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 More Things Change

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Over the past decade, much has changed in the music industry. The relatively short reign of the CD found its decline as a new generation decided it preferred downloading only the songs they liked. Now, music listeners are deciding they may like streaming music more than downloading using apps like Spotify, Pandora, (and soon Apple Music.)

In truth, what the end user listener (who you will remember is who the music is created for) has always liked is the most convenient way to access music. Streaming apps on their phone is great for listening like we used to listen to the radio, or records, or CDs. It’s easy, and we can dial in the music we want. Set it and….forget it.

But for musicians, songwriters, and others who are the makers of the music these folks listen to, the change is not so wonderful and helpful. In fact, the money that is made on the back end of the recordings is getting atrociously small. Streaming pays very little per stream, and you’ve probably even heard about artists like Taylor Swift taking her music off Spotify in protest (who needs all that small change anyway? Shake it off!)

As a person who makes and sells music myself, and works with people in every position in the music business, I can see how it’s easy to be really mad about all this. It doesn’t seem fair that the quality, money, and time invested reaps so little in return.

But as a student of music history, I also know that this is just another cycle in the history of music business. Not the music business, but the business of music.

Like the printing press, sheet music, the phonograph, the radio, the LP, the single, the cassette, the CD, and the MP3, streaming is changing the way the world consumes music. We might want to just quit crying and get used to it. It’s not going to switch back magically because we music types are mad about it. Like all those other times, we will either have to figure out how to monetize the music work we do in the current age, or do something else.

Many things in music haven’t changed. Live music is still as vibrant and effective as it has been since music was invented. You can even still sell product live. If you love music so much and are a musician or artist, you might best concentrate on getting out there and making it in front of an audience. If you are a producer, player, engineer, songwriter, or some other person involved in the making of music, it may be time to find your own niche and go after it because the “sit back and watch dollars roll in because you made or contributed to recordings” days might be over.

I find that those who are really the most fit to be tied are those who made tons of money in the heyday of record business (see the invention of the CD and everyone “re-buying” every album they ever loved on the new pristine format). The people who came up and flourished in the “days of wine and roses” where sales and money flowed like water, are the ones that are “suffering”. (This just in, many of these same people still make more than anyone else in the world doing music, but they are just disgusted that it’s not as much as they used to make).

The truth is everything has always changed in the history of music business, but then another way to make money always comes along. In fact, we are seeing new avenues for music now with YouTube, gaming, streaming, crowd-sourcing, and more.

Remember that when radio started, folks were outraged that their music was being played to people without monies being collected. ASCAP and BMI eventually began collecting that money, and people are still employed, paid, and getting rich off royalties today. But it took a while for this collection method to get stable and profitable as the technology grew.

Many folks, especially in music centers like Nashville, LA, or NY, are just very spoiled as a whole with how easy it has been to make good money as a songwriter/label/publisher over the last 30 years.

Ask any normal teenager or twenty something what they think, and they will give you a thumbs up on the state of music. They are happy with the way music is becoming easier to find and listen to. They are glad they don’t have to buy CDs for the one song they want, or fiddle with where to store downloads, when they can just tune in and access what they want, when they want. Kind of like we’re getting to do now with Netflix the past few years, and cable television for close to 40 years.

WHY THIS MATTERS

We have to remember that the end user listener is really who music is for. Our goal is that they listen. That hasn’t changed. We in the industry will just have to find ways to deal with the changes that have happened, and then as always find a way to make an income with our craft.

Or we could all go sell tires (until they invent flying cars, and then won’t we be mad!)

Have a great week!

EC

Eric Copeland is a producer, songwriter, arranger, author, and a dozen more things that allow him to earn a living and continue to create all day. Find out more about him at http://www.EricCopelandMusic.com

Pay for Play (Music History Repeating)

“If history repeats itself, and the unexpected always happens, how incapable must Man be of learning from experience.” – George Bernard Shaw

Those who deride, denounce, and generally decry the new music business world of streaming and single downloads should know we’ve been here before. I won’t go into 45 “singles”, and in fact this particular story predates even those years by almost 70 years.

0dca9-cowboysIn the book “Cowboys and Indies: The Epic History of the Record Industry”, by Gareth Murphy, he tells an early story of the first (and only) recording industry monopoly. Around 1895, business tycoon Jesse Lippincott bought into Thomas Edison’s phonograph (at that time the prevailing “talking machine” technology was still a wax cylinder machine.)

He exclusively licensed the technology across the nation to dealers who in turn leased the machines to users. His partner in this business was Edward Easton, the industry’s first record producer, and the grandfather of Columbia Records.

“Despite a moderately promising start, Lippincott’s company and all of its affiliated distributors began hemorrhaging money. Wisely, Edward Easton went out to investigate what was happening on the ground. Throughout March 1890, in what would be the first nationwide study of the nascent record industry, Easton traveled coast to coast, visiting thirty-one of Lippincott’s regional branches.

“To his amazement, Easton observed something nobody saw coming. A San Francisco distributor had transformed the phonograph into “pay to play” jukeboxes. Custom-built, in beautifully decorated wooden cases and fitted with coin slots, they were placed in arcades, saloons, drugstores, and various strategic places of passage.

“The fashion spread from California to other cities. Although the average take for most of these nickel phonographs was about $50 a week, the most popular jukebox was believed to be in a drugstore in New Orleans. It averaged $500 a month. Within a year, Lippincott’s monopoly began to collapse.” – Gareth Murphy, Cowboys and Indies

It would seem throughout music history, consumers choose to pay for one song as they want it. I’m sure if they could have come into a music hall and demanded orchestras play just the piece they wanted, they would have.

WHY THIS MATTERS:

The plain truth that all current musicians have to live with now is that we are moving away from recorded music in general as a commodity. Until the late 1880’s the only way to even experience music on demand outside a music event was playing from sheet music, and that had only flourished since the widespread availability of the printing press.

Now, technology has freed music from such primitive constructs as cylinders, wax discs, tapes, and even digital discs. Music is everywhere, on every portable player, phone, tablet, laptop, and other device. It’s even available over the air in every restaurant or store, or on music channels in our cable package.

Just as jukeboxes transformed the first early record business, Spotify, Pandora, iTunes, Beats, Rhapsody, and others offer users the ability to hear any song any time, and it is rocking the recording business just like it did 150 years ago in it’s infancy.

It’s just music history, repeating.

John Eric Copeland isn’t a real musicologist but plays one on the Internet. Be sure to sign up to get this blog when it posts, and join us on Facebook, Twitter, and LinkenIn for daily tidbits.

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.

Mrs. Poynter, Bernstein’s West Side Story, and the First Moments of my Music Maturity

94ff7-west-side-storyGod bless Mrs. Poynter! She was a perky young teacher that I had in ninth grade, and thank goodness she had some amount of artistic leanings.

One day, as part of our assignment on something, she told us we would be watching Leonard Bernstein and Stephen Sondheim’s West Side Story. Now, personally, I feel this is one of the great works of the 20th Century. Growing up, I had the album at home and I had listened to it many times with only the LP album art to clue me in on what the characters looked like.

But Mrs. Poynter changed all that.

The janitor wheeled the TV and VCR into our ninth grade room one afternoon, and the lights were turned out. Everyone was glad we weren’t doing some kind of silly work, even if it was a boring musical. For me however, it was a life-changing experience.

From the first moments of the film, the high whistles and the mysterious percussion bring a sense of mystery. To be honest, we all giggled when the tough guys started ballet dancing, but it was the music that hooked me. Still when I watch or listen to the first numbers before and during “When You’re a Jet” I love the flowing sax and string lines intertwining with larger orchestral melodies. It builds and flows, and carries the performers along like they are in a river.

Then later when an old style march transforms quickly into a tumultuous mambo, Bernstein really gets going. One minute the strings and woodwinds are plodding along in a very honky traditional fashion, then Bernstein somehow devolves into horns blaring the stabbing lines of the Latin number. Everyone yells “Mambo” and it’s off to the races.

But still the defining moment is coming. A moment that makes me realize I may be a little different from my fellow students.

The song “Maria” begins with a very 20th Century and now classic melody. Through the song, kind of like Tony knowing “Something’s Coming” earlier, I was hearing this genius melody (and lyric, “say it loud and there’s music playing, say it soft and it’s almost like praying”. Wow, nice Sondheim.) But towards the end, when the entire key changes for the tag (“The most beautiful sound I ever heard…”), then Bernstein writes the notes that forever changed me. “Mari-a.” Ending back on the third of the original key. Gasp.

A chill went up my spine that day. I might have cried, don’t remember. I hope not because that was the year I finally got that bully off my back.

But I DO remember looking around at all the other kids. They were sleeping, or pulling each other’s hair, or staring off into space bored. They were NOT having chills. They were NOT on the verge of tears. Those notes meant nothing to them. Those notes would not stop them in their tracks anytime they heard them the rest of their life.

That’s when I knew I was different. I wasn’t writing songs yet, or even singing (although I was playing trombone in band), but I knew “something was coming”. I was headed for a life that had to do with notes, chords, and orchestration like Bernstein wrote there.

WHY THIS MATTERS:

We all had a teacher, a parent, or someone that inspired us, or helped make a connection to something that drove us more into music. Mrs. Poynter was certainly not the only music influence, or maybe the most important music teacher in my life, but this incident I will always remember.

Do you have an incident like this? If so, share it below.

EC

John Eric Copeland is not a real musicologist, but he does play one on the Internet. For more on his unique twist on Music History and why it matters today, subscribe to this blog or join us on Twitter, Facebook, and LinkedIn!

Dvořák and the Struggle for Success

It’s easy when you’re an artistic person, whether you’re a music composer, author, singer, painter, or anyone creative…sometimes you just feel tired of beating your head against the same wall.

Is it all really worth it? Will anyone ever take note of your hard work?

For the first 20 or so years of his professional career, Antonin Dvořák struggled to find widespread success. He managed to make a living as a musician, but he faced challenges including having an opera spurned as “unperformable”.

But somewhere along the way he caught the ear of Johannes Brahms, who Dvořák himself admired. Through Brahms he found a publisher and began to find a larger audience eventually receiving commissions by the Royal Philharmonic Society of London, and becoming the director of the National Conservatory of Music in New York City.

In an article he wrote for Harper’s New Monthly Magazine in February 1895, Dvořák had this to say about art and “making it”.

“It cannot be emphasized too strongly that art, as such, does not “pay,” to use an American expression – at least, not in the beginning – and that the art that has to pay its own way is apt to become vitiated and cheap.”

Wow, doesn’t that sound familiar? More than anything, Dvořák understood that the real value of being an artist is in mentoring and educating of younger artists, as Dvořák was mentored by Brahms.

“My own duty as a teacher, I conceive, is not so much to interpret Beethoven, Wagner, or other masters of the past, but to give what encouragement I can to the young musicians of America.”

WHY THIS MATTERS:

Perhaps you can find that mentor that can help you to the next level of your artistic success, or perhaps you can BE that mentor to someone you know who is struggling.

We all need it, especially in an age where the master/apprentice model has seemed to be harder to find.

Have a great week!

EC

John Eric Copeland is not a musicologist, but he does play one on the Internet. For more on his unique twist on Music History and why it matters today, subscribe to this blog or join us on Twitter, Facebook, and LinkedIn!

Debussy vs. Atonality

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Schoenberg of Borg

Subtitle 1: Resistance is Futile
Subtitle 2: Star Trek vs. The Berg

(It will really help if you have some kind of Trek background here.)

I have a theory about almost anything by Debussy. If you put his music behind the original Star Trek shows it works perfectly as the backdrop music when Kirk is spouting off some soliloquy, or when they are on a strange planet (which is much like the one they were on last week).

As I listen to The Prelude to “The Afternoon of a Faun”, I swear I could see Captain Kirk with some green chick on a planet, where the fake plastic flowers are purple and green. The flute descending and rising with the shimmering strings behind…well it just puts me in the mood to see some bad acting.

See if I’m not right: 

The calm, flowing melodies beautifully paint the picture of an afternoon on a clearing (where alien deer roam perhaps?). Flute gives way to clarinet, as the score gets deeper, and more complex. It would be hard to imagine the composer of this piece moving totally into atonality, and in fact Debussy flirted with and came back from that direction. He was not assimilated by it.

Schoenberg and his drones, Webern and Berg however, were fully seduced by the dark side of atonality and the pure difference of it.

In a similar fashion to how Debussy would have fit so well in the classic, sixties Star Trek score, Berg’s Three Orchestral Pieces could be scored behind modern Star Trek’s most feared foe. The horror, the dissonance, the pure mechanical and obtuseness of it fits the evil robot Borg race, as they seek to take from what has been and use what they want for their own devices.

Almost scary as it gets going, with twists and turns chromatically, percussion slamming out of nowhere like a bad acid trip in a haunted house, The Berg come at you from all directions as seems typical with atonal pieces. Shields are not holding! There seems no defense (except to turn it off as one critic in his day stood and demanded.)

I’ve always felt atonal music seemed random, obtuse on purpose, as if the composer was drunk and just wrote whatever notes he fashioned. “Ha, let’s hear this together. That will freak them right out. Resistance is futile, helpless turn of the century earthlings! You will be assimilated to this new music, and like it!”

In the Three Orchestral Pieces third movement, Berg both paid tribute to and mocks Beethoven’s Fifth. You can almost hear Schoenberg, Webern and Berg speaking monotone as one to the previous Viennese School composer. “We take what we want, and will add your musical and technological distinctiveness to our own.”

While you can hear snippets of atonality with Debussy, it’s obvious that melody just won out. Like the malevolent Federation in Star Trek that only seeks to seek out new life and new civilizations in peace, Debussy was willing to explore the unknown. He just made sure he came back to Earth.

But Schoenberg (classical music’s equivalent of the Borg Queen) and his drones were not interested in beauty, peace, and easy harmony. They craved disharmony, all for various reasons probably. And like the Borg, once they got a taste of the power, the complete look of astonishment, and the sheer outrage of those who did not understand what they were doing, they knew they were doing something right.

In the end, they formed a new race of being, a new complete school of music.

And the galaxy of music would never be the same.

Kirk out.

John Eric Copeland loved Star Trek long before music history, but now sees the value in both. KAAAAAAAHN!

You Can Handel It

Think you have it tough? At a scary point in your music career?

George Frederic Handel is of course known for his amazing works like Messiah, Water Music, etc., but do you think it was all gravy?

See if this sounds familiar…

Money trouble. Once one of the top paid musicians for Kings and Queens of England, later in life Handel was facing debtor’s prison since his audiences (and patrons paying the tab) had faded.

Competition. Other goofballs, with obviously less talent were getting all the accolades.

Fickle audiences. Opera was fading from the London scene, and Handel was trying to push his new “oratorio” style, which mixed religious passion plays with opera style production. Churches and ministers were not pleased by this new “outrageous music”.

Health issues. Rheumatism, strokes, and eventually eyesight issues plagued him his last decade.

We current day composers, artists, and musicians live with all these, and so did Handel. In fact, at the very time he was facing debtor’s prison, and in bad health, he was approached to compose the great work Messiah. And even that now-beloved masterpiece was not a hit in England immediately. It took years to win mass audience approval.

He died England’s most beloved composer, and left a hefty inheritance. But like any musician, there were some serious highs and some pretty bad lows.

WHY THIS MATTERS:

Those who make it in art are those who keep working harder than the rest. They believe in themselves, not just in the good times, but the bad also.

When it seems that it’s getting pretty hard to compete in your particular part of the music industry, then maybe it’s time to redefine yourself. Look for new interests, perhaps a new branch of study, a new instrument, or a new job.

It’s a great big music world out there, and maybe you’ve been hiding in your hole too long, or stuck in a rut. Time to pick yourself up and attack again in a new way.

Have a great week!

EC

Eric Copeland is not a musicologist (yet), but does play one on the Internet. For more on his unique twist on Music History and why it matters today, check out http://www.MusicHistoryMatters.com

The Power of a Partner: Gilbert & Sullivan

“It takes two to tango.” – Pearl Bailey.

Sometimes we creative folk know we have something to offer, and we may even have modest success. But often times it takes someone else that can add quality and a special uniqueness, to make something extraordinary.

Such was the case with the famous team of librettist (lyricist) W.S. Gilbert and composer Arthur Sullivan, known for their comic operas such as The Mikado, The Pirates of Penzance, and H.M. S. Pinafore.

But before they met, they each experienced initial success, Gilbert as a playwright, and Sullivan as a promising young British composer. But together, they made masterpieces that still stand and are performed today.

Now there have been many great librettist/composer tandems through time from Bellini and Romani from the early 19th century, to Rodgers and Hammerstein of the 20th century. But Gilbert and Sullivan so perfectly and successfully paired to create hit after hit for the Savoy Theatre.

Not that the team was without conflict. Sullivan tired of the same “topsy turvy” comic operas that Gilbert wrote, longing to write more serious opera. They even quit speaking a few times before being talked into working together again.

But each had a crucial element that made the other better, and neither had as much success with any other partner or by themselves.

WHY THIS MATTERS:

If you are not having the success you are looking for, perhaps what you need is a partner? Someone to be the yin to your yang. Someone to fill in the spots where you are weak. And it can be as easy as asking someone, or Googling the kind of person you need (it’s worth a Google!).

You probably know someone who you would work well with, or would be a perfect partner. Get in touch!

“Two are better than one because they have a good return for their labor. For if either of them falls, the one will lift up his companion. But woe to the one who falls when there is not another to lift him up.” – Ecclesiastes 4:9-10

Have a great week!
EC
Eric Copeland is not a real musicologist but he plays one on the Internet. He’s actually a producer, composer, and keyboardist. Find out more at http://www.EricCopelandMusic.com