Friday, December 13, 2013

It's Christmas - It's a Nutcracker

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Tuesday, December 3, 2013

Franz Schubert - His Music and His Life


Born on January 31, 1797, in Himmelpfortgrund, Austria, Franz Peter Schubert, the son of a schoolmaster, received a thorough musical education and won a scholarship to boarding school. Although he was never rich, the composer's work gained recognition and popularity, noted for bridging classical and romantic composition. He died in 1828 in Vienna, Austria.
 
Quotes

"A mind that is too easy hides a heart that is too heavy."
– Franz Schubert

Early Life

Born on January 31, 1797, in Himmelpfortgrund, Austria, Franz Peter Schubert demonstrated an early gift for music. As a child, his talents included an ability to play the piano, violin and organ. He was also an excellent singer.

Franz was the fourth surviving son of Franz Theodor Schubert, a schoolmaster, and his wife, Elisabeth, a homemaker. His family cultivated Schubert's love of music. His father and older brother, Ignaz, both instructed Schubert early in his musical life.

Eventually, Schubert enrolled at the Stadtkonvikt, which trained young vocalists so they could one day sing at the chapel of the Imperial Court, and in 1808 he earned a scholarship that awarded him a spot in the court's chapel choir. His educators at the Stadtkonvikt included Wenzel Ruzicka, the imperial court organist, and, later, the esteemed composer Antonio Salieri, who lauded Schubert as a musical genius. 

Schubert played the violin in the students' orchestra, was quickly promoted to leader, and conducted in Ruzicka's absence. He also attended choir practice and, with his fellow pupils, practiced chamber music and piano playing.

In 1812, however, Schubert's voice broke, forcing him to leave the college, though he did continue his instruction with Antonio Salieri for three more years. In 1814, under pressure from his family, Schubert enrolled at a teacher's training college in Vienna and took a job as an assistant at his father's school.

Young Composer

Schubert worked as a schoolmaster for the next four years. But he also continued to compose music. In fact, between 1813 and 1815, Schubert proved to be a prolific songwriter. By 1814, the young composer had written a number of piano pieces, and had produced string quartets, a symphony, and a three-act opera.

Over the next year, his output included two additional symphonies and two of his first Lieds, "Gretchen am Spinnrade" and "Erlkönig." Schubert is, in fact, largely credited with creating the German Lied. Boosted by a wealth of late 18th-century lyric poetry and the development of the piano, Schubert tapped the poetry of giants like Johann Wolfgang von Goethe, showing the world the possibility of representing their works in musical form.

In 1818, Schubert, who had not only found a welcome audience for his music but had grown tired of teaching, left education to pursue music full-time. His decision was sparked in part by the first public performance of one of his works, the "Italian Overture in C Major," on March 1, 1818, in Vienna.

The decision to leave school teaching seems to have ushered in a new wave of creativity in the young composer. That summer he completed a string of material, including piano duets "Variations on a French Song in E minor" and the "Sonata in B Flat Major," as well as several dances and songs.


Franz Schubert is considered the last of the classical composers and one of the first romantic ones. Schubert's music is notable for its melody and harmony.

Composer Franz Schubert received a thorough musical education and won a scholarship to boarding school. Although he was never rich, the composer's work gained recognition and popularity, noted for bridging classical and romantic composition. He died in 1828 in Vienna, Austria.

 Franz Peter Schubert demonstrated an early gift for music. As a child, his talents included an ability to play the piano, violin and organ. He was also an excellent singer.

Franz was the fourth surviving son of Franz Theodor Schubert, a schoolmaster, and his wife, Elisabeth, a homemaker. His family cultivated Schubert's love of music. His father and older brother, Ignaz, both instructed Schubert early in his musical life.

Eventually, Schubert enrolled at the Stadtkonvikt, which trained young vocalists so they could one day sing at the chapel of the Imperial Court, and in 1808 he earned a scholarship that awarded him a spot in the court's chapel choir. His educators at the Stadtkonvikt included Wenzel Ruzicka, the imperial court organist, and, later, the esteemed composer Antonio Salieri, who lauded Schubert as a musical genius. Schubert played the violin in the students' orchestra, was quickly promoted to leader, and conducted in Ruzicka's absence. He also attended choir practice and, with his fellow pupils, practiced chamber music and piano playing.


In 1812, however, Schubert's voice broke, forcing him to leave the college, though he did continue his instruction with Antonio Salieri for three more years. In 1814, under pressure from his family, Schubert enrolled at a teacher's training college in Vienna and took a job as an assistant at his father's school.



Schubert worked as a schoolmaster for the next four years. But he also continued to compose music. In fact, between 1813 and 1815, Schubert proved to be a prolific songwriter. By 1814, the young composer had written a number of piano pieces, and had produced string quartets, a symphony, and a three-act opera.



Saturday, November 23, 2013

Paul Hindemith: Trauermusik (1936) - His Music and His Life


The German Paul Hindemith was born in Hanau nearby Frankfurt/Main on November 16, 1895 and studied with Arnold Mendelsohn (1855-1933) and Bernhard Sekles (1872-1934).

Hindemith became the first important composer coming from a string instrument since Ludwig Spohr (1784-1859). In 1915, Hindemith became concert master at the Frankfurt Opera.

Since 1922, Paul Hindemith started his incredible career as the founder of the New German Classical Music. His operas "Murders - Women Hope" (1921) and "Sancta Susanna" (also 1921) have been witnesses of Hindemith's assault on classical music. The radicalizing "Piano Suite 1922" has been denied categorically. Hindemith's compositions have been remained as a matter of taste. His book "A Composer's World - Horizons and Limitations", published in 1952, seems like a stylish report or even justification.

Paul Hindemith passed away on December 28, 1963 in Frankfurt/Main. 


Saturday, November 16, 2013

Karl Amadeus Hartmann- His Music and His Life


The German Karl Amadeus Hartmann was born in Munich on August 2, 1905 and came from a Silesian painter family. Hartmann studied with Hermann Scherchen (1891-1969) and Anton von Webern (1883-1945).

Hartmann is a figure unique in German music - the only composer to stay put and defy Adolf Hitler for the duration of the Third Reich.

"Unending was the stream, unedning the misery', unending the sorrow, "wrote Hartmann at the head of a fresh sheet of paper, on which, over the following tense days, he composed a piano sonata titled "27th April 1945"; its opening rhythm dictated by the shuffling feet of the final victims of Nazi tyranny.

Hartmann's First Symphony (1940) "composed in spirit and adoration to Zoltan Kodaly" came into being from a symphonic fragment with the lyric of the North American poet Walt Whitman (1819-1892).

The "Concerto Funebre" (funebre=funeral) for solo violin strings was composed during the first four days of World War II in 1939. Hartmann's Fourth Symphony required only the celli and basses.

His Seventh Symphony became one of the Highlights during the 34th World Music Festival 1960 in Cologne/Germany.

Hartmann's last composition has been the "Chant Scene" for baritone and orchestra with words from "Sodom and Gomorrah" by Jean Giraudoux, the French poet, who lived from 1882-1944.

Karl-Amadeus Hartmann, who impressed through musical picture imagination and colors, passed away on December 5, 1963, also in Munich.

 

Karl Amadeus Hartmann, Concerto Funebre

Wednesday, October 30, 2013

The 13 Worst Things to Happen to a Classical Musician

A compendium of horrible things that can only happen to classical musicians. Because sometimes, reeds break. Prepare yourself. 

1. Well, that's the Five Bagatelles ruined.

Clarinettists of the world, we feel your pain. Nothing smarts like a busted reed on concert day. Any attempt to blow through this one is only going to end up with a split lip, animalistic squeaking and a weeping audience.
worst things to happen to a classical musician



2. So close.

Come on oboe, everyone's watching! Everyone's waiting! Purse those lips a little tighter, you'll get it in tune.



3. That's fine, I didn't need my eardrums anyway.

That Wagner, he knew how to write a quiet, reflective passage, eh? This less-than-tranquil snapshot from the Ring Cycle suggests that if the brass section have to put their fingers in their ears then it's probably only measureable on the Richter scale.

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4. Fiddlesticks.

The change in a violinist's facial expression as their faithful string pings back towards their chin is one of the scariest things that can happen in classical music. Hell hath no fury like a violinist with a broken E string.

worst things to happen to a classical musician






(Violin Combustionality )

5. Oh that's nice, you've flattened a flat. Thanks a lot D flat minor.

Apparently Verdi was a fan of D flat minor. Both La Traviata and Rigoletto end in D flat minor, with its brain-melting array of confusing fingerings. Never liked him.

worst things to happen to a classical musician


6. Just… why. Why would you do that.
  Good thing those bars are empty, otherwise we'd have to count. Just give us a wave when we're supposed to come in, yeah?
time signature
(Myriad online )

7. OK, so, from the… err… top?
Ah, Brian Ferneyhough, scourge of musicians who value their sanity. His piece 'La Terre est un Homme' is, by the composer's own admission, close to unplayable for most musicians. Which is nice when you have to perform it.
worst things to happen to a classical musician
(Brian Ferneyhough )

8. You mean I just play it again? And then again? And again? Until the piece is over?
Seriously, what did the cellist ever do to Pachelbel? If you're being charitable you could say Pachelbel is just providing a solid anchor for one of the most famous pieces of classical music ever. But if you're a cellist, then Pachelbel's picture is on your dartboard.
worst things to happen to a classical musician
(Pianoguitar.com )


9. Midi? For Mozart? Really?
Ah, YouTube. Always on hand to give us the classics whenever we want. So, you're mid-trawl and you happen upon a great little clip to enjoy, and it turns out to be the computerised ramblings of a Midi version. Because nothing says 'masterpiece' like synthetic, beeping versions of the classics. Seriously, why do people even make these?
worst things to happen to a classical musician

10. What are you actually doing? Sit down, page-turner guy!
If I've told you once, I've told you a thousand times - wait for the nod!
worst things to happen to a classical musician


11. Great news - you're spending the next 6 weeks being deafened in a cramped underground hole!

Pit orchestras - because who wants to see a musician anyway? It's a staple of the jobbing musician's life, but working in a pit orchestra for a theatrical run has its drawbacks, namely DVT and a humped back from ducking to get to your seat.
worst things to happen to a classical musician

12. Get comfortable, brass players.
Ten years of intense, academic study, practising for six hours a day and lip-busting physical exertion in countless ensembles. For this.
blank score











13. Seriously, that's my conducting face?
I thought I looked cool when I was on stage...
worst things to happen to a classical musician
(Photo: Chris Christodolou)

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