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.
His teacher Pyotr Ilyich Tchaikovsky called Sergei Ivanovich Taneyev “the greatest master of counterpoint in Russia; I am not even sure there is his equal in the West.” And his student Sergei Rachmaninoff, described Taneyev as “a master composer, the
What happens when you take a synthesized excerpt of the fugue in B-minor from Book 1 of the Well-Tempered Clavier by Johann Sebastian Bach and use it to frame a pop song? In the case of Lady Gaga and her
Many composers are inspired by the places that they live, or by the people they know and their music can convey those images long after the places or people are just memories. The American composer, Ferde (or Ferdie) Grofé, was
Jacques Ibert (1890-1962) gleefully reminds us that high-quality classical music does not always have to be deadly serious. He managed to sum up his general approach and attitude towards music in a few meaningful words: “I want to be free—independent
Professionally, the years 1876 and 1877 accorded Antonín Dvorák (1841-1904) the first glimpses of international recognition. Privately, however, these years were overshadowed by great personal tragedy. Just two days after her birth, Dvorák’s little daughter Josefa unexpectedly died. In response,
Sigismund von Schrattenbach was Prince-Archbishop of Salzburg from 1753 to 1771. He appointed Leopold and Wolfgang Amadeus Mozart as members of the episcopal court orchestra, but only after Wolfgang had passed a rigorous test! Schrattenbach had always been suspicious that
Irony and Parody became key moments in German modernism. But parody and irony are not identical. While irony might be described as a strategy, most successful parodies derive their effect from the comic incongruity between the original and its parody.
There is a fine line between genius and madness. Given the current zeal for psychoanalyzing dead composers, Alexander Scriabin (1872-1915) would seem to be a perfect subject. He showed serious mental instability during the early stages of his life, and
