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.
On 29 May 1913, the city of Paris witnessed the premiere performance of a musical work that exerted a tremendously powerful influence on the music of the 20th century. The Rite of Spring catapulted Stravinsky to international stardom and defined
In his Suite 1922, Paul Hindemith had not only referenced in popular music genres; he also paid homage to the gestures and aesthetic of the high Baroque. Like many composers of the time, Hindemith was looking for greater objectivity and
Beethoven’s Transfer of the “Symphonic Ideal” Into His Middle Period Piano Sonatas What had begun as a slight ringing in Beethoven‘s ears around 1789 had progressively turned into partial deafness by 1801. In 1802, while spending the summer in the
Composed in January and February 1920, Paul Hindemith’s third string quartet was described as “brimming with youthful energy…a thrilling, musical event, real ‘new’ music. Here everything is comprehensible and concrete.” First performed at the Donaueschingen Chamber Music Performances in 1921,
Franz SchubertString Quintet in C major, Op. 163, D. 956(Stern, Casals, Tortelier, Schneider, Katims) (1956) In the autumn of 1822, Franz Peter Schubert (1797-1828), a quiet, shy, gentle and introverted man of short stature, contracted syphilis. Affectionately called “Schwammerl,” a
Paul Hindemith was a precocious musical talent. Whatever he touched, he almost instantaneously mastered. He started violin lessons at an early age and was admitted to the Frankfurt Conservatory at age 12. He soon became an accomplished performer on several
Ludwig van Beethoven Piano Sonata Op. 2, No. 1 Piano Sonatas Op. 2 No. 2 Piano Sonatas Op. 2, No. 3 Historians and scholars habitually divided Beethoven’s life and work into three periods, a concept that originated with Johann Aloys
Originally, the term “Grand Opera” meant nothing more than a work that dealt with a serious subject and featured recitatives to separate musical numbers, rather than the dialogue used in opéra comique. By 1830, however, it had come to refer
