The subject of today’s Dr. Bob Prescribes post is doubly appropriate. Yesterday’s Music History Monday dealt with Carl Orff (1895-1982), a composer who thrived under the Nazi regime only to later claim (as did so many others in the post-war period) to have been a “victim” of the Nazis. Well, today’s composer was a victim – a real victim – of the Nazi terror: the Czech composer Pavel Haas (1899-1944), who was “selected,” gassed, and cremated at the concentration/death camp at Auschwitz-Birkenau on October 17, 1944. Haas was a student and disciple of Leoš Janáček, whose own life and string quartets were celebrated in last week’s Music History Monday and Dr. Bob Prescribes posts. “The Gathering Storm” It still boggles the mind. Seventy-eight years after the end of World War Two, it still amazes us that so very many Germans – citizens of a great and modern nation – could descend to such depths of criminal depravity and sheer wickedness as they did between 1933 and 1945. If it remains hard for us, here, today, to grasp the enormity of the Nazi evil, imagine how difficult it was to grasp for most Europeans in the early and mid-1930s. Most such […]
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Robert Greenberg
Historian, Composer, Pianist, Speaker, Author
Author Archive for Robert Greenberg – Page 12
We mark the birth on July 10, 1895 – 128 years ago today – of the German composer and educator Carl Heinrich Maria Orff. Born in Munich, he died in that city on March 29, 1982, at the age of 86. The Good News Orff lived a long and productive life. He was a composer of considerable talent whose works draw on influences as diverse as ancient Greek tragedy and medieval chant, Baroque theater, and Bavarian peasant life. His so-called “scenic cantata”, Carmina Burana (of 1936), remains an audience favorite today. Along with the German educator Gunild Keetman, Orff developed a musical education method in the 1920s called the Orff Schulwerk, or the “Orff Approach,” a methodology that integrates music, movement, speech, and drama in a manner based on what children do instinctively, and that is play. Today, the Orff Approach is employed around the world and is one of the four major developmental music educational methodologies. The other three are the Kodály Method (created by the Hungarian composer and educator Zoltán Kodály, 1882-1967); the Suzuki Method (created by the Japanese violinist and educator Shinichi Suzuki, 1898-1998), and Dalcroze Eurhythmics (created by the Swiss composer and educator Emile Jaques-Dalcroze, 1865-1950). […]
Continue ReadingI am well aware that today is July 4 and that, perhaps, the patriotic thing for me to do today would be to celebrate the national anthem of the United States – The Star-Spangled Banner – and, perhaps, a famous arrangement of that very anthem. Sadly, no-can-do, because it has already-been-done: just last year, in Music History Monday for July 4, 2022, and Dr. Bob Prescribes for July 5, 2022. Those posts – respectively entitled “As American as tarte aux pommes! Celebrating the Fourth with some Real American Music! or Tampering with National Property” and “Stravinsky in America” – together recount the story of The Star-Spangled Banner as well as Igor Stravinsky’s famous and most controversial arrangement of the anthem, made in 1944 and subsequently banned in Boston! I would humbly direct your attention to these two posts for appropriately “spangled” reading. As for today, we pick up where we left off in yesterday’s Music History Monday, with the Czech composer Leoš Janáček and his two superb string quartets: No. 1, subtitled “The Kreutzer Sonata” and No. 2, subtitled “Intimate Letters.” Leoš Janáček(1854-1928) Our impressions of Leoš Janáček tend to be conditioned by photographs taken of him later in life. […]
Continue ReadingWe mark the birth on July 3, 1854 – 169 years ago today – of the Moravian (meaning Czech) composer, music theorist, folklorist, and teacher Leoš Janáček. Born in the village of Hukvaldy in what today is the Czech Republic, he died on August 12, 1928 in the city of Ostrava, today the capital of the Moravian-Silesian Region of the Czech Republic. It’s All in the Name! Dale Carnegie (1888-1955) was an American writer and lecturer known for his self-help guides to self-improvement, salesmanship, corporate training, public speaking, and interpersonal skills. If he were alive today, he’d be on the speaking circuit, doing Ted Talks and, perhaps, making a fortune through a video self-help network. But given the comparatively limited technology of his day, Carnegie made his living writing books, books with such titles as The Art of Public Speaking (first published in 1915); How to Stop Worrying and Start Living (1948), and The Quick and Easy Way to Effective Speaking (1962). But Dale Carnegie’s most famous and influential tome – one that remains in print today after 87 years! – is How to Win Friends and Influence People, first published in 1936. Among the thousands of assuredly useful tidbits […]
Continue ReadingYesterday’s Music History Monday post dealt with the incredulity we should all feel when faced with the astounding magnitude of Wolfgang Mozart’s talent and the beauty and quality of his music. It is appropriate, then, that today’s Dr. Bob Prescribes post should celebrate at least some of Mozart’s astonishing music, and I have chosen his two Piano Quartets and what is a brilliant and relatively new recording, one released in 2018. Superlatives The title of this album of Mozart’s two piano quartets is “Apotheosis.” The program booklet packaged with the CD defines apotheosis as: “1. Elevation to divine status 2. The perfect form or example of something” With its references to “divine status” and “perfection,” that definition indulges in superlatives: “Something of the highest quality or degree.” Statements of superlatives are dangerous because they can ride roughshod over important details, details that would otherwise force us to qualify those superlative statements. For example. The consensus “greatest baseball player” of all time is Babe Ruth (1895-1948), whose statistics as a power hitter were so far ahead of his contemporaries as to put him in a league of his own. (His stats as a pitcher – had he continued to pitch regularly […]
Continue Reading‘Fessing Up Okay: you’re going to have to bear with me for one of my idiotic tangents, one that nevertheless explains precisely how I feel about Mozart and his music at a gut level. What follows is a deep confession, something I’ve never shared before. Be forewarned though, that once you’ve read and/or heard this confession (depending upon whether you’re reading Music History Monday as a blog or listening to it as a podcast), it cannot be unread or unheard. Here goes. Since childhood, I have had a deep and abiding affection for horror films, the gnarlier, the gnastier, the better. Yes, color me juvenile if you must, but there it is. Among the very greatest masters of the genre is the American filmmaker John Carpenter (born 1948), whose oeuvre includes such classics as the Halloween franchise, Escape From New York, Escape from L.A., Christine, The Fog, Assault on Precinct 13, They Live, and Prince of Darkness. But for my dinaro, Carpenter’s magnum opus is The Thing (which was released in 1982). Critically panned when it first opened, it is today considered (by those of us who consider it at all) to be a masterwork of graphic, on occasion inadvertently […]
Continue ReadingIn my Dr. Bob Prescribes post of June 6, 2023, on Martha Argerich, I recommended an album containing two piano trios: Pyotr Tchaikovsky one-and-only piano trio of 1882, and Dmitri Shostakovich’s second piano trio, in E minor of 1944, as performed by Martha Argerich, piano; Gidon Kremer, violin; and Mischa Maisky, cello. In that post, I observed that Ms. Argerich (born 1941) has long been associated with the violinist Gidon Kremer (born 1947) and the cellist Mischa Maisky (born 1948). Their album containing live performances of Shostakovich’s Trio No. 2 and Tchaikovsky’s Trio in A minor, Op. 50 is superb. I opined that as musical compositions go, Tchaikovsky’s trio is wonderful, but Shostakovich’s is a world-class masterpiece, a bristling gut-wrenching chef-d’oeuvre. I then promised that I would write about Shostakovich’s Piano Trio in E minor as soon as possible, and here we are, two weeks later, ready to go. Who says I don’t keep my promises? Shostakovich’s trio, composed in 1944, was a product of the war years and, in many ways, a product of the war itself. As such, some necessary historical background is called for. So bear with me, as we address – by necessity – something of […]
Continue ReadingWe mark the birth on June 19, 1810 – 213 years ago today – of the German virtuoso violinist and composer, Ferdinand David. Born in the exact same house in Hamburg that saw Felix Mendelssohn’s birth 16½ months before, David died while on vacation in Switzerland on July 18, 1873, at the age of 63. We will get to the specifics of Maestro David’s life and career and why, to my mind, he is “our kind of musician” in a moment. But first, with your indulgence, a brief bit of editorializing. When the Performer Becomes the Show Marlon Brando (1924-2004). Yes, Marlon Brando: actor, director, activist, and father of at least 16 children (at least 16 children). I would respectfully suggest that a movie with Marlon Brando is not so much a movie in which Marlon Brando plays a role as it is a movie in which Marlon Brando plays Marlon Brando playing a role. Accordingly, I would assert that in A Streetcar Named Desire, Marlon Brando portrays Marlon Brando portraying Stanley Kowalski; in The Godfather, Marlon Brando portrays Marlon Brando playing Vito Corleone; in Apocalypse Now, Marlon Brando portrays Marlon Brando playing Colonel Walter Kurtz, and so forth. Brando […]
Continue ReadingYesterday’s Music History Monday post celebrated the birth of the American pianist and composer Armando Anthony “Chick” Corea (1941-2021), in Chelsea, Massachusetts. A good bit of that post was spent discussing Corea’s stunning versatility as a pianist and composer: he could play the piano and compose for the piano in almost any conceivable style. This versatility was a function of his talent, of his training, and of his omnivorous musical appetite: when it came to music in general and jazz in particular, Corea consumed and internalized it all. The result is a body of music so varied that many commentators appear to spend more time categorizing it than actually listening to it. (I say that because if they actually listened to and thought about Corea’s music, they’d realize that for all its stylistic variety Chick Corea’s music always sounds like Chick Corea’s music, its “stylistic category” notwithstanding.) Corea addressed this issue in an interview conducted in 2010: “I’m often asked about what others consider my diversity of tastes. Actually, the simple, most truthful and direct answer is, I never think about it. I follow my interests and find that it leads me to trying to understand other cultures and […]
Continue ReadingWe mark the birth on June 12, 1941 – 82 years ago today – of the pianist and composer Armando Anthony “Chick” Corea, in Chelsea, Massachusetts. He died of cancer after a brief illness on February 9, 2021, at his home just outside of Tampa Bay, Florida, at the age of 79. Chick Corea’s spectacularly varied, 50-plus year career as a professional musician offers an object lesson in both the necessity and futility of labels. “Spectacularly varied” is the operative phrase in the sentence above. In the mid-1960s Corea became deeply involved in Latin American music, having broken in with the Cuban bandleader and percussionist Mongo Santamaria (1917-2003) and the Puerto Rican-American bandleader and percussionist Willie Bobo (whose real name was Willie Correa, no relation, 1934-1983). In the late 1960s and early 1970s, Corea played with the Miles Davis (1926-1991) band (he played piano on seven of Miles Davis’ albums, including Davis’ classic Bitches Brew album of 1969). As such, the Chick-Meister was a full-participant in Davis’ electrified experiment in fusion, in synthesizing jazz and rock ‘n’ roll. In 1970 and 1971 Corea led his own, avant-garde, free jazz band called Circle. In 1972, Corea formed his jazz/Latin […]
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