Constanze Mozart anniversary & International Women’s Day

Yesterday marked 180 years to the day since the death of Constanze Mozart, neé Weber, later Nissen (5 January 1762 – 6 March 1842). Although eclipsed by her rather more famous first husband, Wolfgang Amadeus, Constanze herself was also an accomplished musician. In fact, one of the ways in which Constanze supported herself and their children financially after Mozart’s death was by organising concerts of his music, in which she also sang.

Gravestone of Constanze Mozart in the
Sebastiansfriedhof, Salzburg – Andreas Praefcke, CC BY 3.0. via Wikimedia Commons.

She was born into the musical Weber family – the composer Carl Maria von Weber was a cousin – as the third of four sisters, all of whom sang. Their father, Fridolin, was also a musician, working as a bass singer, prompter and music copyist.

She first crossed paths with Mozart in Mannheim in 1777, where she grew up and he was on a job-hunting trip. During that time, however, it was her older sister Aloysia with whom the young composer fancied himself in love. This (unrequited) love was accompanied by a great respect for Aloysia’s capabilities as a singer, and resulted in a number of astoundingly ambitious concert arias written by Mozart especially for her, as well as the role of Madame Herz in Der Schauspieldirektor. The most famous of these arias is probably ‘Popoli di Tessalia’, which contains not one but two G6s – which was at the time the highest note ever demanded of a singer (I believe Thomas Ades has gone one further with an A6 in The Tempest!).

Performances and/or recordings of these arias are few and far between, for obvious reasons… I’ve listened to a few: one by the late Edita Gruberova, who recorded a number of arias as part of the Complete Mozart Edition CD series, and another by Natalie Dessay, who has also tackled them all – listen to Dessay’s recording of Mozart’s concert arias on Naxos Music Library (available for current staff and students), or you can find a CD on the shelf in the library at SONGS: DES.

It was Aloysia’s singing career that moved the Weber family to Vienna in 1779, where in 1781, Wolfgang became the family’s lodger. Aloysia had married actor and painter Joseph Lange by this time, and it was Constanze who became the centre of Mozart’s affections.

1782 portrait of Constanze Mozart (1762-1842), wife of Wolfgang Amadeus Mozart, by her brother-in-law Joseph Lange – Public domain, via Wikimedia Commons.

And it was for Constanze that Mozart composed the beautiful soprano solo ‘Et incarnatus est’ in his Great Mass in C minor (K427/417a), a work which sadly remained unfinished (or, at least, has survived incomplete). It was composed during 1782-83 and was premiered in late 1783 in Salzburg, with Constanze singing this solo.

The technical mastery as well as the emotional sensitivity required for this solo suggests that Mozart held his new wife’s musical abilities in very high esteem! Of the recordings I’ve listened to, my favourite so far is Syliva McNair’s performance of Et incarnatus est (available on Naxos Music Library for current TL staff and students).

The eldest Weber sister, Josepha, was no less impressive – for her, Mozart composed the role of the Queen of the Night in Die Zauberflote. I’ve often thought that if I had a TARDIS, I would definitely go back in time to hear various musicians performing in their heyday – the Weber sisters are certainly on my list!

Finally, if you fancy hearing some live opera in an unusual setting, head for St Pancras station tomorrow (Tuesday 8th March) – to celebrate International Women’s Day, the station will become an opera stage for a series of brand new mini-operas written by female composers and librettists, all inspired by real-life anecdotes about travelling by train.

Anniversaries: Franz Strauss & Marian Anderson

This week sees two anniversaries of notable musicians: the 200th anniversary of the birth of Franz Strauss and the 125th anniversity of the birth of Marian Anderson.

Marian Anderson, when she visited Japan in 1953 – Public domain, via Wikimedia Commons.

Franz Joseph Strauss (1822-1905)

Franz Strauss is one of the lesser known of the various Strauss musicians of the 19th and 20th centuries, but was well-known in his lifetime as a virtuoso horn player. Today, he is perhaps better known as the father of composer Richard Strauss.

Although he was proficient in other instruments (in later life, he also played professionally as an orchestral violist after a bout of influenza sadly cut short his horn-playing days) and worked as a conductor and teacher, his primary interest lay in the horn, the instrument for which he wrote a modest number of compositions. He was openly ill-disposed towards Wagner’s music, but such was his talent and reputation as a horn player, rather ironically, he performed the horn solos at the premieres of several of Wagner’s operas!

We have the sheet music for a number of Strauss’ compositions here in the Jerwood Library – take a look at a list of records of Franz Strauss’ music on Jerwood Library Search for details.

Franz Joseph Strauss – Baer0n, CCBY-SA 3.0 via Wikimedia Commons.

Marian Anderson (1897-1993)

Marian Anderson was a renowned American contralto, particularly known for her lengthy recital and concert career in which she sang a wide range of repertoire, but also as the first Black soloist to perform at the Metropolitan Opera in New York, making her debut as Ulrica in Verdi’s Un ballo in maschera in 1955.

Her early career in the U.S. was restricted by racial discrimination, but she met with rapid success while touring Europe in the early 1930s. There she struck up a friendship with Finnish composer Jean Sibelius, who was so moved by her performances, he composed and arranged a number of songs especially for her.

Returning to the U.S.A. later in the 1930s, she continued a successful concert career, although not without difficulties caused by continuing racial prejudices. However, she was not without support: when she was denied the opportunity to perform a concert at Constitution Hall in Washington, D.C. on racial grounds in 1939, none other than First Lady Eleanor Roosevelt, among others, not only protested this treatment but also instigated the arrangement of an open-air concert on the steps of the Lincoln Memorial, in which Anderson performed to an integrated audience of over 75,000 people.

Contralto Marian Anderson (1920) – Public domain, via Wikimedia Commons.

The Jerwood Library provides access to thousands of audio recordings online – I’ve put together a Naxos Music Library playlist of some of Marian Anderson’s performances (accessible to current TL students and staff).

And for something completely different, check out Anderson narrating and singing Snoopycat: The Adventures of Marian Anderson’s Cat Snoopy, written and produced by Frida Sarsen Bucky (1963) – apparently Anderson was very much a cat person!

New Beethoven recordings by Martino Tirimo

Martino Tirimo at King’s Place, 2009. Photo: Francesco Tirimo

Trinity Laban is very lucky to have on its staff internationally renowned pianist and musician Martino Tirimo. His contribution to Beethoven’s 250th Anniversary has been to record the Master’s entire works for piano, adding to his extensive discography which includes Mozart’s complete piano works, Schubert’s 21 sonatas, all Debussy and Janacek works and numerous others.

With the BBC Philharmonic under Yan Pascal Tortelier for BBC TV at Coventry Cathedral, 1995

Tirimo gave his first concert aged six, and when twelve conducted La Traviata with soloists from La Scala in Milan (see photo)

A twelve year old Martino take a bow after a conducting a performance of La Traviata with Elisabetta Soncini. Photo: Cyprus Photographic News

After studying in London and Vienna, an international career blossomed appearing with many of the great orchestras like the Vienna Philharmonic, London Symphony, Cleveland Orchestra and numerous others under Barbirolli, Boult, Masur, Rattle to name a few, as well as conducting both from podium and piano with the Dresden Philharmonic, Prague Chamber Orchestra, English Chamber Orchestra, Academy of St. Martin in the Fields and others; combined with recording, chamber music (including his own acclaimed Rosamunde Trio), teaching, masterclasses etc. His countless series devoted to Beethoven’s 32 Sonatas, all of Schubert’s Sonatas and major works, the complete Chopin and Schumann works, all Mozart and Beethoven Concertos and many others, were a distinct feature of his remarkable career.

Tirimo with Sir Michael Tippett prepare for performances and recording of the composer’s Piano Concerto

The critical reception of his new recordings has been exceptional: just this week The Spectator’s Damian Thompson had this to say in his survey of complete Beethoven recordings, which included those of Schnabel, Backhaus, Kempff, Brendel and many others: “But one new cycle sweeps all [the other recordings] before it, If Tirimo were a lesser pianist, then the selling point of his 16-CD set would be its completeness. But here is a Waldstein, an Appassionata, a Hammerklavier and a final trilogy that match or surpass any recent competitors. I compared Richard Goode and Martino Tirimo in the finale of Op. 109. Goode invites us to marvel at the kaleidoscopic colours of his pianism, and we do. Tirimo reveals the profound logic of the movement’s variations without giving in to the temptation to stop and sniff the roses. It’s decades since a pianist has managed to convey such an overwhelming sense that we’re listening to pure Beethoven. And there are 20 hours of it — surely the greatest recorded achievement of this anniversary year.” (my emphasis)

This review in Gramophone by Jed Distler: “Tirimo almost always propels the music forwards by virtue of a sense of rhythm that is solidly centred yet never rigid, helped by an appealing tendency to heighten up beats at certain junctures. A striking and perhaps extreme example of what I mean can be found in Op 27 No 1’s second movement. Here Tirimo’s conception of Allegro molto e vivace offers a pianistic parallel to Otto Klemperer.” Distler added that “The profoundest sonata slow movements may reach their emotional boiling temperature in the manner of Arrau, yet Tirimo’s long-lined concentration and sense of proportion are gripping on their own terms” and concluded that this is “a major recorded achievement.”

Artamag [in France] described the recordings as “an overwhelming lyric journey which crowns a unique complete set”, and American Record Guide as “an incredible achievement”. Fanfare [USA] published a six-page review full of superlatives: “supreme, majestic, exquisite, sublime”, “Tirimo reveals his greatness” and summarized “You may think that you know Beethoven; Tirimo, in what is surely his magnum opus, will persuade you otherwise.”

Open Quicksearch and type tirimo and beethoven and you’ll be taken to Tirimo’s brand new recordings of Beethoven’s entire piano works: listen for yourself and see if the critics are right!

For more information on his many and various activities, and further reviews visit Martino’s website: martinotirimo.com

Carrying the Olympic torch for the 2004 Athens Olympics, Kourion Stadium, Cyprus

All photographs copyright Martino Tirimo.