Erich Wolfgang Korngold
(May 29, 1897 November 29, 1957) was a film and romantic music composer.
Born in Brunn, Moravia, Austria-Hungary (now Brno, Czech Republic).
(Peter)Piotr Ilyitch (Pyotr Il'yich) Tchaikovsky (May 7, 1840 - November 6, 1893) was born in Kamsko-Votkinsk, in the western Ural Vyatka province of Russia.
When we think of Russian music in Paris, the name Sergei Diaghilev comes first to mind. In the early years of the 20th century, that famous Russian impresario saw to it that not only the new music of Stravinsky was performed in the French capital, but also a historical panorama of earlier Russian works, including Mussorgsky's opera, "Boris Godounov."
But Russian music and musicians had been coming to Paris for decades, and for their part, notable French composers like Adolphe Adam, Hector Berlioz, and even the young Claude Debussy had all visited Russia.
Russian music also figured prominently at famous Universal Expositions held in Paris in the latter 19th century. On today's date in 1878, for example, Tchaikovsky's "Valse-Scherzo" for violin and orchestra received its premiere in Paris, at a Russian concert conducted by the composer's colleague and compatriot Nicolai Rubinstein. In addition to this brand-new work, Tchaikovsky's First Piano Concerto and symphonic fantasia "The Tempest" were also performed during Russian concerts at the 1878 Exposition.
Tchaikovsky was back home in Russia, curious to know how his works fared in Paris. He wrote to a friend: "Have you been to any of the Russian concerts in Paris? According to some newspapers my compositions were a great success, to others a failure. I cannot get at the truth."
Fortunately, when Rubinstein returned to Russia, he was able to report first-hand that Tchaikovsky's music had, indeed, been very well received
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The average music lover, if asked to name some notable Baroque composers, will probably answer Bach, Handel, Telemann or Vivaldi. But decades before most of those composers flourished, a number of bold pioneers of the early Baroque period were busily developing new musical forms and techniques.
Like most composers born before 1700, details about their lives and careers tend to be skimpy at best. Take the case of the Italian composer Marco Uccellini, who was born somewhere in Italy around 1603, and died on today's date in 1680.
We know (from a little bird) that Uccellini studied in Assisi, and was active in the service of Italian noble families in Modena and Parma. We know he composed operas and ballets for them, but none of that music survives. Uccellini's lasting claim to fame rests of a series of instrumental works, mainly sonatas for violin, which were published during his lifetime.
The British violinist Andrew Manze, one of the great virtuosos of our day, has recorded some of Uccelini's Sonatas, and offers this assessment: "Uccellini's pioneering spirit led him to seek new colors, explore strange keys, and to boldly go higher than any violinist had gone before. His (high) g''' was a world record that stood until the Austrian composer Heinrich von Biber squeaked a tone higher in a Violin Sonata published the year after Uccellini's death in 1680."
Anne-Sophie Mutter (born June 29, 1963) is a German violin virtuoso.
Mutter was born in Rheinfelden, Germany. She began playing the piano at age five, and shortly afterwards the violin, studying with Erna Honigberger, a pupil of Carl Flesch. Upon Honigberger's death, she continued her studies with Aida Stucki, at the Winterthur Conservatory.
After winning several prizes, she was exempted from school to dedicate herself to her art. When she was 13, conductor Herbert von Karajan invited her to play with the Berlin Philharmonic. In 1977, she made her debut at the Salzburg Festival and with the English Chamber Orchestra under Daniel Barenboim. At 15, Mutter made her first recording of the Mozart Third and Fifth violin concerti with von Karajan and the Berlin Philharmonic.
Peri was active as a musician and singer at the Medici court in Florence, where early attempts to come up with some answers took place. He was instrumental in the production of two of the earliest operas for which the complete music survives: "Dafne," which premiered around 1597 and "Euridice" from 1600.
Ludwig van Beethoven
Today in 1845, the sleepy little German town of Bonn played host to some 5000 visitors. These ranged from curious natives and opportunistic pickpockets to famous composers, performers, and music lovers from many countries, including their royal highnesses, the British monarch Queen Victoria and her royal consort, Prince Albert.
The occasion was the gala unveiling of a bronze stature of the great German composer, Ludwig van Beethoven, who had been born in Bonn 75 years earlier. A Beethoven Festival was in progress, and before the unveiling of the Beethoven statue, the German composer Ludwig Spohr had conducted a performance of Beethoven's "Missa solemnis" at the Bonn Cathedral.
On August 12th the big day had finally arrived. Alas, the Festival planning committee was totally unprepared for the huge crowd that descended on Bonn, and woefully incompetent in managing just about every aspect of the Festival. How incompetent? Well, consider this: as their majesties Queen Victoria and King Wilhelm the IV of Prussia looked on, with great fanfare the shroud fell from Beethoven's statue....only to reveal the statue's BACK facing the vast assembled crowd.
Missa Solemnis is rarely performed. It's eclipsed by the better-known Ninth Symphony. But taken together, the two works shed light on the composer's spiritual world view.
The Missa Solemnis may be the greatest piece never heard. Nearly 90 minutes long, it requires a large chorus, an orchestra and four soloists
But the answer comes in the Ninth Symphony, with its chorale finale based on Schiller's "Ode to Joy," written in a time of revolution.
Those words and Beethoven's music call for humankind to kneel before the creator, but for answers to turn to one another. The path to peace, he suggests, is bestowed not from above, but from within us and among us, in universal brotherhood.
Missa Solemnis is Latin for solemn mass, and is a name which has been applied to a number of musical settings of the mass, especially particularly serious or large-scale ones.