#austrian composer

[lesser-known-composers]

Irrisistible..

Franz Schubert (1797-1828) - Ständchen

Peter Schreier & Piano: Rudolf Buchbinder

[th3-0bjectivist]

Dear listener, this will be my final musical entry for 24’ and for several months, and we’re gonna end it with Wolfgang Amadeus Mozart, one of the elite few great classical composers of all time. I feel like these days, classical music has been somewhat devalued and relegated to running in the background of ultra-absorbent paper towel commercials. This is a damn shame, because classical music changed music on planet Earth forever, and composers like Mozart once represented bleeding-edge innovation in the realm of music. For his time, Mozart wrote music in every available and accessible genre and excelled at each of them as well. Much like classical music in a broad sense, WAM attempted to create works that were universal in application. Much like me, the man genuinely enjoyed pleasing every segment of his wide-ranging audience with his personal versatility. Is it any wonder that you’re familiar with WAM’s name and works even though you weren’t even living during his era? So, how do men like this become immortalized? Join me below for an answer from some guy on the internet. Just above is The Requiem in D minor, K. 626, a piece Mozart didn’t even finish before he died. It is haunting, beautiful and really exemplifies WAM’s range. Thank you, all my dear listeners on Tumblr, for celebrating another year of music with me. I’ll be doing more of the same next year as well, but without further ado… the WAM you’ve been waiting for.

Dying young at 35 but filling his entire short life with his own firebrand of musical creativity, WAM started his career at an extremely fresh-faced 5 years old when he wrote his first keyboard composition. He wrote his first SYMPHONY when he was an 8-year-old… and I don’t know if anyone is aware of this but, that kind of natural compositional talent doesn’t exactly grow on trees these days, or even hundreds of years in the past. Like many other classical artists, WAM was brought up in the Church, specifically in the Catholic faith. He is well known for composing ‘divinely inspired works’, specifically designed for Mass between Epistle and Gospel. Performing for imperial courts as a mere child and then going on to create 600 + total musical works in his lifetime, WAM wasn’t just some musician from Austria; he was a Bonafide genius. He could speak over a dozen languages, was awarded the Order of the Golden Spur by Pope Clement XIV and was perhaps one of the most notable and famous Freemasons of all-time. WAM even went as far as producing openly masonic works like The Magic Flute and Thomas, King of Egypt. Unlike other classical artists (Brahms, Beethoven, Vivaldi), WAM was a family man who cherished his children but left very little to them because of his excessive drinking, extravagant general spending, and personal generosity. His lack of money-management aside, WAM stands tall as one of the most, if not the MOST famous Austrian musician of all time. Fun fact: WAM loved fart and poop jokes. I’m NOT kidding. He went as far as writing scatological music for his recreational and drunk buddies and quipped about his bowel movements to close friends and family members in numerous letters. Why would I mention this, you may ask? Because, for his time, this man was a walking immortal on Earth. Mozart’s shit-based humor humanizes him to me, and I love how this yester century genius thought absolutely anything coming out of the human ass was hilarious. Having been subject to numerous infections and bumps on his skin before his untimely death, WAM died young and under entirely mysterious circumstances which have never been properly identified or explained. Just below, you’ll find The Best of Mozart. Smash play, enjoy, Happy New Year. It was a pleasure, as always, to provide Tumblr with music and information in 24’.

A prodigy, more versatile than his contemporaries, and more influential than the vast, vast majority of any common musician…Mozart is a legend and an inspiration. Is it any wonder that his surname is well-known even to this day… even though he had no grandchildren? Image source: https://www.redbubble.com/i/kids-t-shirt/Wolfgang-Amadeus-Mozart-digital-painting-in-high-resolution-by-hypnotzd/142756337.VXRIW

[schibborasso]

ARNOLD SCHOENBERG photo: crane ralph, 1945

[blissedasanewt]

Mozart's Symphony no. 40 - 1st movement. Written in 1788. 

[thefugitivesaint]

Franz Schubert: Erlkönig

The Schubert Project: http://schubert.oxfordlieder.co.uk Music by Franz Schubert. Poem by Johann Wolfgang von Goethe (see below for translation). Daniel Norm...

“Erlkönig, also called Erl-King or Elf-King, song setting by Franz Schubert, written in 1815 and based on a 1782 poem of the same name by Johann Wolfgang von Goethe. “Erlkönig” is considered by many to be one of the greatest ballads ever penned. The song was written for two performers, a singer and a pianist, and it packs a remarkable amount of tension and drama into a mere four minutes. Its effectiveness is doubly impressive because Schubert was only 18 years old when he composed it. Inspired in part by his friendship with a number of talented singers, Schubert produced some 600 art songs during the course of his brief career (he died at age 31). “Erlkönig” is by far the best known of these. The poem that provides its text, like many of the supernatural tales that dominated literature in the Romantic era, has its roots in a Scandinavian folktale. Goethe’s poem tells the story of a boy riding home on horseback in his father’s arms. He is frightened when he is courted by the Erl-King, a powerful and creepy supernatural being. The boy’s father, however, cannot see or hear the creature and tells the boy that his imagination is playing tricks on him. The boy grows increasingly terrified by what he hears from the Erl-King, but his father tells him that the things he thinks he sees and hears are only the sights and sounds of nature on a dark and stormy night. When the Erl-King eventually seizes the boy, the father spurs on his horse, but when he arrives home his son is dead. Goethe’s poem, which is reproduced below, contains a conversation that includes a father, his child, and the evil Erl-King. Schubert deftly underscores the action described in the poem by carefully crafting music that drops the listener in medias res. He heightens its horror by means of several devices. Although only one singer is involved, Schubert gives each of the song’s four personalities—narrator, father, boy, and Erl-King—a characteristic way of singing. Each time the boy speaks, for example, his growing hysteria is signaled by his rising vocal pitch, whereas the father’s voice is not only lower in pitch but also steady and even. The Erl-King’s voice, by contrast, is initially sweetly beguiling, but, as he loses his patience with the boy, it takes on an angry, menacing edge. The pianist too contributes to the mood. Schubert’s masterful writing gives to the right hand a continuous series of staccato chords that suggest the pounding pace of the horse and lend urgency to the narrative, and to the left he gives a repetitive, quietly sinister little run. The playing of both hands stops completely when the fate of the son is revealed.” (Source)

[lesser-known-composers]

Ignaz Pleyel (1757-1831) - String Quartet in C Minor, B. 341: I. Moderato

Pleyel Quartett Köln

[lesser-known-composers]

Siegmund von Hausegger (1872-1948) - Natursymphonie: II. Langsam und gedehnt ·

WDR Sinfonieorchester Köln · Ari Rasilainen

[lesser-known-composers]

Frederick Block (1899-1945) - String Quartet, Op. 23: I. Allegro ·

ARC Ensemble ·