“I have to tell you that there was never a success in Venice like that of La Traviata. There was an uproar of indescribable applause, and even [the producer] Antonio Gallo had to take a curtain call from his place in the audience – a novelty, but that is what really happened.” […]
Van Cliburn was proclaimed a conquering hero by both the Americans and the Soviets, and his victory did much to soften hearts and open minds across the East-West divide. […]
Unbidden and unannounced, he showed up at Haydn’s house, knocked on the door, and introduced himself with these words: “I am Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.” […]
In 1712, George Friedrich Handel (his Anglicized name) left Germany and settled permanently in London. His departure was motivated by that most common reason to emigrate: economic opportunity. […]
Given the fear and loathing the name “Arnold Schoenberg” continues to inspire 66 years after his death you’d think he was some sort of Nosferatu-like monster who shot puppies for sport and refused to recycle. […]
What do we make of Bach? How do we draw a bead on this truly extraordinary composer and performer? How do we evaluate the nature of his talents and his inspirations? […]
You want to talk about breaking a father’s heart? On his deathbed, Johann Joachim Quantz’ blacksmith father begged his 10 year-old son to follow him in the family trade. It didn’t happen, as J.J.’s extraordinary promise as a musician was already apparent. […]
He wrote a symphony (No. 13) that acknowledged the Holocaust at a time when official Soviet doctrine did not. He wrote an opera that almost got him killed; at other times he kissed the collective (and hairy?) derrieres of the Politburo whenever it was necessary, toed the party line, and publicly said what he was told to say… […]
John Knowles Paine (January 9, 1839 – April 25, 1906) was the first American-born composer to achieve fame for large-scale orchestral music. […]
More than anyone else, it was Mily Balakirev who postulated and promulgated precisely what Russian nationalist music should be. […]
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