“Anecdotes and maxims are rich treasures to the man of the world.”
Johann Wolfgang von Goethe
The universe of classical music is jam-packed with musical anecdotes. Frequently these short narratives delineate subtle stories that highlight specific traits of a classical composer or a performer. Often humorous, anecdotes of classical composers don’t simply provoke laughter but can reveal a more general and subtle truth. We find Sophia Corri escaping her inattentive husband in an empty harp case, Beethoven being thrown in jail for vagrancy, and Rossini and Pavarotti both cooking their favorite meals. Napoleon gave free reign to his infatuation with an opera singer, Bach was challenged to a duel, and Frederick the Great had not only a great passion for music but also for a handsome Lieutenant in the Royal Guard. A musical anecdote is part of the process of telling a story, but it means sharing an experience with someone and not simply supplying him or her with information. And don’t worry, embellishment, exaggeration or fictitious invention are all part of the process. Anecdotes of classical composers impart the sense of a lived experience, as they usually involve real people in recognizable places and locations. In fact, musical anecdotes exhibit a special kind of realism and an identifiable historical dimension. Check back with us for more insightful and delightful musical anecdotes.
The modern era of the trombone as a solo instrument began on 6 April 1815, when Friedrich August Belcke performed a potpourri with obbligato trombone by Carl Heinrich Meyer with the Gewandhaus orchestra in Leipzig. A critic for the Allgemeine
He was frequently compared to Paganini, and in central European cello circles, Julius Klengel (1859-1933) was even called an institution. A natural-born cellist, he stopped having formal instructions at the age of 14! At fifteen Klengel performed for the first
We were looking at a score by the Finnish composer Perrtu Haapanen and found his performance directions very interesting for his 2014 work Compulsion Island, commissioned by the Finnish Radio Symphony Orchestra. His instructions for the strings are very specific
Bohuslav Martinů (1890-1959) always paid close attention to avant-garde cosmopolitan musical developments. Yet simultaneously he was acutely aware of his position as a composer of Czech national music. Ceaselessly working to “express the never-ending search for truth and the meaning
The year was 1948, and athletes from around the world gathered in London to participate in the 14th Olympic Games in the modern era. Because of World War II, it had been 12 years since the last Olympic competition, and
Louis Spohr (1784-1859), actually born Ludwig Spohr in Braunschweig, was a German composer, violinist and conductor. Early violin studies secured employment with Duke Karl Wilhelm Ferdinand of Brunswick, and barely 16 years old, Spohr accompanied his teacher Franz Eck on
Like many young and talented Nordic musicians, Thomas Dyke Acland Tellefsen (1823-1874) was drawn to the city of Paris. Born in Trondheim, Norway, Tellefsen moved to Paris in 1842 and studied piano with Scandinavian pianist Charlotte Thygeson, who was one
Opera as we know it today, gradually emerged from courtly entertainment. Yet, within the special social and economic environment of 17th century Venice, it escaped its regal preoccupation and was placed within reach of all but the poorest sectors of