and colleagues, and was characterized by periods of deep personal reflection. But in the end, love managed to clear all obstacles. Victoria writes, “on a gray November day I had taken the train to the Spanish border. In Barcelona Joaquín and his older brother, Paco, were waiting to welcome me to Spain. As we followed the highway to Valencia, I was lost in admiration of the picturesque little villages we passed through, and the exuberant vegetation. Everything seemed strange to me, the people, the customs, and the activities. I was surprised to see so much luxury, such abundance, in the house of my future parents-in-law.” They started to prepare for the wedding in the “strictest intimacy,” and the happy event took place on 19 January 1933. But the financial struggle continued. Initially they settled in Valencia, but when Rodrigo composed “Song of the Bride” in 1934, which he considered his best vocal work, it was “a very difficult time of our life when, after just one year of marriage, we had to be separated for economic reasons.” 

Eventually Rodrigo was awarded the “Conde de Cartagena Scholarhip” allowing him to join his wife in Paris. Victoria gave up her career as a pianist to devote all her efforts to the works of her husband, collaborating with him in musical and literary matters. When the scholarship was initially renewed, the couple decided to spend some time in Germany. However, with the outbreak of the Spanish Civil War in 1936, the scholarship fund was no longer available and they had to find refuge at the Institute for the Blind in Freiburg. Three years of extended hardship finally came to an end in 1939, and Rodrigo completed his most famous composition, the Conceirto de Aranjuez. Victoria writes that shorty after the premiere of the concerto on 9 November 1940, their daughter Cecilia was born. “And what about her eyes?” Victoria asked weakly. “They’re magnificent, blue.”

Victoria Kamhi Arditti and Cecilia

Victoria Kamhi de Rodrigo played a crucial role in her husband’s later success as a composer. She wrote the scripts for his ballets “Pavana Real” and “Juana y los Caldereros,” and adapted the texts from the Dead Sea Scrolls. Kamhi was fluent in five languages, and she authored German and French versions of her husband’s vocal music.
She also penned her memoirs in 1986 published under the title “Hand in Hand with Joaquin Rodrigo. My life at the Maestro’s side.” Kamhi helped Rodrigo to develop an individual and distinct musical style, and she was his constant companion and inspiration. She took over a wide range of musical responsibilities, including managing his career. Rodrigo tenderly wrote, “My wife Victoria, my faithful companion and collaborator, has been my inspiration and my drive, she has given me confidence in myself and unending love, and she has dedicated her life to me and has been the light of my eyes.” Kamhi died in 1997, two years before her husband; they are both buried in Aranjuez.

Love Stories of Classical Composers (I - Jacques Offenbach)

 “The only love affair I have ever had was with music.”

Maurice Ravel

The history of classical music, however, is full of fabulously gifted individuals with slightly more earthy ambitions. Love stories of classical composers are frequently retold within a romanticized narrative of sugarcoated fairy tales. To be sure, happily-ever-after stories do on rare occasions take place, but it is much more likely that classical romances lead to some rather unhappy endings. Johannes Brahms had an overriding fear of commitment, Claude Debussy drove his wife into an attempt at suicide, Francis Poulenc severely struggled with his sexual identity, and Percy Grainger was heavily into whips and bondage. And that’s only the beginning! The love life of classical composers will sometimes make you weep, or alternately shout out with joy or anguish. You might even cringe with embarrassment as we try to go beyond the usual headlines and niceties to discover the psychological makeup and the societal and cultural pressures driving these relationships. Classical composer’s love stories are not for the faint hearted; they are heightened reflections of humanity at its best and worst. Accompanying these stories of love and lust with the compositions they inspired, we are able to see composers and their relationships in a completely new light.

Let's start with Jacques Offenbach.

“Hérminie was right again”
Jacques Offenbach and Hérminie d’Alcain

by Georg Predota, Interlude

Offenbach’s family

  

After Jacques Offenbach abruptly discontinued his studies at the Paris Conservatoire he gradually built a reputation composing for and performing in the fashionable salons of Paris. And at one of these cultured gatherings, his eyes fell upon a young Spanish woman by the name of Marie Manuela Hérminie d’Alcain. She was the daughter of the Carlist General José Maria Xavier d’Alcain Garro, who had been forced into French exile. The General died in 1828, and his wife Jeanne-Marie Céleste d’Alcain remarried Michael George Mitchell in 1835. Hérminie was barely 15 years of age but Jacques was determined to marry her. He dedicated a waltz to her in 1841, and a Romanze in 1843 as well. However, her family was not convinced that the young cellist was in any financial position to proposed marriage. As such, Michael George Mitchell arranged for a tour to England.

Offenbach’s leading ladies – Marie Garnier, Zulma Bouffar, Lea Silly, Rose Deschamps

Offenbach later reports to his librettist Emile Chevalet, “As you can imagine, music was played after dinner. I played my Musette, and the audience hammered on the table for at least five minutes and screamed “da capo,” so I was forced to repeat the piece.” A critic wrote, “Offenbach’s execution and taste excited both wonder and pleasure, the genius he exhibited amounting to absolute inspiration.” The highlight of the England tour was undoubtedly an invitation from Queen Victoria to perform at Windsor on 6 June 1844. The Illustrated London News reported, “Herr Jacques Offenbach, the astonishing violoncellist, performed on Thursday evening at Windsor before the Emperor of Russia, the King of Saxony, Queen Victoria, and Prince Albert with great success.” Offenbach’s tour of England was a rousing professional and financial success. He returned to Paris full of confidence and in anticipation of his marriage to Hérminie, but there was a further obstacle. Her family demanded that Jacques convert to Roman Catholicism.

Offenbach and his son Auguste

And so it came to pass that Jacques Offenbach was baptized on 8 August 1844 in the church of Notre-Dame-de-Bonne-Nouvelle. Comtesse Madeleine-Sophie Bertin de Vaux and Edme Ernest Foucher acted as sponsors, and only a couple of days later the couple wed at Saint-Roch on 14 August 1844. The blushing bride was 17 years old, and the bridegroom was 25. The newlywed couple quickly establish themselves in the social and artistic scene, and Hérminie becomes the catalyst for Jacques’ success. A friend reports, “Jacques was highly confident in musical matters, but he always listened to his wife’s advice. Not a single page of music was delivered which he had not played to her first. And although he defended himself in the rare cases that she declared something unworthy of him, the next day a new version was composed and presented to Madame Offenbach for inspection.”

Hortense Schneider

The union produced four daughters and a son Charles Ignace Auguste, who followed in his father’s compositional footsteps. Sadly, Auguste died of tuberculosis at the age of 21. The Offenbach household quickly becomes an important musical and intellectual center in Paris, and their “Friday Evenings” attract the composers Georges Bizet and Léo Delibes, the painters Edouard Detaille and Gustave Doré, the librettists Hector Crémieux and Ludovic Halévy and the journalist Hippolyte de Villemessant. During summer holiday, the Offenbach salon annually moves to the “Villa Orphée” on the Normandy Coast. Throughout his life, Jacques continued his busy professional traveling schedule, and his favorite female interpreters often accompany him. It is claimed that he never had an affair with his favorite singer Hortense Schneider, but we do know that he had a dalliance with the 20-year old Zulma Bouffar, a relationship that produced 2 children. Nevertheless, his 36-year marriage to Hérminie was essentially happy, and after his death a friend reported that Hérminie “gave him courage, shared his ordeals and comforted him always with tenderness and devotion.”

Frederick Delius - Song of Summer

Frederick Delius, in full Frederick Theodore Albert Delius, (born January 29, 1862, Bradford, Yorkshire, England—died June 10, 1934, Grez-sur-Loing, France), composer, one of the most distinctive figures in the revival of English music at the end of the 19th century.

The son of a German manufacturer who had become a naturalized British subject in 1860, Delius was educated at Bradford Grammar School and the International College, Isleworth, London. After working as a traveler for his father’s firm, he went in 1884 to Florida, U.S., as an orange planter and devoted his spare time to musical study. In 1886 he left Florida for Leipzig and there underwent a more or less regular musical training and became a friend of the Norwegian composer Edvard Grieg. Two years later he went to live in Paris, and from 1897 he made his home at Grez-sur-Loing (Seine-et-Marne), near Paris, with the painter Jelka Rosen, whom he married in 1903. Some songs, an orchestral suite (Florida), and an opera (Irmelin) were all written before he had a work published, that being Legend for violin and orchestra (1893). These were followed by more ambitious works that aroused considerable interest, especially in Germany, during the first decade of the 20th century. Three of his six operas (Koanga, 1895–97; A Village Romeo and Juliet, 1900–01; and Fennimore and Gerda, 1908–10) and several of his larger choral and orchestral works (Appalachia, 1902; Sea Drift, 1903; Paris: the Song of a Great City, 1899) were first heard in Germany. Later his reputation spread to England, mainly through the persuasive advocacy of Sir Thomas Beecham, who was his finest interpreter.