cello

Horatio William Parker (Sept. 15, 1863 - December 18, 1919 )was an American composer, teacher, and organist, who came to be a part of the Second New England School, also commonly known as the Boston Six, along with Amy Beach, George Whitefield Chadwick, Arthur Foote, Edward MacDowell, and John Knowles Paine. Continue reading →

Frank Bridge (Feb. 26, 1879 - Jan. 10, 1941) was an English composer, violist and conductor. Born in Brighton, he attended the Royal College of Music in London from 1899 to 1903, and was active as a violist in several string quartets. He also did a bit of conducting for awhile before devoting himself to composition, with one of his most famous students being Benjamin Britten. Bridge was prolific in his output, but his music is still comparatively little known, and nowhere near as programmed as you'd think. It's especially vexing as what is written about him is glowing; he's nowhere near the household name one would think he'd be. Continue reading →

Paul Lacombe (July 11, 1837 - June 4, 1927) was a French composer and pianist. He was born in to a wealthy family, and his first music lessons were with his mother, on piano. Later on his studied harmony and counterpoint with Francois Teysseyre, who graduated from the Conservatoire de Paris. Lacombe was a great admirer of George Bizet, and began a correspondence with him, asking for compositional advice, which Bizet gave, from 1866 to 1868. They would eventually become good friends, and Bizet promoted much of Lacombe's works. Lacombe music sadly never gained widespread popularity, as he was unwilling to leave his hometown of Carcassonne for Paris. Continue reading →

Norwegian composer Edvard Grieg is known to musicians and audiences around the world for famous works in the repertoire like the Piano Concerto, Peer Gynt, and many others. Today, however, we go into his lesser known catalog of works (many of which never had opus numbers assigned) and look at his Intermezzo for Cello & Piano, EG115. Continue reading →

A few weeks ago, we looked at solo piano music by Joachim Raff, his Metamorphosen, this week we revisit the prolific output by Raff. The self-taught composer wrote much chamber music, including the delightful late Piano Trio No. 4, Op. 158. Continue reading →

Female composers have historically struggled for recognition in a field dominated by men, even in the modern world. Looking back into the 19th and early 20th centuries, we see even more of a struggle. Such was the case of Dame Ethel Smyth, an English composer who was active as a composer primarily in the late 19th century, with a limited composition output in the early 20th century as she slowly lost her hearing. Today we look at her Cello Sonata in A minor, Op. 5, composed in 1887. Continue reading →

Known foremost as a pianist in his time, Friedrich Kalkbrenner was also an accomplished composer. Looking through his output, one sees a significant amount of solo piano music, with a few chamber works (and a very limited selection of vocal works). Today we turn to Kalkbrenner's chamber output, with his Septet, Op. 132, also known as the Grand Septet. Continue reading →

While Horatio Parker's influence on the development of an American musical culture is certainly undeniable, few of his works are performed regularly today. An organist and composer, it was his later years as a teacher, then Dean, at Yale University where he influenced a young Charles Ives and Roger Sessions. His Suite for Piano Trio, in A Major, Op. 35, is a rarely performed gem with a lush, romantic sound. Continue reading →

Many talented Russian composers have slid from the memories of the rest of the world over the past century, which leaves us with a lot of gems to discover in their works. Today we look at one of those works that has faded from the repertoire - Sergey Taneyev’s String Quartet No. 5, Op. 13. Taneyev was a composition student of Tchaikovsky’s at the Moscow Conservatory, as well as a piano student of Edward Langer, who created virtuosic arrangements of many of Tchaikovsky’s works for multiple piano players. While Taneyev came from an era of Russian nationalism in music, he rejected this emotional and, at times, bombastic style for a more technical language more in line with European composers of the time. His music shows the influence he had on future generations of Russians, including students Rachamaninoff and Scriabin. Continue reading →