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► Heinrich Schütz, passed away in Dresden on November 6, 1672
Born in Köstritz (Thuringia) in 1585, Schütz is esteemed as Germany’s most significant composer preceding Johann Sebastian Bach, even the foremost musical personality of his era, rivaled only by Monteverdi. The prodigious talent of this innkeeper’s offspring was nurtured by Landgrave Maurice of Hesse-Cassel, who facilitated his entry into the court’s academy. Between 1609 and 1612, Schütz pursued his studies in Venice under the tutelage of Giovanni Gabrielli. He returned to the Venetian Republic two decades later, possibly seeking guidance from Monteverdi. A devout Lutheran and organist, he served as choirmaster in Dresden for a considerable portion of his life, his tenure occasionally disrupted by the ravages of the Thirty Years’ War, which led him to Copenhagen. Deeply influenced by Italy’s rich polychoral style, he later embraced a more austere aesthetic reflecting his profound faith.
→ A JOURNEY THROUGH MUSICAL HISTORY. Christmas music: the divine child’s birth
From his extensive output – sadly, none of his organ compositions survive, despite their significant impact on Northern Germany – his sacred vocal music remains preeminent: Sacred Candles, three passions (according to Matthew, Luke and John), a requiem (Musical exequies), and oratorios (Christmas history, The seven words of Jesus Christ on the cross).
► André Cardinal Destouches, entered the world in Paris on April 6, 1672
Before dedicating himself to music, Destouches led a remarkably adventurous life. A Jesuit student, he embarked on a missionary voyage to Siam, but upon his return, opted for a military career! Captivated by martial music, he subsequently redirected his path, becoming a pupil of André Campra. His exceptional interpersonal skills secured him prestigious positions as superintendent (1718) and later, director (1726) of music for the King’s Chamber. A significant contributor to the Royal Academy of Music, he even briefly held its administrative reins.
→ A DISCOVERY FOR MUSIC ENTHUSIASTS. The treasures of the Praga label
In 1697, the triumphant success of his heroic pastoral Issé with Louis XIV and the Parisian populace launched his operatic career, which continued with Omphale, The Carnival of Madness, and Callirohé, captivating audiences at the Royal Palace. A resident of the Saint Roch Church district, he was laid to rest there in February 1749. Long undervalued and deemed an amateur, he is now celebrated for his innovative use of dissonances and expressive melodic lines that enliven his lyrical pronouncements.
► César Franck, came into being in Liège on December 10, 1822
Franck was a leading figure in French musical life: a virtuoso pianist and organist (holding the organ post at Sainte-Clotilde in Paris from 1859), a professor at the Conservatory (from 1871, mentoring figures like Vincent d’Indy, Ernest Chausson, and Augusta Holmes), and president of the National Music Society in 1886…
His early career in Paris proved challenging, hindered by his father’s demanding expectations and his status as a foreigner. However, Franck benefited from the patronage of Franz Liszt, whose ardent devotee he remained. Like Liszt, a prolific“`html
Sergei Rachmaninov, a pianist and composer by training, launched a stellar career as a virtuoso, captivating audiences across Europe. A hand injury, however, forced him to curtail his performances, reserving them primarily for his own compositions. His Parisian triumphs in 1896 led him to forge a connection with Mikhail and Margarita Morozov, benefactors who championed him through a vibrant personal and artistic journey, spanning Europe and culminating in his return to Russia in 1909.
Alexander Scriabin, a composer of singular vision, stood apart from contemporaries who emphasized nationalistic themes. Instead, he embraced an encompassing symbolism, infused with theosophical mysticism and centered on synesthesia—the blending of sight and sound. He progressively abandoned classical forms; his final piano sonatas (ten in total) transcended conventional movements and melodic structures. His monumental symphonic piece, Poem of Ecstasy (1905-1908), unfolds erratically, building to a frenzied climax. For Scriabin, musical evolution was essentially a spiritual odyssey. He passed away in Moscow in April 1915.
► Ralph Vaughan-Williams, born October 12, 1872 in Down Ampney (Gloucester County)
His father, a cleric, died prematurely, leaving him to be raised by his mother, a member of the Wedgwood lineage and a relative of Charles Darwin. At London’s Royal College of Music, he studied alongside Leopold Stokowski, the future conductor of many of his symphonies, and Gustav Holst. With Holst and Frederick Delius, Vaughan-Williams played a key role in the late 19th-century revival of English music, staunchly embracing British traditions and folklore. He curated The English Hymnal (1906), merging original works with arrangements of well-known songs, and contributed to the publication of Purcell’s music. His Fantasy on a theme of Tallis (1910), performed at Gloucester Cathedral, marked his first major success, followed by the resounding triumph of his choral symphony, A Sea Symphony.
His extensive compositional career (he died in London in August 1958) showcased remarkable versatility encompassing symphonies, choral and religious pieces, stage and film scores, ballets, and operas. His creations consistently reflect his admiration for past masters and a profound connection with the natural world, notably visible in The Lark Ascending (1914), where a solo violin captures the ethereal flight of a bird against an orchestral backdrop.
► Iannis Xenakis, born May 29, 1922 in Brãila, Romania
Born into a Greek community in Romania, Iannis relocated to Greece to pursue scientific studies. Immersed in music from a young age, he explored harmony, counterpoint, and even produced geometric interpretations of Bach’s compositions! Italian and German occupations, his resistance activities, a subsequent civil war, and his communist affiliations disrupted his studies, leaving lasting physical scars.
In September 1947, he moved to France, working as an architect and engineer, collaborating with Le Corbusier on projects such as the Philips Pavilion at the 1958 Brussels World’s Fair. Simultaneously, with the guidance of Olivier Messiaen, he continued developing his innovative musical approach using mathematical and technological methods. Metastasis (1954), a pioneering example of “stochastic” music (incorporating elements of chance), marked a pivotal moment. His ambition to unite visual and auditory arts materialized in 1
The tune Come on Poupoule!, released in 1905, shattered all sales benchmarks for “small-format” sheet music—the budget-friendly precursors to records in popularizing musical hits.
The roaring twenties witnessed a music hall rivalry between Maurice Chevalier (1888-1972) and Mistinguett. Chevalier’s ascendancy began with the triumphs of In life, don’t worry (1921) and particularly Valentine (1925). After his military service concluded in 1916, he embraced his signature stage attire and iconic accessory: the boater hat. His quintessential Parisian charm captivated Hollywood, launching a prolific film career. His wartime conduct sparked controversy; however, he found refuge in the support of Louis Aragon and Elsa Triolet.
