Edvard Grieg

Edvard Grieg was born in Bergen, on the west coast of Norway, in 1843. He showed a strong interest in music at a very early age, and after encouragement from the violinist and composer Ole Bull (1810 -1880) was sent to the Conservatory in Leipzig at the age of fifteen to receive his musical education. There he had fundamental and solid musical training, and through the city's flourishing musical life, received impressions and heard music which would come to leave its stamp on him for the rest of his life - for better or for worse. Even though he severely criticized the Leipzig Conservatory, especially towards the end of his life, in reality his exceptional gifts were recognised, and one sees in his sketchbooks of the Leipzig period that he had the freedom to experiment as well. He had no good reason to criticize the conservatory, nor his teachers, for poor teaching or a lack of understanding.

From Leipzig Grieg travelled to Copenhagen, bringing with him the solid musical training he had acquired, and there soon became known as a promising young composer. It was not long before he carne under the influence of Rikard Nordraak, whose glowing enthusiasm and unshakeable belief that the key to a successful future for Norwegian music lay in nationalism, in the uniquely Norwegian, the music of the people - folk-songs - came to play a decisive role in Grieg's development as a composer. Nordraak's influence is most obvious in the Humoresques for piano, Op. 6, which was considered a turning-point in Grieg's career as a composer.

In the autumn of 1866, Grieg settled in Christiania (Oslo). In 1874 Norway's capital was the centre for his activities. During this time he also wrote the majority of the works which laid the foundation for his steadily increasing fame. In spite of his poor health -he had had a defective lung ever since childhood -he was constantly on concert-tour as a pianist or as a conductor, always with his own works on the programme. After his last concert-tour in 1907, he wrote to his friend Frants Beyer:

This Tour has been strange. The Audiences have been on my Side. In Germany I have received more ac claim for my ART than ever before. But the Critics both in Munich and in Berlin have let me know in no uncertain terms, that they think I am a dead Man. That is my punishment for my lack of Productivity in these last Years, which my wretched physical condition has caused. It is a hard and undeserved Punishment -but I comfort myself with the thought that it is not the Critics, who govern the world. (Letter to Frants Beyer, 5th March, 1907)

More clearly than anything else, this letter shows a trend which Grieg experienced in his later years in relation to his music. It was also a development which would continue internationally until long after his death. Within the musical "establishment", there were increasing numbers of people who were gradually becoming more critical of Grieg's music and of his abilities and talent as a composer. In the meantime his popularity among music-loving audiences increased in inverse proportion. Grieg enjoyed some of his greatest popularity with the general public during the last years of his life, when, in spite of his greatly weakened health, he was continually on tour, in popular demand from concert-managers all over the world. The critics, however, were sceptical and condescending, and there is no doubt that Grieg felt hurt by their attitude:

I cannot be blamed if my music is played in third-rate hotels and by school-girls. I could not have created my music any other way, even though I did not have my audience in mind at the time. I guess this popularity is all right, hut it is dearly bought. My reputation as a composer is suffering because of it, and the criticism is disparaging.'

From early on Grieg was labelled a composer of small forms. His indisputable lyrical ability and talent were never doubted, but apart from some very few works such as the Piano Concerto in A minor, Op. 16, and the String Quartet in G minor, Op. 27, the Piano Sonata in E minor, Op. 7, the three Violin Sonatas, Op. 8 in F major, Op. 13 in G major and Op. 45 in C minor, and the Cello Sonata in A minor, Op. 36, he was not able, in spite of his many desperate attempts to do so, to feel completely at home with more extended ihUSicil:1 forms. He felt that this was a short-coming, and unfairly blamed his education at the Leipzig Conservatory. Nevertheless, he also showed that he could master these f6rMs when on rare occasions he found raw musical material that could be reworked and treated within the traditional structure of sonata-form. The only problem was that the musical material to which he felt closest and that most fascinated him, was of another quality and character.

Grieg's encounter with Norwegian folk-music, and his assimilation of essential features from this music, released certain aspects of his own creativity that soon led to his music being, for many, identified with folk-music. By some he was considered more or less simply an arranger of folk-music, and that hurt him very deeply:

In my Op. 17 and Op. 66, I have arranged folk-songs for the piano, in Op. 30, I have freely rendered folk-ballads for the male voice. In three or four of my remaining works, I have attempted to use Norwegian songs thematically. And since I have published up to seventy works by now, I should be allowed to say that nothing is more incorrect than the claim from German critics that my so-called originality is limited to my borrowing from folk-music. It is quite another thing if a nationalistic spirit, which has been expressed through folk-music since ancient times, hovers over my original creative works.'

Much instrumental Norwegian folk-music is built from small melodic themes, units which are repeated with small variations in appoggialuras and sometimes with rhythmic displacements. Sections are then joined together to form larger units. We seldom find any true development as it is understood in traditional classical music. It gradually became clear to Grieg that he felt the greatest affinity with this music. That is why it also became so difficult to distinguish between what in Grieg's works came originally from folk-music, and what was his own composition. This must also have been especially difficult for foreign critics and audiences.

In Grieg's music there are two features which particularly attract our attention, rhythm and harmony. In many instances Grieg's rhythm in his piano compositions is taken from the folk-dance, as well as from compositions which are not based upon folk-music. He placed great emphasis on the rhythmic element, and considered it paramount in the presentation of his works which have dance as the point of departure. He was of the opinion that in order to be able to play one of his compositions, one had to know and feel the dance rhythm. Characteristic of his understanding of the rhythmic element is the story about the meeting between Grieg and Ravel in Paris, in 1894, at the home of William Molard:

While the bright-eyed company discussed music, Ravel quietly went over to Molard's piano and began to play one of the master's Norwegian Dances. Grieg listened with a smile, but then began to show signs of impatience, suddenly getting up and saying sharply: "No, young man, not like that at al1. Much more rhythm. It' s a folk-dance, a peasant dance. You should see the peasants at home, with a fiddler stamping in time with music. Play it again! And while Ravel played, the little man jumped up and skipped about the room to the astonishment of the company.'

Harmony is at the heart of his work. Often it is the harmony itself which is the basis of the composition. Grieg pointed this out emphatically in a letter to his biographer, Henry T. Finck:

The realm of harmony, has always been my dream world, and my relationship to this harmonious way of feeling and the Norwegian Folk-songs has been a mystery even for me. 1 have I understood that the secret depth one finds in our Folk-songs is basica/1y owing to the richness of their untold harmonic possibilities. In my reworking of the Folk-songs Op. 66, but also I elsewhere, l have attempted to express my interpretation of the hidden harmonies in our Folk- I songs.'

Grieg's interest in harmony had become obvious to others already while he was at the Conservatory. At that time it was first and foremost a desire to experiment. Later harmony became his way of bringing forth the very "soul" of the folk-tunes. Among other things, he deliberately used unfamiliar, "radical" chord progressions in order to suggest the vague tonality (sotto voce half tones, vague thirds) such as one finds in many of the songs, a melodic characteristic which would otherwise be impossible from an instrument like the piano.

Grieg's instrument was primarily the piano. From his earliest years to the concert-tour in the year he died, he performed as a pianist his own compositions. He was not a virtuoso, but his intimate familiarity with the piano allowed him to present his own music in such a way as to leave a deep and lasting impression upon everyone who heard him play. According to contemporary reports he had a marveilous ability to bring out the best, the very essence, of his own piano pieces. When he took his place on the platform, the atmosphere became electric, and the critics emphasized his refined touch, tone quality, and the complete absence of superficial gestures.

Grieg's music contributed very modestly to the development of piano technique. Most of his piano pieces are technically speaking within the abilities of competent amateurs. This, together with musical characteristics which seem to have a stimulating and refreshing effect, contributed to the fact that he was one of the most played, and respected composers in Europe-popular, if not with the critics, then at least with the majority of those interested in music.

Grieg's compositions were written in the epoch of the piano. Music and piano-playing in the average home were at a peak during the last half of the nineteenth century and the first decades of this century. Cyril Ehrlich has calculated that in 1910 alone more than 600,000 pianos were produced. To know how to play the piano was part of the general education in most middle-class families, especially for girls. No wonder the music publishers C. F. Peters hoisted the flag in London and Frankfurt every time Grieg delivered a manuscript for a new album of piano pieces. It is also understandable that Grieg sometimes experienced the demand for new piano pieces as a strain. There were also times when he felt that the production of piano pieces was a sort of bribe, or indulgence, to make sure that the publishing-house issued his other works as well. Nevertheless, in general, Grieg had an excellent relationship with his publisher in Leipzig. He was particularly dose to Dr Max Abraham (1831 - 1900), who became editor at Peters in 1863. This is dearly shown by the abundant correspondence that has been preserved. Verlagsbuchhandlung C. F. Peters Bureau de Musique, was the full name of the publishing- house that acted as Grieg's exclusive publisher from 1890 and agreed to pay him 4000 Marks every year, a sum which was adjusted to 6000 Marks in 1901. In return, Grieg was to offer Peters all of his future compositions with rights, für allen Länder (for all countries), for a certain fee.

Grieg experienced a great deal of adversity during certain periods of his life, but he also had more success than most other composer colleagues of his time. Nevertheless he never lost the feelings of unrest, of not having developed his talent to the full degree, of having left something undone, something unfulfilled within himself. Throughout his life, Grieg was a restless soul. He never felt completely at peace anywhere. When he was in Bergen, he longed for Olristiania, and when he was there he longed for Copenhagen and the continent. When he was abroad, he longed to be back home, but no sooner had he arrived in Bergen than he felt oppressed and restless and wanted to go off again. There were perhaps only two places where he really felt at home and satisfied, on the concert- platform and in the Norwegian mountains, especially Jotunheimen. When he was in the presence of his audience or experiencing the powerful and free nature of the western part of Norway, he felt whole and complete.

The incidenta1 music for Sigurd Jorsalfar, which Grieg wrote in 1872 for the historica1 drama by Bjemsteme Bjornson (1832-1910) was originally for orchestra and consisted of five numbers. Three of these rearranged for piano and they were published by the Danish publisher, Lose, in 1874. Grieg revised the music for Sigurd Jorsalfar in 1892 and the orchestra1 score of the revised version was published by Peters in 1893 as Opus 56. At the same time a revised edition of the piano arrangements was issued. This last is recorded elsewhere in the present series. The second of the three pieces, Ved mannjevningen (Trial of Strength), is based on a Gavotte for violin and piano written in 1867.

Grieg's collaboration with Bjornson during the years from 1871 to 1874 was intense, inspiring and stormy and resulted in several dramatic and melodramatic compositions that are considered to be among the best things that Grieg wrote (Olav Trygvason, Op. 50 and Bergliot, Op. 42). Together they planned with Olag Trygvason to create a nationa1 Norwegian opera. Work on this had started, when Grieg accepted are quest from another writer, Henrik Ibsen (1828-1906) to write music for a new drama, Peer Gynt. The sketch of the opera was laid aside and this effectively ended the relationship between Grieg and Bjornson. Once the music for , Peer Gynt was finished, Grieg was ready to resume work on the opera, but by this time historica1 drama was already a thing of the past for Bjornson, who was now absorbed in contemporary drama and realism. It is probable that Bjornson never really forgave Grieg for setting aside their plans for a great opera in order to write music for a play by Ibsen. Towards the end of 1876 contact between them was completely broken. Bjornson had suggested that Grieg write the music for one of his plays on a contemporary subject, but the composer felt that this was not for him:

One cannot manage to overcome Everything in this World, and I am pursuing other ideals. To paint Norwegian Nature, Peasant Life, History and the Poetry ~ of the People in Notes, is where I feel I have a contribution to make, and what you are talking about has my full Sympathy, but I am not the Man to do it, at .least not at this point in my Life, I am still infatuated by Romanticism in all its vigorous abundance. (Letter to Bjornsteme Bjornson, 21st February, 1875)

The separation between Grieg and Bjornson lasted until 1888, when Grieg once again took out the sketches for Olag Trygvason and wrote a work for orchestra. The same year a piano excerpt was published with the number Opus 50 and under the title Scenes from Olav Trygvason, consisting of seven numbers. The orchestral score was published by Peters in 1890. Later, probably in 1893, Grieg reworked for piano two of the pieces, the second and sixth of the orchestral version. These were published under the title of Gebet und Tempeltanz aus Olav Trygvason. These pieces had originally been written for a four-part mixed choir and orchestra.

In connection with the first performance of the operatic fragment in Christiania (Oslo) in autumn 1889, Grieg wrote to Bj0mson suggesting that they forget their earlier difference and inviting him to the first performance, while seeking his permission to give him credit for the work. Bj0mson accepted the gesture wholeheartedly, but nonetheless their relationship was never as it had been.

The melodrama Bergliot, Op. 42, was written in 1871 for Bjornson's poem, first published in 1862. Bergliot is also a character from an early heroic epic. She was married to the nobleman Binar Tambarskjelve, when he and their san Bindride were killed by the king, Harald Hardrade. In his poem Bjornson tries to express Bergliot's inner struggle and suffering, how she w avers between despair and the desire for revenge and how the king's treadtery has made her feel stronger rather than, subservient. For this poem Grieg w rote intense and powerful music, reflecting the drama. The music was performed for the first time in "' Christiania in 1885 with Laura Gundersen in the leading role. When the , work was published two years later, the orchestral score and piano , excerpts, it was dedicated to her.

In the end, however, it is the music for Peer Gynt that more than any other work has contributed to Grieg's international reputation. The incidental music was first heard at the first performance of the play at the Christiania Theatre on 24th February 1876 and was a great success. Grieg, however, was not present and was, in fact, often absent at first performances of several of major works. One month later he managed to have same of the pieces published by Lose in Copenhagen, but the music only became famous when he published his orchestral Peer Gynt Suite No.1, Op. 46. At the same time he published a piano arrangement of the suite. Five years later he followed this with a piano arrangement of Suite No.2, Op. 55. The orchestral Suite No.2 was originally published in January 1893 with five movements but this was withdrawn after Grieg had had the opportunity of hearing it at a concert in Leipzig that he conducted. He was convinced that the fifth piece, Dance of the Mountain King's Daughter, should only be played in the theatre:

I have now heard the piece... I have even conducted it... and with all respect and love to all the trolls, in the final analysis we must show no mercy and cut it out.

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Aram Khachaturian

The year 2003 is declared the year of Aram Khachaturian by the UNESCO, an honor that only outstanding personalities with remarkable contributions to the world’s culture and arts have earned. Aram Khachaturian made a unique and historical contribution to the music. This contribution is important and complex. He foreshadowed a rapid rise of the Armenian national music and its transformation to a new professional level, and it is largely due to him and his talented creations that the Armenian music is known as an original part of the universal world of music.

This is not the only achievement of Aram Khachaturian, who has left a deep legacy of innovation and organic synthesis of the Oriental and Western musical cultures. That is his main achievement. As a famous Russian composer, Rodion Schedrin put it, “Khachaturian was the source of the modern and original approach to the folk and artistic components in a composer’s skill.” As such, his accomplishments are reflected in the music of all the schools of composing in the world. Khachaturian belongs to Armenia as much as he does to Russia and the rest of the world.”

Khachaturian’s works are deeply rooted in the Armenian people, arts, and culture. At the same time, they are embedded professionally in the European and Russian musical classics. The integral contact between his ethnic roots and broader musical traditions on the background of his rare artistic gift gave Khachaturian an opportunity to express himself in music in a bold, even daring manner, with limitless energy and vital force.

Aram Khachaturian’s path to the world of music was unordinary, and his artistic biography can be considered unusual for a famous composer. He was raised in a family of a humble book-binder who could boast of no professional musicians among his ancestors, yet the household stood out for its love of arts, singing, and folk music. The main artistic environment was the city of Tbilisi where he grew up and spent his adolescent years.

At the dawn of the twentieth century, Tbilisi was a lively city with multiethnic population, with organic cohabitation of several cultural and artistic traditions of the peoples of the Caucasus, including the Armenians, Georgians, Azeris, Russians, and Jews. The Khachaturian household included four brothers. The elder brothers were seriously engaged in theater, and, in fact, the elder two later became professional actors. The junior sibling – Aram – had a clear preference for music. He played in a percussion ensemble at school, picked up tunes and songs heard elsewhere on his father’s old piano, and beat up ingenious rhythms on the chairs. The many musical voices of the urban life – the singing of the minstrel “ashughs,” the sazandar’s tunes, the city park orchestras – nurtured the ear and imagination of the would be composer. The first visit to the opera was shockingly stirring for the youth.

Recognizing Aram’s giftedness, his elder brother Suren who had by then become a theater producer in Moscow helped the eighteen-year-old Aram relocate to Moscow, to expose him to a world of opportunities, and, indeed, Aram had gone through rapid development. The young Aram Khachaturian had initially enrolled as a biology student at the Moscow University School of Mathematics and Physics, and immersed himself in the capital’s artistic environment. Music’s attractive force was, nevertheless, irresistible and the youth bid farewell to a career in biology and transferred to the Gnesin’s School of Music, in the class of cello. Following the advice of an experienced instructor and composer Mikhail Gnesin, he took up his composition class. Recognizing the genius of the young musician, Gnesin referred to him as ‘an unpolished precious stone.’

Four years later the twenty-three-years old Khachaturian entered the Moscow Conservatory, beginning his formal composition education at an age when most students neared graduation. Yet his creative potential was enormous. In his first years at the Conservatory, he created pieces that sound original and fresh today, such as the Dance for Violin, Poem Song, and a Poem and Toccata for the piano, Dancing Suite, Trio for Clarinet, Violin, and Piano. His First Symphony forcefully announced his graduation from the Conservatory in 1934, enshrining his name next to other famous graduates, such as Rakhmaninov, Taneyev, and Skriabin.

Enrolled as a graduate student, Khachaturian wrote chamber pieces, the score to Shakespeare’s Macbeth, Armenian-produced movie Pepoe, and Piano Concerto, a masterpiece that earned him worldwide fame. The Concerto stood out for its ingenuity and colorful virtuosity that endear it to the performers and guarantee its vitality. The musical piece began to be performed abroad as well, and was universally acclaimed.

With name recognition under his belt, Khachaturian masterfully created other works, and scores for movies and plays, such as Lope de Vega’s Valencian Widow, and Masquerade. These masterpieces were followed by the Symphonic Poem with Chorus and Concerto for Violin dedicated to David Oistrakh. Both Concerto for Piano and Concerto for Violin gained worldwide recognition and were performed by the violinists around the world. Simultaneously, Khachaturian composed the ballet Happiness, which was first staged in Moscow in 1939, during the Art of Armenia event. This score would later be used as a basis for Gayane.

World War II was an extraordinary influence and inspiration on many composers, and some of their best works were created in those years, such as Prokofiev’s Symphony No. 5 and Shostakovich’s Symphony No 7. Khachaturian, who had already become one of the top three Soviet composers, created his Symphony No. 2, or Symphony with Bells. According to Shostakovich, Symphony with Bells was ‘the first of Khachaturian’s works to raise the voice of the tragic to such a level, yet it is also deeply optimistic and jubilatory.’ His Symphony No. 3, written in 1947, was a hymn to the victory.

Khachaturian became quite an authority, and as a Professor at the Moscow Conservatory taught a class that would school other famous composers from Russia, Georgia, Armenia, Romania, and Japan. Khachaturian’s composition class cultivated individuality, not just professional skills. In addition to creating music, the Maestro led an active civic life and was also a conductor, visiting many foreign countries as well.

In 1956, Khachaturian completed his next, and probably the best-known masterpiece, Spartacus, which earned such accolades as ‘feast of music.’ Dmitri Kabalevski said no other composer could have called to life this story the way Khachaturian had done. The flamboyant and emotionally broad music of Spartacus lives on and brings joy to its listeners.

Khachaturian continued to be acclaimed all over the world, and received many awards for his invaluable contributions to musical art. Yet he continued to create until the very end. In 1960’s, Khachaturian composed three Concerto-Rhapsodies for violin, cello, and piano with orchestra, and in 1970’s, he composed three sonatas solo. Khachaturian intended to compose an opera, but he could not finish it. He passed away in 1978, a month before his seventy-fifth birthday.

His body laid in state in the Moscow Conservatory that had been his home, and was then transferred to Yerevan where it was laid to rest at the City Pantheon of Armenian Artists. Thousands of fans bid farewell to their favorite composer to the tunes of his immortal and invigorating Masquerade rather than to a traditional tragic march.

When Khachaturian’s tunes are playing it seem like the Mother Earth is expressing itself. He lived and created for the people and he wanted to be heard and understood. While many twentieth-century composers rambled in a search for an “original” language, Khachaturian composed music that was clear yet not primitive, comprehensible yet complex. His priorities were a quick thought, colorful and expressive melody, and clear musical expression, and that is why he had been given the joy of a popular acclaim and of an Artist’s contact with a grateful listener. His music, like that of any other classic, will forever bring the gift of the fine, emotional, poetical, and colorful world.

excerpt from Margarita Ter-Simonian

Stephen Collins Foster

Stephen Collins Foster, the "father of American music," wrote songs in the nineteenth century that live on to this day. He was the forerunner of today's professional songwriter, though he died in poverty. He expanded the musical tastes of America like no other before him.

Born in Pennsylvania, Foster was one of ten children. Though his family was middle class when he was young, his father's descent into alcoholism impoverished them. Foster took to songwriting, though he had little formal training on the piano. When he was eighteen, he published his first song.

While he lived in Pittsburgh, Stephen Foster met his two pivotal influences. One was a music store owner from Germany named Henry Kleber. Kleber was classically trained and taught Foster proper technique and musical theory. The other was a blackface singer named Dan Rice that introduced Foster to a completely different style of music. Foster was intrigued by both the classics and the minstrel songs, and he learned to combine the two worlds into one musical genre.

Stephen Foster relocated to Cincinnati to work with his brother's steamship company. While there, he would write his first hit. "Oh Susanna" became the de facto theme song of the California Gold Rush of 1848. Since songwriting royalties were unheard of at the time, he received one hundred dollars for one of the most well-known songs of all time. If he were alive today, a hit of its magnitude would make him a millionaire many times over.

He moved back to Pittsburgh soon after and wrote many other hit songs under contract with Christy Minstrels. Two of these songs, "Camptown Races" and "Jeannie with the Light Brown Hair" are still well known today. The latter was referenced in the song "Sins of the Father" by maverick songwriter Tom Waits on his 2004 album Real Gone.

Copyright laws for songwriting were in their infancy at the time, so Stephen Foster was often in poverty. He soldiered on and kept writing despite his lack of money. His wife and daughter left him in 1861 after moving to New York City. The quality of his songs began to decline, and the Civil War destroyed the market for new songs. Foster tried using a co-writer to help him gain ground with new audiences, but he failed miserably.

Stephen Foster died with thirty-eight cents to his name at the young age of thirty-seven. He collapsed while trying to call a chambermaid and cut his head open on a broken washbasin. A scrap of paper was found in his wallet that read, "Dear friends and gentle hearts." One of his songs was published posthumously and became a favorite in music boxes. It was called "Beautiful Dreamer."

Throughout his life, Stephen Foster used his meager piano skills to write songs that brought minstrel music to the masses. While many performers of the era mocked slaves with minstrel songs, Foster abhorred this and demanded that performers not talk down to slaves. He demanded performers understand the plight of the black community and have compassion for their fellow man. It was in this way that Stephen Foster transcended both musical genre and social convention, and it is part of the reason why the words and melodies of his songs have resonance today.

by Duanne Shinn

Franz Josef Haydn

Franz Joseph Haydn is remembered in history as the Father of the Symphony and an adventurer into almost every element of music.

Franz Joseph Haydn is best remembered for his symphonic music, honored by music historians who have dubbed him the "Father of the Symphony." That is a well-known fact. But did you know that Haydn worked his way from peasant to Kapellmeister where he lived in the house of a prince? Did you know that although Austria was his home, he traveled to London to write his most famous symphonies? Did you know that Haydn's oratorio "The Creation" grew out of his love of nature, as he was an avid hunter and fisherman? Or did you know that Haydn was mentor to a young music student by the name of Mozart?

These are the lesser-known facts, the parts of Haydn's life that allow us to peek inside a great man's legacy to see what made him tick. Haydn was indeed a self-made man. Born in the small village of Rohrau, Austria on March 31, 1732, Franz Joseph Haydn was the second of twelve children. His father was a wagon maker by trade, but quite musical. On Sundays, the Haydn family often gave private concerts. Haydn's father played the harp while Haydn and his mother sang. A cousin who was a schoolmaster recognized the five-year-old boy's talent and offered to take him into his school so that he could receive musical instruction. The food portions for the children were meager and Haydn himself said that "there was more flogging than food." Still, Haydn persevered, determined even as a young boy to maximize the opportunity and learn all that he could.

At the age of eight, Franz Joseph Haydn became a choirboy for the Viennese Cathedral. Again, the food was far less than what a growing youth needed and the choir children's treatment in general was harsh. Haydn stayed, learning all that he could about church music, until puberty changed the timbre of his voice and he was cast into the streets of Vienna with nothing more than a change of clothes. At the age of seventeen, Haydn found lodging and work. He gave music lessons and played in the serenades to earn money. An open door presented itself in the form of an Italian composer named Niccolo Porpora who hired Haydn as his accompanist. Haydn's status was that of a servant, but Porpora did adequately feed him - something he had not enjoyed at the school or the Cathedral - and taught him Italian, voice, and composition. Again, a positive-minded Haydn saw it as an opportunity.

With practice and performance, Haydn's musical prowess and fame grew with time. He was offered the position of Music Director for Count Morzin. From there, Haydn accepted employment with the Prince Paul Anton Esterhazy where he became the Vice-Kapellmeister and later Kapellmeister. His duties were intense, ranging from the administrative responsibilities associated with monitoring the needs of the musicians under him to himself composing music for orchestral, operatic, and chamber music performances. His response to the challenge was as it had always been - Haydn exhibited not only the stamina for that which was required of him, but the brilliance of creation that made his music famous. While in the employ of the Prince, Haydn composed eleven operas, sixty symphonies, five masses, thirty sonatas, one concerto, and hundreds of shorter pieces.

Haydn's positive attitude and sense of humor made him a favorite among musicians. Music students valued his knowledge and skill and considered it an honor to learn from him. One such musician was Mozart. Although Mozart was much younger than Haydn, the two men treated each other with a mutual respect reserved for the obviously gifted. Although Haydn openly opined Mozart as the more dramatic composer, his young counterpart looked to Papa Haydn as a mentor and the master of quartets.

Haydn's sense of humor often came into play during his thirty-year tenure with Prince Esterhazy. The prince had become complacent when listening to Haydn's symphonies, even falling asleep at the performances. This was something that seared the feelings of the diligent composer, especially when the prince emitted a loud snore during a part of the symphony over which Haydn had especially labored. Haydn decided to create a new symphony for the prince, a symphony that he hoped would "get Prince Esterhazy's attention." This particular symphony was written with a long slow movement, designed to be so soothing that the prince would surely fall asleep. On the evening of the performance, the prince did indeed drift off. Then, suddenly, a loud chord shattered the serenity of the murmuring movement. The prince awoke with a start and almost fell off his chair! Haydn adeptly gave the piece the name "Surprise Symphony."

On another occasion, Haydn was plagued by his musicians who were complaining that they were long overdue for vacations. He again faced the dilemma with ingenuity. Haydn composed a symphony during which the musicians' parts dropped off two by two. On the evening of the performance, Haydn saved this symphony as the last number, knowing that dusk would set in and the musicians would need to play the piece by candlelight. As each instrument's part finished, the musicians blew out their candles and left the stage until only Haydn was left. Prince Esterhazy got the message and sent everyone on vacation. Haydn named the piece "The Farewell Symphony."

When the prince for whom Haydn had served most of his career died, Haydn saw it as yet another opportunity. He packed his bags and traveled to London where he was employed by the entrepreneur J.P Salomon to compose symphonies. The demand for new music was incredible. Even at the age of sixty, Haydn's stamina was unquenchable and he produced perhaps his greatest work. Of these are the famous "London Symphonies."

After a return to Austria, Haydn turned to a new type of composition - the oratorio. He wrote "The Creation" and "The Seasons," both tributes to his love of nature and God. An enthusiastic hunter and fisherman and a man who considered his peace to come from God, it was not out of character for Haydn to turn to the topic, although the venture into a different music medium at such a late stage of his life might be considered unusual. Still, that was Haydn - never one to promote the usual.

Haydn died at the age of 77 on May 31, 1809. Elssler, Haydn's faithful servant, friend, and the chronicler of his works, wrote that Haydn passed from this world "quietly and peacefully," just as he had lived.

Haydn - a self-made man, remembered for his contribution to the symphony. But anecdotal studies of his life show he was also a man of optimism with an uncanny sense of humor. He was a mentor to other musicians and an untiring adventurer into almost every element of music.

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Billy Joel: The Piano Man

William Martin Joel, better known as pianist and pop tunesmith Billy Joel, was born on May 9, 1949 in the Bronx. He was raised in a town called Hicksville, New York by an English mother and a German father. He has a sister named Judith and a half-brother named Alexander, who is also an accomplished piano player and conductor. In fact, Joel's father was an acclaimed piano player as well. A talent for tickling the ivories seems to run in the Joel family.

Ironically, Billy Joel didn't initially want to take piano lessons. He finally did at his mother's insistence, but neighborhood kids picked on Joel for being interested in music instead of sports. Joel studied under a Julliard music teacher who also happened to teach ballet, so bullies accused him of taking dance lessons.

Joel eventually took boxing lessons in order to defend himself. He ended up being a somewhat successful contender on the amateur Golden Glove circuit.

Partly due to his rock and roll lifestyle, Billy Joel was one credit short of graduating high school. Music was his true calling, and he decided to pursue his dreams of becoming a pop star after seeing The Beatles perform on The Ed Sullivan Show in 1964. Joel made his first recording at age 16 with a British Invasion cover band called The Echoes.

Joel signed his first solo record contract in 1971 with Artie Ripp of Family Productions. It was entitled “Cold Spring Harbor," but it was mastered at the wrong speed and distorted the pitch of Joel's voice. Songs like “She's Got a Way" and “Everybody Loves You Now" were on the album, but they consequently didn't garner much attention until the 1980s when they were re-released.

Billy Joel's first hit song was “The Piano Man." Released in 1973, it is still a popular radio and jukebox tune around the world today. It skyrocketed his career, and he was then able to be more hands-on in the production of his own songs. He is one of a select few musicians recording today that are in charge of their own brand of music by having their name on the copyright instead of a recording company.

Once Joel was in control, the hits of the late '70s and '80s started to hit the streets. From ballads like “Just the Way You Are" to rocking tunes like “Uptown Girl," Joel's music made him a household name.

Billy Joel was inducted to the Rock and Roll Hall of Fame in 1999. Although he officially announced his retirement from recording music in 1993, he frequently tours and releases compilation albums. Rumors are circulating about an upcoming tour with Joel and Elton John, reuniting the two piano legends onstage.

By Duane Shinn

Isaac Hayes: Soul Man

Hayes grew up poor in Tennessee; he was raised by his grandparents after the deaths of his parents. As a child Hayes began singing in his community church and taught himself to play the piano, organ, flute and saxophone; later he dropped out of high school to earn money picking cotton.

In the early 1960s Hayes landed a job as a session player for various artists on the Memphis-based Stax Records record label. During this time Stax Records became successful with artists like Otis Redding and Dusty Springfield. Hayes, David Porter and the Stax Records studio band Booker T. & the MGs served as the main production team for many of these artists.

Hayes’ early success as a musician is due in large part to his work at Stax Records. Along with songwriting partner David Porter, Hayes wrote the now classic R&B hits “You Don’t Know Like I Know,” “Soul Man,” “When Something is Wrong with My Baby” and “Hold On I’m Comin’” for the R&B duo Sam & Dave. Read more about Hayes’ music contributions in music magazines.

In 1968 Hayes released his debut album, which was unsuccessfully commercially. A year later, while Stax Records lost its entire catalog to Atlantic Records, he released “Hot Buttered Soul” on the Stax label, which is now recognized as a milestone in soul music. The album broke out of the traditional album standard of 10 three-minute songs and instead contained four songs clocking in at five to 18 minutes long. The album boosted Hayes to Stax No. 1 artist. Next he released “Black Moses,” also a successful album. For more on Hayes’ musical accomplishments, read music magazines like Entertainment Weekly, Rolling Stone and Spin magazine.

In 1971 Hayes composed music for the soundtrack of “Shaft,” a blaxploitation film. He also appeared in a cameo role in the film. The movie’s theme-song became a worldwide hit single and spent two weeks on the Billboard Magazine Hot 100 charts at No. 1. Hayes won an Academy Award for “Best Original Song,” for the theme song. Hayes was the first African-American to win a non-acting Oscar; he also won two Grammy awards. For more on Hayes’ film career read African-American magazines like Vibe, Essence and Jet magazine.

After the success Hayes and Stax Records found themselves in deep debt. In 1975 Hayes released “Chocolate Chip,” in which he embraced the disco sound and found success with the single “I Can’t Turn Around.” Hayes garnered praise from critics but his albums sell took a nose dive in the late 1970s and in 1976 he filed for bankruptcy.

In the 1980s and 1990s Hayes appeared in several movies including “I’m Gonna Git You Sucka” and television shows like “The A-Team” and “Miami Vice.” He kept a low profile until 1995 Hayes launched a comeback with the release of “Branded,” that sold modestly and garnered positive reviews. At this time Hayes joined the Scientology religion and Hayes participated in many Scientology events.

In 1997 Hayes garnered new fans and attention by providing the voice for the character “Chef” on the popular yet controversial Comedy Central animated series “South Park.” Gained a lot of popularity; left the show when show criticized Scientology. Hayes was inducted into the Rock N’ Roll Hall of Fame in 2002.

In 2006 Hayes confirmed he suffered a stroke; in 2008 Hayes was found unconscious in his home near Memphis and he died at Baptist Memorial Hospital where authorities listed cause of death as a stroke. Hayes left behind 12 children, 14 grandchildren and his fourth wife.

Magazines like People, Essence, Time and Newsweek all profiled Hayes at the time of his death and ran tributes and appreciations.

By: Jessica Vandelay
Articlecat.com

Hoagy Carmichael: Songwriter Extraordinaire

Hoagland Howard Carmichael, better known as Hoagy Carmichael, was born in Bloomington, Indiana on November 22, 1899. He was the musical genius behind two of the most recorded songs of all time, "Stardust" and "Heart and Soul."

The musical talent of Hoagy Carmichael began in southern Indiana. His mother named him Hoagland after a circus troupe called &quotThe Hoaglands" that stayed with Carmichael's parents while his mother was pregnant.

Hoagy's mother was a very talented pianist, and she played in many silent movies. She taught Carmichael how to sing and play piano. By age six Hoagy was giving recitals. He spent the vast majority of his young years through high school studying the piano.

Hoagy moved to Indianapolis when he was 18 and attempted to earn enough money working several labor jobs to send money home to help support his family. During this time, he also learned jazz improvisation.

Sadly, his little sister died at age three in 1918 because the family could not afford to get her adequate medical care. This event had a devastating effect on Hoagy, and he vowed to find success in his career to help his relatives. He completed his undergraduate and law degree at Indiana University, and he also enjoyed continued success in music.

By 1927, “Stardust" and “Washboard Blues" as performed by Paul Whiteman were becoming huge hits across the country. Because Hoagy spent most of his time at the Indiana law firm where he worked thinking about his music, he was eventually fired. He then went to Hollywood and later New York City to advance his musical career.

In the 1930s, Carmichael worked with legends like Louis Armstrong. He even wrote “Georgia on My Mind," which would later become one of Ray Charles' biggest hits. In 1931, Bing Crosby recorded a version of "Stardust," further launching the fame of the song and its writer. He soon frequented the same circles as George Gershwin, Duke Ellington and Fred Astaire in New York City.

In 1935 Hoagy Carmichael married Ruth Meinardi, and they later had two sons named Hoagy Bix and Randy Bob. The family moved to California after Hoagy accepted a $1000 a week contract to work for Paramount Films. Some of his best work was composed for major films over the next two decades.

Carmichael's film success was huge. He appeared as an actor in 14 major films, and he always played at least one of his songs in each movie. He even won an Academy Award for Best Song for “In the Cool, Cool, Cool of the Evening." During this time, he was still writing songs for outside the movie world as well. Many of his songs were political in nature, speaking out against FDR as a staunch Republican. He also hosted three musical variety shows on the radio during this time.

Hoagy Carmichael was inducted into the Songwriters' Hall of Fame in 1971. He died of heart failure in California in 1981, but his musical legacy lives on today. In fact, numerous modern musicians cite him as a big influence. For instance, John Lennon once said Carmichael was his favorite songwriter.

Hoagy Carmichael wrote two autobiographies, released together as one book in 1999. In 2008, a mural featuring his picture was dedicated to him in Richmond, Indiana.

By Duanne Shinn

article source: freearticlesandcontent.com