Chances are you’ve never heard the name Kalinnikov. Tchaikovsky, Rachmaninoff, Stravinsky, Rimsky-Korsakov…of course. But Kalinnikov’s name should be among these other Russian giants. It is estimated that had he lived longer, he most certainly would have had a very successful career and, as a result, would be more well-known internationally today. Unfortunately, he died at a very young age from tuberculosis and we’ll never know what amazing music could have been. Still, he left the classical music world with some beautiful melodic pieces, including two symphonies with obvious Russian character and several piano, vocal, choir, and orchestral pieces.
Kalinnikov was born in 1866 in Voina to a police officer. His father, who played the guitar and sang in the local choir, encouraged him to pursue music. He started violin lessons at an early age. The family moved to Oryol and thanks to his family’s ecclesiastic ties, he attended seminary, becoming the director of the seminary choir at the age of 14.
Though he entered the Moscow Conservatory in 1884, he was forced to quit after a few months due to his inability to pay tuition. However, he did win a scholarship as a bassoon player for the Moscow Philharmonic Music School where he studied bassoon and composition.
Poverty throughout his life caused Kalinnikov to find work as much as he could. He played violin, bassoon, and timpani with theater orchestras. He also worked as a copyist and his teacher, Kruglikov, also provided financial help.
His talent, however, did not go unnoticed. Tchaikovsky recognized his potential and in 1892, recommended him as conductor for the Maly Theater and, later, the Moscow Italian Theater. Unfortunately, his health took a turn for the worse just a year later in 1893 and he had to resign. He had contracted tuberculosis.
Kalinnikov moved to the warmth of South Crimea in search for a cure and it was there that he completed both of his symphonies and a variety of instrumental works. Through his music, he strove to portray rural Russian life and its scenery. He created colorful orchestrations and relied on melodies and rhythm to evoke traditional folk songs. His symphonies, in particular, show influence of the Russian masters like Tchaikovsky and Rimsky-Korsakov, but his Second Symphony also includes sudden and obscure modulations reminiscent of Borodin.
The Symphony No. 1 (written between 1894-1895) was dedicated to Kruglikov, his teacher who also helped him financially. Kruglikov was thoroughly impressed by the score and sent it to leading conductors in Russia. The work was premiered at the Russian Musical Society in Kiev in 1897 to an audience that gave both the second and third movements an encore. If you’re curious why, come hear the Parker Symphony Orchestra perform the second movement in February!
Unfortunately, Kalinnikov would spend his remaining days in Crimea. He received some financial relief from Rachmaninoff who visited and saw his poor living conditions. Rachmaninoff also contacted his publisher who paid for three of Kalinnikov’s songs and offered to publish the Second Symphony. Rachmaninoff also arranged for the publication of the piano arrangement of his First Symphony.
Sadly, Kalinnikov died before he was able to benefit from most of these arrangements, around the time of his 35th birthday. The publisher offered Kalinnikov’s widow an unexpectedly high payment for the remaining manuscripts because the composer’s death multiplied the value of his works by ten.
In Russia, his First Symphony remains in the repertory and his place in Russian musical history is secure. And hopefully with more performances in the US and elsewhere, his name will become more familiar with music fans worldwide.
If you’re like me, when you heard the name Samuel Coleridge-Taylor, you thought, “Isn’t that the guy who wrote Rime of the Ancient Mariner? The English poet?” Nope, that’s Samuel Taylor Coleridge. However, Coleridge-Taylor’s mother did name him after the famous poet (he was born only 41 years after the poet died).
No, Samuel Coleridge-Taylor was an English composer of numerous works including his most celebrated cantata, Hiawatha’s Wedding Feast, a piano quintet, a symphony, a once missing opera named Thelma, and his festive Christmas Overture which we will be performing in December.
Here are some other interesting facts about this British composer:
1. He earned the nickname the “African Mahler”. Coleridge-Taylor’s mother was English and his father was Dr. Daniel Peter Hughes Taylor, a Creole from Sierra Leone. His father descended from African-American slaves who were freed by the British and evacuated from the colonies at the end of the Revolutionary War.
2. He met President Theodore Roosevelt. On his first tour of the US, the composer was received by President Roosevelt at the White House which was a rare event for anyone of African descent.
3. He died young. Coleridge-Taylor was only 37 when he died from pneumonia. King George V granted his widow an annual pension which was considered evidence that he held the composer in high regard.
4. He wrote a work inspired by his near-namesake. Coleridge-Taylor wrote a piece called The Legend of Kubla Khan after the poem “Kubla Khan, Or, A Vision in a Dream: A Fragment”.
5. He almost didn’t attend college. The Royal College of Music hesitated over Coleridge-Taylor’s race, apparently worried that other students might object. Ultimately, he did admit Samuel at age 15 as a violin student. After 2 years, Samuel swapped violin for composition.
6. He was a pioneer in integrating African music in his music. He sought to do what Brahms had done with Hungarian music and Dvorak with Bohemian music by integrating African and traditions of the African diaspora into his compositions. Examples of this include his Four African Dances, Concert Overture, Toussaint L’Ouverture, and the Symphonic Variations on an African Air.
7. His Christmas Overture appeared posthumously. In 1925, Sydney Baynes arranged the work which features “God Rest Ye Merry Gentlemen”, “Good King Wenceslaus”, and “Hark The Herald Angels Sing” and is thought to have been derived from Coleridge-Taylor’s The Forest of Wild Thyme, a fairy drama for children.
8. Both of his children also had distinguished careers as conductors and composers. His son, Hiawatha, adapted his father’s works. His daughter, Gwendolyn, became a conductor and composer using the professional name Avril Coleridge-Taylor.
If you’ve ever listened to baroque music (think Vivaldi, Corelli, Handel, etc.), you’ve probably seen the term Concerto Grosso and wondered, “What is that?” Well, as you can probably guess, it does not mean the concerto is gross.
Concerto grosso (or the plural concerti grossi) is Italian for “big concerto”. Unlike a solo concerto where a single solo instrument plays the melody line and is accompanied by the orchestra, in a concerto grosso, a small group of soloists passes the melody between themselves and the orchestra or a small ensemble.
The group of soloists (or soli, concertino, or principale) was often made up of two violins, a bass melody instrument such as a cello, and a harmony instrument such as a harpsichord. Wind instruments were also common. The orchestra (or tutti or ripieno) was usually a string orchestra or a small ensemble of strings, often with a few woodwinds or brass added.
Concerti grossi were very common in the Baroque era (1600-1750). Right around 1750 (just after Handel composed his Concerti Grossi, Op. 6 with 12 different concerti), the solo concerto became the more popular musical form and the concerto grosso all but disappeared. Interestingly, a few 20th century composers like Igor Stravinsky, Philip Glass, and Henry Cowell have revived the form.
Listen to Corelli’s Concerto Grosso op. 6 no. 8 below and see if you can spot the concertino vs. the ripieno.
Vltava, better known by its German name, Die Moldau (or The Moldau), is a symphonic poem that is patriotic in every sense of the word. It is one of six movements of a larger work called Má vlast which means “My Homeland” or “My Country”. In it, Czech composer Smetana combined nationalistic melodies with musical depictions of the Bohemian countryside, history, and legends. When performed, you can hear the land come alive as the music paints the scene of a proud and culturally-rich region of Europe.
The Moldau specifically was intended to evoke the sounds of one of Bohemia’s great rivers – the Vltava river. The “Moldau” name comes from the German name for the source of the river in the Bohemian mountains. In Smetana’s own words:
The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe.
The piece begins with the flutes playing a flowing tune reminiscent of two rippling springs. Violin pizzicato evokes raindrops. Soon, clarinets begin to play and continue the theme. Then one of Smetana’s most famous melodies emerges. It is an adaptation of a piece called La Mantovana and is arguably one of the most strikingly beautiful parts of the entire work. In fact, it has inspired other pieces, most notably the Israeli national anthem, Hatikvah. Later on, a horn melody representing jubilant hunters and a polka rhythm that depicts a wedding scene can be heard before the famous melody returns. The piece ends with a regal hymn that fades away until the final two loud notes.
The Moldau was written in the 1870’s, a time when Bohemians had a renewed interest in freedom from German culture. They embraced it and the rest of Má vlast as a sort of patriotic symphonic national anthem. Research suggests this was Smetana’s intent as well. Today, it has achieved the most success of all of the six movements.
Impressionism is a term most familiar to fans of late 19th century painters such as Monet, Renoir, Cézanne, and Degas among other notable names. In fact, the term derives from Monet’s Impression, Sunrise. In general, impressionist painters focused on using visual brush strokes to paint overall visual effects and capture light and its changing qualities rather than focusing on details. They also tended to paint en plein air rather than in the studio.
Impressionist paintings depict experiences, moods, and movement. Similarly, Impressionist music also conveys moods, scenes, and emotions rather than detailed stories. This style of classical music was written around the same time (late 19th century) and uses “color” or timbre through different textures, harmonics, and orchestrations to arouse feelings and create atmosphere.
Notable Impressionist composers include:
Ralph Vaughan Williams
Interestingly, while he is often referred to as Impressionist, Debussy rejected the label. Even Ravel was uncomfortable with the name saying it could not be accurately applied to music.
Impressionist music often has an evocative title. For example, Debussy’s Clair de lune or “Moonlight”. While it is actually the third movement of a larger work known as Suite bergamasque, the piece is more famous on its own performed in its original form by solo piano or adapted for orchestra. And when you hear its lush melodies and dramatic ebbs and flows, it’s not hard to see why it is a great example of French Impressionism in music.
Other Impressionist music titles include Debussy’s La Mer and Prelude to the Afternoon of a Faun, Sibelius’ The Swan of Tuonela, and Ravel’s Daphnis et Chloé.
Depending on the instrument you play or your passion for classical music, you may have heard the works of one or a few female composers. Pianists, for example, may know of or even have played Clara Schumann. However, the vast majority of the world has never heard of the likes of Amy Beach, Fanny Mendelssohn, or Florence Price, and that is quite unfortunate.
Women have actually made significant contributions to the classical music world. However, they remain on unequal footing with their male counterparts. So for International Women’s Day, here’s a look at some notable and some forgotten women composers throughout history.
Clara Schumann (1819-1896): Clara Schumann was not only the wife of composer Robert Schumann, but also one of the most distinguished pianists of the Romantic era. Her career began at a young age. At age 11, she went on a concert tour of various European cities and gave her first solo concert in Leipzig. Later, during her marriage to Robert, she met Johannes Brahms and not only helped encourage his career, but also was the first to perform publicly any Brahms work. She premiered several of his works during her career including the Variations and Fugue on a Theme by Handel.
She also began composing at a young age. In fact, she wrote her piano concerto when she was just fourteen and performed it at age sixteen (with Mendelssohn conducting). As she grew older and focused on other responsibilities, she found it difficult to find time to compose. Her output decreased greatly when she reached 36 years old. Her works include piano pieces, the aforementioned piano concerto, a piano trio, choral pieces, songs, and three Romances for violin and piano.
Fanny Mendelssohn (1805-1847): Like Clara Schumann, Fanny Mendelssohn was a pianist and composer. She was Felix Mendelssohn’s sister and the pair shared a deep love of music. Felix arranged to have some of Fanny’s songs published under his name, due to prevailing attitudes toward women publishing music, which actually led to an embarrassing moment. Queen Victoria received Felix at Buckingham Palace and expressed her intention of singing her favorite of his songs. He confessed it was actually by Fanny.
Fanny Mendelssohn was very prolific. She composed over 460 pieces including a piano trio, books of piano solo pieces and songs, and a cycle of pieces depicting the months of the year titled Das Jahr. This last work was written on colored sheets of paper with illustrations by her husband, Wilhelm.
Fanny passed away after suffering a stroke while rehearsing one of her brother Felix’s oratorios. Felix completed his String Quartet No. 6 in F minor in memory of her.
Louise Farrenc (1804-1875): Louise Farrenc is undoubtedly France’s first female composer. Born into a family of sculptors, she showed early talent in music and studied under such masters as Ignaz Moscheles and Johann Hummel. She married a flute student and together they gave concerts throughout France. The couple opened a publishing house together, Éditions Farrenc, which became one of France’s leading music publishers for 40 years.
Like other female composers around her time, she was a pianist from a young age and wrote many works for the instrument. However, while she wrote exclusively for piano until 1830, she expanded her range and wrote works for orchestra starting in 1834. She wrote 3 symphonies, a wind sextet, vocal works, choral works, and chamber music in addition to music for piano. Unlike Schumann and Mendelssohn, Farrenc’s works remained largely forgotten until the late 20th century during a surge in interest in women composers. In December 2013, Farrenc was the subject of the BBC Radio Three “Composer of the Week” program.
Rachel Portman (1960-present): Rachel Portman is best known as a composer of film scores and, unlike our previous composers, is still writing today. She was born in Surrey, England and became interested in music at a young age. She started composing at the age of 14 and subsequently studied music at Worcester College, Oxford. During her time in school, she started experimenting with writing music for student films and theater productions. After that, she wrote music for drama in BBC and Channel 4 films.
Since then, she has written over 100 scores for film, TV, and theater including The Legend of Bagger Vance, Mona Lisa Smile, Emma, Benny and Joon, The Lake House, Oliver Twist, and The Duchess. Her most famous soundtrack compositions are for the movies Chocolat and The Cider House Rules which was used in the Pure Michigan commercials.
Rachel Portman was the first female composer to win an Academy Award for Best Musical or Comedy Score. She won for Emma in 1996. She has also won a Primetime Emmy Award for her work on Bessie.
Florence Price (1960-present): Florence Price was not only a female composer, but also the first African American woman to be recognized as a symphonic composer and the first to have a composition played by a major orchestra. Born in Little Rock, Arkansas, her mother was a music teacher who guided her early musical training. She had her first piano performance at the age of four and published her first composition at the age of 11. After graduating high school at 14, she enrolled in the New England Conservatory of Music. She graduated with honors in 1906.
After college, she moved back to Little Rock and was married. They moved to Chicago after a series of racial incidents. It was in Chicago where Florence entered her most fulfilling period of composition. She studied composition, orchestration, and organ with leading teachers and published four pieces for piano. Unfortunately, financial struggles led to a divorce and Florence became a single mother. To pay the bills, she worked as an organist for silent films and composed songs for radio ads (under a pen name). She submitted compositions for Wanamaker Foundation Awards and won first prize with her Symphony in E minor. The Chicago Symphony Orchestra premiered the symphony in 1933, making it the first composition by an African-American woman to be played by a major orchestra.
Florence Price’s music incorporates elements of African-American spirituals, Southern themes, and inspiration from blues, African-American church music, and modern urban sounds.
Amy Beach (1867-1944): Amy Beach was also a pianist as well as a composer. She is considered the first successful American female composer of art music. She was born a prodigy, able to sing 40 songs accurately by age one. She learned to sing counter-melody to her mother’s singing at age 2 and by age 3, she was reading. She composed simple waltzes at age 5. At age 14, Amy received a year of formal training in composition.
Her performance debut was when she was 16. She played until she was married at which time she agreed to limit her performance to two public recitals per year. She devoted herself to composition. However, her husband disapproved of her studying composition with a teacher. So other than her one year of formal training at 14, she was a self-taught composer. She collected every book she could find on theory, composition, and orchestration.
Her first success as a composer came with the performance of her Mass in E-flat major by the Handel and Haydn Society orchestra. It was the first piece the group performed composed by a woman. After that, she wrote many other works including her Piano Concerto, which she premiered as soloist with the Boston Symphony, and the Gaelic Symphony. Her compositions include symphonic works, choral works, chamber music, solo piano music, and songs (of which she wrote about 150).
Cécile Chaminade (1857-1944): Cécile Chaminade was a female composer in France whose music was largely financially successful. Born in Paris, she studied music with her mother at first and then piano, violin, and music composition later with other notable names. She began composing at a young age and when she was eight years old, she played some of her music for Georges Bizet who was impressed.
Cécile wrote character pieces for piano and salon songs – all of which were published. Many of her piano compositions received good reviews from critics and were favorites in Europe and America. In fact, when she traveled to the United States in 1908, she discovered that her Scarf Dance and the Ballet No. 1 were in the music libraries of many piano music lovers. Other notable compositions include her Concertstück in C sharp minor for piano and orchestra, ballet music for Callirhoë, and her Flute Concertino in D major. The latter remains one of the most popular of her works performed today.
In 1913, she was awarded the Légion d’Honneur, a first for a female composer.
We realize there are many other women we could list here. Follow the links below for more information on these and other women composers.
When it comes to classical music, William Grant Still isn’t exactly a household name and that’s quite unfortunate because his music is truly captivating. I vividly remember the first time I heard his works. I had turned on CPR Classical one night a few years ago so my oldest daughter and I could play and listen to some good music.
Although I intended it to be in the background, I found myself really listening and wondering who wrote this amazing stuff. I could place the era – 20th century with some interesting jazz rhythms and influences – but I just couldn’t put my finger on the composer.
One check of the CPR site gave me the answer – Still.
And after further reading, I discovered there is much more to William Grant Still. He is much more than just a 20th century composer. He is also a man of many firsts who broke barriers.
He was the first African American to conduct a major American orchestra – the Los Angeles Philharmonic in 1936.
He conducted the New Orleans Philharmonic Orchestra in 1955 becoming the first African American to conduct a major orchestra in the deep south.
His Symphony No. 1 “Afro-American” was the first symphony written by an African American for a leading US orchestra. It was first performed by the Rochester Philharmonic in 1931. Hear the PSO perform it in February.
His opera Troubled Island was the first by an African American that was performed by a major company – the New York City Opera
He was the first African American to have an opera performed on national US Television. His A Bayou Legend premiered on PBS in 1981.
Still was prolific, writing 8 operas and numerous symphonies and ballets. He worked as an arranger for W.C. Handy’s band and later as an arranger of music for radio and film including movies like Pennies from Heaven and Lost Horizon. When looking at his body of work, it’s not hard to see how he earned the nickname “Dean of Afro-American Composers”.
Despite the fact that he is not as well known as say Beethoven, his works live on in performances by everyone from the Berlin Philharmonic Orchestra to the Tokyo Philharmonic Orchestra. The Parker Symphony Orchestra will be performing his 1st Symphony on February 25. Purchase tickets here.
Finlandia, one of Sibelius’ most famous compositions, is often referred to as a tone poem. A tone poem is a piece of orchestral music with only one movement that evokes a poem, story, painting, or other non-musical source. In the case of Finlandia, it was one of seven pieces that served as an accompaniment to a tableau that depicted episodes from Finnish history. It premiered July 2, 1900 in Helsinki.
But it was much more than just a historical tribute. It was secretly a protest against censorship from the Russian Empire. Prior to 1917, the Grand Duchy of Finland belonged to the Russian Empire. Most of the piece features rousing music that is meant to evoke the national struggle of the Finnish people. After that, a serene melody can be heard. Named the Finlandia Hymn, this section is Sibelius’ own creation that was arranged later for solo performance. The hymn has become one of Finland’s most important national songs with words written for is in 1941.
To avoid Russian censorship while protesting it, Finlandia was performed under alternative names. Some of these include Happy Feelings at the awakening of Finnish Spring and A Scandinavian Choral March.
Finlandia can be heard prominently in the film score for Die Hard 2: Die Harder.
Everyone from seasoned performers to those just discovering classical music has had questions about how works get their titles. Did composers like Beethoven nickname their own symphonies? What is an opus number? Why do Mozart pieces have a “K” listed at the end of the title? Why is it confusing to say you love “the Minuet” or “the Adagio”?
Today, we’re going to try to answer some of these questions by explaining classical music naming conventions.
Symphony, sonata, piano quintet, concerto – these are all composition types. Classical music composers wrote works in many of these forms and often the same composer wrote multiple pieces in the same type. This is why saying you enjoy listening to “the Serenade” or “the Concerto” or “the Mazurka” is confusing. Even using the composer name often does not narrow down which piece you are referring to. For example, it is not enough to say “Beethoven Symphony”. He wrote 9 of them!
Compositions often have a generic name that can describe the work’s composition type, key signature, featured instruments, etc. This could be something as simple as Symphony No. 2 (meaning the 2nd symphony written by that composer), Minuet in G major (minuet being a type of dance), or Concerto for Two Cellos (an orchestral work featuring two cellos as soloists). The problem with referring to a piece by the generic name, even along with the composer, is that, again, that may not enough to identify the exact work. While Symphony No. 2 by Mahler is sufficient since it is his only 2nd symphony, Minuet by Bach is not since he wrote many minuets over his lifetime.
Non-generic names, or classical music nicknames and sub-titles, are often more well-known than generic names. They can even be so famous that the composer name is not necessary to clarify which piece you are referring to. Eine Kleine Nachtmusik, the Trout Quintet, and the Surprise Symphony are all examples of non-generic names.
Who gave classical music works their non-generic names? Sometimes the composer added a subsidiary name to a work. These are called sub-titles and are considered part of the work’s formal title. The sub-title for Tchaikovsky’s Symphony No. 6 in B minor is “Pathetique”.
A nickname, on the other hand, is not part of the official title and was not assigned by the composer. It is a name that has become associated with a work. For example, Bach’s “Six Concerts à plusieurs instruments” are commonly known as the Brandenburg Concertos because they were presented as a gift to the Margrave of Brandenburg. The name was given by Bach’s biographer, Philipp Spitta, and it stuck. Mozart’s Symphony No. 41 earned the nickname Jupiter most likely because of its exuberant energy and grand scale. Schubert’s Symphony No. 8 is known as the Unfinished Symphony because he died and left it with only 2 complete movements.
In many cases, referring to a work by its non-generic name, especially with the composer name, is enough to identify a piece. Most classical music fans know which work you are referring to when you say “Beethoven’s Eroica Symphony”.
Some classical compositions do not have a generic name, but rather a non-numeric title. These are formal titles given by the composer that do not follow a sequential numeric naming convention. Works that fall into this category include the Symphony Fantastique by Berlioz, Handel’s Messiah, and Also Sprach Zarathustra by Richard Strauss.
Opus numbers, abbreviated op., are used to distinguish compositions with similar titles and indicate the chronological order of production. Some composers assigned numbers to their own works, but many were inconsistent in their methods. As a result, some composers’ works are referred to with a catalogue number assigned by musicologists. The various catalogue-number systems commonly used include Köchel-Verzeichnis for Mozart (K) and Bach-Werke-Verzeichnis (BWV).
Other Famous Examples Of Classical Music Nicknames and Sub-Titles
Beethoven’s Symphony No. 6 in F major, Op. 68 – sub-titled the Pastoral Symphony: While many of Beethoven’s works have nicknames, “Pastoral” is the only name intentionally given by the composer. In fact, the full title was “Pastoral Symphony, or Recollections of Country Life.”
Haydn’s Symphony No. 94 in G major (H. 1/94) – nicknamed the Surprise Symphony: Named because of the sudden fortissimo chord at the end of the opening theme of the second movement. The movement is otherwise played very quietly (or piano).
Saint-Saens’ Symphony No. 3 in C minor, Op. 78 – nicknamed the Organ Symphony: This is not truly a symphony for organ. However, two sections out of the four use the pipe organ prominently.
Schubert’s Piano Quintet in A major, D. 667 – nicknamed the Trout Quintet: The name did not originate with Schubert. It is known by the more popular name because the fourth movement is a set of variations on Schubert’s Lied “Die Forelle” (The Trout) – a German poem sung to music.
Chopin’s Étude Op. 10, No. 5 – nicknamed the Black Keys Etude: This study for solo piano earned its name because of the right hand triplet figure that is played exclusively on the black keys.
Dvorak’s Symphony No. 9 in E Minor, Op. 95: From the New World – nicknamed the New World Symphony: The New World Symphony is a nickname although Dvorak did include the “New world” in the title. It was written during the composer’s time in New York City and purportedly incorporates his reflections on living in America.
Mozart’s Serenade No. 13 for strings in G major, K. 525 – nicknamed Eine kleine Nachtmusik: The popular title, literally “a little night music” in German, comes from an entry Mozart made in his personal catalog that began, “Eine kleine Nacht-Musik”. In this case, Mozart was most likely not giving the piece a special name, but rather entering in his records that he had written a little serenade.