Fauré wasn’t the only gifted composer of mélodies of his generation; Henri Duparc (1848 – 1933) is also (justly) famous for his talents as a song composer. Duparc, like his younger Austrian contemporary, Hugo Wolf, only produced a handful of music before – again like Wolf – he succumbed to a mental illness that forced […]
The English language, famed for the expansiveness of its vocabulary, is rather surprisingly coy when it comes to the idea of song. Sure, you can have all sorts of songs, but you generally need some type of qualifier to tell your listeners or readers whether you’re referring to a pop song, art song, folk song […]
This brief overview of Vienna’s musical history has dealt almost exclusively with composers, but it would be very unfair to conclude any examination of the city’s musical life without mention of two of Vienna’s major institutions: the State Opera and the Vienna Philharmonic (in point of fact the opera and symphony orchestras are, for all […]
John Martin’s terrifying vision of the apocalypse has several musical equivalents. Apart from the many settings of the Requiem Mass’s Dies irae (think Berlioz, think Verdi), there are two famous musical Judgement Days that are the work of composers very much associated with Vienna: Mahler’s Resurrection Symphony (Symphony No. 2 in c) and Franz Schmidt’s […]
Schmaltz? Sure, but great schmaltz! Apfelstrudel, Sachertorte, Waltz, Esterhazytorte — which is the odd one out? Why, Esterhazytorte of course! (They’re all sweet and delicious confections, but Esterhazytorte comes from Budapest.) The Viennese waltz took the musical world by storm, and it wasn’t just the Strausses and the Lehárs who had a monopoly. Beethoven, Schubert, […]
George Bernard Shaw – author, among a few other things, of The Perfect Wagnerite — was rather uncomplimentary about Brahms, describing him as ‘the leviathan maunderer’. Eduard Hanslick – the eminent Viennese music critic and friend of Brahms – wrote of Bruckner’s Eighth Symphony that it was ‘interminable, disorganised, and violent’ adding ‘it is not […]
A. When it’s a song cycle(??) Schönberg’s second quartet breaks boundaries. It starts respectably enough in its home key of f-sharp, and then (within the freedoms of late romantic form and chromatic harmony) proceeds in a fairly orderly quartetish manner until the end of the second movement, the scherzo; it’s then that the real revolution […]
