Category: Composers

A Juicy Baroque Murder Mystery

Is there anyone behind me?

Born today, Jean Marie Leclair (also know as the Elder as there were a few other musicians in his family) had a good life as a composer and violinist. He is often considered to have founded the French violin school. He married twice, but his second wife is also rumored to be a suspect in his murder most foul.

After his divorce to his second wife, engraver Louise Roussel, he bought a residence is a seedy part of Paris. Bad idea. Six years later he was found stabbed in the back three times.

Was it his ex-wife, who knew his music as his engraver, and was in financial straits at the time? She was able to sell his house, his stuff, and even publish some of his works. (Um, duh. What, was Jacques Clouseau on the case?)

Others point to his nephew who blamed his uncle for not supporting him enough in his own career. The gardener was also suspected as he was the one who “found” the body.

Nevertheless, it bring a terrible end to an otherwise outstanding musical career any of us would have been happy to have. Enjoy some of Leclair’s fine Baroque music here.

Some other articles about Leclair:

https://en.wikipedia.org/wiki/Jean-Marie_Leclair

Jean – Marie Leclair (1697 – 1764)

Who murdered Jean-Marie Leclair?

 

Joseph Haydn and The Value of the Steady Gig

I remember one of the first things early in my Music History study was the stunning output of Franz Joseph Haydn. Drink this in:

108 symphonies; 68 string quartets; 32 divertimenti for small orchestra; 126 trios for baryton, viola, and cello; 29 trios for piano, violin, and cello; 21 trios for two violins and cello; 47 piano sonatas; about 20 operas; 14 masses; 6 oratorios; and 2 cello concerti. And this is pared down from a larger number! I went through several sources and the number averages around 800 total pieces!

So, how did he write so much? The answer is…he had a gig.

haydn_esterhazy
Haydn directing an opera at the Esterhazy Theatre in 1775.

Franz Joseph Haydn’s life was like many of ours. He started with many musical pursuits, including singing in a choir, then picking up odd music jobs where could find them. He eventually found himself though leading the musical affairs for a large estate of the very rich and powerful Esterhazy famîly.

This steady gig, while sometimes taxing and demeaning, brought something to Haydn’s life that only a few of us get to enjoy. He had time. He was given funds and authority. And he had also deadlines.

Anyone who knows the pressure of putting together a church service or lesson plan every single week, knows how it also spurs creativity. Many times just the act of having to write a new song, arrange a song for your group, or come up with ideas on how to teach a subject can bring new works from your mind that wouldn’t have ever existed otherwise.

He had to write symphonies, and quartets, and operas, and even specialty trios and works when his benefactor took up the baryton (similar to a viol) and wanted music written for it. Kind of like when your pastor who is also a singer wants that perfect song to sing and has you write it. Or an amazing wunderkind on flute wanders into your orchestra. You need music, and if you are a composer, you write for that!

Haydn had weekly things he had to prepare for and since they lived out in the country, it was just easier to write it himself.

“I was cut off from the world. There was no one to confuse or torment me, and I was forced to become original.” – Joseph Haydn

Nevertheless, Haydn flourished and grew through these years and eventually became known throughout all of Europe as he defined the symphony style.

Why This Matters

Sometimes it’s easy to think of our music jobs as a hassle, or a step towards something else, or perhaps we have found ourselves in a staid job we have been doing for years, if not decades. But this gig you have had, that you were blessed to find, could be the way the sum total of your output is measured.

Like Haydn, you may move past your “Esterhazy” phase into a “Vienna” or “London” phase where you bloom even more. But without the season of work and growth, the next season of opportunity might now ever present itself.

Got a steady gig? Have some autonomy? Maybe it’s time to take more advantage of it. Haydn the heck out of your position, and write, write, write. Sometimes we forget when we are the boss, we have the opportunity to actually do what we love.

Have a great week!


John Eric Copeland is not a musicologist, but he is studying to be, and for now he plays one on the Internet. Be sure and join this blog to receive more writings like this, as well as our Facebook and Twitter followings for daily inspiration and news.

Beethoven, Fidelio, and Refusing to Give Up

“Our greatest weakness lies in giving up. The most certain way to succeed is always to try just one more time.” – Thomas A. Edison

fidelio posterBeethoven was a lot of things, but he was certainly not a quitter. In life, in love, or in his work, he often kept on in the face of defeat, heartbreak, and in the case of his only opera Fidelio, lukewarm reception.

It was a complicated process that started with another opera he was commissioned to write, which was eventually abandoned. He then found another libretto he liked better and switched over to that. The first production was first performed to an audience consisting mostly of French soldiers that had recently occupied Vienna. Tepid reviews and the French occupation shuttered the opera soon after.

Beethoven was then moved to shorten the opera from three acts to two, and saw more success for several performances before a dispute with the theatre. Many years went by, and after finding a new librettist, Georg Friedrich Treitschke, the opera was finally finished to Beethoven’s liking.

During the process of the last rewrite he recounted his difficulty with the process in a letter to Treitschke saying, “I assure you, dear Treitschke, that this opera will win me a martyr’s crown. You have by your co-operation saved what is best from the shipwreck. For all this I shall be eternally grateful to you.”

So, why did Beethoven work so hard to get his only opera just right? Why did he agree to come back to the work two more times? Beethoven was known as a composer who left copious drafts behind of much of his work. So first, second, and third drafts weren’t unusual for him. Maybe he got in and couldn’t let it go until it was up to snuff with the other operas of the day. He didn’t write any other works of this kind, and perhaps he felt it important to make sure his opera would be remembered as a great work.

Whatever the reason, Beethoven would not rest for ten years, four overtures, three librettists, and some very tepid reviews, until the opera was a hit and eventually a staple in the opera world.

Why This Matters

We all have those projects, those goals, and those jobs we are given to do in our musical life that are like a mountain we continue to climb. We fall, we get back up, and sometimes it takes a whole career to get where we are going. But with every try, even if it’s a failure, or not exactly as we pictured it, we get closer to the success we always wanted.

“Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.” – Samuel Beckett

Whether it’s that symphony you keep toiling on, never knowing if it will be realized or even performed. Or the album project that seems to be in production forever. Or the music program that you’ve been trying to build that seems like pushing a boulder up a mountain with a stick.

All our goals take trying and retrying to make them a success. It’s the most important lesson I teach people who want to make music their career – just do not quit. Find the next gig, the next teaching post, the next music project, or the next great work.

I think even in my own success story, the only way I succeeded was because I refused to give up. I kept trying and retrying ideas. When something wasn’t working I retooled it until it did work, and to some extent that has been secret to my success.

“Try, try, try, and keep on trying is the rule that must be followed to become an expert in anything.” – W. Clement Stone

Have a good week, and keep up the good work!

JEC

John Eric Copeland is not a real musicologist, but he keeps trying. Hope you will too!

Links:

YouTube

Beethoven – Fidelio (Leonore), Op. 72 – COMPLETE OPERA – 432 Hz.
https://youtu.be/Zzo2TTlm55U

Related Quotes from Beethoven

“Don’t only practice your art, but force your way into its secrets; art deserves that, for it and knowledge can raise man to the Divine.” – Ludwig van Beethoven

“Nothing is more intolerable than to have to admit to yourself your own errors.” – Ludwig van Beethoven

“A true artist is expected to be all that is noble-minded, and this is not altogether a mistake; on the other hand, however, in what a mean way are critics allowed to pounce upon us.” – Ludwig van Beethoven

Musical Indentured Servitude

“It’s really hard to make a living as a musician. It’s almost impossible.” – Billy Joel

servitude500In order to make a living with music, we have all done what we had to. We have studied, practiced, achieved degrees, taken paying music positions, and played whatever gigs we could find so that we could eat, live, and support ourselves and our families. The problem is, it is usually on someone else’s terms. Even if we are the boss, or own our own business in music, we have clients who dictate what we do for them, and how we create or produce the music.

This has been an issue throughout music history.

J.S. Bach was mostly always employed and creating his music for use in his job as organist or music leader. At some points his job required a new cantata each Sunday! That’s one way to build your catalog! And like all of us, he knew the struggle to make amazing music and please his bosses.

My masters are strange folk with very little care for music in them. – Johann Sebastian Bach

Joseph Haydn had many jobs as a music teacher, a street musician, and accompanist before he got a sweet gig for the prince of Esterhazy, and rode that job for decades. But he was often little more than a paid servant, and felt that way. As with Bach, in order to have music ready every week for the music hungry Esterhazys, Haydn’s output was extraordinary. Eventually he was able to work with a publisher, gain some fame outside the estate, and later become more independent in London and elsewhere.

Mozart was one of the first composers to say no to working “for the man”. But even with many commissions and a post here and there that didn’t last very long, it was a struggle for one of the world’s best ever composers to make a consistent living.

The first to really sever ties and find somewhat lasting success was Beethoven, who after moving to Vienna in 1792, began to establish a reputation as a superstar pianist and composer. He was able to secure patronage to write and perform the rest of his life, making him somewhat the first successful “indie” musician.

Why This Matters

Getting to the music we want to make is very difficult in a life where we make or work in music for someone else. Even as a full-time traveling artist, there is booking, marketing, and other things to do besides actually composing and being artistic. It’s just hard to make music when there are so many other things to do (I’m looking at you Facebook, Twitter, and oh yeah, the next job I have to do to continuing getting paid so I can pay a mortgage, car payments, etc.)

The key is finding that balance, like turning off email and social media for the weekend to compose, or self-imposed block out times to sit at your instrument and just create.

On the other hand, being secure in a music position may allow us to create much of the works we will leave behind, just as Bach and Haydn did. We will make things we never expected because a client, boss, or sponsor will suggest a direction, a subject, or a use for a piece.

Wherever you fall on the indentured servitude scale, whether an instructor, producer, orchestral member, composer for hire, or whatever, finding the balance between the thing you love and making a living is crucial.

If you can create an honorable livelihood, where you take your skills and use them and you earn a living from it, it gives you a sense of freedom and allows you to balance your life the way you want. – Anita Roddick

Have a great week!

EC

John Eric Copeland is not a real musicologist, so don’t get your panties in a bunch if you think this is drivel. He’s just your everyday, full time music producer who is also pursuing a musicology masters because he wants to help all music folks and students how to make a great living in music.

A Tough Nut to Crack

hardnut“Inspiration is a guest that does not willingly visit the lazy.” ― Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky was not a stranger to hard work, but like any composer, he had to be inspired…and he had to have time to compose. But also like many of us, he had to deal with this thing we call life.

Every Christmas, The Nutcracker is adored by music lovers, both professional and casual. It’s become a staple of our Christmas musical landscape.

Originally commissioned by the director of the Imperial Theaters after the success of Tchaikovsky’s Sleeping Beauty, the composer received initial instructions on the Nutcracker ballet in 1890. The ballet was to be based on E.T.A. Hoffman’s fairy tale, The Nutcracker and the Mouse King. This didn’t do much for Tchaikvosky since he liked that fairy tale and didn’t see much room for a ballet in it.

Like a good composer for hire though he put his nose to the grindstone and began sketches in early 1891. But then…life settled in.

He ran into constant distractions from travel, including a trip to America, and then the death of his sister Aleksandra.

From New York he wrote, “I cannot start working again before June at the earliest… otherwise whatever I tried to write would turn out wretchedly”.

Even when he arrived home to St. Petersburg, he continued to find he was flummoxed by other things in his way of writing. In a letter to his brother Modest he wrote, “It is also good for me here, but work isn’t going as quickly now as at first. There are unexpected distractions.”

Once he did finish writing sometime in 1891, he still had to orchestrate, which started around the first few months of 1892. Finally in March or April of 1892, he could put down his pen. “I’ve finished the ballet; all that remains is to insert the markings and put it in order.”

Why This Matters

We all have works we need to get out; art that needs to get done. But life happens. We have travels, sickness, family matters, and sometimes that little thing called work!

Sometimes we (and when I saw we, I mean me) have projects that go a lot longer than two years to finish. But a work like The Nutcracker has stood the test of time, and I think the goal is to do our best work, as we can, when we can. Then let the work stand on its own, indicative of our hard work.

Don’t let the fear of the time it will take to accomplish something stand in the way of your doing it. The time will pass anyway; we might just as well put that passing time to the best possible use. – Earl Nightingale

Have a very blessed and Merry Christmas!

EC

John Eric Copeland is not a real musicologist, but hopes Santa will magically bring his Musicology Masters degree for Christmas!

Bringing Up Mozart

Let’s face it, parenting just isn’t an easy job. But the job is even harder when you are rearing a creative child with an incredible amount of talent.

themozarts

No one ever faced a tougher job than Leopold Mozart, known in music history as the driving father who put his children, especially his son Wolfgang, on a grueling tour of Europe. What is interesting is that Leopold didn’t face anything much different than what we face each day as parents. Especially if you have or are a talented creative child.

Worry

OK, so as a parent you know you have something special on your hands. It may not be talent the kid was born with as I’m not sure that is even possible (see “Talent is Overrated”), but there certainly is aptitude there, and they keep surpassing your expectations and even your own ability.

Leopold saw this in Wolfgang, and tried his best to keep his son disciplined and on the right path. But that wasn’t so easy with the precocious Wolfie. His carefree, playful spirit can be found at the end of a letter to his sister Nannerl.

“Well, farewell. I kiss you 1000 times and remain, as always, your little old piggy wiggy.  (signed) Wolfgang Amade Rosy Posy”

Leopold worried his talented and free-spirited son would wind up married to someone poor, and that was not what Leopold had hoped for.

“Leopold had a graphic view of his son’s possible fate as an impoverished musician. ‘ Utterly forgotten by the world, captured by some woman,’ he wrote, ‘you will die bedded on straw in an attic full of starving children.’ His anxiety was justified to some extent but he could see his son’s future only in extremes: success and glory or misery and starvation.” – Francis Carr, Mozart & Constanze

I think many of us fear the destiny of our own talented children like that: they will either be world renown and rich, or destitute doing their own thing.

Disappointment

There is a time in every parent’s life when they are let down by their kids. You know the drill. They understand the parameters of what is allowed, yet they still choose to break them. Wolfgang did this repeatedly and sometimes even gleefully!

When Wolfgang began to write of being enamored with Aloysia Weber, Leopold did not approve. In fact, when his son wrote about accompanying the Webers to Paris, Leopold went ballistic.

“As for your proposal to travel about with Herr Weber and his two daughters, it has nearly made me lose my reason?…a horrible idea! Could you really make up your mind to go traveling about the world with strangers?” – Letter to Wolfgang, February 11th, 1778

It almost sounds like a modern day parent warning their guitar player adolescent son about going on the road with a rock band.

Why This Matters

Well, it’s pretty obvious we all share Leopold’s struggle. Just like we have to treat disadvantaged or struggling kids special, it’s a struggle to be good, strong parents to those who are on the other end of the spectrum (especially with “adult” kids).

In all likelihood, Leopold meant well, and Wolfgang likely didn’t make it easy. In the end, you could say Mozart’s talent won out despite his folly, personality, spending habits, marriage, and competition. His tremendous catalog and output still happened regardless of things that were in or out of his father’s control.

Your kid may not be Mozart, but you can still help him navigate the waters of an artistic life with good guidance, a patient hand, and consistent discipline.

“There are only two lasting bequests we can hope to give our children. One of these is roots, the other, wings.” – Johann Wolfgang von Goethe

Have a great week!

EC

John Eric Copeland is not a real musicologist but he plays one of the Internet. We’d love any and all thoughts you may have on this post, but since this is a blog meant to (hopefully) encourage real life application, please make them positive and on topic. However, corrections as always are welcome.

Art vs. Commercial (Rossini meets Beethoven)

artvscommAt the end of his career Ludwig van Beethoven, one of the greatest composers to have ever lived, was completely deaf. Around this same time, Gioachino Rossini had also become quite popular with his comic operas including the huge hit, The Barber of Seville. With the public’s mixed reception of Beethoven’s vast Ninth Symphony, Rossini perhaps outshone Beethoven as Europe’s most popular composer at the time.

Since hearing Beethoven’s Third Symphony, Eroica, Rossini had been moved to meet Beethoven and had tried several times through a few people to meet the composer. It seems most likely that Antonio Salieri was the culprit (so to speak 😉 of setting up the meeting, since he had played violin at the 1813 premiere of Beethoven’s Seventh Symphony, and was a friend and former teacher of Beethoven.

There are various accounts of this supposed meeting.

“The most popular composer in Beethoven’s final years, even in Vienna where he lived, was not Beethoven himself but the Italian Gioachino Rossini, whose light-as-a-feather smash-hit comic operas, such as The Barber of Seville (1816) – all laughs, saucy farce and hummable tunes – were arguably closer to the general public’s idea of an ‘Ode to Joy’. The two composers did meet once, an encounter brokered by the kindly Antonio Salieri, and we have it word for word since Beethoven, being deaf, had to have the conversation written down. The rules of engagement between the two types of composer were even evident in their short back-and-forth in 1822, with Beethoven congratulating Rossini on his success but warning him not to write anything other than comic opera as ‘his character wouldn’t suit it’. It is a conversation that continues to be played out between self-styled ‘serious’ composers and ‘crossover’ composers to this day.” – Howard Goodall, The Story of Music

Other sources tell different, but similar accounts.

30-year-old Rossini succeeded in meeting Ludwig van Beethoven, who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: “Ah, Rossini. So you’re the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.” – Wikipedia on Rossini

Why This Matters

To be honest, there are so many different takes on how this meeting really took place, or if it is just an anecdotal tale (although I like the thought that it had to be written down due to Beethoven’s deafness and therefore could be somewhat preserved.)

But the point is that we may have many meetings with those who either feel our commercial music is not as “important” as their art music, and vice versa. Rossini just wanted to meet his idol, but Beethoven saw the real truth: it was probably easier for Rossini to gain a larger following, because his Barber of Seville and other light comic operas were easily digestible, easy on the ears kinds of works. The public could “get” them in one setting, hum them on the way home, and then easily forget them as they went upon their daily lives – much like pop music.

Beethoven’s work, like his Ninth Symphony, was so large, so groundbreaking in some ways, it was hard for crowds looking for pure “entertainment” to always get it. While he was certainly revered as a genius, there were mixed reviews.

“Beethoven’s musical revolution received mixed reactions. A critic who attended the (Ninth Symphony) premiere effused praise: “the effect was indescribably great and magnificent, jubilant applause from full hearts was enthusiastically given the master.” A London critic who heard the work in 1825 called the hour-plus length “a fearful period indeed, which puts the muscles and lungs of the band and the patience of the audience to a severe trial.” – Oxford University Press

This account, true or not, just shows how the debate of art over commercialism in music has raged for centuries. Where do you fall in the debate?

Have a great week!

EC

John Eric Copeland is not a real musicologist but plays one on the Internet. He actually is a busy music producer and is currently preparing to work on his masters in music with a focus in Musicology. For more on Eric, go to http://www.EricCopelandMusic.com

Bibliography

(Excerpt From: Goodall, Howard. “The Story of Music.” Open Road Integrated Media, 2013-12-04T16:43-06:00. iBooks. This material may be protected by copyright. Check out this book on the iBooks Store: https://itun.es/us/WI8YU.l)

https://en.wikipedia.org/wiki/Gioachino_Rossini

Beethoven’s Ninth Symphony premieres

Rivals

“One’s only rival is one’s own potentialities. One’s only failure is failing to live up to one’s own possibilities.” – Abraham Maslow

rivals
I learned something recently, and that was I shared a birthday with Antonio Salieri. Most know this name as the supposed “rival” to Mozart in Vienna, and of course from the movie Amadeus which suggests he was a jealous rival composer to the heroic and uber-talented Mozart.

Now, I will tell you unequivocally that Mozart is my favorite composer, so don’t take my comments in this post as critical of Wolfgang. However, after some time as a student of music history, hearing from professors and others on the subject, reading Mozarts letters, and the surprising small amount written on Salieri, I am starting to think we may have had it backwards.

Mozart seems much more perturbed and bothered by Salieri (and other Italian composers at the time) than Salieri felt about Mozart. Witness this quote from a letter to Leopold from Wolfgang.

“These Italian gentlemen are very civil to your face. Enough—we know them!” – Mozart

Wolfgang was complaining that Italians got more operas produced than his own German ones. This gives us much more evidence of consternation on Mozart’s part than Salieri’s. In fact, Salieri was already quite a celebrity as a composer, especially of Italian opera both before and after Mozart came to Vienna. Mozart also complains that Salieri was the local favorite saying, “the only one who counts in [the Emperor’s] eyes is Salieri”.

As current music listeners, and with the benefit of time, we are able to look back and weigh the output of each composer. I’d say most of us would choose Mozart’s amazing repertoire. But at the time, he was certainly not the only game in town.

“From a pretty wide examination of the annual reports of the principal German theaters of those days, I draw the conclusion that in the original Italian or in German translations, the more important works of Salieri were far more popular and much oftener given than those of Mozart, while the Grotta di Trofonio was at least as much performed as Mozart’s EntführungIn other words, with the exception of the Entführung, Mozart’s operas were less to the taste of the monarch and the public in Vienna than those of Salieri, and it was the same way all through Germany. Whatever the appreciative few may have thought of The Marriage of Figaro or Don Giovanni, to the general operatic public Salieri was certainly the greatest of then living composers!” – Alexander Wheelock Thayer, Salieri: Rival of Mozart

Why This Matters

We all have to deal with people who we may feel are rivals to our musical success. We could be like Mozart, whose output was heralded is his own time and has become legendary through the centuries. Or we are like Salieri, who was a well-respected composer in his time, teacher of such greats as Schubert, Liszt, and Beethoven, and (much to Mozart’s chagrin) the big cheese locally (Kapellmeister).

In the movie Amadeus, Salieri is portrayed as a much less talented and envious man. It’s easy to see someone we work with who is more talented than we ever will be, and we want to hate them. But their talent is so beautiful that all we can hope for is to be close to them and work with them.

“Rivalry” or not, there are also plenty of letters of Mozart’s that talk of supporting Salieri, as well as examples of Salieri using Mozart pieces at functions instead of his own.

The truth is that rivals can serve to make us better at what we do. They can challenge us and spurn us towards greater works than we would have done without them.

So when you meet someone better than you, maybe better than you ever could be, relax and know your place. There’s no use in bitterness in such a short life, especially when we have such a beautiful job in music to do.

Have a great week!

EC

Eric Copeland is not a real musicologist but plays one on the Internet. He actually is a busy producer and is currently preparing to work on his masters in music with a focus in Musicology. For more on Eric, go to http://www.EricCopelandMusic.com

Life on the Fringe

lachnerMany of us in music will not become well known. We will perhaps meet important people in music, perhaps even be an influence on them. In fact, we may teach, guide, or lead folks that do indeed become very famous. But as for our lives, we will do well to find our niche, excel in it in an area, and have a long career in music.

Many composers through time have fallen into this category. One such composer, who I picked solely because he was born on this day, is Vinzenz Lachner (1811-1893).

He was the younger brother of another and better known composer, Franz Lachner who was quite prolific and well-known is his day and whose work would go on to influence Beethoven and Schubert.

Vinzenz would scratch out a living teaching music in Augsberg, Germany until his brother Franz would arrange for him to become conductor and house musician for Earl Mycielski of Coscevitz in the Grand Duchy of Poznań. Eventually, he would replace his older brother in Mannheim and was highly valued for 37 years as court conductor.

As a teacher, he encouraged many, including Fritz Steinbach, Max Bruch, Hermann Levi, and Carl Wolffson. Of particular interest (to me!) was his distaste of the cult of Wagner, even going so far as to conduct a mutilated version of Wagner’s The Flying Dutchman (much to Wagner’s chagrin! In fact, Wagner would eventually campaign for Vinzenz to be retired from the court conductor role.)

Vinzenz retired after 30+ years and settled down for a quiet life of teaching until his death at 81. He lived a nice long life of music work, taught, encountered, and hobnobbed with many famous musicians, some who are known as masters hundreds of years later. Yet his life and work is lost to most in the modern music world.

Why This Matters (Or why maybe it doesn’t)

Many of us toil away in seeming obscurity; composing, teaching, singing, performing, and doing other things that have made some famous, but outside the limelight except for our own little local role. We have tangential relations with some who are well known locally, nationally, or even worldwide, but we ourselves are known only to a few.

What’s funny is that many people in the world would describe what we call living on the fringe of greatness as their life’s dream! We look to the greats and dream of that level of work, but there are just as many that we lead who look at us as “living the dream.”

As in the case of Vinzenz Lachner, our place in music history does matter. We are influencing, teaching, and yes even challenging many more folks that we know. We are making a difference in people’s lives and doing the work that has to be done in our area. We may even be highly respected in our little corner of the world. Even though Vinzenz Lachner is not regarded as a major composer, his work and output was valued greatly in Mannheim for many decades. His life in music mattered, and so does yours.

Have a great week!

EC

Eric Copeland is a very casual musicologist, and continues his search through music history to teach and show all of us who work in music today that yesterday is important. For more examples of why Music History Matters, check out http://www.MusicHistoryMatters.org and find your place in history.

The Curious Case of Fanny J. Crosby

“Once we accept our limits, we go beyond them.” – Albert Einstein

fdabd-fanny-crosbyI work with songwriters all the time, especially songwriters who are writing Christian or gospel songs, hymns, or worship songs. Many start after a conversion, or a significant faith change in their life. And many start later in life to try to get their songs out to the world.

Fanny J. Crosby, was no different, except that she was very different!

She is most likely the most prolific hymn writer in history. She didn’t start writing hymns until she was in her thirties, and didn’t get started really publishing them in a big way until her forties! She was also blind almost since birth.

Many of us grew up with hymns in church, and if you didn’t, you recognize them as different and many times more endearing than today’s standard worship fare. If you’re not a churchgoer, you likely still know Amazing Grace or some other hymns very well.

Well, Fanny was the grandmamma of the hymn. She wrote more than 8,000 of them, including well known songs like “Blessed Assurance”, “To God Be the Glory”, “Jesus is Tenderly Calling You Home”, and “Praise Him, Praise Him”.

When she was six weeks old she caught a cold and developed inflammation of the eyes. According to her, mustard poultices were applied and this damaged the optic nerves. Doctors today say it was more likely congenital. Either way, she was blind her entire life.

Even as a child, though she “saw” through her condition, even writing about her blindness in her first poem at the age of 8.

One blog could not even get close to letting you know about this lady’s vast works, from poetry, to the hymns, to cantatas, to popular songs, and more. It’s kind of staggering.

To get a better idea of the incredible life of Fanny J. Crosby check out http://en.wikipedia.org/wiki/Fanny_Crosby

WHY THIS MATTERS:

Can you apply the life of this lady in the kind of scary looking pictures to your life as a songwriter?

Likely you won’t write almost 9,000 hymns, but the story of Fanny J. Crosby shows it’s never too late for God to use your songs at any stage of your life. She lived to be 95 and was inspiring presidents and church leaders long after her writing decreased in her later years.

She was a household name in America as a songwriter, and she was a blind woman in the late 1800s from humble beginnings. Oh yeah, and she had nary an internet connection, Facebook nor Twitter to build an audience.

So what’s your excuse?

“The human mind will not be confined to any limits.” – Johann Wolfgang von Goethe

EC

Eric Copeland is not a real musicologist, but he plays one on the Internet. We invite you to comment and add to the understanding of music history.