August 26, 2019.  Pachelbel and Böhm.  Johann Pachelbel was born on September 1^st of 1653 in Nuremberg.  These days he’s known mostly for his Cannon in D, which is unfair and unfortunate, as Pachelbel was an interesting composer working in many different genres.  In one of our previous posts we referred to one of his most important clavier pieces, Hexachordum Apollinis ("Six Strings of Apollo"). “… a set of six arias followed by variations, which, according to Pachelbel himself, could be performed either on the organ or the harpsichord.  Variations were a somewhat new musical form in the 17^th century, and Hexachordum was by far the most interesting set of variations written to date.”  Hexachordum was published in 1699 while Pachelbel was again living in Nuremberg where he moved from Erfurt (in Erfurt he became good friends with Ambrosius Bach, Johann Sebastian’s father; Ambrosius even asked Pachelbel to be the godfather to his daughter Johanna Juditha.  Pachelbel also taught music to his son Johann Christoph, who in turn became a music teacher of his younger brother, Johann Sebastian).  In Nuremberg Pachelbel was the organist at St. Sebaldus Church, the most important church in the city.  He held this position till his death in March of 1706.  Pachelbel is noted mostly for his organ works, but he was a wonderful composer of vocal church music as well.  Here, for example, is one of his two settings of Magnificat (this one is in D Major).  It’s performed by the ensemble Cantus Cölln under the direction of Konrad Junghänel.  And speaking of the Magnificat, Pachelbel wrote 60 so called Magnificat Fugues – we’ll talk about them another time.

Karl Böhm, one of Austria’s most interesting but controversial conductors, was born on August 28^th of 1894 in Graz.  He made his conducting debut in 1917 in his hometown; in 1921 Bruno Walter invited him to the Staatsoper in Munich.  He stayed there for six years; in 1927 he was invited to lead the opera in Darmstadt.  There he performed several modern operas, including Berg’s Wozzeck.  After serving in Hamburg he was invited to the Vienna Philharmonic. His 1933 staging of Tristan und Isolde was a huge success.  While continuing his engagement in Vienna, one year later  Böhm was made the music director of the Dresden Staatsoper.  There he replaced Fritz Busch, who was forced to resign by the Nazis.   Böhm’s  career flourished under the Nazis, even though he never formally joined the Nazi party. 

August 19, 2019.  Going for the unpopular.  Claude Debussy was born this week, on August 22^nd of 1782.  We love Debussy and he remains one of the most popular composers, both among listeners and performers (in our library we have more than 230 recordings of his works, some pieces are played over and over again).  While our listeners have many ways to celebrate Debussy, we will turn to the interesting, but not very popular, composers of the 20^th century.  Ernst Krenek (pronounced Krzhenek; like Dvorak, pronounced Dvorzhak), Krenek was Czech by birth, and his name originally was spelled Křenek.  (The second letter, pronounced Rzh, was replaced with “R” when Krenek moved to the United States).  Krenek was born in Vienna, son of a Czech soldier.  He studied with the then-famous composer Franz Schreker.  During the Great War he was drafted into the Austrian army but spent most of the time in Vienna, continuing his studies.  In 1920 he followed Schreker to Berlin where he was introduced to many musicians; there he met Alma Mahler and her daughter Anna (by the time they met, Alma had already divorced her second husband, the architect Walter Gropius and was living with the poet Franz Werfel; Krenek fell in love with Anna and married her in 1924, though their marriage fell apart a few months later).  The time in Berlin was very productive: Krenek wrote 18 large-scale pieces between 1921 and 1924.  He also worked on parts of Gustav Mahler’s unfinished 10^th Symphony but dropped the project as he felt that most of it was too under-developed.  In 1925 Krenek traveled to Paris where he met the composers of Les Six; under their influence he decided that his music should be more accessible and wrote a “jazz-opera” Jonny spielt auf(Jonny Plays), which became very popular.  Krenek followed with three more one-act operas, one of them, Der Diktator, based on the life of Mussolini. 

August 12, 2019.  From the 17^th century to the 20^th.  This week we’ll commemorate three 17^th century composers, Biber, Porpora and Greene, but will skip the ones born in the 18^th (Salieri), 19^th (Godard and Pierne) and the 20^th (Ibert and Foss) centuries.  Heinrich Ignaz Biber is the oldest of the three, he was born on August 12^th of 1644, 375 years ago.  On the musical timeline this places Biber between Dietrich Buxtehude and Johann Pachelbel (or, going outside of Germany, between Jean-Baptiste Lully and Arcangelo Corelli).  Germany wasn’t as musically developed as, for example, Italy, so the period during which Biber was active (he died on May 3^rd of 1704) may be considered Early to Middle Baroque.  Biber was a violin virtuoso (you can read more about Biber here), and his main opus was The Rosary Sonatas, a set of 15 sonatas for violin and continuo, which are usually played on a harpsichord or an organ; (sometimes the violin is accompanied by a small string ensemble).  The final piece of the cycle, Passacaglia, is for the violin solo.  The sonata cycle is also known as Mystery Sonatas – we don’t know the real name of it, as the title page of the only manuscript copy, kept in the Bavarian State Library, has been lost.  The Rosary Sonatas were completed somewhere around 1676 but were first published only in 1905.  The sonatas are organized into three cycles, following the standard Catholic “15 Mysteries of the Rosary”: five Joyful Mysteries, five Sorrowful Mysteries and five Glorious Mysteries.  In the manuscript, each sonata is preceded by the appropriate engraving.  The first cycle (The Joyful Mysteries) starts with the Annunciation (Sonata 1), following by the Visitation, the Nativity, the Presentation of the Infant Jesus in the Temple and ends with The Finding in the Temple (“After three days they found him in the temple”).  Here’s Sonata 2, The Visitation, performed by the ensemble Musica Antiqua Koln under the direction of Renhard Goebel.

August 5, 2019.  More on the Music in Ferrara.  Today we’ll continue exploring the music at the court of the dukes of Ferrara at the end of the 16^th century and its famous ensemble, Concerto delle donne.  Last week we mentioned the name of Laura Peverara, the lead singer, and said that it doesn’t tell us much.  Turns out that with very little effort one can find a lot about this fascinating musician.  Laura Peverara (her last name is sometimes spelled “Peperara”) was born in Mantua in the summer of 1563.  Her mother, Margherita Costanzi, was a lady-in-waiting to Margherita Paleologa, the wife of Federico II, Duke of Mantua.  Her father, Vincenzo Peveraro, was a scholar at the service of the Gonzaga family.  Laura received a good education in Latin and music, probably studying with the children of Duke Guglielmo Gonzaga, a big patron of arts and composer himself.   Giaches de Wert was then the maestro di cappella in Mantua, so it’s likely that he heard the young Laura singing and maybe even taught her.  Laura was also known as an exceptional harp player.  It’s clear that by 1580 Peverara was already famous: the poet Muzio Manfredi dedicated a sonnet to her.  Later that year a remarkable collection of sonnets and madrigals was dedicated to her; among the composers who wrote the music for this collection were such luminaries as Orlando di Lasso, Luca Marenzio, Claudio Merulo and  Giovanni Gabrieli (in one of the sonnets Laura is praised as “the second, after Virgil, most famous citizen of Mantua”).  Alfonoso II, Duke of Ferrara, visited Mantua in 1580 and, taken by Laura’s beauty and singing, asked his wife (!), Margherita Gonzaga to write to her father, Guglielmo Gonzaga, Duke of Mantua, asking for his permission to hire Laura Peverara.  The permission was given, and Laura, accompanied by her father, moved to Ferrara, to the consternation of the ladies of the court.  In Ferrara, she found success immediately: Giovanni Battista Guarini, a poet and father of Anna Guarini, who would later join Peverara in Concerto delle donne, wrote a sonnet in which he praised her singing.  Duke Alfonso had wanted to have an ensemble of female singers since he heard Tarquinia Molza, the famous singer and composer, in Modena in 1568.