Beethoven’s Second Symphony: Unleashing a Force of Nature

1802 was not a good year for Ludwig van Beethoven. It was around this time that the 31-year-old Beethoven disclosed the persistent deterioration of his hearing to a childhood friend. In a letter to Franz Wegeler, a physician, he wrote of his fear and humiliation: For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. In October …

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Music of Oscar-Winning Composer, Hildur Guðnadóttir

At the recent Oscars, the Academy Award for Best Original Score went to the 2019 psychological thriller, Joker. The score’s composer is the Icelandic cellist, Hildur Guðnadóttir (b. 1982). She has a growing list of film and television score credits, including Stefano Sollima’s Sicario: Day of the Soldado (2018), Trapped (an Icelandic television mystery series), and Chernobyl, a series produced by HBO and Sky TV. After listening to some of the film music, I was inspired to investigate a few excerpts …

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Henri Vieuxtemps at 200: Historic Recordings of Heifetz and Nadien

Today marks the 200th anniversary of the birth of the great Belgian violinist and composer, Henri Vieuxtemps (1820-1881). A student of Charles Auguste de Bériot, Vieuxtemps toured Europe as a young prodigy, attracting the attention of Louis Spohr, Schumann, Berlioz, and Paganini. At the age of 14, he learned Beethoven’s Violin Concerto in two weeks and performed it in Vienna. As unimaginable as it may seem now, this cornerstone of the violin repertoire was a …

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Remembering Mirella Freni: “Sì, mi chiamano Mimì” from Puccini’s “La Bohème”

Mirella Freni, the acclaimed Italian operatic soprano, passed away on Sunday. She was 84. In a career spanning 50 years, Freni appeared on the world’s major opera stages and in numerous film versions of operas. She was closely associated with Verdi and Puccini roles, but she will also be remembered for her performances of Mozart operas and Carmen. Later in her career, her repertoire included Russian opera with Tchaikovsky’s Eugene Onegin, The Queen of Spades, and …

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Takemitsu’s “Quotation of Dream”: Aftertones of Debussy

Fragments of Debussy’s La Mer emerge and evaporate throughout Quotation of Dream (1991) by the Japanese composer, Tōru Takemitsu (1930-1996). The piece, which the composer described as “schizo-eclectic,” is a virtual concerto for two pianos and orchestra. The subtitle, Say sea, take me!, is a reference to a poem by Emily Dickinson. La Mer‘s motifs run through the DNA of this shimmering, post-impressionist work. The haunting and mysterious piano chords in the beginning return in the last bars, …

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Verdi’s “Otello”: Three Excerpts from Toscanini’s Legendary 1947 Recording

Today marks the anniversary of the first performance of Giuseppe Verdi’s Otello, which premiered at Milan’s La Scala on February 5, 1887. The four-act opera, based on Shakespeare’s tragedy, drew Verdi out of a lengthy retirement. For years, the composer had been reluctant to write anything new following the success of Aida in 1871. In so doing, he followed the model of Rossini, who at the age of 37 never wrote another opera after William Tell. The …

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Philip Glass’ “Mad Rush”: Time is Relative

A happy birthday to the American composer, Philip Glass, who turns 83 today. In the meditative minimalism of Glass’ 1979 keyboard work, Mad Rush, time becomes relative. The piece was originally conceived as being of “indefinite length.” It was performed on the occasion of the Dalai Lama’s first public address in North America at New York’s Cathedral of Saint John the Divine. Later, it was used to accompany a ballet by Lucinda Childs. The …

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