Unconscious bursts of creativity that engender significant artistic endeavors are not necessarily inspired by passionate romantic love alone. Greek mythology believed that this kind of stimulus came from nine muses, the inspirational goddesses of literature, science, and the arts. Muses were long considered the source of knowledge embodied in poetry, lyric songs and ancient myths. Throughout the history of Western art, artists, writers and musicians have prayed to the muses, or alternately, drawn inspiration from personified muses that conceptually reside beyond the borders of earthly love. True to life, however, composer inspiration has emerged from the entire spectrums of existence and being. Nature has always played a decidedly important role in the inspiration of various classical composers, as did exotic cities, landscapes or rituals. Composer inspiration is also found in poetry, the visual arts, and mythological stories and tales. Artistic, historical or cultural expressions of the past are just as inspirational as is the everyday: the third Punic War or the contrapuntal mastery of Bach is inspirationally just as relevant as are the virulent bat and camel. Composer inspiration is delightfully drawn from heroes and villains, scientific advances, a pet, or something as mundane as a hangover. Discover what fires the imagination of people who never stop asking questions.
Ignatz Fränzl (1736-1811) was one of the most acclaimed virtuoso performers working at Mannheim. Already his father had been part of the orchestra, playing trumpet and viola under the leadership of Johann Stamitz. When Ignatz joined the ensemble as violinist
One of the most significant innovations of the Mannheim Orchestra was to standardize the orchestral instrumentation. It normally consisted of strings — first and second violins, violas, cellos, and double basses — and pairs of flutes, oboes, bassoons, French horns,
Berlin Philharmonic Orchestra Claudio Abbado Sabine Meyer, clarinet Music Score Watch Live Giovanni Antonini and The Orchestre du Capitole de Toulouse Martin Fröst, clarinet Innovations in instrumental design, and the performers who explore these newly found opportunities, frequently spur the
Wolfgang Amadeus Mozart first visited the city of Mannheim — a little side trip after a performance in Munich — in 1763. Accompanied by his parents and his sister Nannerl, he only stayed for a couple of days before the
Clara, Ludwig, or both? Robert Schumann (1810-1856) had one of the most fascinating and varied biographies of all the nineteenth-century German composers. Forced by his guardian to study law, he rebelled against its pharisaical quibbling at age nineteen and moved
The German born conductor Bruno Walter worked closely with Gustav Mahler as an assistant and protégé. In addition, he frequently heard Mahler conduct his own works. Since Mahler did not live to lead performances of Das Lied von der Erde
Scholars are generally in agreement that the young Wolfgang Amadeus Mozart attended a performance of J.C. Bach’s opera “Adriano in Siria,” which premiered at King’s Theatre London on 26 January 1765. J.C. was clearly at the centre of London’s almost
During his stay in London, Wolfi apparently composed a number of duet sonatas, that is, two players performing at one piano. They were probably intended for his personal use and included the participation from his sister Nannerl. Advertisements from 1765
