Musical Autograph Books

by Maureen Buja, Interlude

Starting in the 16th century with small albums created by fellow classmates and continuing into the 20th century with the rise of musical groupies (actually, this started much earlier), the autograph book is an interesting view into the relationship between musicians and their audience.

An autograph book is typically a small book (4”x 6” or A6 size) that was small enough to fit into the owner’s hand (or handbag) and could be produced when a celebrity was sited. Some autograph books only have signatures, but others, particularly those kept for signing at parties, often have more interesting contents. This book, up for auction in December 2013 at Bonham’s, has the signatures of all four members of the Beatles:

Whereas this leaf is much more interesting:

The English conductor John Barbirolli signed this page in 1927 “With best wishes” and included a bit of music from Puccini’s La bohème. At the time, Barbirolli was just 28 years old and conductor of the British National Opera (which later became the English National Opera).

Here’s another leaf, signed by the pianist Wilhelm Backhaus in 1908, which carries a tag from Chopin‘s Ballade in A-flat Major.

So far, we’ve just seen examples from performers. Composer’s autograph pages can be even more interesting. Here’s one from Austrian composer Ernst Krenek that is addressed to the American conductor Mario de Bonaventura in 1975. The phone number is for somewhere in the state of Connecticut (please don’t phone it – the conductor is no longer at that number) and giving a 7-note tone row (no clef, but e flat, b flat, f flat, d flat, g flat, g natural, d flat, and b flat if read in treble clef). The composer notes “I hope the number is correct – the tone row is not.”

Another album leaf is this beauty from the composer, pianist, and teacher Theodor Leschetizky, dated London 25 October 1897. This gives a selection from the Scherzo from his Souvenirs d’Italie, Op. 39, a piano suite.

When a formal autograph book wasn’t available, composers often took what was to hand, generally music paper, and made their own album leaves:

This leaf, cut down from a larger piece of music paper, inscribed “for Ann” and signed by William Walton is an excerpt from the “Polka” from his experimental work Façade, which was commissioned by Dame Edith Sitwell. Walton, born in 1902, was 75 in 1977 and the shakiness of his hand writing makes a startling contrast with the strength in some of the other autograph pieces.

One more autograph is a two-sided autograph, this time from the composer, conductor, and librettist Arrigo Boito. It is also cut down from a sheet of music paper and contains a musical quote from the Epilogue to his opera Mefistofeles, for which he also wrote the libretto. This is from the beginning of the Epilogue, “The Death of Faust.”

These autograph books are an interesting view into what a composer or a performer or a conductor found most interesting. Sometimes these are recent compositions, sometimes these are their most famous piece, and sometimes, it might have been inspired by conversations with the autograph collector. In most cases, we can only guess at why that piece of music might have been included but in every case, it’s an interesting record of the past, passed forward by hand.

All album leaf examples are from the collection of the New York antiquarian music dealer Wurlitzer Bruck.

(C) 2014/2021 by Interlude

Frankfurt Does the Foxtrot: Seiber, Hindemith, Schulhoff and Tansman

by Georg Predota , Interlude

Foxtrot

The composer, conductor and educator Bernhard Sekles (1872-1934) caused a minor scandal in 1928. Sekles was director of the Hoch Conservatory of Music in Frankfurt am Main, and he decided to put Jazz on the curriculum. The courses in the theory and practice of jazz would be taught by Mátyás Seiber (1905-1960), and concerts held in the “Volksbildungsheim.” Seiber started his musical career at the Budapest Academy of Music. When he entered a wind sextet for a competition and was not awarded a prize, Bartók resigned from the jury in protest.

Mátyás Seiber

In 1927 he joined a dance orchestra on a transatlantic liner, and visited both North and South America. A cellist by trade, he perfected his skills as a jazz musician in various jam sessions in New York and elsewhere. Seiber immigrated to England in 1935 and he collaborated with Adorno on a jazz research project in 1936. In a lecture on jazz to the “Music of Our Time Congress,” he was demanding that jazz be “taken seriously and subjected to intelligent analysis, chiefly through an appreciation of its rhythmic techniques.” Seiber was also a capable composer and educator, and he published a number of didactic pieces, including his favorite, the foxtrot—tracks 1 and 4 in this recording.

Mátyás Seiber

Sekles and Seiber did not simply invent an academic subject; they responded to various musical stimuli and interests that were part of the musical and cultural fabric of the time. Six years earlier, Paul Hindemith had already caused a massive scandal with his Kammermusik No. 1.

The Amar Quartet in 1921 with Hindemith
in the center

At that time, a culture struggle was long underway as a critic wrote, “A hissing and seething begins, a pushing, shoving, and pulling, screams and shouts assault our ears; one sees sensuously distorted, common faces, hears whipping and blowing, laughter and shouts, groaning and rejoicing, whistling and yelling; pairs mingle in the most lascivious manner in what are literally foxtrot melodies, barbaric sound of half-engrossed, giddily reeling people are uttered…” The incorporation of the foxtrot in the last movement of this work clearly shocked listeners, but it was not a cheap and reckless joke on Hindemith’s part. For one, the foxtrot quotation is linked to its structural surroundings, and secondly, it is the counterpart of the “Ragtime” for large orchestra that Hindemith had composed in 1921. As Hindemith writes, “I cannot offer analyses of my works because I do not know how I should explain a piece of music in a few words. Besides, I believe that my things are really easy for people with ears to understand, so an analysis is unnecessary. People without ears cannot be helped even with such guides for idiots.”

Paul Hindemith: Kammermusik No. 1, “IV Finale: 1921” (Tasmanian Symphony Orchestra; Werner Andreas Albert, cond.)

Erwin Schulhoff

Erwin Schulhoff (1894-1942) was born in Prague and began his studies of composition and piano at the age of 10. Schulhoff was one of the first generation of classical composers to find inspiration in the rhythms of jazz music. He meticulously organized concerts of avant-garde music, and in 1919 authored the following manifesto. “Absolute art is revolution, it requires additional facets for development, leads to overthrow in order to open new paths… and is the most powerful in music…. The idea of revolution in art has evolved for decades, under whatever sun the creators live, in that for them art is the commonality of man. This is particularly true in music, because this art form is the liveliest, and as a result reflects the revolution most strongly and deeply–the complete escape from imperialistic tonality and rhythm, the climb to an ecstatic change for the better.” Schulhoff’s 1920 declaration that “Music should, first and foremost, produce physical well-being, ecstasy even, by means of rhythm” underlines his affinity with jazz, as does a letter to Alban Berg in which he writes: “I have an absolute passion for the dance in vogue and myself have times when I dance with bar ladies night after night – purely out of rhythmic intoxication and subconscious sensuality… Thereby I acquire phenomenal inspiration for my work, as my conscious mind is incredibly earthy, even animal as it were.” Composed in 1931, the Suite dansante en jazz is clearly indebted to jazz idioms, and the concluding Foxtrot was Schulhoff’s self-proclaimed “favorite dance rhythms.”

Alexander Tansman at the home of Vladimir Golschmann and his wife in St. Louis (U.S.A.) in 1931, watching while Prokofiev tries out Tansman’s Second Concerto on the piano. (Photo: Ruth Cunliff Russel, St. Louis, U.S.A.)

The origins of the Foxtrot are supposedly found with a Vaudeville actor born Arthur Carringford in 1882. He joined the circus early on, and when a music publisher liked his voice he was hired to sing songs in vaudeville theatres in San Francisco. Originally billed as “Mr. Frisky of Frisco,” Arthur eventually migrated to the East Coast and changed his stage name to “Fox.” When the New York Theatre was being converted into a movie house, management decided to try vaudeville acts between the shows. Harry Fox and his company of “American Beauties” were hired to provide the entertainment. As part of his routine, Harry Fox was doing trotting steps to ragtime music, which people referred to as “Fox’s Trot.” As the roof of the theatre was converted into a large dance floor, the “Foxtrot” became one of the featured dances in weekly dance contests. Mind you, there are various alternate histories regarding the origins of the foxtrot, but the dance quickly made it to Europe and found great popularity in the ballroom. And it also found it’s way into the toolkit of numerous composers across the continent.

Does everyone do their own singing in Spielberg’s West Side Story remake?

Tony and Maria then and now. Picture: Alamy

By Sophia Alexandra Hall, ClassicFM London

@sophiassocials

 

In the original 1961 West Side Story, some major characters were dubbed by professional singers, but what about in the new remake? 

Natalie Wood was the actress who starred in the 1961 film production of West Side Story, however, her vocals were dubbed over by ghost-singer, Marni Nixon.

Ghost singers were common throughout the 20th century, with other prominent examples being Nixon singing again for Audrey Hepburn in My Fair Lady, Bill Lee who sang for actor Christopher Plummer in The Sound of Music, and even as late as 2006, Drew Seely sang for Zac Efron’s leading role in the first High School Musical movie (Zac went on to do his own singing for the sequels).

But what about the 2021 production of West Side Story – is everyone singing in the Spielberg remake, or do we have a spooky case of ghost singers to investigate? Let’s see...

Who’s in the cast of West Side Story 2021?

The remake of the 1961 film of the same name is Spielberg’s first musical project. The original film is itself an adaptation of the 1957 Broadway musical of the same name, which is an adaptation of Shakespeare’s Romeo and Juliet by Leonard Bernstein and the late Stephen Sondheim.

It stars well-known faces such as Ansel Elgort (Baby Driver), and Maddie Ziegler (Dance Moms) and also gives a debut to 20-year old Rachel Zegler, who was found via an open casting call in 2018 when she was just 16.

The plot follows the same storyline as the 1961 version, with script adaptations made by Tony Award winner and Lincoln screenwriter, Tony Kushner.

The cast of the new West Side Story. Picture: Alamy

The singing

In the 1961 version, very little of the on-screen cast did the singing on the original soundtrack. In fact, the four main characters all had ghost singers.

Natalie Wood (Maria) was voiced by Marni Nixon, Richard Beymer (Tony) by Jimmy Bryant, Russ Tamblyn (Riff) by Tucker Smith for ‘Jet Song’, and Rita Moreno (Anita) by Betty Ward for the song ‘A Boy Like That’.

Credit was not given to voice actors at the time, and Nixon later spoke out for the rights of ghost singers, after she went to court in order to receive royalties from the sales of the soundtrack album.

According to Stephen Cole, who co-authored Nixon’s memoirs, I Could Have Sung All Night, Wood knew that Nixon had been hired to sing, however, thought she would only dub the higher notes, not the entire songs.

After Wood sang in the studio, Nixon would come in and sing the same song all over again, unbeknownst to Wood.

Cole reports that Nixon found this barbaric, as the musicians would lie to Wood, telling her she was great, when she wasn’t and they all knew they wouldn’t be using her tracks in the final cut.

Watch West Side Story's new Maria sing Shallow from 'A Star Is Born'

Credit: @rachelzegler / Twitter

Times have changed

Hiring actors who cannot sing for musical roles is now almost (*cough* Javert *cough* Russell Crowe) a thing of the past.

However, there are the occasional notable examples of films who have prioritised an actors notability over their singing abilities, such as Dwayne Johnson in Moana, or Pierce Brosnan in Mamma Mia.

We however, know this not to be the case with the title role of Maria, played by Zegler, in the new West Side Story, as she was selected from over 30,000 applicants for the role.

In order to win the coveted part she posted clips on twitter in response to the call with her singing ‘Tonight’ and ‘I Feel Pretty’.

Unlike Natalie Wood, who was an American actress with Russian heritage, Zegler is Latina, and of Colombian and Polish descent. In the musical, Maria is Puerto Rican, and Spielberg made a public promise ahead of casting, that the roles of Maria, Anita, Bernardo, Chino and the Sharks would be played by Latina and Latino actors.

Zegler’s co-star Ansel Elgort, 24, is a much more familiar face on the feature film scene, and has shown off his singing talents previously in interviews.

With a young and talented cast, West Side Story has no need to drag up the singing ghosts of the past, and we’re excited to see their talents showcased on the big screen later this year.

West Side Story will be released in cinemas on 10 December 2021.

MUSIC, CHRISTMAS AND GOD

Are all terms in the right order? In logical sequence? For some of you, my dear readers, they must have passed out by a dozen. 

Honestly, writing about political topics is really tiring me. Especially now and today. While writing this piece, I am getting tons of political news.Yes, I am very well understanding everything. But why do I choose "Music, Christmas and God"? Again, the right (or wrong?) order doesn't matter. Really!

Christmas is just around the corner. Almost.  I become very thoughtful and melancholy during the season. That's okay. Maybe also you. I try to delete topics such as war, corruption, killing, pandemic,natural disasters et cetera et cetera pp. I even try to delete them here in my opinion. I try to look forward to Christmas with a happy heart.

Christmas is just around the corner. God is with me daily. He is my companion during every second of my life. And, what has this to do with music?

Music has been my second life companion for many years. I remember the day my parents first lugged the heavy accordion up our front stoop, taxing the small frame. They gathered me in the living room and opened the case  as if it were a treasure chest. And guys, it really was. And, it was several days BEFORE Christmas. 

"Here it is," my parents said. "Once you learn to play it, it will be with you for life!" Thank God, it is. Believe it - up to now. Here in my house in Davao City. My very first instrument... .

Anyway, back to the past: if my thin smile didn't match my parents' full-fledged grin, it was because I prayed for a piano! It was at the end of the 1950s, and I was glued to my AM- and ShortWave Radio Stations, playing classical music 24/7. Accordions were nowhere in my hit parade - even later during the 1960s and 1970s... .

Sometime on a Sunday, one of my favourite days till now, I started taping radio shows with classical music. It seemed that I was hanging on every note. I joined the college band. But I admired classical composers such as Beethoven and Mozart, just to mention two. I never became perfect in my piano play to coax sweet sounds. I also admire people who can do so. But I developed a passion for music.

Music, God - and, yes: Merry Christmas to all of you - also from this corner, even there are still some more days.... .

Andrea Bocelli - Hallelujah (live at Teatro Regio di Parma)

Merry Christmas! - Frohe Weihnachten

4 Hands 4 More Piano Fun

by Georg Predota, Interlude

Marie and Karoline Esterházy

It is certainly telling that the earliest surviving music by Franz Schubert is the extended Fantasie D. 48 for piano duet. Composed at the age of thirteen, Schubert composed prolifically for the medium until his untimely death at the age of 31. For Schubert and his friends, four-hand piano music was a natural part of convivial evenings. Since this repertoire was almost exclusively destined for the private amateur salon market, however, a large number of these genial and charming works are still virtually unknown. Presumably written in 1818 or 1824, Schubert’s Variations D. 968a for piano four hands is one of series of compositions written for the two daughters of Count Johann Karl Esterházy. Schubert was engaged as music tutor to the two girls and spent two summers at the Count’s estate at Zseliz in Hungary. Schubert wrote to his friend Moritz von Schwind, “I have composed a big sonata and variations for four hands; the latter are enjoying great applause here, but since I don’t quite trust the taste of the Hungarians I’ll let you and the Viennese decide about them.” 

Arthur Gold and Robert Fizdale, 1952

Sketched in 1952 and completed in the spring of 1953, Poulenc’s Sonata for two pianos is dedicated to pianists Arthur Gold and Robert Fizdale “as much with friendship as with admiration.” Considered one of the most important piano duos of the 20th century, Gold and Fizdale commissioned and premiered a number of important works in the second half of the 20th century, including works by John Cage, Virgil Thomson, and Ned Rorem. As part of the tsunami of American artists, musicians and writers, the Duo traveled to Europe and arrived in Paris in 1948 with a letter of introduction to Germaine Tailleferre. A lunch with Francis Poulenc and Georges Auric was quickly arranged, which in turn lead to a number of works dedicated and composed for the Duo. Tailleferre wrote her Toccata for two Pianos and her Sonata for Two Pianos for Gold and Fizdale, while Poulenc contributed his own Sonata for Two Pianos for “the Boyz,” as he called them. The work was first introduced to the public on 2 November 1953 at London’s Wigmore Hall.

Francis Poulenc: Sonata for Two Pianos (François Chaplin, piano; Alexandre Tharaud, piano)

Chansons de Bilitis

Claude Debussy’s friend Pierre Louÿs published his Chansons de Bilitis in 1894. Louÿs claimed that the 143 prose poems were the work of a woman of Ancient Greece called Bilitis, and originally found on the walls of a tomb in Cyprus. Although this amiable case of literary fraud was quickly uncovered, his contemporaries were greatly impressed with the poems skillful and evocative blending of the antique and the modern, and the erotic with the spiritual. In fact, Louÿs sympathetic celebration of “lesbian sexuality earned him sensation and historic significance.” These poems not only inspired 3 operas, but also a number of settings for voice and piano. And Debussy added his three exquisite setting in 1897. To accompany a reading of twelve Bilits poems in 1900, Debussy wrote incidental music scored for two flutes, two harps and celesta. Soon after returning home from a trip to London, which would sadly be his last journey abroad, Debussy returned to his 1900 Bilitis music and reworked it into his Six Épigraphes Antiques for piano four hands. Critics have noted that these, “six pieces capture well the spirit of classical antiquity in cold, marmoreal and simultaneously sensual whole tone scales, modal structures and short repetitive motifs.”

Claude Debussy: Six Épigraphes Antiques (Genevieve Joy, piano; Jacqueline Bonneau, piano)

Brahms Pavillon on Lake Starnberg in Tutzing

Johannes Brahms spent his summer holidays of 1873 on the shores of Lake Starnberg in southern Bavaria. Here he managed to complete a key work in his development towards his first symphony. The Variations on a theme by Joseph Haydn Op. 56 might not actually have been based on a Haydn theme, but they are at the pinnacle of Brahms’s variations craft. In eight dense variations Brahms manages to liberate compositional rationality from any kind of effectual aesthetics. “One cannot just wait for inspiration to turn up,” Brahms once remarked, “but it needs to be earned legitimately, thanks to incessant work.” The original version called for two pianos with Brahms gradually envisioning the work as an orchestral piece. The reason was entirely practical and musical, as the counterpoint eventually becomes so intricate and pervasive that it requires orchestral forces to be heard clearly.

The young Beethoven, c. 1780

Craer’s Magazine of Music dated 2 March 1783 contains the first ever-printed notice pertaining to Ludwig van Beethoven. The correspondent writes, “Louis van Beethoven, son of the tenor singer already mentioned, a boy of 11 years and of most promising talent. He plays the piano very skillfully and with power, reads at sight very well, and I need say no more than that the chief piece he plays is Das wohltemperirte Clavier of Sebastian Bach…. This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” In 1787 Beethoven was sent to Vienna by the Archbishop of Cologne to take lessons with Mozart. However, the illness of his mother immediately forced his return home to Bonn. Finally in 1792, Beethoven relocated to Vienna to seek his fortunes in the imperial capital. He soon attracted a number of piano students, and he published the didactic Sonata for Piano four hands as Op. 6 with Artaria. It might come as a surprise that Maurice Ravel originally composed relatively few of his works for orchestra. In fact, some of his most recognized pieces are rearrangements of original piano versions. It has been suggested that Ravel approached composition like a painter approaches a canvas. The piano originals, it has been argued, became the equivalent of a charcoal outline to be colored at a later stage. This is certainly the case with Ravel’s major orchestral tribute to Spain, the Rapsodie espagnole, composed between 1907 and 1908. The origin of this composition was a “Habanera” for two pianos, which Ravel wrote in 1895. It was the first Ravel composition to be performed publicly, and it made a strong impression on Claude Debussy. In 1907, Ravel composed three companion pieces, and by October of that year, the two-piano version was completed. It took Ravel a further 4 months before he had fully orchestrated the work by February 1908.

Eleonor Bindman and Jenny Lin

With the piano taking center stage in the salons and living rooms of the 19th century, music became a widely accepted form of home entertainment. Realizing the full sonorities and orchestral potential of the instrument, it was also a way to actively make and hear music that would otherwise not be accessible. Reductions of chamber music and orchestral works allowed musicians and their audiences to experience a broad range of music. And when two people sit at one instrument sharing space and often the same notes, the interactive side of music making is elevated to a physical level. Composers ranging from Schubert and Brahms and from Rachmaninoff to Debussy made various piano 4 hands arrangements of their own music. Although J.S. Bach also produced a number of arrangements, the time had not yet come to explore the full potential of the piano. As such, a substantial number of composers and performers have taken up this delightful and satisfying task.

Scriabin

At the age of 16, Alexander Scriabin enrolled at the Moscow Conservatory. His musical talents developed rapidly, and he was mainly regarded as a pianist. A review of a concert on 28 February 1891 reads, “Henselt’s Piano concerto, whose unconventional virtuosic techniques make it one of the most difficult piano compositions, was played by Scriabin, student of Professor Safonov, with such calm and self-assurance that can only be expected from an experienced virtuoso. Scriabin definitely makes huge progress and not only with his technique; his playing is extremely charismatic, having all signs of purely artistic talent.” In addition, Scriabin made his first forays into composition, and that included a Fantasy in A minor for two pianos. Published only after his death, the work is described as “a dazzling exercise in ornated melody built upon a rock-solid harmonic base.”

(C) 2021 by Interlude

Classical Music in Cartoons

by Fanny Po Sim Head, Interlude 

For years, film and television producers and writers have been using classical music to make their work more memorable. It should come as no surprise that some of our earliest memories of classical music might be from the cartoons we watched as children. From Beethoven to Wagner, cartoons have used this music not only as a charming background, but also as a point of focus, almost like another character.

In this article I’ve collected a few of my favorite musical cartoon collaborations. Let us know your favorite appearance of classical music in cartoons!

SpongeBob SquarePants

Spongebob and Gary

Classical music is so popular that it is frequently used in cartoons, including this award-winning cartoon, SpongeBob SquarePants (SpongeBob)! Premiered in 1999, Spongebob is one of the longest-running animated series in the United States. It is currently in its thirteenth season.

Created by former marine biologist and animator Stephen Hillenburg, the story follows the adventures of an accident-prone sea sponge named SpongeBob SquarePants. He and his pet snail Gary live together in a pineapple underwater.

The show has tapped into classical music repertoire often, from old to present, including Johann Strauss‘ The Blue Danube. 

The show also commissioned Emmy nominated composer Gary Stockdale to write a piece for an episode called Suction Cup Symphony in season six. That episode features Squidward, an octopus, as well as an arrogant musician, who writes music for his symphony.

Marsha and the Bear

Marsha and the Bear

Originally from Russia, Marsha and the Bear is a famous cartoon all over the world. It has been translated to over twenty languages. Created by Oleg Kuzovkov, the story loosely follows a folk story of the same title. Marsha, a bright, mischievous little girl, is the main character of the story. She lives in the forest with her bear, who protects her and keeps her from getting into trouble. This sweet and funny cartoon has been on the air since 2009. Classical music has been used in many ways in the show, such as this electronic version of Chopin‘s Grand Waltz Brillante, Op.18, No. 1:

McDull: The Pork of Music

My Life as Mcdull

My Life as McDull is one of my favorite cartoon movies. Made in Hong Kong and created by Alice Mak and Brian Tse, McDull the piglet has become hugely popular ever since the movie was shown in 2001. The story of this piglet reflects the many lives of Hong Kong people. It also documents McDull’s childhood life, his dreams, and his positive attitude towards the future. 

This theme song is adapted from Franz Schubert’s Moment Musicaux No.3 in F minor. A series of McDull movies were released after the success of My Life as McDull. The McDull series adapted much classical music, including this gem, the Sabre Dance, by Aram Khachaturian in McDull: The Pork of Music (2012). 

The Simpsons

The Simpsons

This famous American TV show, The Simpsons, regularly features classical music in a satirical way. In the episode “The Seven-beer Snitch” in season 16, the writers of the show aim their satire at the contemporary concert audience. This scene shows the audience leaving after hearing the first few measures of Beethoven’s Fifth Symphony (because that’s part of the piece everyone knows), and then running out of the concert hall when they learn an “atonal masterpiece” is on the program. The cultural commentary, as always, is sharp and funny! 

Not only featuring classical music but a music history lesson about Mozart and Salieri is also taught in the episode “The Magical Musical Tour” in season 15. Mozart was played by Bart who performed the Sonata in A major, K.311. Some of Mozart’s compositions were replaced with different titles such as The Musical Fruit (The Magic Flute) and Beans, Beans, the Musical Fruit (Eine Kleine Nachtmusik). You can also hear a fragment of Mozart’s Requiem in addition to Beethoven’s Ode To Joy and a snippet of the Fifth Symphony in that episode.

 Your Lie In April

Your Lie In April

This Japanese anime television series was adapted from the manga with the same title created by Naoshi Arakawa. Your Lie In April is about Kōsei Arima, a child prodigy and became famous after winning major piano competitions. However, he lost his ability to play following his mother’s passing. The story focuses on his friendship and romantic relationship with Kaori Miyazono, who encourages Kōsei to return to the musical world. The tv series was released in 2014-2015. It included many classical works, including Saint-Saëns’ Introduction and Rondo Capriccioso, Op.28, and Mozart’s Twinkle, Twinkle Little Star.

 Adventure Time

Jake the Dog

Adventure Time is another popular animated show in the 2000s. It has 283 episodes which have lasted for ten seasons since 2007. Produced by Pendleton Ward, Adam Muto, and Fred Seibert. About the adventures of a boy named Finn and his best friend Jake the Dog. This animated show is full of humor and entertaining to watch! Classical music is often played in the show. In season 2, Food Chain, when a magician transforms Finn and Jake into birds, and an electronic version of Mozart’s Queen of the Night’s Aria from the opera The Magic Flute is played. 

In the show, Jake the dog is a magical dog who is already 28 years old. He is also a good fighter and a skilled musician. In this excerpt, he plays some Moonlight Sonata, the theme of Beethoven’s Fifth Symphony, and Mozart’s Eine Kleine Nachtmusik. 

The Family Guy

Family Guy

As a pianist and a piano teacher, I am always curious about the lives of other piano teachers. In the Family Guy, Lois (Peter’s wife) is a piano teacher. Her playing and teaching are featured occasionally throughout the show. In one episode, Lois made Peter drunk during a student recital as he could play better. I wish it could be that easy!

 In fact, Peter is portrayed as a very musical person who can play several other instruments pretty well. In this clip, Peter plays the violin in a quartet for a wedding gig, and you can hear his spectacular technique on Mendelssohn‘s Wedding March. Well, growing up in such musical family, the show also features Stevie the son and his musical talent. You cannot miss this episode that Stevie mimics “Mozart” in the movie Amadeus. Funny enough, you will hear some works written by Beethoven in addition to some of Mozart’s works.

(C) 2021 Interlude