Departure & Discovery

He was the youngest son of Johann Ambrosius Bach, a town musician, from whom he probably learned the violin and the rudiments of musical theory. When he was ten he was orphaned and went to live with his elder brother Johann Christoph, organist at St. Michael's Church, Ohrdruf, who gave him lessons in keyboard playing. From 1700 to 1702 he attended St. Michael's School in Lí¼neburg, where he sang in the church choir .

After competing unsuccessfully for an organist's post in Sangerhausen in 1702, Bach spent the spring and summer of 1703 as "lackey" and violinist at the court of Weimar and then took up the post of organist at the Neukirche in Arnstadt. In June 1707 he moved to St. Blasius, Mí¼hlhausen, and four months later married his cousin Maria Barbara Bach in nearby Domheim. Bach was appointed organist and chamber musician to the Duke of Saxe-Weimar in 1708, and in the next nine years he became known as a leading organist and composed many of his finest works for the instrument. During this time he fathered seven children, including Wilhelm Friedemann and Carl Philipp Emanuel. When, in 1717, Bach was appointed Kapellmeister at Cöthen.

Bach's new employer, Prince Leopold, was a talented musician who loved and understood the art. In 1720 Maria Barbara died while Bach was visiting Karlsbad with the prince; in December of the following year Bach married Anna Magdalena Wilcke, daughter of a court trumpeter at Weissenfels. A week later Prince Leopold also married, and his bride's lack of interest in the arts led to a decline in the support given to music at the Cöthen court. In 1722 Bach entered his candidature for the prestigious post of "Director musices" at Leipzig and Kantor of the Thomasschule there.

Bach remained as Thomaskantor in Leipzig for the rest of his life, often in conflict with the authorities, but a happy family man and a proud and caring parent. His duties centered on the Sunday and feastday services at the city's two main churches, and during his early years in Leipzig he composed prodigious quantities of church music, including four or five cantata cycles, the Magnificat and the "St. John" and "St. Matthew Passions." He was by this time renowned as a virtuoso organist and in constant demand as a teacher and an expert in organ construction and design. His fame as a composer gradually spread more widely when, from 1726 on-wards, he began to bring out published editions of some of his keyboard and organ music.

From about 1729 Bach's interest in composing church music sharply declined. At the same time he took over the direction of the Collegium Musicum that Telemann had founded in Leipzig in 1702.

Bach's eyesight began to deteriorate during his last year, and in March and April 1750 he was twice operated on by the itinerant English oculist John Taylor. The operations and the treatment that followed them may have hastened Bach's death. He took final communion on July 22 and died six days later.

György Kurtág was born in Lugoj in the Banat region of Romania. In 1946, he began his studies at the Franz Liszt Academy of Music in Budapest, where he met his wife, Márta, and also György Ligeti, who became a close friend. His piano teacher at the academy was Pál Kadosa; he studied composition with Sándor Veress and Ferenc Farkas, chamber music with Leó Weiner, and theory with Lajos Bárdos. He graduated in piano and chamber music in 1951 and received his degree in composition in 1955.

Following the Hungarian uprising in 1956, Kurtág’s time in Paris between 1957 and 1958 was of critical importance for him. Here, he studied with Olivier Messiaen and Darius Milhaud. During this time however, Kurtag was suffering from a severe depression: 'I realized to the point of despair that nothing I had believed to constitute the world was true...'. Kurtág received psychological therapy from Marianne Stein — an encounter that revivified the composer and strongly stimulated his artistic development. During this time he also discovered the works of Anton Webern and the plays of Samuel Beckett. The String Quartet he composed in 1959 after his return to Budapest marks this crucial turning point; he refers to this piece as his Opus 1. He dedicated it to his therapist, Stein.

Between 1960 and 1968, he worked as répétiteur at the National Philharmonia in Budapest. In 1967, he was appointed professor of piano and later also of chamber music at the Franz Liszt Academy, where he taught until 1993.

Kurtág’s international reputation began to take hold with Messages of the Late Miss R.V. Troussova for soprano and chamber ensemble, which had its premiere in Paris in 1981. Since the early 1990s, he has worked abroad with increasing frequency: he was composer in residence at the Berlin Philharmonic (1993—95) and the Vienna Konzerthaus Society (1995). He then lived in the Netherlands (1996—98), again in Berlin (1998—99) and upon invitation by Ensemble InterContemporain, Cité de la Musique and Festival d’Automne, in Paris (1999—2001). György Kurtág and his wife have lived near Bordeaux since 2002.

With the arrival of Benjamin Britten on the international music scene, many felt that English music gained its greatest genius since Purcell. A composer of wide-ranging talents, Britten found in the human voice an especial source of inspiration, an affinity that resulted in a remarkable body of work, ranging from operas like Peter Grimes (1944-1945) and Death in Venice (1973) to song cycles like the Serenade for tenor, horn, and strings (1943) to the massive choral work War Requiem (1961). He also produced much music for orchestra and chamber ensembles, including symphonies, concerti, and chamber and solo works. When Benjamin's musical aptitude became evident, the family engaged composer Frank Bridge to supervise his musical education. Bridge's tutelage was one of the formative and lasting influences on Britten's compositional development; Britten eventually paid tribute to his teacher in his Op. 10, Variations on a Theme by Frank Bridge (1937). Britten's formal training also included studies at the Royal College of Music.

Upon graduation, Britten obtained a position scoring documentaries for the Royal Post Office film unit. He rapidly emerged as the most promising British composer of his generation and entered into collaborative relationships that exerted a profound influence upon his creative life. Among the most important of his professional associates were literary figures like W.H. Auden, and later, E.M. Forster. None, however, played as central a role in Britten's life as the tenor Peter Pears, who was Britten's closest intimate, both personally and professionally, from the late '30s to the composer's death. Pears' voice inspired a number of Britten's vocal cycles and opera roles, and the two often joined forces in song recitals and, from 1948, in the organization and administration of the Aldeburgh Festival.

A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He spent four years in the United States and Canada, his compositional pace barely slackening, as evidenced by the production of works like the Sinfonia da Requiem (1940), the song cycle Seven Sonnets of Michelangelo (1940), and his first effort for the stage, Paul Bunyan (1940-1941). Eventually, the poetry of George Crabbe drew Britten back to England. With a Koussevitzky Commission backing him, the composer wrote the enormously successful opera Peter Grimes (1944-45). Over the next several years,  Britten wrote a dozen more operas, several of which became instant and permanent fixtures of the repertoire. He also continued to produce much vocal, orchestral, and chamber music, including Songs and Proverbs of William Blake (1965), the three Cello Suites (1961-1964) and the Cello Symphony (1963), written for Mstislav Rostropovich, and the Third String Quartet (1975).

Britten suffered a stroke during heart surgery in 1971, which resulted in something of a slowdown in his creative activities. Nonetheless, he continued to compose until his death in 1976, by which time he was recognized as one of the principal musical figures of the twentieth century.

Beethoven studied first with his father, Johann, a singer and instrumentalist in the service of the Elector of Cologne in Bonn.He pursued his studies, first with Haydn and then with Johann Baptist Schenk, Johann Georg Albrechtsberger and  Antonio Salieri. Until 1794 he was supported by the Elector at Bonn, but he soon found patrons among the music-loving Viennese aristocracy. His public debut was in 1795; about the same time his first important publications appeared, three piano trios op.1 and three piano sonatas op.2. As a pianist, it was reported, he had fire, brilliance and fantasy as well as depth of feeling. It is naturally in the piano sonatas, writing for his own instrument, that he is at his most original in this period; the "Pathétique" belongs to 1799, the "Moonlight"  to 1801, and these represent only the most obvious innovations in style and emotional content. These years also saw the composition of his first three piano concertos, his first two symphonies and a set of six string quartets op.18.

Beethoven's middle-period is characterized by its heroic tone, evident in the "Eroica" Symphony (originally dedicated to Napoleon), in Symphony no.5, and in his opera Fidelio. Its unsuccessful at its premiere, Fidelio was twice revised by Beethoven and his librettists and successful in its final version of 1814. In the revision there is more emphasis on the moral force of the story. Coupled with the Pastoral Symphony, Symphonies nos.7 and 8, Piano Concertos nos.4 and 5, and the Violin Concerto, as well as more chamber works and piano sonatas  Beethoven was firmly established as the greatest composer of his time.

The years after 1812 were relatively unproductive. He seems to have been seriously depressed, by his deafness and the resulting isolation, by the failure of his marital hopes and by anxieties over the custodianship of the son of his late brother, which involved him in legal actions. There are seven piano sonatas in this, his "late period," including the turbulent "Hammerklavier" (op.106), and the famous last three: op.110, 111, and 112. Arguably Beethoven's greatest work of this late period is the Choral Symphony, no.9 in D minor, where the extended variation-finale is a setting for soloists and chorus of Schiller's "Ode to Joy". For Beethoven, the act of composition had always been a struggle, as the tortuous scrawls of his sketchbooks show; in these late works the sense of agonizing effort is a part of the music.

The son of a bookseller, he early showed ability as a pianist and an interest in composing as well as literary leanings. In 1821 he went to Leipzig to study law but instead spent his time in musical, social and literary activities. He wrote some piano music and took lessons from Friedrich Wieck. After a spell in Heidelberg, ostensibly studying law but actually music, he persuaded his family that he should give up law in favor of a pianist's career, and in 1830 he went to live with Wieck at Leipzig.

In 1834 Schumann founded a music journal, the "Neue Zeitschrift fí¼r Musik"; he was its editor and leading writer for ten years. He was a brilliant and perceptive critic: his writings embody the most progressive aspects of musical thinking in his time, and he drew attention to many promising young composers. Sometimes he wrote under pseudonyms, Eusebius (representing his lyrical, contemplative side) and Florestan (his fiery, impetuous one); he used these in his music, too. His compositions at this time were mainly for piano: they include variations on the name of one on his lady friends, Abegg (the musical notes A-B-E-G-G), the character-pieces Davidsbí¼ndlertänze ("Dances of the league of David,"), Carnaval, Phantasiestí¼cke, Kreisleriana, and Kinderszenen. Affairs of the heart played a large part in his life. By 1835 he was in love with Wieck's young daughter Clara, but Wieck did his best to separate them. They pledged themselves in 1837 but were much apart and Schumann went through deep depressions. In 1839 they took legal steps to make Wieck's consent unnecessary, and after many further trials they were able to marry in 1840.

In 1841, Schumann turned to orchestral music: he wrote symphonies and a beautiful, poetic piece for piano and orchestra for Clara that he later reworked as the first movement of his Piano Concerto. Then in 1842, when Clara was away on a concert tour, he turned to chamber music, and wrote his three string quartets and three works with piano, of which the Piano Quintet has always been a favorite for the freshness and Romantic warmth of its ideas. In 1843, he turned to choral music, working at a secular oratorio and at setting part of Goethe's "Faust." He also took up a teaching post at the new conservatory in Leipzig of which Mendelssohn was director. But he was an ineffectual teacher; and he had limited success as a conductor too. He and Clara moved to Dresden in 1844, but his deep depressions continued, hampering his creativity. Not until 1847-48 was he again productive, writing his opera Genoveva, chamber music and songs. In 1850 he took up a post in Dí¼sseldorf as town musical director. He was at first happy and prolific, writing the eloquent Cello Concerto and the Rhenish Symphony, but the post worked out badly because of his indifferent conducting. In 1852-53 his health and spirits deteriorated and he realized that he could not continue in his post. In 1854 he began to suffer hallucinations; he attempted suicide and entered an asylum, where he died in 1856, almost certainly of the effects of syphilis, cared for at the end by Clara and the young Brahms.

Carlo Gesualdo was born the second son of the Second Prince of Venosa, probably in the town that bears his family's name. After receiving musical training from Stefano Felis and Giovanni de Macque, Gesualdo's earliest known work appears in 1585, when he was 19. That same year, his elder brother died at 20, making marriage an imperative for the younger Gesualdo. The bride was his first cousin, Maria d'Avalos, at age 25 already twice-widowed. They wed in Naples in 1586, and the following year an heir was born. Gesualdo discovered d'Avalos in an affair with the Duke of Andria. On October 17, 1590, Gesualdo, assisted by three servants, killed them both. The incident attracted public outrage, but there would be no trial, as authorities from both Church and State convened to dispose of the matter. Gesualdo's father died in 1591, and another marriage was arranged to Donna Leonora d'Este, taking place in Ferrara in February, 1594. In Ferrara, Gesualdo came into contact with court composer Luzzascho Luzzaschi and his "secret music," and became a close friend of the poet Torquato Tasso. Upon returning to his estate late in 1596, Gesualdo resolved to travel no more. In 1597, d'Este bore Gesualdo a second son who died in 1600, an event that plunged the Prince into a deep despair. The couple separated in 1608, and in 1610 d'Este began divorce proceedings against Gesualdo, but changed her mind and returned. In 1613, Gesualdo's elder son died, and Gesualdo himself followed on September 8 at age 47.

Gesualdo's six books of Madrigals constitute the main body of his work. Books I and II (1594) are rooted in standard practice, but when compared to contemporary settings of the same poetry, they reveal a stubbornly individual mind at work. Book III (1595) shows a decreased reliance on pre-existing settings, and by Book IV (1596), all the texts used are original.

The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the beginning. He studied the piano from the age of seven and theory and composition from 13, gaining experience as an arranger for his father's light orchestra while absorbing the popular alla zingarese style associated with Hungarian folk music. In 1853, on a tour with the Hungarian violinist Reményi, he met Joseph Joachim and Liszt; Joachim, who became a lifelong friend, encouraged him to meet Schumann. Brahms' artistic kinship with Robert Schumann and his profound romantic passion for Clara Schumann, 14 years his elder, never left him. After a time in Dí¼sseldorf he worked in Detmold, settling in Hamburg in 1859 to direct a women's chorus. Though well known as a pianist he had trouble finding recognition as a composer, largely owing to his outspoken opposition to the aesthetic principles of Liszt and the New German School. He finally won a position of influence in 1863-64, as director of the Vienna Singakademie, concentrating on historical and modern a cappella works. Around this time he met Wagner, but their opposed stances precluded anything like friendship. Besides giving concerts of his own music, he made tours throughout northern and central Europe and began teaching the piano. He settled permanently in Vienna in 1868.

Brahms' urge to hold an official position was again met by a brief conductorship but the practical demands of the job conflicted with his even more intense longing to compose. Both the "German Requiem" and the Variations on the St. Antony Chorale were rapturously acclaimed, bringing international renown and financial security. Honors from home and abroad stimulated a spate of masterpieces, including the First and Second Symphonies, the Violin Concerto, the songs of opp. 69-72 and the C major Trio. In 1881 Hans von Bí¼low became a valued colleague and supporter, "lending" Brahms the fine Meiningen court orchestra to rehearse his new works, notably the Fourth Symphony. At Bad Ischl, his favourite summer resort, he composed a series of important chamber works. By 1890 he had resolved to stop composing but nevertheless produced in 1891-4 some of his best instrumental pieces, inspired by the clarinetist Richard Mí¼hlfeld. Soon after Clara's death in 1896 he died from cancer at the age of 63, and was buried in Vienna.

Mozart was the last of seven children, of whom five did not survive early childhood. By the age of three he was playing the clavichord, and at four he began writing short compositions. Young Wolfgang gave his first public performance at the age of five at Salzburg University, and in January, 1762, he performed on harpsichord for the Elector of Bavaria. There are many astonishing accounts of the young Mozart's precocity and genius. At the age of seven, for instance, he picked up a violin at a musical gathering and sight-read the second part of a work with complete accuracy, despite his never having had a violin lesson.

In the years 1763 - 1766, Mozart, along with his father Leopold, a composer and musician, and sister Nannerl, also a musically talented child, toured London, Paris, and other parts of Europe, giving many successful concerts and performing before royalty. The Mozart family returned to Salzburg in November 1766. The following year young Wolfgang composed his first opera, Apollo et Hyacinthus. Keyboard concertos and other major works were also coming from his pen now.

In 1769, Mozart was appointed Konzertmeister at the Salzburg Court by the Archbishop. Beginning that same year, the Mozarts made three tours of Italy, where the young composer studied Italian opera and produced two successful efforts, Mitridate and Lucio Silla. In 1773, Mozart was back in Austria, where he spent most of the next few years composing. He wrote all his violin concertos between 1774 and 1777, as well as Masses, symphonies, and chamber works.

In 1780, Mozart wrote his opera Idomeneo, which became a sensation in Munich. After a conflict with the Archbishop, Mozart left his Konzertmeister post and settled in Vienna. He received a number of commissions now and took on a well-paying but unimportant Court post. In 1782 Mozart married Constanze Weber and took her to Salzburg the following year to introduce her to his family. 1782 was also the year that saw his opera Die Entfí¼hrung aus dem Serail staged with great success.

In 1784, Mozart joined the Freemasons, apparently embracing the teachings of that group. He would later write music for certain Masonic lodges. In the early- and mid-1780s, Mozart composed many sonatas and quartets, and often appeared as soloist in the fifteen piano concertos he wrote during this period. Many of his commissions were for operas now, and Mozart met them with a string of masterpieces. Le nozze di Figaro came 1786, Don Giovanni in 1787, Cosí¬ fan tutte in 1790 and Die Zauberflöte in 1791. Mozart made a number of trips in his last years, and while his health had been fragile in previous times, he displayed no serious condition or illness until he developed a fever of unknown origin near the end of 1791.

The son of a schoolmaster, Franz Schubert showed an extraordinary childhood aptitude for music, studying the piano, violin, organ, singing and harmony and composition with Antonio Salieri. By 1814 he had produced piano pieces, settings of Schiller and Metastasio, string quartets, his first symphony and a three-act opera. This output continued through 1815 with "Gretchen am Spinnrade" and "Erlkänig" among numerous songs,  two more symphonies, three masses and four stage works.

In 1820-21 aristocratic patronage, further introductions and new friendships augured well. Schubert's admirers issued 20 of his songs by private subscription, and he and Schober collaborated on "Alfonso und Estrella". Though full of outstanding music, it was rejected. Strained friendships, pressing financial need and serious illness - Schubert almost certainly contracted syphilis in late 1822 - made this a dark period, which however encompassed some remarkable creative work: the epic "Wanderer" Fantasy for piano, the passionate, two-movement Eighth Symphony ("Unfinished"), the exquisite "Schöne Mí¼llerin" song cycle, "Die Verschworenen" and the opera "Fierabras". In 1824 he turned to instrumental forms, producing the A minor and D minor ("Death and the Maiden") string quartets and the lyrically expansive Octet for wind and strings; around this time he at least sketched the "Great" C major Symphony. With his reputation in Vienna steadily growing, Schubert now entered a more assured phase. He wrote mature piano sonatas, notably the one in A minor, some magnificent songs and his last, highly characteristic String Quartet, in G. 1827-8 saw not only the production of "Winterreise" and two piano trios but a marked increase in press coverage of his music; and he was elected to the Vienna Gesellschaft der Musikfreunde. At his death, aged 31, he was mourned not only for his achievement but for "still fairer hopes."