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.
In the last article in this series, we looked at how Tan Dun turned to his roots for inspiration when composing his first composition. In the same manner – though around four decades earlier – the Argentinean composer Astor Piazzolla
Music is a universal language. It is a powerful tool for communication that withstands language barriers and generation gaps. It transverses time, and it unites and brings hope to people regardless of their race and religion.1 Music is also a
Christoph Willibald Gluck was a true visionary! Working at the Habsburg court in Vienna and at the Parisian stage, he completely reformed operatic traditions. Basically, he was sick and tired of singers dominating the operatic stage. Vocal acrobatics were the
Swiss composer Arthur Honegger wrote three ‘symphonic movements,’ as he called them. The first, Pacific 231, written in 1923, brought the world of a great train to the concert stage.
The legendary pianist, composer, and pedagogue Leopold Godowsky was a world traveler. He considered “travel not only a way of lifting the creative intellect, but also a philosophical, spiritual enterprise, a way of advancing one’s journey of self-discovery.” Drawing inspiration
We’ve seen him with this tongue sticking out… we’ve seen him concerned with the implications of nuclear energy… and we’ve seen him behind the bow on the violin. But, as an inspiration, we have to take the words of one
Gaetano Donizetti followed the resounding success of Anna Bolena with two additional serious operas, Lucrezia Borgia of 1833, and Lucia di Lammermoor of 1835. Rossini regarded Lucia as Donizetti’s supreme operatic achievement. It epitomized the Italian Romantic spirit of the
By the late 1950’s George Rochberg was celebrated as America’s first and foremost master of composition in a serial language. One of the great leaders of the American avant-garde, Rochberg’s journey to a newly found language based on the tonal
