Monday, January 13, 2014

Ten Unsolved Music's Great Mysteries


1. The great Baroque violinist Jean-Marie Leclair was brutally stabbed to death in a dangerous Parisian neighbourhood in 1764. But whodunnit? Was it his ex-wife, intent on financial gain? Or Leclair’s nephew, appropriately named Vial. Or could it have been the work of another musician envious of Leclair's brilliance? We may never find out.

Jean-Marie Leclair composer violinist Baroque


2. Who was Beethoven’s ‘immortal beloved’?

Beethoven was a bit of a failure when it came to romance, falling impractically in love with elegant, society women, including one he addressed as ‘immortal beloved’ in a famous love letter of July 1812. The recipient of the letter has been the subject of much speculation. The two candidates most favoured today are Antonie Brentano (pictured) - an Austrian patroness of the arts - and Countess Jozefina Brunszvik de Korompa, who received at least 15 love letters from Beethoven in which he swore his eternal devotion to her.



Antonie Brentano, Beethoven Immortal Beloved



3. How did Tchaikovsky die?
 
Tchaikovsky died at the age of 53 on 6 November 1893. The official cause was reported to be cholera, most probably contracted through drinking contaminated water several days earlier. However, his death is still a mystery. If he did contract cholera, it is impossible to know precisely when or how he became infected. Or did he commit suicide after facing a 'court of honour' investigating his sexual behaviour? Was the Tsar of Russia himself behind the great composer's death? Or did Tchaikovsky end it all after falling for his nephew, Bob? All possible, all very tragic.

Tchaikovsky



  4. The case of the missing Sibelius symphony
 
Sibelius worked on his Symphony No.8 from the mid-1920s until around 1938, but never had it published. He repeatedly refused to release it for performance, while continuing to assert that he was working on it even after it was claimed it had been burned in 1945. It was only in the 1990s that experts raised the possibility that some of the music may have survived in notebooks. Three short manuscript sketches – comprising less than three minutes of music – have been recorded by the Helsinki Philharmonic Orchestra, but will the full work ever be discovered and performed?

Jean Sibelius




5. Who killed Stradella?
 
The Italian Baroque composer Alessandro Stradella was stabbed to death in 1682 but his killer was never caught. Admittedly the composer was not without enemies: he had attempted – and failed – to embezzle money from the Church and had enough high-profile affairs with women to make him pretty unpopular among the great and the good of Rome and Venice.

Alessandro Stradella




6. Where are the remains of Thomas Tallis?

The great English composer Thomas Tallis died at his home in Greenwich in 1585. He was buried in St. Alfege’s Church in Greenwich. To this day, the exact location in the church of Tallis's remains is unknown. It’s feared they may have even been discarded by labourers between 1712 and 1714, when the church was rebuilt.

St Alphege Church Greenwich



7. What was Elgar’s ‘enigma’? 

For his Variations on an Original Theme for Orchestra, Elgar wrote a set of 14 variations on a hidden theme that is, in the composer's own words, 'not played'. Various musicians have proposed theories about what the missing melody could be, although Elgar never actually claimed his theme was a melody. It could be something else - such as a symbol or a literary allusion. Elgar rejected all of the solutions proposed in his lifetime, and took the secret with him to the grave.

Elgar





  8. The tomb of the two-headed composer

Eight days after the funeral of Joseph Haydn in May 1809, two phrenologists stole his head hoping to see if the composer's genius was somehow reflected in the bumps and ridges of his skull. Eleven years later, Haydn's patron Prince Nikolaus Esterházy II wanted to have Haydn's remains transferred and was furious to find they had no skull. The phrenologists gave him a different skull to bury with the rest of the body. In 1895, the real skull turned up again when it was willed to a music society in Vienna. In 1954, it was finally reunited with the rest of Haydn’s body – but the substitute skull was never removed. There are now two skulls in Haydn’s tomb - but which is his?

Haydn tomb



9. The mystery of the women who channeled composers 

In the 1970s, Londoner Rosemary Brown caused a sensation when she claimed that dead composers were dictating new musical works to her. Debussy, Grieg, Liszt, Chopin, Stravinsky, Bach, Brahms, Beethoven, Schumann and Rachmaninov were all queuing up to get their compositions through to her, she said. Reportedly a mediocre pianist herself, Brown even channelled a 40-page sonata from Schubert, as well as Beethoven's 10th and 11th Symphonies. Experts said the pieces were just sub-standard re-workings of some of those composer's better-known compositions. Well they would, wouldn't they?

Rosemary Brown





10. Was Beethoven killed by his doctor?
 
There is much disagreement over how Beethoven died. An autopsy revealed significant liver damage, which may have been caused by heavy alcohol consumption. Then there is the speculation - of syphilis, infectious hepatitis, sarcoidosis and even the gastro-disorder called Whipple's disease. More recently, examination of hair clippings from Beethoven (pictured) have led to the assertion that he was poisoned to death by excessive doses of lead-based treatments administered under instruction from his doctor.

Beethoven hair

Wednesday, January 1, 2014

Pastorale d'ete by Arthur Honegger - His Music and His Life



The French Arhur Honegger has been born in Le Havre on March 10, 1892 as a son of Swiss parents. He studied with Andre Gedalge (1856-1926) and Charles-Marie Widor (1845-1937).

Honegger's compostion works couldn't be dictated by conglomeration-tendencies. Honegger remainded incredible and unique, catholic-mysterious and as a great composer of mythical stories, adapted in "King David" (1921), "Johanna - burned of the shike" (1938, German version premiered 1947) or the dramatic psalm, also entitled "King David" (1941).

The Biblical drama "Judith"(1925) or "Oedipus Rex" (1926) became real composition challenges because of Igor Stravinsky.

Honegger's fifth symphony entitled "Di Tre Tre" is already incredible, because of all movements and an ending with a drumbeat.

Arthur Honegger passed away in Paris on November 27, 1955.

Monday, December 30, 2013

Happy New Year 2014 - Frohes Neues Jahr 2014


HAPPY NEW YEAR 2014 AND THANKS TO ALL FOR STAYING TUNE ON THIS BLOG!

FROHES NEUES JAHR 2014 UND HERZLICHEN DANK AN ALLE LESERINNEN UND LESER DIESES BLOGS!

Friday, December 13, 2013

It's Christmas - It's a Nutcracker

(C) Classic FM

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.

Image and video hosting by TinyPic

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)

(C) By Classic FM

Sunday, October 27, 2013

Karl Goldmark - His Music and His Life










Karl Goldmark, also known originally as Károly Goldmark and later sometimes as Carl Goldmark ; May 18, 1830, Keszthely – January 2, 1915, Vienna) was a Hungarian composer.

Life and career


Goldmark came from a large Ashkenazi Jews|Jewish family, one of 20 children. His father, Ruben Goldmark, was a chazan to the Jewish congregation at Keszthely, Hungary. Karl Goldmark's older brother Joseph Goldmark became a physician and was later involved in the Revolutions of 1848 in the Austrian Empire|Revolution of 1848, and forced to emigrate to the United States. Karl Goldmark's early training as a violinist was at the musical academy of Sopron (1842–44). He continued his music studies there and two years later was sent by his father to Vienna, where he was able to study for some eighteen months with Leopold Jansa before his money ran out. He prepared himself for entry first to the Vienna Technische Hochschule and then to the University of Music and Performing Arts, Vienna|Vienna Conservatory to study the violin with Joseph Böhm and harmony with Gottfried Preyer. The Revolutions of 1848|Revolution of 1848 forced the Conservatory to close down. He was largely self-taught as a composer. He supported himself in Vienna playing the violin in theatre orchestras, at the Carlstheater and the privately supported Viennese institution, the Theater in der Josefstadt, which gave him practical experience with orchestration, an art he more than mastered. He also gave lessons: Jean Sibelius studied with him briefly. Goldmark's first concert in Vienna (1858) met with hostility, and he returned to Budapest, returning to Vienna in 1860.

To make ends meet, Goldmark also pursued a side career as a music journalist. "His writing is distinctive for his even-handed promotion of both Brahms and Wagner, at a time when audiences (and most critics) were solidly in one composer's camp or the other and viewed those on the opposing side with undisguised hostility." (Liebermann 1997) Johannes Brahms and Goldmark developed a friendship as Goldmark's prominence in Vienna grew. Goldmark, however would ultimately distance himself because of Brahms' prickly personality.

Among the musical influences Goldmark absorbed was the inescapable one, for a musical colorist, of Richard Wagner, whose anti-semitism stood in the way of any genuine warmth between them; in 1872 Goldmark took a prominent role in the formation of the Vienna Wagner Society. He was made an honorary member of the Gesellschaft der Musikfreunde, received an honorary doctorate from the Eötvös Loránd University|University of Budapest and shared with Richard Strauss an honorary membership in the Accademia Nazionale di Santa Cecilia|Accademia di Santa Cecilia, Rome.

Goldmark's opera Die Königin von Saba ("The Queen of Sheba"), Op. 27 was celebrated during his lifetime and for some years thereafter. First performed in Vienna on 10 March 1875, the work proved so popular that it remained in the repertory of the Vienna State Opera|Vienna Staatsoper continuously until 1938. He wrote six other operas as well (see list).

The Rustic Wedding Symphony ( Ländliche Hochzeit ), Op. 26 (premiered 1876), a work that was kept in the repertory by Thomas Beecham|Sir Thomas Beecham, includes five movements, like a suite composed of coloristic tone poems: a wedding march with variations depicting the wedding guests, a nuptial song, a serenade, a dialogue between the bride and groom in a garden, and a dance movement.

His Violin Concerto No. 1 (Goldmark)|Violin Concerto No. 1 in A minor, Op. 28, was once his most frequently played piece. The concerto had its premiere in Bremen (city)|Bremen in 1877, initially enjoyed great popularity and then slid into obscurity. A very romantic work, it has a Magyars|Magyar march in the first movement and passages reminiscent of Antonín Dvorák|Dvorák and Felix Mendelssohn|Mendelssohn in the second and third movements. It has started to re-enter the repertoire, through recordings by such prominent violin soloists as Itzhak Perlman and Joshua Bell. Nathan Milstein also championed the work and Milstein's recording of the Concerto (1963) is widely considered the definitive one.
Goldmark wrote a second violin concerto, but it was never published.

A second symphony in E-flat, Op. 35, is much less well-known. (Goldmark also wrote an early symphony in C major, between roughly 1858 and 1860. This work was never given an opus number, and only the scherzo seems to have ever been published.)

Goldmark's chamber music, in which the influences of Robert Schumann|Schumann and Felix Mendelssohn|Mendelssohn are paramount, although critically well received in his lifetime, is now rarely heard. It includes the String Quintet in A minor Op. 9 that made his first reputation in Vienna, the Violin Sonata in D major Op. 25, two Piano Quintet s in B-flat major Opp. 30 and 54, the Cello Sonata Op. 39, and the work that first brought Goldmark's name into prominence in the Viennese musical world, the String Quartet in B-flat Op. 8 (his only work in that genre).

Goldmark also composed choral music, two Suites for Violin and Piano (in D major, Op. 11, and in E-flat major, Op. 43), and numerous concert overture s, such as the Sakuntala Overture Op. 13 (a work which cemented his fame after his String Quartet), the Penthesilea Overture Op. 31, the In the Spring Overture Op. 36, the Prometheus Bound Overture Op. 38, the Sappho Overture Op. 44, the In Italy Overture Op. 49, and the Aus jungendtagen Overture, Op. 53. Other orchestral works include the symphonic poem Zrínyi, Op. 47, and two orchestral scherzos, in E minor, Op. 19, and in A major, Op. 45.

Karl Goldmark's nephew Rubin Goldmark (1872–1936), a pupil of Antonín Dvorák|Dvorák, was also a composer, who spent his career in New York.

Goldmark died in Vienna and is buried in the Zentralfriedhof (Central Cemetery), along with many other notable composers.

Many of his autograph manuscripts are in the collection of the National Széchényi Library, with "G" catalogue numbers attached to various works (including those without opus number.)

Karl Goldmark - Sakuntala Overture, Op. 13 (1865)

Saturday, October 19, 2013

Alexander Glassunoff - His Music and His Life

ALEXANDER KONSTANTINOVICH GLAZUNOV  

Born on August 10, 1865 in Saint Petersburg


Glazunov, a pupil of Rimsky-Korsakov, received encouragement also from Belyayev, an influential patron and publisher, whose activities succeeded and largely replaced the earlier efforts of Balakirev to inspire the creation of national Russian music. Glazunov joined the teaching staff of the St Petersburg Conservatory in 1899 and after the student protests and turmoil of 1905 was elected director, a position he retained until 1930 (although from 1928 he had remained abroad, chiefly in Paris, where he died in 1936). His music represents a synthesis between the Russian and the so-called German—the technical assurance introduced by the Rubinstein brothers in the Conservatories of St Petersburg and of Moscow in the middle of the century.


Orchestral Music
In addition to his nine symphonies and a variety of other orchestral works, Glazunov wrote a Violin Concerto, completed in 1904, when he was at the height of his powers as a composer. The symphonies have won less popularity, but the symphonic poem Stenka Razin, written in 1885, retains a place in national repertoire.

Ballets
Glazunov’s ballets include Raymonda, first staged in St Petersburg in 1898, with choreography by Marius Petipa. Les Ruses d’amour followed in 1900, with The Seasons in the same year. He orchestrated music by Chopin for Les Sylphides. The choreographer Fokin also made use of Stenka Razin for a ballet of that name.

Chamber Music
Chamber music by Glazunov includes seven numbered string quartets, the last written in 1930, and a series of works for other instrumental ensembles, including a String Quintet and a Saxophone Quartet. 

Piano Music
Glazunov’s piano music includes, among more serious works, a number of quite pleasing examples of salon music, for which there was always a ready public in his day.

Passed away on March 21, 1936 in Paris/France.

Friday, October 4, 2013

Max Fiedler - His Music and His Life

The German Max Fiedler was born in Zittau on December 31, 1859. He studied at the College of Music in Leipzig, Eastern Germany and became later an oustanding conductor in Hamburg, then, from 1908 until 1912 in Boston, and 1916 as Urban Music Director in Essen/Germany.

Especially his chamber music compositions and his wonderful and impressive "Symphony d-minor" from 1885 remained as classical music highlights forever.

Max Fiedler felt very much connected and obliged to Johannes Brahms (1833-1897).

Fiedler passed away on December 1, 1939 in Stockholm/Sweden.

Thursday, September 26, 2013

Manuel de Falla - His Music and His Life


Manuel de Falla, also known as Manuel María de los
Dolores Falla y Matheu, is a renowned Spanish composer of international acclaim. The Spanish composer infused his compositions with unique idioms from native folk songs and dance to create his music on nationalistic lines. His fusion of poetry, simplicity, and passion represented the spirit of Spain in its purest form. Just like Isaac Albeniz, Enrique Granados and Joaquín Turina, Falla is deemed as one of Spain's most important musicians who contributed humongously the classical music of the first half of the 20th century. Manuel wrote several kinds of compositions including music for ballet, opera, chamber music, Spanish songs, piano music and zarzuelas. One of the most celebrated figures of Spanish music, Manuel de Falla has composed many pieces, which are considered as masterpieces of sorts. Noches en los jardines de Espana" ("Nights in the Gardens of Spain") is one of his major works of art. Also known for his ballet "El Amor brujo" (Love, the Magician) and opera "La vida breve" (The Short Life), Manuel de Falla really stands as a distinguished composer.
Manuel de Falla’s Childhood and Early Life
Manuel María de los Dolores Falla y Matheu was born on 23 November 1876 in the family home (3, Plaza de Mina) to José María Falla y Franco and María Jesús Matheu y Zabala. His early music teachers were his mother and grandfather. At the age of nine, he began his first piano lessons with Eloísa Galluzo. His relationship with Eloísa Galluzo soon ended after she chose to become a nun at the convent, Sisters of Charity. Then in 1889, Manuel went on to learn piano with Alejandro Odero, and harmony and counterpoint with Enrique Broca. He became interested in music and journalism and along with his friends, he created the literary magazine, “El Burlón”. At the age of 14, he displayed an aptitude for theatre, literature and painting and went about to create another magazine, “El Cascabel”, for which he was the "contributor" and, later, the "editor". At the age of 17, Manuel channeled his artistic tendencies towards music. He had frequent trips to Madrid in 1896, where he studied piano with José Tragó at the Escuela Nacional de Música y Declamación.

Beginning Of A Musical Career
In 1897, Falla composed “melodía” for cello and piano. His work was dedicated to Salvador Viniegra, in whose house Falla participated in performances of chamber music. As an external pupil of the Escuela Nacional de Música y Declamacíon in 1898, Falla passed with a distinction the first three years of music theory and the first five years of the piano course. He composed the Scherzo in C minor. By unanimous agreement, he won the first prize in piano at his institute “Escuela Nacional de Música y Declamación”, and he concluded his official studies in 1899. That same year he premiered his first works “Romanza para violonchelo y piano”, “Nocturno para piano, Melodía para violonchelo y piano”, “Serenata andaluza para violín y piano”, and “Cuarteto en Sol y Mireya”. In 1900, he composed Canción for the piano and some other pieces for voice and for piano. He also premiered “Serenata andaluza” and “Vals-Capricho” for piano and because of his family's unstable financial situation; he began to give piano lessons. Fallas’ first attempts at zarzuela, which include “La Juana y la Petra o La casa de tócame Roque”, date from this period. In 1901, he met Felipe Pedrell and composed “Cortejo de gnomos” and “Serenata”, both for piano. At the same time, he was working on the zarzuelas “Los amores de la Inés” and “Limosna de amor”. He then met the composer Joaquín Turina and saw his pieces “Vals-Capricho” and “Serenata andaluza” being published by the Society of Authors.

The composition of the “Allegro de concierto” was started in 1903 and was submitted to a competition organized by the Madrid Conservatoire. Enrique Granados eventually won the first prize, but the Society of Authors published “Tus ojillos negros” and “Nocturno”. Falla collaborated with Amadeo Vives on three zarzuelas of which only fragments survive. In 1904, the Real Academia de Bellas Artes de San Fernando announced a competition for a new "Spanish opera in one act". Falla decided to enter the competition and hence began to work on “La vida breve”. He won the first prize for this composition. In April 1905, he won another piano competition organized by the Ortiz y Cussó Company. His “Allegro de concierto” was premiered at the Ateneo in Madrid. Manuel was encouraged by the composer Joaquín Turina to move to Paris and showcase his talents.

Musical Stint in Paris
Manuel de Falla travelled around France,Belgium, Switzerland and Germany as a pianist to a touring theatre company performing André Wormser's L'Enfant prodigue. He met a number of composers who had an influence on his style, including the impressionists Maurice Ravel, Claude Debussy and Paul Dukas. In 1908, he obtained a grant from the Spanish King Alfonso XIII to remain in Paris and finish “Pièces espagnoles”. He toured the north of Spain as the third member of a trio with violinist Antonio Fernández Bordas and cellist Víctor Mirecki and completed “Con afectos de júbilo y gozo”. The dramatist Paul Milliet translated the libretto of “La vida breve” into French, to have it performed in France. In 1910, Falla had his first encounter with Igor Stravinsky and he met Georges Jean-Aubry, Ignacio Zuloaga, Joaquín Nin and Wanda Landowska. On his first visit to London in 1911, he gave a recital in March. Then in 1912, he travelled to Switzerland and Italy and in Milan, Tito Ricordi negotiated him for his publication of La vida breve. In 1913, La vida breve was premiered at the Municipal Casino in Nice and later that year, his work was given “répétition générale” before the press and the public, at the Théâtre National de l'Opéra-Comique in Paris. Max Eschig published the score and became Falla's publisher. After the outbreak of World War I in 1914, Falla returned to Spain and settled in Madrid. It was at this stage that Falla entered into his mature creative period.

Return to Madrid
Manuel de Falla returned to Madrid at the outbreak of the World War 1. The Ateneo de Madrid, a private cultural association, paid homage to Joaquín Turina and Manuel de Falla in 1915. In the same year, he joined María Lejárraga (wife of Gregorio Martínez Sierra) on a trip to Granada Ronda, Algeciras and Cádiz. On his brief trip to Cau Ferrat in Sitges, he worked intensively on his well-known nocturne for piano and orchestra “Noches en los jardines de España”. In 1916, The Revista Musical Hispano-Americana published Falla's article "Enrique Granados: Evocación de su obra", and the newspaper La Tribuna published his "El gran músico de nuestro tiempo: Igor Stravinsky". During the spring and summer of this year, he gave concerts in Seville, Cádiz and Granada. The Revista Musical Hispano-Americana published a further article by Falla in its December issue: "Introducción al estudio de la música nueva". Fallas first performance of a version of “El amor brujo” for small orchestra was given in 1917. During this year he also wrote the prologue to Joaquín Turina's “Enciclopedia abreviada de Música”, and published "Nuesta música" in the June issue. In 1918, he worked on the comic opera Fuego fatuo, to a libretto by María Lejárraga. In April that year, he delivered a speech at a function at the Ateneo de Madrid to pay tribute to a French composer. The Princess de Polignac commissioned him to write a work for her salon in Paris, and Falla visioned the idea for El retablo de maese Pedro. In 1919, Manuel’s parents died. This really shook him. However, in the same year, his concert version of El sombrero de tres picos, a ballet, was premiered in London with choreography by Léonide Massine and sets and costumes by Pablo Picasso. This was amongst one of his most renowned works. In 1919 itself, Manuel visited Granada with his sister María del Carmen and Vázquez Díaz and his wife, to attend a tribute being paid in his honour by the Centro Artístico.

Stay at Granada
From 1921 to 1939, Manuel lived in Granada. Falla became closely involved with the cultural life of Granada, associating with personalities such as Miguel Cerón, Fernando de los Ríos, Hermenegildo Lanz, Manuel Ángeles Ortiz and, above all, Federico García Lorca. Here he organized the “Concurso de cante Jondo” in 1922. He wrote the puppet opera “El Retable De Maese Pedro” and a concerto titled Harpsichord Concerto. Both of these works were written with Wanda Landowska in mind. In Granada, Falla began work on the large-scale orchestral cantata “Atlàntida”. He considered Atlàntida to be the most important of his works. In 1924, Falla along with Ángel Barrios was unanimously elected permanent member of the Real Academia de Bellas Artes de Granada. He also completed ‘Psyché’, a setting of a poem by Georges Jean-Aubry. In the same year, he was named an honorary member of the Real Academia Hispano-Americana de Ciencias y Artes de Cádiz. On Falla's initiative, the Orquesta Bética de Cámara was founded in Seville too. In 1927, on Fallas fiftieth birthday tributes continued and the Orquesta Bética de Cámara hosted concerts at the Coliseo Olympia in Granada. While in Granada, Falla received a lot of recognition for his work. However, by 1937, due to his fragile state of health, he was confined to his house. In 1939, he moved from Granada to Barcelona with his sister and then from Barcelona he embarked to Argentina to conduct a series of four concerts in the Teatro Colón in Buenos Aires.

His Last Years
Falla continued to work on Atlàntida after moving to Argentina in 1939. He settled initially in Villa Carlos Paz, then, later, in Villa del Lago. He conducted a concert—Orquesta Sinfónica de Córdoba in aid of the victims of floods in the capital and received the Gran Cruz de la Orden Civil de Alfonso X el Sabio. Later in 1940, he conducted two concerts on Radio "El Mundo". Manuel’s health had seriously started deteriorating and at the beginning of 1942, he moved to the chalet "Los Espinillos", near Alta Gracia in the province of Cordoba. This became his final residence. He rejected an invitation from the Spanish government to return to Spain. In spite of ill health, he continued to work on Atlántida and by 1945, he began to transcribe final versions of some sections of the work.

Personal Life
Manuel de Falla never married and had no children. His relationship with women did not last long and there were even rumors of homosexuality and misogynistic tendencies. His public image was ascetic and saint like. 
 
Death
On 14 November 1946, nine days before his seventieth birthday, Falla suffered a heart attack and died in his sleep at "Los Espinillos". The funeral took place in Córdoba Cathedral and in December, his sister María del Carmen embarked for Spain, with his remains. His body was finally entombed in the cathedral crypt of his native city.