Carlos Chavez - his music and his life

 

Carlos Antonio de Padua Chávez y Ramírez (13 June 1899 – 2 August 1978) was a Mexican composer, conductor, music theorist, educator, journalist, and founder and director of the Mexican Symphonic Orchestra. He was influenced by native Mexican cultures. Of his six symphonies, the second, or Sinfonía india, which uses native Yaqui percussion instruments, is probably the most popular.

Biography

National Conservatory of Music, México City

The seventh child of a criollo family, Chávez was born on Tacuba Avenue in Mexico City, near the suburb of Popotla. His paternal grandfather, José María Chávez Alonso, a former governor of the state of Aguascalientes, had been executed by the French Army in April 1864. His father, Augustín Chávez, who died when Carlos was barely three years old, invented a plough that was produced and used in the United States.

Carlos had his first piano lessons from his brother Manuel, and later on he was taught piano by Asunción Parra, Manuel Ponce, and Pedro Luis Ozagón, and harmony by Juan Fuentes. His family often holidayed in Tlaxcala, Michoacán, Guanajuato, Oaxaca, and other places where the cultural influence of the Mexican indigenous peoples was still very strong.

In 1916, Chávez and friends started a cultural journal, Gladios, and this led to his joining the staff of the Mexico City newspaper El Universal in 1924. In the succeeding 36 years he was to write over 500 items for this paper.

After the Mexican Revolution and the installation of a democratically elected president, Álvaro Obregón, Chávez became one of the first exponents of Mexican nationalist music with ballets on Aztec themes

In September 1922, Chávez married Otilia Ortiz and they went on honeymoon to Europe, from October 1922 until April 1923, spending two weeks in Vienna, five months in Berlin, and eight or ten days in Paris. During the latter visit he met Paul Dukas. Some months later, in December 1923, Chávez visited the United States for the first time, returning in March 1924. Chávez again went to New York City in September 1926 and stayed there until June 1928. Upon his return to Mexico, Chávez became director of the Orquesta Sinfónica Mexicana (Mexican Symphonic Orchestra), later renamed Orquesta Sinfónica de México (Mexico's Symphonic Orchestra); the country's first permanent orchestra, started by a musicians' labor union. Chávez was instrumental in taking the orchestra on tour through Mexico's rural areas.[citation needed]

In December 1928, Chávez was appointed director of Mexico's National Conservatory of Music—a position he held for a total of five years (until March 1933, and again for eight months in 1934). In that capacity, Chávez spearheaded three Spanish: academias de investigación, two concerned with collecting and cataloguing indigenous music and its literature, and the third to study the uses of old and new scales.

In 1937, Chávez published a book, Toward a New Music, which is one of the first books in which a composer speaks about electronic music. In 1938, he conducted a series of concerts with the NBC Symphony Orchestra, during a period of absence by the orchestra's regular conductor, Arturo Toscanini. In 1940 he produced concerts at New York's Museum of Modern Art, and by 1945, Chávez had come to be regarded as the foremost Mexican composer and conductor.

From January 1947 until 1952, Chávez served as director-general of the National Institute of Fine Arts. In his first year, he formed the National Symphony Orchestra, which supplanted the older OSM as Mexico's premier orchestra and led to the disbanding of the older ensemble. Throughout all this time, Chávez maintained a busy international touring schedule.

Chávez's tomb in the Panteón de Dolores, Mexico City

In May 1953 he was commissioned by Lincoln Kirstein, director of the New York City center of Music and Drama, for a three-act opera to a libretto by Chester Kallman based on a story by Boccaccio, to be titled The Tuscan Players. Intended to be finished in August 1954, it was first postponed to April 1955, but only finally completed in 1956, by which time the title had been changed twice, first to Pánfilo and Lauretta, then to El amor propiciado. The City Center waived its rights to the first performance, which was given under the title Panfilo and Lauretta in the Brander Matthews Theatre at Columbia University in New York on 9 May 1957, under the baton of Howard Shanet. Stage direction was by Bill Butler, scenic design by Herbert Senn and Helen Pond, and costumes by Sylvia Wintle. The principal singers were Sylvia Stahlman, Frank Porretta, Craig Timberlake, Mary McMurray, Michael Kermoyan, and Thomas Stewart. The opera would be revised twice more and the title changed again to Los visitantes (The Visitors), for productions in 1968 and 1973, in Mexico City and Aptos, California, respectively. From 1958 to 1959 he was the Charles Eliot Norton professor at Harvard University, and the public lectures he gave there were published as a book, Musical Thought.

From 1970 to 1973, Chávez served as the music director of the Cabrillo Festival of Contemporary Music. His orchestral composition Discovery (1969) had previously been commission by the Festival and was first performed there.[citation needed]

Failing health and financial setbacks forced Chávez to sell his house[when?] in the Lomas de Chapultepec neighborhood of Mexico City and move in with his daughter Anita in Coyoacán, in the fringes of the Mexican capital, where he died quietly on 2 August 1978, his wife having died in April.

Chávez's manuscripts and papers are housed in the Music Division of the New York Public Library for the Performing Arts and in the National Archive of Mexico, in Mexico City.

Musical style

Chávez's music does not fall into clear stylistic periods, but rather cumulates elements in a process of continual synthesis. The juvenilia, up to 1921 and consisting primarily of piano compositions, is essentially Romantic, with Robert Schumann as the main influence. A period of nationalistic leanings was initiated in 1921 with the Aztec-themed ballet El fuego nuevo (The New Fire), followed by a second ballet, Los cuatro soles (The Four Suns), in 1925.

During his time in New York City between 1924 and 1928, Chávez acquired a taste for the then-fashionable abstract and quasi-scientific music, as is reflected in the titles of many of his compositions written between 1923 and 1934: Polígonos for piano (Polygons, 1923), Exágonos for voice and piano (Hexagons, 1924), 36 for piano (1925), Energía for nine instruments (Energy, 1925), Espiral for violin and piano (Spiral, 1934), and an unfinished orchestral score titled Pirámides (Pyramids).

The culmination of this period was the ballet H. P. (i.e., Horse Power), also known by the Spanish title Caballos de vapor (1926–31). H. P. is a colorfully orchestrated score of ample dimensions and dense, compact atmosphere, notable for its dynamism and vitality, revealing the influence of Stravinsky and at the same time returning to folkloric and popular elements, with dances such as the sandunga, tango, huapango, and foxtrot.Such nationalisms would appear through the 1930s, notably in the Second Symphony (the Sinfonía índia of 1935–36, one of the few works by Chávez to quote actual Native-American themes), but only sporadically in later compositions. Diego Rivera designed the sets and costumes for the ballet's premiere in Philadelphia in 1932.

Although this early period saw the creation of the Sonatina for violin and piano (1924), it was only in the 1930s that Chávez returned to another of the main musical interests of his maturity, prefigured in the juvenilia: the traditional genres of the sonata, quartet, symphony, and concerto. He composed six numbered symphonies. The first, titled Sinfonía de Antígona (1933), was reworked from incidental music for Jean Cocteau's Antigone, an adaptation of Sophocles' tragedy. In it, Chávez sought to create an archaic ambiance through the use of modal polyphony, harmonies built on fourths and fifths, and a predominant use of wind instruments.

In the fourth of his Norton lectures of 1958–59, titled "Repetition in Music",[15] he described a mode of composition already observable in many of his compositions since the 1920s, in which "The idea of repetition and variation can be replaced by the notion of constant rebirth, of true derivation: a stream that never comes back to its source; a stream in eternal development, like a spiral ..."[16] A notable early example of this method is Soli I (1933), the first work acknowledged by the composer to have been consciously organized according to this principle. It only became a regular feature, however, beginning with Invención I for piano (1958), and subsequently in most of his instrumental compositions of the 1960s and 1970s: Invención II for string trio (1965), Invención III for harp (1967), Soli II for wind quintet (1961), Soli III for bassoon, trumpet, viola, timpani, and orchestra (1969), Soli IV for brass trio (1966), Cinco Caprichos for piano (1975), and the late orchestral works Resonancias (1964), Elatio (1967), Discovery (1969), Clio (1969), and Initium (1970–72).[17]

Summertime - Teresa Mai

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GEORGE GERSHWIN | Arr. by Vũ Trụ SUMMERTIME “Porgy and Bess” Teresa Mai, soprano

Sinfonía India | Orquesta Sinfónica Nacional de México (Carlos Chávez) HD

170,348 views Jun 26, 2011

Sinfonía No. 2 "India" del mexicano Carlos Chávez, ejecutada por la Orquesta Sinfònica Nacional de México bajo la dirección de Carlos Miguel Prieto dentro la ceremonia de reapertura de la Sala Principal de Espectáculos del Palacio de Bellas Artes de la cd. de México, 20 de noviembre del 2010.

On This Day 5 October: Jacques Offenbach Died

by Georg Predota, Interlude

Jacques Offenbach

Medically speaking, gout is a form of inflammatory arthritis “characterized by recurrent attacks of a red, tender, hot and swollen joint, caused by deposition of monosodium urate monohydrate crystals.” Basically, this means that the patient has persistently elevated levels of uric acid in the blood, resulting from a combination of diet, other health problems, and genetic factors. The ailment was historically known as “the disease of kings” or “rich man’s disease,” and it tended to carry a mild moral stigma, as it “supposedly indicated that the patient habitually over-indulged in good living.” And while the disease is easily treated today, acute attacks of gout were rather common throughout the ages. A 17th-century physician writes, “the sufferer would wake in the night with such exquisite pain, that he could not bear the weight of the bed sheet or the jar of a person walking across the room. Fever, restlessness, dyspepsia, and irritability would follow… The condition of the patient would deteriorate over time, resulting in death from renal failure.” In the case of Jacques Offenbach, who died on 5 October 1880, the cause of death was established as heart failure brought on by acute gout. 

Giulietta act from the 1881 première of Les contes d’Hoffmann

Since Offenbach had a long-standing bad cough, which he tried to cure with frequent trips to various spas, doctors have suggested that he “also had a low-grade tuberculous condition of the lungs.” When Offenbach returned to Paris from a highly successful tour of the United States in 1876, giving a series of more than 40 concerts in New York and Philadelphia, he set to work on the score of the fantastic opera Les contes d’Hoffmann. He had first seen the play, written by Barbier and Michel Carré in 1851, and now an adaptation was handed to Offenbach by Barbier. The composer had a premonition that he would not see the work completed and staged, but he did attend some rehearsals. Already seriously ill, he was brought to the theatre in a wheelchair. Shortly before his death he wrote to a colleague, “Hurry up and stage my opera. I have not much time left, and my only wish is to attend the opening night.” In the event, he died on 5 October 1880, with the manuscript in his hand.

Jacques Offenbach: Les contes d’Hoffmann

Les contes d’Hoffmann is based on three short stories by E. T. A. Hoffmann, who is also the main protagonist of the story. Set in Germany and Italy in the early 19th century, the Prologue finds the poet Hoffmann in a tavern near the opera house in Nuremberg. He is waiting for the opera singer Stella, who sent him a letter that she will join him after her performance finishes. However, Councilor Lindorf, who also loves Stella, steals the letter. While Hoffmann is waiting, he tells his friend Nicklaussee about his past lost loves.

Olympia act from the 1881 première of Les contes d’Hoffmann

In Act I we meet Olympia, a life-sized mechanical doll. Invented by the mad scientists Spalanzani and Coppelius, they also sell Hoffmann a pair of magic glasses that lets him perceive Olympia as human, and he falls in love with her. One day, Coppelius gets angry and breaks the doll. Act 2 features the sickly singer Antonia, and her father forbids her to sing. Hoffmann falls in love with her, but then Dr. Miracle advises Antonia to sing, causing her death. In Act 3, Hoffmann falls in love with the courtesan Giulietta, and is convinced that she returns his affections. However, Giulietta seduced him under orders from Captain Dapertutto, who promises her a diamond if she steals Hoffmann’s reflection from a mirror. Once she succeeds in getting Hoffmann’s reflection, she immediately abandons the poet. The Epilogue returns us to the tavern in Nuremberg, and a drunk Hoffmann tells Stella to go away. As she departs with Lindorf, Nicklausse reveals that she is the Music reclaiming Hoffmann as a poet. “Everyone learns from love, and learns from tears.”

Elegy to Offenbach in the illustrated
English magazine, Punch.

Offenbach died four months before the premiere, after completing substantial portions of the piano score and orchestrating the prologue and first act. Offenbach’s son Auguste, with help from Ernest Guiraud, completed the work, and the premiere took place at the Opéra-Comique on 10 February 1881. That particular completion appears to have been far removed from the composer’s intentions as various manuscripts were subsequently discovered after World War II. These sources include rough drafts, outlines, and fair copies completed in Offenbach’s hand, as well as vocal parts made by his copyists. These discoveries led to the publication of a brand-new edition, and additional discoveries with a newly paired emphasis on authenticity spawned further revisions of the musical text. The musical world was led to believe that the 1992 edition by Michael Kaye, first performed at the L.A. Opera, would be the definitive text. However, additional authentic music was discovered and published in 1999. Finally, in 2011, two competing publishing companies, in France and Germany, respectively, decided to “release a joint edition reflecting and reconciling the research of recent decades.” Only time will tell if this definitive edition of Les contes d’Hoffmann will need to undergo further revisions and changes in the future.

Who Was Mozart’s Real Musical Father?

by Janet Horvath, Interlude

Fans of Wolfgang Amadeus Mozart will likely be aware that he was taught, shaped, and influenced by his father Leopold Mozart, a violinist and composer. When Leopold began to teach his seven-year-old daughter Nannerl, in 1759, he discovered that Wolfgang could imitate anything his sister played on the keyboard. Leopold began teaching the little boy, and in no time, Wolfgang made astonishing progress. Leopold, deciding the children’s exceptional talents had to be shown off, organized extensive concert tours of the continent, and the children impressed and amazed kings and queens with their music making.

Leopold Mozart © stringsmagazine.com

Wolfgang met many illustrious musicians while traveling in Europe and encountered the music of George Frideric Handel, Johann Sebastian Bach, Joseph Haydn, and Johann Christian Bach. Wolfgang’s friendship and musical kinship with Johann Christian (J.C.) Bach became pivotal.

Both Wolfgang Amadeus Mozart and Johann Christian Bach, were sons of famous musicians. J.C., the youngest son of Johann Sebastian Bach, was born in Leipzig. The elder Bach was by then fifty years old and in 1750, when J.C. was a young teenager, Johann Sebastian passed away. J.C. traveled to Berlin to live with his older brother and to further his studies in composition and on the keyboard with him, the eminent composer Carl Philipp Emanuel Bach. Johann Christian soon developed into an accomplished performer and composer in his own right. He began to travel widely, eventually settling in Italy.

Portrait of Mozart by Johann Nepomuk della Croce

Captivated by the new musical style he heard in the operatic music there—lyrical, charming, and effortless that shied away from the serious counterpoint of baroque music, J.C. began perfecting Stile galant. It was the music of the future, which introduced simple, graceful phrases that highlighted the melody. Johann Christian’s successful first operas were composed in this elegant style.

Appointed to the position of Music Master to Queen Charlotte, he moved to London in 1762. His reputation increased after writing several successful operas. In 1764 “The English Bach” met and mentored the young eight-year-old Wolfgang and the two enjoyed improvising on the harpsichord. Nannerl, Mozart’s sister, wrote in her letters that Bach would sit Mozart in front of him at the keyboard. J.C. played one bar, then Mozart would elaborate on the next bar, ‘and in this way they played a whole sonata, and someone not seeing it would have thought that only one man was playing’.

Mozart’s predilection for wind instruments originates with J.C Bach. The latter thought the winds should be featured; they should carry the melody and not simply double melodic lines. In fact, J.C. Bach’s earliest opera was the first to include clarinets.

Portrait of Johann Christian Bach in 1776 by Thomas Gainsborough ©

Bach’s keyboard style also greatly influenced Mozart. Naturally Mozart and his sister played keyboard duets throughout their childhood, and Mozart’s sparkling and enchanting compositions for piano four hands and for two pianos will always be celebrated. Piano duos or works for piano four hands are performed on one piano and differ from compositions that are written specifically for two pianos. Mozart wrote his Fugue in C minor K. 426, and his Sonatas in D major K. 448 and in C major K. 545 for two pianos, and many other composers from Ravel to Liszt, and Brahms to Rachmaninoff followed suit.

At the Duo Pleyel concert

It was enlightening to hear the two composers, Mozart and J.C. Bach, juxtaposed, and to hear Bach’s influence firsthand in a recent concert by Duo Pleyel in Austria at the spectacular 12th century abbey Klosterneuburg, in Augustinus Hall. Pianists Alexandra Nepomnyashchaya and Richard Egarr presented a program entitled “Mozart’s Real Musical Father” that alternated Piano Duets by W. A. Mozart and those by J.C. Bach. They performed on a replica of Chopin’s preferred piano, a Pleyel built in 1848.

The duo opened the concert with the Mozart Sonata for Piano 4 Hands in D Major, K. 381. I think you’ll agree the first movement Allegro could not be more beguiling. Within the movement the interlocking melodies alternate from the major and minor key effortlessly, moving from charm to mystery, and from affecting to poignant.

Stift Klosterneuburg

A delightful duo by Johann Christian Bach followed, the Sonata for Piano Duet in A major Op. 18, No. 5. The duo is only two movements. The allegretto is expressive and lyrical, with the two pianos evenly matched singing through beautiful scale passages and ornaments, certainly an example of Stile galant and the compositional style Mozart would emulate.

Mozart’s Five Variations in G Major for Piano Duet, K. 501 was next on the program. Mozart’s wizardry in this brief work of only 7 minutes, is riveting. He highlights and embellishes the initial enchanting melody first in eight notes, then in triplets in the lower piano line, then in sinuous sixteenth notes in the higher register. It’s followed by a slow and weightier variation in the minor key. More virtuosic flourishes follow before the simple version from the introduction returns towards the end and fades out gracefully. It’s masterful.

Acciacatura

The Sonata for Piano 4 Hands in F Major, K. 497 by Mozart begins with an exquisite Adagio before it embarks on a lighthearted Allegro di molto. What could be more beautiful than this opening? Mozart composes with such brilliant panache. Listen for the acciaccaturas – grace notes played as quicky as possible before the main note with the emphasis on the main note, as if little birds are chirping—as well as the speedy turns—a four-note pattern where the main note is played, then the note above, followed by the main note again, and then the note below, and is notated by a sideways ‘S’ symbol.

J.C. Bach Sonata for Piano Duet in F Op. 18, No. 6 followed, a work of only two movements, an Allegro, and a Rondeau-Allegro, which is an animated movement featuring unison playing and short cadenzas. One can hear many similarities in style that Mozart later adopted and perfected.

The concluding piece on the program, W.A. Mozart Sonata for Piano Duet in B-flat, K 358, begins with a lively and vivacious Allegro that highlights scales and unison passages in each of the two parts.

The third movement, a captivating Molto presto, features long passages of repeated notes, light and quick staccato notes, sparkling ornaments, rhythmic accents on the offbeats, low register bombast, all in merely three minutes. It must be so much fun to play, and lovely to listen to.

To hear these piano duos and to see the parallels between the composers in this most enjoyable program was illuminating, and evidence of the musical kinship between J.C. Bach and W. A. Mozart.

Final concert from the movie - Music of the Heart

Pianist in tears!!!. Most moving piano performance.

Pianist Nobuyuki Tsujii bursts into tears when he plays at Carnegie Hall his own composition "Elegy for the Victims of the Tsunami of March 11, 2011 in Japan".

30 Best Classical Music Movies As Rated by Rotten Tomatoes

by Emily E. Hogstad, Interlude

Looking for a movie about classical music to watch? You’re in luck! Today we’ve not only assembled a list of thirty movies about classical music, but we’ve also checked in with movie review aggregator website Rotten Tomatoes to see which ones have gotten the best scores.

We’re sharing them in reverse countdown style order, starting with the worst-reviewed and working our way up to the best.

So, pop some popcorn and enjoy these thirty movies about classical music.

Paganini: The Devil’s Violinist (2013) – 13 reviews, 31% positive 

Have you ever been frustrated by actors in movies faking playing their musical instruments? Have you ever fantasized about how cool it would be if actual musicians could play musician characters?

Then this movie might be for you. In 2013, violinist David Garrett starred as nineteenth-century superstar Niccolò Paganini. The film traces his shocking gambling losses and his scandalous love life. Pro violinist David Garrett plays violin onscreen, but according to most critics, that wasn’t enough to save the film.

Rhapsody in Blue (1945) – 6 reviews, 33% positive

In 1937, composer George Gershwin died at the age of 38 from a brain tumor. A few years later Hollywood came calling, seeking to immortalize his life in film.

The first big tribute to him came in the form of the movie Rhapsody in Blue, which starred actor Robert Alda as George Gershwin.

The movie was a bizarre mishmash of real life and fiction. Weirdly, George’s sister was completely written out of the story of his life, and his love interests in the movie were not based on real women. Meanwhile, other friends like Al Jolson and Oscar Levant made cameos as themselves.

Critics complained that the film has too many musical performances in it. (But maybe that intrigues you!)

Unfaithfully Yours (1984) – 18 reviews, 33% positive 

Claude Eastman (played by Dudley Moore) is both a conductor and a composer. He has just married a much younger woman, and he harbors paranoia that she is going to cheat on him, so he hires a private detective to follow her.

The detective comes back with footage of Eastman’s wife with one of his orchestra’s playboy violinists. But is his wife really cheating, or is it all just some comic misunderstanding?

August Rush (2007) – 123 reviews, 37% positive

In this movie, a cellist studying at Juilliard gets pregnant after a one-night stand with a rock singer. She gets hit by a car, goes into a coma, and gives birth while unconscious. Her father has the boy put up for adoption but tells his daughter that he died.

As you can imagine, the boy turns into a musical savant. He and his mother embark on twin journeys to find each other. Will they finally reunite in dramatic fashion at a New York Philharmonic concert in Central Park? You’ll have to watch to find out!

Although critics were not fond of this movie, audiences loved it. There’s a huge discrepancy between the critics’ scores and the audiences’: 37% to 82%. So maybe it’s worth checking out after all!

Lisztomania (1975) – 11 reviews, 45% positive 

This is definitely the weirdest movie on this list. It’s very (very, very) loosely based on the life of composer and pianist Franz Liszt. It starts when Liszt and his mistress Marie d’Agoult are caught in flagrante by her husband. The two are punished by being nailed inside a piano that is then placed in the path of a speeding train. And that’s only the beginning.

All kinds of madness proceed to ensue. (The film ends with Liszt using a spaceship to destroy a Wagner-Hitler hybrid, just in case you were wondering.)

Coco Chanel & Igor Stravinsky (2009) – 94 reviews, 52% positive 

This movie is based on the 2002 novel Coco and Igor by Chris Greenhalgh, which is an imagination of the potential affair between the two creative giants.

So, did Chanel and Stravinsky actually indulge in a dalliance? Some people think so; others don’t; there is apparently no concrete proof. But if it did happen, it probably looked something like this stylish evocation of 1920s Paris.

The Soloist (2009) – 207 reviews, 56% positive 

In 2005, real-life Los Angeles Times journalist Steve Lopez met a bass player with schizophrenia named Nathaniel Ayers, who was living on the streets of Los Angeles. Ayers attended Juilliard for two years but had to drop out due to his deteriorating mental health.

The movie explores what happened next: how a reader procures Ayers a cello, Ayers’ struggle to get into housing, and how the friendship impacts Lopez.

The two main characters are played by Robert Downey, Jr., and Jamie Foxx.

Humoresque (1946) – 8 reviews, 57% positive 

Humoresque is a delicious black and white melodrama. It charts the career of violinist Paul Boray (played by John Garfield), his love affair with his unhappily married patroness Helen Wright (played by Joan Crawford), and Boray’s erotically charged partnership with pianist Sid Jeffers (played by the ever-quippy Oscar Levant).

The film features some of the more convincing violin faking in cinema history, since violinist Isaac Stern’s hands were filmed in such a way to make it appear that John Garfield was actually playing.

One more fun fact: Franz Waxman’s Carmen Fantasy for violin and orchestra was written for this movie!

Immortal Beloved (1994) – 56 reviews, 57% positive Play

After discovering some sensitive papers after Beethoven’s death, his secretary Anton Schindler attempts to ascertain the identity of a woman Beethoven labeled his “immortal beloved.”

He speaks to Beethoven’s piano student, Giulietta Giucciardi – then Anna-Marie Erdödy, a woman who Beethoven befriends after his deafness causes a concert he’s conducting to go disastrously – and, finally, Johanna Reiss, his brother’s wife, a woman who he claims to loathe, and who harbors a truly shocking secret.

Farinelli (1994) – 25 reviews, 60% positive

Farinelli is a biopic devoted to castrato singer Carlo Maria Michelangelo Nicola Broschi, better known by his stage name, Farinelli.

An important part of the movie is the relationship between Farinelli and his brother Riccardo. The two are involved together in various romantic escapades with various women.

The film also features cameos by real-life figures like Nicola Porpora and George Frederick Handel.

Music of the Heart (1999) – 91 reviews, 64% positive 

In Music of the Heart, Meryl Streep plays real-life school music teacher Roberta Guaspari, who starts teaching at a public school in Harlem. After ten years of building up the music program across multiple schools, funding is cut and Guaspari loses her job.

To save the program, Guaspari and the students decide to mount a benefit concert. However, shortly before the show, they lose their venue. Can classical music superstars like Itzhak Perlman and Joshua Bell save the day?

Mozart’s Sister (2010) – 63 reviews, 73% positive 

This movie is a fictionalized take on the life of Nannerl Mozart, Wolfgang Amadeus’s older and musically talented sister.

While on tour, the Mozarts’ carriage breaks down and they are forced to stay at the abbey where the teenage Princess Louise of France lives.

With Louise’s introduction in-hand, the Mozarts go to Versailles. Nannerl tiptoes around a romance with a member of the French royal family. At the same time, she pushes back against her father, who doesn’t believe it is proper for her to compose or play the violin.

The Piano Teacher (2001) – 89 reviews, 73% positive

The Piano Teacher is a spicy – and violent – French movie.

The main character, Erika, is a fifty-something piano professor in Vienna who lives with her controlling elderly mother. She enters into a romantic relationship with a young engineer who is also studying music. He ultimately becomes her student.

A lot proceeds to happen in that relationship that is not particularly family friendly, so we won’t get into it here. But if you want to watch it, we’re certainly not going to stop you.

Impromptu (1991) – 19 reviews, 74% positive

If you’ve ever wondered what Chopin would be like if he was a Hugh Grant character, have we got the movie for you!

Impromptu is a sweet, charming, semi-historically accurate comedy recounting the story of the start of the romance between authoress George Sand (played by Judy Davis) and Frederic Chopin (played by Grant).

Opera-like misunderstandings develop when Franz Liszt (played by Julian Sands) and Countess Marie d’Agoult (played by Bernadette Peters) join the story.

The Red Violin (1998) – 42 reviews, 74% positive 

The Red Violin is more like a series of short films than one cohesive whole. It traces the history of a fictional violin made by a fictional luthier whose wife dies in childbirth.

Over the course of its life, the mysteriously red violin finds its way into the hands of a sickly child prodigy, a sexually voracious Paganini-like figure, and a music teacher caught up in the Cultural Revolution in China.

The framing device linking these stories together is the story of the violin being auctioned in the present day and investigated by an appraiser played by none other than Samuel L. Jackson.

Mr. Holland’s Opus (1995) – 28 reviews, 75% positive 

In Mr. Holland’s Opus, Richard Dreyfuss plays Glenn Holland, a music teacher who longs to write a symphony.

However, he’s distracted from composing by the demands of teaching high school students. He also becomes disconnected from his home life: when his son Cole is found to be deaf, he doesn’t put in the work to learn sign language, resulting in his wife becoming more-or-less a single parent.

What will happen when budget cuts threaten his job thirty years after Mr. Holland takes it? You’ll have to watch to find out.

A Late Quartet (2012) – 113 reviews, 77% positive 

A Late Quartet follows the members of the fictional Fugue String Quartet, which is reeling after their cellist Peter (played by Christopher Walken) is diagnosed with Parkinson’s.

The second violinist Robert and violist Juliette (played by Philip Seymour Hoffman and Catherine Keener) are a married couple, and tensions about their respective roles in the ensemble lead Robert to cheat on his wife.

Oh, and first violinist Daniel (played by Mark Ivanir) is in a relationship with Robert and Juliette’s daughter.

This movie charts all the messiness that follows. Roger Ebert observed, “It does one of the most interesting things any film can do. It shows how skilled professionals work.”

Chevalier (2023) – 162 reviews, 77% positive 

Chevalier is inspired by the real-life story of Joseph Bologne, Chevalier de Saint-Georges, a violinist, conductor, composer, swordsman, and ladies’ man who was a prominent figure in eighteenth-century Paris.

The movie follows the difficulties that Bologne faced due to his race (his mother had been an enslaved teenager). Several real-life storylines become brutally shocking.

The film also chronicles Bologne’s rebellious fighting spirit and his ability to adapt to new political circumstances at the dawn of the French Revolution. 

Grand Piano (2013) – 73 reviews, 79% positive 

The premise of this film is absolutely ludicrous, so make sure to suspend your disbelief. Once you do that, it’s a fun ride.

Elijah Wood plays a nervous pianist who is returning to the stage after a break due to debilitating stage fright. When the concert starts, he sees a note in his sheet music that reads “Play one wrong note and you DIE.” A red laser appears on him. (Behold the dangers of not memorizing the solo part!)

Increasingly unhinged hijinks ensue, including chases on catwalks over the stage and even the death of an usher.

Autumn Sonata (1978) – 32 reviews, 88% positive

In Autumn Sonata, Ingmar Bergman directs screen legend Ingrid Bergman in her final performance.

Ingrid Bergman plays a renowned aging pianist named Charlotte. Charlotte visits her daughters Eva and Helena. Eva has married a pastor and takes care of Helena, who has several debilitating disabilities. The film follows the three women as they reconnect and try to come to terms with their difficult past.

(By the way, keep Ingrid Bergman’s name in mind, because she appears in another film on this list…)

Hilary and Jackie (1998) – 58 reviews, 88% positive  

Hilary and Jackie tells the story of the real-life relationship (somewhat fictionalized for the sake of the movie) between Hilary du Pré and her cellist sister Jacqueline du Pré.

Jacqueline is fated to become one of the greatest musicians of the century, while Hilary is merely extremely accomplished.

The film examines the toll that great talent can take on a family, as well as the emotionally shattering aftermath of Jacqueline’s diagnosis of multiple sclerosis in her late twenties, which caused her astonishing career to be cut short just as it was getting started.

Note that the film included controversial details about Jacqueline’s relationship with Hilary’s husband and was criticized by some of her friends.

Florence Foster Jenkins (2016) – 237 reviews, 88% positive 

Meryl Streep plays the real-life socialite and singer Florence Foster Jenkins, who became a sensation in early twentieth-century New York for her terrible singing and her often-mystifying confidence in her abilities.

Hugh Grant stars as her manager and companion, who has been known to bribe reviewers into giving her positive press, while Cosmé McMoon (played by Simon Helberg, best known for his role as Howard from The Big Bang Theory) reluctantly signs on to be her accompanist.

Eventually a deluded Jenkins books Carnegie Hall and sells out the whole place. The movie explains how she became such a camp favorite and a strangely inspirational figure.

Amadeus (1984) – 154 reviews, 89% positive 

This might just be the most renowned movie about classical music ever made.

In the film’s opening, composer Antonio Salieri is committed to a mental institution after attempting suicide. He recalls to a priest how he once pledged faithfulness to God in exchange for musical talent. However, when Salieri meets the effortlessly talented Wolfgang Amadeus Mozart and witnesses his obscene sense of humor in action, Salieri comes to believe that God has chosen to mock him by placing the talent that should rightfully be his in Mozart’s hands instead. He vows to destroy Mozart in whatever way he can.

It’s not historically accurate, but it’s inspired storytelling.

The Piano (1993) – 71 reviews, 90% positive 

In The Piano, a nineteenth-century Scotswoman named Ada McGrath (played by Holly Hunter) arrives in New Zealand to marry a frontiersman named Alisdair Stewart (played by Sam Neill). Ada brings along her precocious six-year-old daughter and a piano.

Ada is a mysterious woman. She has not spoken since childhood, preferring instead to communicate by playing piano. She also refuses intimacy with Stewart, who refuses to retrieve Ada’s heavy piano from the beach or to make any effort at all to understand his new wife’s desires.

Stewart’s neighbor, George Baines, eventually transports the piano from the beach, using Ada’s passion for the instrument as a tool to seduce her. Eventually Ada develops feelings for him. The film deals with the messy fallout from their relationship and her overwhelming love for her piano and music.

Shine (1996) – 44 reviews, 91% positive 

In Shine, a musical Australian boy named David Helfgott struggles under the pressures of his abusive teacher father Peter. Peter forbids his son from studying in America.

David gets a little older and befriends a novelist named Katharine. He’s offered another opportunity to study out of the country, this time in London. With the encouragement of Katharine, he finds the strength to leave, but Peter makes it clear to his son that if he goes, he will not be welcome at home again.

After leaving home, David’s mental health deteriorates dramatically, and he will have to endure intense struggles to stay in music.

Shine is based on a real-life story.

Tár (2022) – 348 reviews, 91% 

In Tár, Cate Blanchett doesn’t just play the eponymous title character, conductor Lydia Tár; she embodies her.

Lydia Tár is the first woman conductor of the Berlin Philharmonic and preparing to make a landmark live recording of Mahler’s fifth symphony.

However, her relentless march into the pantheon of great conductors is interrupted when an estranged former protege dies by suicide, opening the door to an investigation of Tár’s abuses of power and privilege.

Will she be able to escape accountability? And what exactly does accountability even mean in an art form that has historically harbored and celebrated manipulators and abusers of all kinds?

Fantasia (1940) – 58 reviews – 95% positive 

Fantasia is a “musical anthology” film, featuring eight segments of classic Disney animation set to classical music performed by conductor Leopold Stokowski and the Philadelphia Orchestra.

The film includes such legendary animations as the seasons changing to Tchaikovsky’s Nutcracker; a comic ballet danced by cartoon ostriches; and Mickey Mouse attending to his duties as the Sorcerer’s Apprentice, to the work by Paul Dukas of the same name.

Fantasia’s soundtrack was recorded with innovative new recording methods that necessitated 33 microphones. Over 42 days of recording, 483,000 feet of film were used!

The Pianist (2002) – 189 reviews, 95% positive Play

The Pianist tells the story of Jewish Polish pianist Władysław Szpilman. As the title suggests, Szpilman is a young and very promising pianist. He is playing a recital on the radio when war breaks out.

In 1940, after the Nazi invasion of Warsaw, he and his family are sent to the Warsaw Ghetto, where many people die of illness, starvation, and violence in horrific conditions.

Szpilman is forced to embark on a harrowing journey to do whatever he can to resist and survive.

An American in Paris (1951) – 101 reviews, 95% positive 

An American In Paris is one of the great classic Hollywood musicals.

Dancer Gene Kelly stars as an artist named Jerry trying to make it in postwar Paris.

His best friend is Adam, a sardonic pianist played by Oscar Levant.

Adam has a singer colleague named Henri (played by Georges Guétary), who is engaged to Lise (played by Leslie Caron).

To top it all off, the elegant Nina Foch plays an heiress who is taken by Jerry’s art…or maybe just Jerry himself!

The plot, however, is secondary to the soundtrack, which consists of the greatest hits by George Gershwin. Its centerpiece is a dazzling seventeen-minute fantasy ballet set to – you guessed it – An American In Paris. It’s unforgettable.

Intermezzo (1939) – 11 reviews – 100% positive 

Remember that we mentioned to keep Ingrid Bergman’s name in mind? That’s because she’s the star of the number-one-rated classical music movie, Intermezzo, which also happens to be the first film that Ingrid Bergman shot in America.

Leslie Howard stars as a famous violin soloist named Holger Brandt who invites his daughter’s piano teacher (played by Bergman) to accompany him on his next tour. During the tour, the two fall madly in love. Will their love last, or will Brandt return to his family?

Conclusion

We’re coming up on a hundred years of films about classical music and classical musicians, and as Chevalier and Tár demonstrate, it seems likely that directors, screenwriters, and actors will continue to be inspired by the world of classical music in the years to come!

AFTER THE LOVE HAS GONE - GENTE STELAR Y LA FILARMONICA DEL ESPACIO CULT...

6,025,776 views Nov 23, 2016

6,025,776 views • Nov 23, 2016

Gente Stelar la Gran Banda de Tampico, Tamaulipas Dirección musical de JAIME DE LA ROSA L. Facebook:   / gentestelar  

Best All-Time Classical Movie Theme | Forrest Gump - The Maestro & The European Pop Orchestra

The Maestro & The European Pop Orchestra are specialized in performances of movie scores. This gentle and touching theme develops into a glorious victory for Forrest! See this wonderful live show on the market square of Heerlen The Netherlands. Maestro Guido thinks that this music is one of the very best all-time classical movie themes. Written by composer Alan Silvestri.

Philippine Philharmonic fundraising concert to feature 'Home Alone' songs

 

Kristofer Purnell - Philstar.com

October 3, 2024 | 3:26pm

MANILA, Philippines — The Philippine Philharmonic Orchestra will be holding a fundraising concert next month featuring a line-up consisting of beloved tracks and pieces from cinematic history.

The orchestra will be led at the event aptly named "Music, Movies, Magic" by conductor Gerard Salonga.

Arman Ferrer, Lara Maigue, Cris Villonco, Diomedes Saraza, Camille Lopez-Molina, Jonathan Velasco, the Alice Reyes Dance Company, and the Philippine Madrigal Singers are also featured. 

Anton Huang, Chairman of the Philippine Philharmonic Orchestra Society Inc. (PPOSI), said during a media event in Rustan's Makati last October 1 that "Music, Movies, Magic" would be a "celebration of the world's most beautiful conducted pieces, from the elegances of waltzes to operas and cinematic moments."

PPOSI Vice President Nestor Jardin shared some of his favorite musical compositions were actually theme songs or scores from films, citing examples like "My Heart Will Go On" from "Titanic," "Now We Are Free" from "Gladiator," and "Gabriel's Oboe" from "The Mission."

Jardin revealed the songs that would be performed at the event, including the overture from "The Great Waltz," several singers for "Tonight" from "West Side Story," a Michel Legrand medley by Villonco, and three holiday songs from the "Home Alone" films.

The PPO will perform with Saraza in their rendition of "Thais: Meditation" from "Titanic," the Madrigal Singers with "Iduyan Mo" from "Agila," and with Ferrer in two musical numbers featuring George Canseco.

Jardin explained that time constraint was considered to fit a two-hour concert. Show director Alex Cortez said the selected songs had to transport audiences to a world that was magical, "These are also iconic pieces that never seem to die."

Asked by Philstar.com about the positive benefits the concert would bring to the PPO other than funding, Jardin said it would be good for the musicians to have a different set of repertoire outside of classical music and to have a chance working with Salonga.

He reiterated that the PPO is the sole beneficiary of the concert, with funds going to retirees, musical instruments, uniforms, and scholarships.

Chairperson of the Cultural Center of the Philippines and former Miss Universe titleholder Margie Moran-Floirendo added that funding is the biggest need for theater and musical arts today, followed by youth education or awareness.

"Music, Movies, Magic" will take place in Circuit Makati's Samsung Performing Arts Theater on November 22.