Johann Nepomuk Hummel (1778-1837) was, in his lifetime, considered Beethoven’s equal as a pianist and, if not his equal as a compositional innovator, then a rather more listenable alternative. The former head music critic for The New York Times, Harold Schonberg, put it this way: “He [Hummel] was a highly regarded composer in his day – overrated then, underrated now.” A snooty but not inaccurate appraisal. And it is true that as a composer – particularly as a composer of piano music – Hummel remains far underrated today. When his music is discussed, on those fairly rare occasions when it is discussed at all, it is assigned to that strange, in-betweeny netherworld as being “transitional.” In the case of Hummel’s music, it is blithely classified as being “proto-Romantic” or “post-Classical,” as if it were a lesser hybrid (half-breed?) between two otherwise “pure” musical styles, a cross between old music and new music; between the Classical era ideal of the composer as craftsperson and the Romantic era vision of artist-as-hero. Well, pooh on all of that, and double-pooh on these useless categories so casually bandied about by program annotators and presumed music historians. As both a pianist and composer, Hummel […]
Continue Reading
Robert Greenberg
Historian, Composer, Pianist, Speaker, Author
Patreon – Page 7
Compositional Bipolarity Alec Wilder, in his classic study, American Popular Song: The Great Innovators, 1900-1950 (Oxford University Press, 1972), writes: “Vernon Duke was only one half of his musical self; the other half was Vladimir Dukelsky, a composer of concert works. Unfortunately for all of us, the concert, so-called ‘serious’ side of the man’s talent never, so far as I know, attempted to employ his popular side in a ‘third stream’ fashion [meaning a free mix of popular music and concert music content]. For although he was born in another culture, his absorption of American popular music writing was phenomenal. One never was aware in his songs of his not being rooted in this culture, as I was, for example, when I listened to the theater songs of Kurt Weill.” Duke/Dukelsky addressed his musical “duality” this way: “I always feel the duality in myself. My light music [meaning popular music] is decidedly extrovert, my serious music is introvert. There’s my Carnegie Hall self and my Lindy’s self [‘Lindy’s Restaurant’ was a famed Jewish deli in New York City’s Theater District on Broadway between 49th and 50th streets, named for its owner, Leo “Lindy” Lindermann], my Russian heritage and my American […]
Continue ReadingCarl Nielsen (1865-1931) composed six symphonies which are, outside of Denmark, his best-known works. His first symphony was completed 1892, when he was 27 years of age. As we would expect from a first symphony by a young composer, Nielsen’s influences are clearly in evidence: the Norwegian composer Edvard Grieg (1843-1907) and the German-born, Viennese composer Johannes Brahms (1833-1897), both of whom were still alive and kicking when Nielsen completed the symphony. (We’d observe that Nielsen chose his principal influences wisely.) In his Symphony No. 2, Op. 16 (of 1902) and Symphony No. 3, Op. 27 (the “Sinfonia Expansiva”, of 1911), Nielsen’s compositional voice is very much more his own. His Symphony No. 4 (composed in 1916, during World War One) and Symphony No. 5 (composed in 1920, not long after the conclusion of the war) stand apart from the other four. They are both exceedingly dramatic, at moments even brutal works, each representing a “battle between the forces of order and chaos.” No doubt due to their viscerally powerful expressive impact, Nielsen’s 4th and 5th Symphonies are his best-known and most popular works outside of Denmark. Finally, Nielsen’s Symphony No. 6, subtitled Sinfonia Semplice (“Simple Symphony”, of 1925), reverts to […]
Continue ReadingA Nice Hike In early September of 1940, Gustav Mahler’s widow Alma (1879-1964) – now married to the Jewish author Franz Werfel (1890-1945) – walked from France to Spain in order to escape the Nazi occupation of Europe. (Time out. We read constantly about those intrepid individuals who, in order to escape the Nazis, “walked across the Pyrenees from occupied France to neutral Spain.” The image so conjured is one of daring and desperate people braving an alpine climb and descent – after all, the Pyrenees rise to a height of 11,168 feet – all the while avoiding border patrols, searchlights, and barking dogs. In fact, the crossing from the French town of Cerbère to the Spanish town of Portbou involves walking a roughly two-mile-long path up and over a hill along the Mediterranean Sea. It’s a stroll, for heaven’s sake, one that hardly constitutes a hike!) Alma had been told to bring only what she could carry, but she showed up in Marseilles (the point of departure for escapees) with twelve trunks worth of luggage. The man who arranged her escape from France was the American journalist and first order hero Varian Fry (1907-1967). (For our information: working for […]
Continue ReadingRomanticism The nineteenth century saw the emergence of a new sort of European literature. The cutting-edge writers of the time were consumed by a number of particular themes: the glorification of extreme emotion, particularly love; nostalgia for a distant, mystical, legendary past; and a passionate enthusiasm for nature wild and free, unspoiled by humanity and its bourgeois values! Soon enough, visual artists and composers embraced these themes as well. For many such nineteenth century writers, poets, visual artists, and composers, over-the-top expressive content, nostalgia for the past, personal confession and the depiction of nature wild and free were the vehicles for achieving what their art – at its essence – was all about: spontaneous and magnified emotional expression. The adjective “Romantic” came to be used to describe such emotionally charged and self-expressive art. And no nineteenth century, “Romantic era” composer believed more fervently in music as personal, emotional, and spiritual confessional than did Robert Schumann (1810-1856). Robert Schumann: Early Life He was born in the central German town of Zwickau on June 8, 1810, the fifth and last child of August Schumann and Joanna Christiana Schumann (née Schnabel). We are told that if we do what we love, we’ll […]
Continue ReadingWe mark the marriage on September 12, 1840 – 182 years ago today – of the pianist and composer Clara Wieck (1819-1896) to the composer and pianist Robert Schumann (1810-1856). The couple were married the day before Clara’s 21st birthday (September 13, 1840), for reasons that will be explained in detail in tomorrow’s Dr. Bob Prescribes post. Not for the Timid I ask: what are the most difficult things any person can attempt? To summit K2 and return alive? To win Olympic gold? To overcome addiction? To row solo across the Pacific? All tough things to accomplish, no doubt. What are the scariest things anyone can do? Swim with piranhas? Eat at a barbecue restaurant next to a cat hospital? Urinate on Mike Tyson? Scary stuff, dangerous stuff, that. But to my mind, nothing is more soul-searingly difficult-slash terrifying than one, raising children and two, staying in a first marriage. (Okay; I’ve probably told you more about my life than I intended to, but there it is.) Children are to people what water is to a house: children will find and reveal every flaw in your “structure” – your personality – while simultaneously sucking dry your money, patience, […]
Continue ReadingSergei Prokofiev (1891-1953) was a prodigiously gifted pianist and composer. All in all, he composed 5½ piano concerti. (That was not a typo; an explanation will follow in a bit.) The first two of his piano concerti were composed while Prokofiev was still a student at the Petrograd/Saint Petersburg Conservatory, which he attended from 1904 until 1914; from the ages of 13 to 23. On May 11, 1914, Prokofiev performed his Piano Concerto No. 1 (composed in 1912) at his Conservatory graduation ceremony. The ceremony was nothing less than a Prokofiev lovefest, as he graduated with high honors and was awarded the prestigious Anton Rubinstein Prize in piano, a prize that included a brand new Shreder grand piano. (“Shreder” was a Russian-made piano that was “based” on American Steinway pianos, a not unfamiliar example of Russian appropriation of American technology.) Prokofiev chose to play his Piano Concerto No. 1 at his graduation ceremony rather than his Piano Concerto No. 2 (of 1913) because the premiere of that second piano concerto – 8 months prior, on September 5, 1913 – had created a scandal. Prokofiev, ordinarily as sensitive to such things as a lump of basalt, decided that the Second: “would […]
Continue ReadingThe Way He Lived and Played In the parlance of the sports world, Charlie Parker “left it all on the field.” The unstoppable, overwhelming intensity with which he played the saxophone was mirrored in the way he lived his life as well. When he died in the New York City apartment of Baroness Panonnica de Koenigswarter at the Hotel Apartments Stanhope (at Fifth Avenue and 81st Street) on March 12, 1955, he was just 34 years old. Based on Parker’s appearance at the time of his death, the attending physician, Dr. Robert Freymann, estimated his age as being between 55 and 60; the coroner who conducted his autopsy put an age of 53 on his death certificate. Parker’s immediate cause of death was unclear, because after a lifetime (albeit a short lifetime) of living at the very edge, his body had simply given out. His stomach wall was perforated by a peptic ulcer; he was suffering from lobar pneumonia; his cirrhotic liver had stopped functioning; and he suffered a massive heart attack, pretty much all at once. It has been said that Charlie Parker wasn’t so much as dead as he was used up. According to the founder of Dial […]
Continue ReadingWe mark the birth on August 29, 1920 – 102 years ago today – of the alto saxophonist and composer Charlie Parker. The trumpet player (and one-time member of Charlie Parker’s quintet) Miles Davis (1926-1991) famously said: “You can tell the history of jazz in four words: Louis Armstrong. Charlie Parker.” Miles Davis never minced words, and he does not mince them here. Along with Louis Armstrong, Charlie Parker was (and remains) the most innovative, influential, and technically brilliant jazz musician to have yet lived. However, before moving on to Parker, we have one other piece of date-related musical business. I know, I know: I am most aware that having broached the subject of Charlie Parker, it behooves us – out of awe and respect – to get on with his story. But along with Parker’s birth, one other event occurred on this date that demands – demands! – our attention. So please, allow me this brief excursion. On this Day in Music History Stupid On August 29, 1977 – 45 years ago today – three people were arrested in Memphis after trying to steal Elvis Presley’s body. (The New York Post headline pictured above indicates that four people were […]
Continue Reading