Storyline: The proud but unpretentious parent trots out his brood onto the livingroom of the world’s stage and beams in delight at their performance, while showing he can fiddle with the best of them after many a life of adding melodically to the planet’s musical canon.

Isaac Stern (1920-2001) - Russian/American violinist. Outer: Father was a Russian contractor. Mother was a Russian-born singer. Brought to San Francisco as an infant when his family fled the Russian Revolution. Took piano lessons at 6 from his mother, but didn’t really show instrumental enthusiasm until he picked up the violin at 8, after listening to a friend across the street. Studied with a violinist of the Russian school until he was 18, and made his debut with the San Francisco symphony orchestra at the age of 16. His first manager, at 19, was the legendary impresario, Sol Hurok. Debuted in New York at 17, then returned home for more study, before triumphing in New York 2 years later. Enjoyed a meteoric rise as an internationally acclaimed violinist, known for his incandescent tone and the power and intensity of his playing, as well as his prolific concert-giving. In his mid-20s, he married Nora Kaye, a ballerina, divorced a year later. Married Vera Lindenbilt in his early 30s, a daughter and 3 sons from 2nd union, which also ended in divorce in 1994. Married a third and final time in 1996 to Linda Reynolds, a former employee of the Washington D.C. opera, who was some three decades his junior. Was largely an absentee father, which caused great strains in all his unions. During WW II, he performed for Allied troops around the world, then began European tours after the war, returning there yearly, and in his mid-30s, made a triumphant tour of his native Russia. Began his recording career in the mid-1940s, and remained with Columbia and its various labels for the duration. By the 1970s, he was the highest paid violinist in the world. Possessor of a down-to-earth stage presence, with a great ability to communicate with his audiences, a teacher at heart, bringing his great love for his instrument and music to the world. A natural TV performer, as well, he was also the subject of a film shot in China and mentor to many young musicians, bringing several violinists to light, including Itzhak Perlman and Pinchas Zukerman. When not on the violin, his favorite instrument of choice was the telephone, as he engaged in a variety of cultural causes. Led the fight to preserve Carnegie Hall and served as president of that establishment’s governing body. Also active politically, campaigning for a number of Democratic candidates, while showing a passionate commitment to Israel, despite having little identification with Judaism. Refused to perform in Germany, although relented at life’s nearend to teach some courses in Cologne. Won all sorts of international honors, including a Grammy Lifetime Achievement Award in 1987, in a life steeped with praise, and paternal concern with bringing forth young talent and non-pretension. His playing was a combination of technical bravura and lyrical interpretation. Co-wrote his largely unrevealing autobiography, My First 79 Years. Died of heart failure shortly after the World Trade Center bombing in NYC. Following his death, his children and third wife did battle over his estate, as a final testament to his contentious private life. Inner: Rotund sensualist, earthy, direct and natural, a paternal figure in the world of classical music. Paternalistic lifetime of performing, rather than composing, while unconsciously shepherding his many children of lives past onto the world stage, while pointedly ignoring his own brood. Alexander Borodin (1833-1887) - Russian composer. Outer: Born out of wedlock to an elderly Georgian nobleman, then registered as the son of one of his father’s serfs, from whom he got his name. His sire died when he was 7, and he was raised by his mother, who was the wife of an army doctor, along with a girl cousin. The circumstances of his upbringing made him tender and gentle, a somewhat effeminate boy with an early interest in both science and music. Received music lessons after showing a precocious proclivity, did a little composing, and went to the Academy of Medicine and Surgery. Received his degree, and for the rest of his life, divided his time between his interest in chemistry and music. While studying chemistry abroad, he met a talented young Russian pianist in Germany, Ekatarina Protopopova, who became his wife when he was 20. One child from the union, which was happy, although chaotic, with their apartment often the repository for uninvited guests. His wife, of a delicate nature, stimulated his interest in music greatly. Largely self-taught as a composer, which he considered an avocation, rather than vocation of his. Met Mily Balakireff (Glenn Gould), who persuaded him to seriously take up composing, and under his domineering tutelage, did so. While maintaining his career as a chemist and a physician, he became associated with the Russian Five, including Nikolai Rimsky-Korsakov (Pinchas Zukerman), Caesar Cui (Daniel Barenboim) and Balakirev, a group of reincarnated Bachs, whose avowed purpose was to create a Russian national music out of their own native musical idiom. The Five often worked interchangeably on each other’s compositions, particularly his, since he had the shortest life-span of the group. In 1884. he contracted cholera, which undermined his health, leading to several minor attacks of the heart. Wrote operas and symphonies and traveled several times to Europe to interact with other musicians, becoming the first Russian composer to achieve an international reputation. Died suddenly of a heart aneurism in his mid-50s, after a costume ball. Had a lyrical gift, with an inborn sense of polyphonic combinations, composing fugues which were totally out of context of his Russian make-up, and a direct outgrowth of his previous lives in this series. Inner: Instinctive musician, with a taste for Eastern music, thanks to his heritage on his father’s side. Unconsciously attempted to integrate his feminine side with his masculine, while expanding his earlier narrow focus into other disciplines. Self-healing lifetime of only partially focusing on music in order to give play to the other elements in his make-up, while continuing his longterm association with his fellow crypto-family members. Johann Sebastian Bach (1685-1750) - German musician. Outer: From a dynasty of seven generations of musicians. Father was a town musician and violinist, who gave him his earliest instruction. Mother died when he was 9, and his sire passed a year later after remarrying. The youngest of thirteen children, he went to live afterwards with an older brother, who was employed as an organist. Began his working life at age 15 as a boy soprano in Luneberg, where he stayed for 3 years, taking organ lessons and composing for that instrument, while also traveling long distances by foot to hear masters of the day play. Went to Weimar as a violinist in a ducal orchestra, and then left to become organist at the New Church in Arnstadt a year later. Had difficulty with church authorities in his post, took a leave to hear the aged Dietrich Buxtehude (Glenn Gould) play, then became organist at the Church of St. Blaise. In his early 20s, he married his cousin, Maria Barbara, 7 children from the union, including Wilhelm (Glenn Gould) and Carl Philipp Emanuel (Itzhak Perlman). Took a position at the ducal court of Weimar where he remained 9 years, and was esteemed and well-paid, although when he petitioned to leave, he was jailed for a month, but remained adamant and was finally released. Became Konzertmeister, then Kappelmeister at Colthen. His wife died, and in his mid-30s, he married Anna Wilcken, the daughter of a court trumpeter, 13 children from the2nd union, including Johann Christoph Bach (Daniel Barenboim) and Johann Christian Bach (Pinchas Zukerman). 10 of his 20 children died in infancy. Left Weimar to take a position as Kappelmeister at the Church of St. Thomas in Leipzig, where he remained the rest of his life. Had continual difficulty with church authorities through his unwillingness to compromise on any of his principles. Both taught and attended to his duties, as well as composed a prolific and lasting oeuvre of both sacred and secular works, although was consistently underpaid for his efforts, and, at one point, thought of founding a brewery and becoming a beermaker. Always searched for the truth in his works, looking to revitalize every form he assayed, although he came to be seen as old-fashioned by many of his younger contemporaries. Developed eye trouble towards the end of his life and lost his sight completely, spending his time in a darkened room. His sight returned 10 days before his death, of a paralytic stroke and high fever. Far better known as an organist than a composer during his lifetime, and after his death, he suffered neglect, but was revived in the 19th century by several of the eminent romantic composers of that era to become one of the immortal three ‘B’s’ of classical music, through bringing the older forms of his time to their apogee. Best remembered for his Brandenberg Concerti, The Well-Tempered Clavier and the unfinished The Art of Fugue. Inner: Stubborn, uncompromising, pugnacious and provincial. Totally focused on music, read little, had limited intelligence and experience, but was a hard worker. Spoke ungrammatically, but was extraordinarily articulate in his music. Tunnel-vision lifetime of bringing a mathematical perfection to all that had come musically before him, while operating as a total musical channel without the complications of culture and intellectuality to cloud his ability to hear the music of the spheres. Jan Sweelinck (Jan Pieterszoon Sweelinck) (1562-1621) - Dutch organist and keyboardist. Outer: From a family of musicians, who were mostly organists, including his grandfather and an uncle. Eldest son of a church organist, who died when he was 11. Mother was the daughter of a surgeon. One younger brother and sister. The family moved to Amsterdam soon after his birth. Studied with the Catholic pastor of the Old Church where his father played, and received his musical education from a series of instructors. At 15, he was appointed to succeed his late progenitor, and kept the post until he died, while the Church bent to the Reformation and became Calvinist. Married Claesgen Puyner, a merchant’s daughter in his late 20s, 6 children from union, the eldest of whom, Dirck, succeeded him and became a well-known musician. Spent his entire life in Amsterdam, with short trips to other Dutch cities in an official capacity. Nevertheless, he enjoyed a glowing reputation throughout his life as a composer, performer and teacher. Became the first composer for the organ to give an independent part to the pedal. Established the form with his fugues that would be later used by J.S. Bach, an ongoing incarnation of his. Called “the maker of German organists,” since his pupils, who numbered all the important organists of Northern Germany, led directly to J.S. Bach. Also composed for voices, and was a master improviser, for which he earned another title, the “Orpheus of Amsterdam.” Served as a bridge figure between the old polyphonic and new classical style, and his influence reached to both England and Scandinavia. Inner: Completely focused on music, and probably a creature of routine, allowing his creativity to be his singular variable. Served ultimately as a direct steppingstone to himself. Bridge lifetime of playing and teaching and preparing himself to let loose his full-blown genius in his succeeding Bach incarnation. Jan Ockeghem (c1425-1496) - Flemish composer and organist. Outer: Probably born in the lowlands, although his year of birth is totally unknown, as his early life. Began his career as a chorister at Antwerp, before entering the service of the Duke of Bourbon at Moulins. Ultimately served under 3 French kings. Louis XI (Adolf Hitler) gave him the prestigious position of treasurer of the church of St. Martin’s, where he lived most of his long adult life. A refined person, he was noted for his fine bass voice, which probably influenced his exploration of the lower registers in his music. Considered the leader of the second generation of Flemish composers, making highly influential contributions to sacred music., mostly through his focus on expressive bass lines, which opened up whole new structural possibilities, in the harmonic combination of voices. His complex polyphonic frames were well ahead of their time, in his original ability to thread his vocal patterns through long consistent passages. His surviving output is relatively miniscule: a handful of motets, several masses, and a dozen secular songs, with the masses as his most lasting works. Inner: As always, harbored the ability to hear patterns that few others of his time could. Technical mastery lifetime of enjoying the privilege and power of his musical skills, while giving a working base to his ongoing position as one of the premier musicians as well as one of the ongoing premier paterfamilias of cultural western civilization.


Storyline: The precocious prodigy and ofttimes younger son continually brings his heartfelt sensibilities to bear as a romantic melody-maker, while dealing with his propensities for exhausting his outer corpus by coming in with a body that would require special attention.

Itzhak Perlman (Isaac Perlman) (1945) - Israeli violinist. Outer: Son of an Israeli barber who emigrated from Eastern Europe. Showed a perfect ear at 2 1/2 and always wanted to be a violinist. Suffered polio when he was 3, but was able to overcome it, although he was forced to walk with braces the rest of his life, and play sitting down. Studied at the Academy of Music in Tel Aviv. Brought to the U.S. by TV impresario Ed Sullivan at age 13 to appear in an all-Israeli talent show, where he played Rimski-Korsakov’s (Pinchas Zukerman) “Flight of the Bumblebee.” Decided to remain in NYC, and later was joined by his parents, whom he supported through his engagements. Isaac Stern took a fatherly interest in his career as well. Studied at the Juilliard School of Music, and made his professional debut at Carnegie Hall in 1963. The following year, he won the Leventritt Memorial Competition, with Stern on the board of judges. At 21, he married Toby Friedlander, a violinist, 5 children, including son Rami, a singer and songwriter for the rock band Something for Rockets, and daughters Navah, a concert pianist, Leora, a singer, and Ariella, a flutist. Under the management of Sol Hurok, he toured widely in recitals and concerts with major orchestras and became well-known for his romantic style of play. In addition to concerts, he has also appeared on TV, as well as at the White House. As a soloist, he has performed with the Israel Philharmonic all over the world. His repertoire was first largely from the Romantics, but he later expanded to the modern and classic masters. Particularly noted for his recordings of Bach’s solo sonatas and partitas, but also willing to expand and experiment. A Klezmer enthusiast, as well, occasionally playing informally in that folk jazz form. Close friend of Pinchas Zukerman, with whom he has publicly performed. The winner of numerous awards and honors, as well as honorary degrees from a host of prestigious universities, he added conducting to his c.v. after the century’s turn, as a guest conductor for the Detroit Symphony Orchestra, while also serving as an active teacher along with his wife, sponsoring an eponymous music program for gifted youngsters. One of the outstanding violin virtuosi of his time. Inner: Warm, communicative, vital, informal and self-critical. Self-healing lifetime of performing rather than composing as well as learning to deal with an imperfect body with good grace, and showing it is no handicap to making beautiful noise. Alexander Glazunov (1865-1936) - Russian composer. Outer: From a well-to-do family, father was a book publisher. Extremely precocious, he began his musical career with private tutoring, was composing as a pre-teen, then studied under Nicolas Rimsky-Korsakov (Pinchas Zukerman), mastering his course in composition in a year and a half. Wrote his first symphony at 16, which was hailed for its unusual maturity and insured his reputation with a spectacular introduction. Although he began in the spirit of Russian nationalism, his work soon came under European influence, particular by the German composers. Musically affected by the mega-wattage of Franz Liszt (G. W. Pabst) and Richard Wagner (Werner Herzog), both of whom he met. Made his conducting debut in 1888, and enjoyed his peak of productivity during the 1890s. Along with Rimsky-Korsakov, he finished an opera written by Alexander Borodin (Isaac Stern) after the latter’s death. Elected director of the St. Petersburg Conservatory in 1905, which effectively ended his composing career through the administrative demands placed on him, because of the shakey political situation in Russia of the time. Honored in his early 40s by musical degrees from both Cambridge and Oxford Universities. Forced to weather the Russian Revolution and its aftermath, which completely drained him, thanks to an atmosphere inimical to anything that didn’t serve the pragmatic needs of the state. Left Russia in 1928, worn out and looking pallid and old, well before his time. Conducted sporadically, and finally retired to Paris, where he died. Wrote 8 symphonies, among other works. Inner: Sensitive, good-humored, methodical, unaffected by the revolutionary musical movements of his time, but unconsciously sapped by its attendant political chaos. Had a fondness for alcohol, but kept it largely hidden. Curtailed lifetime of taking the turmoil of his native country to both body and heart, which ultimately exhausted him, despite his prolific output from early age on, necessitating a return in a damaged corpus to heal his external wounds. Johann Christian Bach (1735-1782) - German musician. Outer: Youngest son of J.S. Bach (Isaac Stern), who was 50 at the time of his birth, although gave him his initial instruction. His sire died when he was 15, and he went to live with his brother Carl (Pinchas Zukerman), who instructed him in clavier-playing, an instrument at which he would excel. Journeyed to Italy for more study, converted to Catholicism, and became organist of the Milan Cathedral in his mid-20s. Began writing operas and gained a reputation as a lyric composer. Went to London, and proved successful with his first 2 operas there, while beginning a 20 year concert collaboration with Carl, with whom he also lived in London. Returned to Germany, fell in love with his host’s daughter, but in his late 30s, married Cecilia Grassi, a singing teacher, primarily for her helpful musicianship, no children from the union. Visited by Wolfgang Amadeus Mozart (Stevie Wonder) who sat on his knee to play clavier duets with him. Composed 12 operas in all, one in French. Cut an elegant figure, lived in the grand manner, and entertained royally. His health gave way, however, and he died in debt, after a disorderly period when his popularity waned. Had a profound effect on Mozart as well as the German romantics who followed him. Although not a composer of the first rank, he was esteemed in his own lifetime. Inner: Lighthearted and jovial, although once again unable to sustain a healthy body through his gregarious nature. Overindulgent lifetime of enjoying both his position and pleasures of the plate, while expanding his composing skills, and continuing his longtime association with his musical family, only to fall victim to his own modest appetites for excess.


Storyline: The headstrong romantic tries to find a balance between his keen musical intellect and his high emotional seas, through his longtime interrelationships with the same spectacular family of first-rate musicians.

Pinchas Zukerman (1948) - Israeli violinist. Outer: Parents were Polish concentration camp survivors who emigrated to Israel. Father was a violinist and also his son’s first teacher. Proved to be a child prodigy, with an enormous innate ability on violin. Studied at Israel Conservatory and Academy of Music in Tel Aviv. Violinist Isaac Stern discovered him when he was touring Israel, and arranged for him to study at the Juilliard School of Music in NYC. Lived with the parents of pianist Eugene Istomin, although his experience in a new country was extremely alienating. Eventually, he dropped out of high school because of language difficulties. Co-winner of the prestigious Leventritt Award, which began his career. Managed by impresario Sol Hurok and recorded with Columbia records, and went on to international fame as a violin virtuoso through tours, recitals and solo appearances with leading orchestras, employing a wide repertoire from the Baroque to the modern. Later adeptly added conducting, as well as trio ensemble playing to his skills, bringing an equal intensity to all his musical endeavors, as well as expanding his ability to hear and interpret. At 20, he married a flutist, novelist and TV personality, Eugenia Rich, two daughters from the union, Ariana, an opera singer, and Natalia, a folk singer. Divorced and in 1985, he married actress Tuesday Weld, 1 child from the union, before the duo divorced in 1998. Also played the viola and did some conducting, eventually becoming musical director of the St. Paul Chamber Orchestra from 1980 to 1987, then in 1998 the National Arts Center Orchestra of Ottawa, using it as a worldwide educational tool to enhance people’s appreciation of music. His 3rd marriage was to his orchestra’s principle cellist, Amanda Forsyth. After 7 years, he took a break from his duties, badmouthing elements of the orchestra, which did not sit kindly with its other directors. Six months later later he extended his contract through 2011, with nary a peep of anything but praise from the same group, thanks to his star power. Also continues to tour as a soloist and guest conductor, and teaches at the prestigious Manhattan School of Music. Inner: Strong physical presence, cocky, supremely confident, with a shoot-from-the-hip reputation in interviews. Overcame his early arrogance from being spoiled by too much adulation. Cross-over lifetime of performing rather than his usual metier of composing, while working on achieving an equilibrium in his personality by tempering a very public career with a balanced homelife and the continuation of his longtime crypto-familial relationships. Nicolas Rimski-Korsakov (1844-1908) - Russian composer. Outer: From an aristocratic naval family, although 2 grandmothers were peasants. Both parents were amateur musicians. Had a brother who was 22 years older, and gained some fame as a geographer and navigator. Began his music lessons at 6 from an elderly neighbor, but his initial love was the sea. At the age of 12, he entered the Corps of Naval Cadets, with the intention of a naval career. Continued his musical education under an inadequate teacher, then received training from a pianist, who introduced him to the works of J. S. Bach (Isaac Stern), after an earlier enthusiasm for Italian operas. In his early 20s, he came under the influence of Mily Balakireff (Glenn Gould), the standard/bearer for the group who would become known as the Russian Five, who urged him to compose. His musical career came to an abrupt halt when he was assigned to a clipper ship for a 3 years’ cruise, during which time his interest in the arts waned. Returned to St. Petersburg, and became friends with Alexander Borodin (Isaac Stern), who had been added to Balakireff’s group. Began composing again, despite a limited knowledge of what he was doing. His relations with Balakireff cooled, when he found him far too intrusive, and the rift twixt the two never quite healed. Made a professor at St. Petersburg Conservatory and in his late 20s, he married Nadezhda Purgold, a beautiful young pianist, while teaching himself the rudiments his earlier education had denied him. 7 children from the union, including Andrei, a noted musicologist, who would write a multi-volume of his father’s life and works. Took a scholastic, rather than emotional view of music, which alienated him from Modest Mussorgsky (Peter Townsend), another of the Russian Five. Appointed Inspector of Naval Bands, holding that post for the next 11 years. Also succeeded Balakireff as Director of the Free School of Music. Finally freed himself from his academic approach to music, which helped his composing skills considerably. Began teaching, taking on Alexander Glazunov (Itzhak Perlman) as a pupil. Along with Glazunov, he completed one of Borodin’s operas on the latter’s death. A fastidious craftsman, he was willing to give time and energy to others he deemed musically gifted. Suffered a nervous breakdown, but recovered, then did some conducting, although never really mastered the skill. Dismissed from his professorship in 1905, after showing sympathy for the revolutionary students. Became a martyr-hero, was later reinstated, but never reconciled himself with the authorities. Conducted his own works in Paris and the following year suffered angina pectoris, dying from a series of heart attacks 4 days after the marriage of his daughter. Inner: Prone to depression, and less original than his fellow Five, although a figure of far greater clarity. Romantically exotic and a master of orchestral color, using his own unsteady inner seas as his primary vehicle of expression. Lifeboat lifetime of sailing away from his innate intellectuality to dive into his own roiling waters, and play with his heart, rather than his head, as his compositional instrument of choice. Carl Philipp E. Bach (Carl Philipp Emmanuel Bach) (1714-1788) - German musician. Outer: 3rd son of Johann Sebastian Bach (Isaac Stern). Father wanted him to be lawyer and philosopher, but after attending school for those subjects, his interest turned to music. Established himself in Berlin, and became a cembalist at the court of Prussian warlord Friederich the Great (J. P. Morgan), an amateur musician himself, for 28 years. At 30, he married Johanna Dannemann, the daughter of a wine merchant, 3 children from union. Accompanied his mentor’s performances on the flute, in a largely artistically unsatisfying stint. Did not use his father for inspiration, seeing him as figure of the past, which he was, although the latter had brought the past in European music to its logical and brilliant conclusion. His major musical contribution was giving order to the sonata form. Composed primarily for instruments, and wrote many songs. Received Friedrich’s permission to go to Hamburg, where he succeeded his godfather Georg Telemann (Cole Porter) as director of Church music, in 1767. When his father died, he competed unsuccessfully for his post. Died from pulmonary consumption. Inner: Excellent craftsman, with a cheerful and lively disposition. Intelligent and tasteful, with a keen musical intellect, allowing him to dissect and reassemble a specific form that heretofore had lain in a state of musical confusion. Considered a forerunner of the German romantics. Oedipal lifetime of breaking free from the frustration of a dominating patron, as well as a powerful father, to finally establish himself on his own, while once again doing battle between head and heart for self-definition.


Storyline: The egregious eccentric allows his idiosyncratic nature full play and suffers mightily for his inability to integrate himself with the demands of the rest of the world, while leaving a unique legacy, curtailed by a temperament not quite of this planet.

Glenn Gould (1932-1982) - Canadian pianist. Outer: Mother was a singer, and a distant cousin of composer Edvard Grieg (Philip Glass). Father was a well-to-do furrier, allowing him a privileged, sheltered upbringing as an only child. Exhibited absolute pitch early on, and began taking piano lessons from his mother, who instilled within him his sense of perfectionism, as well as a hyper/hypochondria, through her concerns with his health. Graduated at the age of 12 from the Royal Conservatory of Music in Toronto, the youngest ever to do so. Spent a lifetime downing various pills, forever fretting about his imagined ills. Made his debut at 14 with the Toronto Symphony, but refused to enter piano competitions, the usual route to fame and fortune, despite his superior talents. Shut himself up in his family’s lakeside cottage to rethink the piano during his early 20s, before finally making his American debut in 1955. His release the following year of Bach’s Goldberg Variations insured his status as an international concert star. Felt his fingers and the keys had a force between them, and rebuilt pianos to give them a harpsichord-like sound. By his mid-20s, however, he began to show extreme eccentricities to complement his sensitive and penetrating instrumentation, feeling as if he were a vaudevillian on stage. Dreaded drafty halls, played in an overcoat, galoshes and cutoff gloves, with a rug under the piano and warm water nearby. Often hummed and beat time with his free hand while playing. His unique sound was meant to transcend the uniformity of interpretation of other musicians, allowing him to give actual voice to his instrument. Consumed one meal a day and a host of vitamins, exhibiting an unholy relationship with his own body that reflected his distrust of the rest of the physical world as well. After almost a decade, he stopped giving concerts altogether by his early 30s, save for several rare occasions. Understood that recording and broadcasting were artforms themselves, making him one of the first truly modern classicists. Developed his own engineering skills, in order to produce scores of albums, while also penning essays on a variety of topics, both musical and non-musical. Lived in self-imposed isolation in Toronto, while evincing a morbid fascination with his own self-incarceration. Created several radio documentaries, beginning in 1967, combining music, speech and sound effects, as well as more conventional recitals, while also arranging music for a pair of feature films. Devastated when his mother died of a stroke in 1975, he became even more obsessive about his own health, checking his blood pressure on the hour, while dealing with the loss through a Virgin Mary-Jesus fantasy, that the two would transcendentally reunite in heaven. In 1982, he assayed his first recording as a conductor, with plans to do more work in the same vein. Died, however, shortly after suffering a massive stroke following his 50th birthday. A spectacularly distinctive pianist, with an affinity for counterpoint, and an equal proficiency with any form he chose from Bach to jazz. Has enjoyed a popular afterlife, with books and articles galore examining his unique character. Inner: Witty, maniacally mischievous, and hopelessly neurotic. Mystical, visionary, self-mocking, with strong musical likes and dislikes. Often recorded shoeless, with a special chair, and gloves, against his obsession with cold and drafts, while moaning and groaning through his playing. Emotionally unstable, animal lover, and childlike, with a total inability to sustain close relationships. Most closely associated with playing the music of J.S. Bach (Isaac Stern). Goulden boy lifetime of doing it his own way in an isolated, highly unique fashion, completely disconnected from the physical world. Mily Balakireff (1837-1910) - Russian composer. Outer: Father was a minor government official, mother was connected to the local minor nobility. An only child, he spent much of his youth at the country home of a Russian nobleman and amateur musician. Practiced with a private band that was maintained there, while having access to his host’s excellent library of scores, giving him an excellent foundation in western music. After taking a course in math at the Univ. of Kazan, he went to St. Petersburg at 18, and came under the influence of Mikhail Glinka (Sergei Prokofieff), who wished him to carry on his work of creating a distinct Russian musical idiom. The group dubbed the Russian Five centered around him, most of whom had earlier been members of the Bach family, although his difficult personality wound up alienating several of them, as he steadily disintegrated his last several decades. Had success as a pianist in St. Petersburg, although the idea of becoming a virtuoso repulsed him. Studied the works of the great German masters, giving his disciples a rigorous understanding of form and structure. Helped establish the Free School of Music in 1862 and directed a long series of symphony concerts of the most advanced works of the “Five.” In 1869, he was appointed director of the imperial chapel and conductor of the Imperial Musical Society, which allowed him to exert considerable influence on popular tastes, while focusing on songs in his composing, as well as creating a pair of symphonies and a number of piano pieces. In 1871, on the death of his mother, he underwent a religious crisis and withdrew from the musical world for a period of 5 years, while embracing Russian Orthodoxy at its strictest and most unbending. His fanatic religiosity devolved into superstition, and he refused to kill anything, including insects, while constantly searching out fortunetellers. Took a job during this period as a stores superintendent for the Warsaw railway. Gradually returned to the musical world, beginning in 1876, but without the brio and spirit from before his breakdown. Declined the prestigious directorship of the Moscow Conservatory in 1881, and instead he resumed as director of the Free School of Music, while continuing musical gatherings at his home on Tuesdays, his singular manifestation of sociality. Worked in spurts and probably diminished his own potential by devoting a lot of his time to helping the careers of others around him. Retired in 1895, spending his final years composing. The end of his life was lonely and isolating, as he lost his powers of concentration and withdrew into prayer and meditation, surrounded by pet dogs and cats, as well as religious icons. Ultimately died of congestion of the lungs. Inner: Fiery temper, totally unstable emotionally, hypochondriac and capricious. In a perpetual state of quivering nerves. His genuine desire to aid in the career of others was a deliberate attempt at transcending his own profound self-involvement, which has progressively waylaid him more and more in each of the lives in this series, since being a Bach. Strongly anti-Semitic, and unable to countenance opinions other than his own. Mad Russian lifetime of trying to harness his unintegrated emotions into his music, while receiving and accepting the support of longtime family members, which he had earlier rejected, only to once again wind up all alone encased in his ungrounded heart and mind. Wilhelm Bach (Wilhelm Friedemann Bach) (1710-1784) - German musician. Outer: Second child and oldest son of Johann Sebastian Bach (Isaac Stern), as well as his father’s clear favorite. Because of his pronounced precocious abilities, his father had high hopes for his musical career. Lost his mother when he was nine, although his sire remarried within the year. Alternately quarrelsome and affectionate with friends, as his progenitor supervised his musical education very closely. Studied at the Univ. of Leipzig, where he was a law student, while also evincing a lifelong interest in math. In 1733, he was appointed church organist in Dresden. Afterwards, he was music director and organist of the Liefrauenkirche at Halle, a position he held for 17 years but was forced to resign because of his irregular existence. Unhappy the entire time he was there, although he was unable to find a post anywhere else. Despite his reputation as a virtuoso on his instrument, he could not balance his public life with his private one. In 1751, he married Dorothea Georgi, the daughter of an excise officer, 3 children from the union, with only a daughter living past infancy. Never much of a family man, nor was he a particularly adept breadwinner, because of his contentious nature. In Berlin, his father’s biographer cared for him devotedly, but aside from occasional organ and clavier recitals or playing with wandering musicians, he was usually without a source of income and led the life of a dissolute vagabond, degrading his extraordinary talent. Considered one of the greatest organists of his day with a highly unique improvisatory style. Died in poverty of congestion of the lungs. Inner: Angry, dissipated, purposefully nonconformist. Indolent and embittered. Boorish, extremely selfish and eccentric. Frittered away lifetime of squandering an incredible inherited talent, the singular member of his illustrious family to bring shame on the name of Bach. Dietrich Buxtehude (1637-1707) - Danish/Flemish organist and composer. Outer: Some question over exactly where he was born. Son of an organist for over 3 decades at Olai Church in his native Helsingor, under whom he later studied. Served as an organist in Denmark, then emigrated to Germany, Germanizing his first name in the process. In 1668, he married Anna Tunder, the daughter of a German composer and organist, whom he succeeded as organist of the Marienkirche at Lubeck in his early 30s, making it an important music centre in Northern Europe, while his fame was such that musicians flocked to the city to hear him play. Wanted to make it a tradition that his successor marry his eldest daughter, but had no takers. A youthful J.S. Bach (Isaac Stern) walked 200 miles to hear him play, and then later studied with him for several months, towards the end of his life., and then later studied with him for several months, towards the end of his life. Began the custom of concerts for orchestra and choir 5 Sundays preceding Christmas which lasted for several centuries, for which he composed much of his music. Excelled at free organ composition, and had a decided effect on Bach, as the most influential composer of his time. Primarily composed vocal works, as well for the keyboard. Inner: No overt eccentricities marred a life steeped in the Lutheran tradition. Both controlled and controlling, which may have reigned in his natural tendencies. Contained lifetime of flexing his power and trying to establish various traditions around it, without overtly resorting to the release of the volcanic emotionality beneath his powerful talent.


Storyline: The prideful pianist gradually builds on his own ambitions for being a worldclass instrumentalist, by exploring both his strengths and weaknesses within the framework of various musical families, before establishing his own unique persona upon the world’s stage.

Eugene Istomin (1925-2003) - American pianist. Outer: Son of Russian émigrés to New York. Hi parents were singers specializing in Russian gypsy music. Began playing the piano at 4, and started studying with the daughter of well-known Russian pianist, Alexander Siloti, who discovered him at the age of 6. Attended public school while continuing his education with several more Russian teachers, and finished it at the Curtis Institute in Philadelphia. Won the Leventritt award and made his debut with the New York Philharmonic several days before his 18th birthday. Toured widely afterwards, building a worldclass reputation for his formidable technique in a conscious attempt at imitating 19th century virtuosi. Self-admitted snob in his early selections, preferring a challenging repertoire to easy categorization. Made a series of memorable chamber music performances as part of a trio with Isaac Stern, and toured annually for some 20 years into the 1970s. His parents put up teen-age violinist Pinchas Zukerman when he first came to the U.S., in an unconscious re-gathering of the Bach clan. In his late 40s, he married Marta Casals, the widow of cellist Pablo Casals, after knowing her a quarter of a century, and also working closely with her husband. Active in Democratic politics and an avid baseball fan. Continued touring into the mid-1990s, bringing his own pianos along, as well as a piano technician, and ultimately gave some 4000 concerts around the world. Best known for his performances of the German and Viennese classical and romantic canon, and his recordings of Beethoven. Died at home from liver cancer. Inner: Highly intellectual, combining German cerebrality with Russian emotionalism to put him at the forefront of his instrument. Deliberate subconscious attempt to establish himself on a different instrument from his longtime illustrious family, so as not to play second fiddle to their combined musical brilliance. Diverging lifetime of continuing his experiential education as a worldclass virtuoso, while subtly maintaining the tying binds to his longtime musical crew. Anatoli Liadoff (1855-1914) - Russian composer. Outer: From a family of professional musicians with a reputation for sloppy work habits and loose-living. Father was a conductor who served as his son’s first teacher, although the lessons were erratic. Studied composition with Nikolai Rimsky-Korsakov (Pinchas Zukerman) at the St. Petersburg Conservatory where he later became a professor of harmony and composition, although he was ultimately expelled for unreliability. Held a similar position with the Imperial Court Chapel. Researched Russian folk music with Mily Balakireff (Glenn Gould). Wrote much piano music, and over 130 songs. Collaborated with Alexander Borodin (Isaac Stern), and worked with the so-called Russian Five, most whom were former fellow Bach family members. Married in his late 20s, and received a country estate. Able to partly break the habit patterns of his own family, although he was often subject to indolence and idleness. Inner: Severely self-critical, but acted with a great deal of integrity despite his weaknesses, producing his works in short bursts. Lifelong reputation for procrastination, but well-loved by fellow musicians. Deliberate lifetime of trying to transcend a weak familial foundation, while collaborating with longterm hidden deeper family members, and also working out of a far less productive direct genetic tradition, in order to highlight his own weaknesses. Johann Christoph Bach (1671-1721) - German organist. Outer: Father was an organist. Eldest brother of Johann Sebastian Bach (Isaac Stern), whom he taught to play the clavier. Studied with Johann Pachelbel (Ignace Paderewski) and became organist at Ohrdorf, where he spent his career. Had 5 sons, and each one either became an organist or a cantor. 4 of his grandchildren followed those two professions as well. Inner: Lesser member lifetime of continuing in and passing on the family musical traditions, more as a teacher and exemplar than a standout musician on his own, which he would slowly try to rectify over the centuries by first exploring his weaknesses and then his strengths.


Storyline: The self-confident conductor conducts himself in unconventional fashion, while using his gifts with language and structure to try to enhance the world’s appreciation of its musical heritage.

Daniel Barenboim (1942) - Israeli pianist and conductor. Outer: Both parents were accomplished pianists. Raised in Buenos Aires. Received his early piano instruction from his mother, then his father, who was also a music professor, and made his debut when he was 7. Moved with family at 9 to Salzburg, where he attended the Mozarteum, and was allowed to play the spinet piano that had belonged to Wolfgang Mozart, the first in 25 years to do so. His family emigrated to Israel the following year, and he became a citizen of that country. Graduated from Santa Cecilia Academy in Rome, then received additional instruction in piano, composition and conducting. Appeared as a soloist with the Israel Philharmonic Orchestra at 11, and made his U.S. debut 4 years later, although his parents limited his concerts to three months a year so that he could have a normal teenage life, despite being fluent in 5 languages by the age of 15. 5’6”. Began his career as a conductor in Australia at the age of 20, and went on to establish himself with several orchestras. In his mid-20s, he married the British cellist Jacqueline du Pre (Azaelia Banks) in Jerusalem, where she converted to Judaism, and with whom he performed as well. Formed a trio with her and Pinchas Zukerman, until she came down with multiple sclerosis, ending her concert career in 1973, and in 1987, her life. Also close friends with Itzak Perlman. Cared for his wife, who had an affair with her brother-in-law, but also set up house with a pianist, Elena Bashkirova, whom he ultimately married, 2 sons from the second union, causing the former to ultimately feel abandoned by him. Music director of the Orchestre de Paris from 1975 to 1989, and then musical director of the German State Opera in Berlin. Had difficulties with the Chicago Symphony after taking over as its musical director, following guest conductor appearances with it, through his desire to remold it according to his musical tastes. Also didn’t care for the fund-raising that went with the position. Resisted an unauthorized biography of his wife written by her siblings as well as the filmed version of it, Jackie and Hilary. Continually on the move, a world figure with his cultural hand in a dozen different musical stews at once, and able to maintain his high standards in whatever he does. Created the West-Eastern Divan Orchestra in 1999 to bring together young Arab and Israeli musicians, then shocked Israeli sensibilities by performing Richard Wagner (Werner Herzog) in 2001, despite an unofficial ban on the anti-Semitic composer, after giving those who wished to leave the opportunity to do so. Heartily applauded by the audience for his effort. More and more outspoken with the century’s turning, he has openly criticized Israeli policies and tried to build bridges with Palestinian musicians, while serving as more of a feisty political force with the Berlin State Opera, as his conducting style has also reflected his self-view as an esthetic general rallying his cultural troops. Added the prestigious opera house, La Scala, to his resumé in 2006, as a guest conductor. Took out Palestinian citizenship to the outrage of right-wing Jewish activists, forcing him to employ bodyguards, as he has become more and more of a focus of Israeli political anger through his uninhibited outspokenness. Inner: Brisk, brusque, prickly and confident. Dislikes practicing, lively storyteller and practical joker. Thoughtful, humane, animated, articulate and mercurial, as well as deliberately provocative and strongly opinionated. Stir-the-pot lifetime of expanding his skills and his reach to effect the musical tastes of his times, while giving play to his own acute cultural intelligence through his willingness to ruffle the status quo. Cesar Cui (1835-1918) - Russian composer, military engineer and critic. Outer: Youngest of 5 children of a French officer who left the Emperor Napoleon’s failed retreat from Moscow to settle in Poland and become professor of French at Vilna High School. Received an early musical training, but was also interested in military engineering. Graduated from the Engineering Academy in St. Petersburg at 22 and was appointed sub-professor there. Became an established authority on fortifications, achieving the rank of Lieutenant-General of Engineers. In 1858, he married a gifted musical student, Malvina Bamberg, son and daughter from the union, with the latter an amateur singer. At the time he finished his formal studies, he met Mily Balakireff (Glenn Gould), and took to the younger man’s ideas on Russian national music. Eventually wrote 10 dramatic works, gradually sharpening his skills with ingenious structural harmonic devices. In his late 20s, he began contributing articles on music to various Russian publications, and, because of his facility with languages, also wrote for French and Belgian journals. Excellent writer with a sharp wit, and grouped together with the Russian Five, more for his enthusiastic proselytizing than his musical skills. Enjoyed multi-cultural accolades, including being made a correspondent member of the French Academy, and being awarded the cross of the Legion d’honneur. Lost his wife in 1899, and towards life’s end he went blind, although continued composing. Died of cerebral apoplexy, and was buried in the same cemetery at the Russian Five, uniting with them in death. Remembed more for his critical facilities than his compositional originality. Inner: Outwardly cold and controlled, but warm with intimates. Precise, opinionated and confident. Professorial lifetime of expanding his interests to nonmusical spheres, with a particular concern with structure, which he would reapply to music as a critic and disseminator of information. Probably had the same parents as his later life, while, once again, following his father’s interests. Johann Christoph Bach (1732-1795) - German musician. Outer: 9th son of J.S. Bach, and eldest surviving son of his 2nd marriage. Studied law at Leipzig Univ., but decided on a musical career instead. Appointed Kapellmeister at a count’s court in Buckeburg, where Italian music was favored. In 1755, he married Lucia Munchhausen, a singer, who was the daughter of a court musician. Their son Wilhelm Friedrich, was the only Bach grandson to gain reknown as a composer. Worked closely with poet and critic Johann Herder (Paul Schrader), until his departure and the death of his pietistic patroness changed the atmosphere of the court. Visited his brother Johann Christian (Itzhak Perlman) in London, as well as his other siblings in Germany, and finally died of pectoral fever on his return. Wrote Church cantatas, symphonies and numerous miscellaneous pieces, as a secondary member of an inordinately talented family. Inner: Second fiddle lifetime of close association with a family that both plays and stays together, as well as learning from a master critic, in preparation for employing that facility as his pathway to eminence and polite notoriety.


Storyline: The former high-strung stringed instrumentalist falls victim to the abuse, protection, prodding and control of her serial parents, while sacrificing herself to enabling the wills of others, until she finally is able to lay claim to her full musical self
Azaelia Banks (Azealia Amanda Banks) (1991) - American singer and songwriter. Outer: Of African-American descent. Lost her father to pancreatic cancer when she was two years old. Raised by her mother, along with two older sisters in Harlem. Suffered an unhappy early childhood when her mother became upended by losing her partner and became extremely abusive, beating up on her daughters, and tormenting them. Nevertheless, her mother recognized her musical talent and enrolled her in LaGuardia High School of Performing Arts. At 14, she finally moved out and in with an older sister. Always had a strong interest in musical theater, as well as acting and singing. Began performing as both lead and soloist in off-Broadway musicals with the Tada! Youth Theater. Failed in her early attempt to launch an acting career, which made her concentrate on music as her pathway to fame and fortune. As a teen, she called herself Yung Rapunxel, a provocateur with a good heart. Began writing rap and R&B songs, while dropping out of high school. Took on the rap sobriquet of Miss Bank$, and released her first sampling “Seventeen” on the internet in 2008, which got her a developmental deal with XL records, which did not pan out. 5’7” and willowy. Her initial foray into the music industry proved disappointing and depressing, as she changed her name back to its original form, while moving to Montreal, then back to NYC, where she sold key chains and danced at a strip club, all the while uploading her efforts onto YouTube. Released her debut single, “212” in 2011, a sexually charged and bass-heavy number that found an audience in western Europe. Moved to London and began working with British producer Paul Epworth, and, after numerous delays, in 2014 officially released her debut album, “Broke with Expensive Taste.” Did several mix tapes beforehand that managed to chart in both the U.S. and U.K., although her early career has been marked by feuds, storm-offs and a host of hostile actions and counter-actions, thanks to an innate volatile nature that refuses to take guff from anyone. Bi-sexual, although doesn’t like being labeled, while her fan base is affectionally known as “the Kunt Brigade.” Raised a ruckus in late 2016 in the Beverly Hills Hotel when she was tossed from a Russell Crowe party for her out-of-control behavior, threatening to sue him afterwards for manhandling her. Opted in 2017 for anger management class in lieu of jail time for allegedly chomping on the chest of Christine Soares, a security staffer at a NYC club in 2015. Inner: Extremely volatile and highly emotional, with a tendency to continually get into it with a variety of folk, thanks to her initial upbringing. Fiercely independent, refusing to live on other people’s terms. Profoundly profane, deliberately using provocative language in her songs. Livid lifetime of finally claiming her true self after several go-rounds of being the manipulated pawn of others, as she continually searches for a satisfactory balance between self-expression, self-empowerment and a volcanic need to have her own way, no matter the consequences. Jacqueline Du Pre (1945-1987) - English cellist. Outer: Family had roots in the Channel Islands and could trace themselves back to the Norman invasion. Mother taught at the Royal Academy in London, played piano and did some composing. Father edited an accounting journal, then became secretary of an accounting institute. Middle-class cultured family. Middle of 3 children, older sister Hilary was a flutist, but could not compete with the young prodigy, who could sing in tune at 18 months, younger brother played the clarinet. Received a cello on her 5th birthday, and her mother encouraged her by composing little tunes. At 6, she went to a cello school, where she was given a smaller instrument. Her mother relentlessly pushed her on her career, neglecting her larger education, and leaving her ignorant of the world outside music. Practiced little, and proved to be an excellent mimic, with an extraordinary musical memory. Made her first public appearance at 7, and her concert debut at 16. Until she was 17, her best friend was her cello. Studied briefly as a teenager with master cellist Pablo Casals, as well as Mstislav Rostropovich in Moscow. Given 2 Stradivarius cellos by a patron, the first when she was only 16, and was soon giving recitals with principal British orchestras. Made her American debut in 1965 at Carnegie Hall. Edward Elgar’s Cello Concerto became her signature piece. 5’9”, 150 lbs, blonde and effervescent. Extremely charismatic, with a purity and a sensuousness sense of abandonment to her play. Preferred the classical masters, with little interest in relative contemporaries. Began moving in elite musical circles, met and fell in love with conductor and pianist, Daniel Barenboim, whom she married in 1967, after converting to Judaism. Established herself in a brief dozen years as one of the pre-eminent cellists of her time, but began experiencing numbness and dizzy spells and was diagnosed with multiple sclerosis, which forced her early retirement at the age of 28. Briefly separated from Barenboim and was encouraged by her sister to have an affair with her husband which she did for nearly a year and a half. Later felt abandoned by her own spouse, who cared for her, but also fathered two children by a pianist whom he later married. Died of complications from her disease. Inner: High-spirited, high-strung, emotionally extravagant and not particularly articulate. Naive, playful and romantic, a creature not quite of this world, thanks to her upbringing and focus on her music. Her afflictions probably arose from thoroughly unresolved internal tensions that were a carryover from her previous go-round as a manipulated marionette of her father’s will. One string lifetime of being controlled and pushed by her mother, rather than her father as in her previous existence, only to once more fall victim to her high-strung interior, acting it out directly, rather than through her husband, as she had earlier done. Clara Wieck Schumann (1819-1896) - German pianist and composer. Outer: Father was a piano teacher. Did not speak or understand speech until she was 4. Her parents separated when she was 5, her sire remarried, and he began training her with a ferocious discipline, thoroughly dominating her childhood in his desire for a virtuoso daughter. Made her first public appearance at 9 and gave her first concert at 11. Toured extensively from the age of 12, winning wide acclaim wherever she went. Made her debut as a soloist of the Gewandhaus Concerts, and was renowned by the time she met Robert Schumann (Charles Mingus) whom she married at the age of 21, despite her father’s bitter opposition to the union. Continued her touring career, going as far as Russia, as well as trying to give emotional support to her unstable husband, to whom she was devoted, despite being clueless about his great dualistic draws between creativity and self-obliteration. Four daughters and four sons from the union, which saw her syphilitic spouse ultimately die mad in an asylum in 1856, after alternating periods of lucidity and illness, beginning in 1844, and a suicide attempt a decade later. Had a close platonic friendship with Johannes Brahms (Van Morrison), who felt she was the love of his life. Supported him throughout his career, as the far better known of the two. For the last 14 years of her life, she served as head of the piano department at the Hoch Conservatory in Frankfurt. Although a gifted pianist on her own, she devoted the latter part of her career to making her husband’s compositions better known and understood, as well as championing the works of Brahms. Composed mostly piano pieces and songs in the same manner as her unsound spouse. Filled 47 volumes of diaries, writing them first with her father, who dominated the entries, and then with her husband, in a symbolic suppressing of her inner life for both. Suffered deafness at life’s end, as if deliberately shutting out the world, and died of a stroke. Inner: Intellectually brilliant with a great sensitivity, although also very neurotic. Scholarly and angelic, once again, not quite of this world. Contained lifetime of suffering through an oppressive childhood then diverting her considerable talent to accommodate an unstable but highly gifted husband, rather than freely explore her own considerable musical potential, while playing the role of enabler to other wills than her own.


Storyline: The kindly cognoscente uses generational conflicts and emotional repression as springboards for his unique cinematic oeuvre, while serving as an integrative figure for Easterrn and Western creative sensibilities, after several go-rounds of housing a strong musical mind in a weak physical body.

Ang Lee (1954) - Taiwanese/American filmmaker. Outer: Both his parents fled mainland China after the Communist takeover in 1949, when his grandparents were executed for being landowners. Father was a high school principal and mother was a teacher. One of four children who grew up in a largely uneventful middle-class environment, which emphasized Chinese classical culture and calligraphy, while repressing emotion and feeling, which would be a continual theme of his. One brother, Kang Lee, also became a director and screenwriter. His stern progenitor was a man of few words, and found his day-dreaming son a deep disappointment. 5’7”. Despite pressure on him to become a university professor, he failed to score high enough on his post-secondary school exams, and against his parents’ wishes, went to Taipei to study theater at the National Arts School in 1973, showing himself to be a natural on the stage. After obligatory military service, he joined a student tide to the U.S. in 1978, on his first trip ever outside Taiwan. It took him two years before he felt remotely fluent in English, while earning a bachelor’s degree in theater at the Univ. of Illinois, where he also met his wife, Janet Lin, a fellow Taiwanese ex-pat, and a molecular biologist. Saw his limited English would preclude an acting career, and began focusing on writing and directing. While his wife supported him, contra to Chinese culture, and they lived in a tiny Westchester apartment, he attended film school at NYU, getting his MFA, while working on fellow student Spike Lee’s thesis film. Despite gaining attention from the William Morris Agency, he didn’t make his first feature until 1991, some 6 years later. In the interim, the family expanded with two sons, while he spent his time writing and continuing to absorb American culture through TV, feeling himself, in part, turning into a zombie. After winning a screenplay competition sponsored by China’s Government Information Office, he made his debut with Pushing Hands, which would be in Chinese, and would mark the beginning of his longtime collaboration with producer/screenwriter James Schamus. His next two features, The Wedding Banquet and Eat Drink Man Woman were both worldwide hits, and would also be in his native tongue with the common theme of generational conflict to all of them. It wasn’t until his fourth film that he felt comfortable enough to begin filming in English. That effort would be based on Jane Austen’s (Joyce Carol Oates) early 19th century period piece, Sense and Sensibility. Showed himself to be a meticulous researcher on that project as well as all that would succeed it, with ongoing themes of alienation and repression common to most of his works. Assayed a martial arts feature, Crouching Tiger, Hidden Dragon, despite a lack of familiarity with the form, while his first big budgeter was The Hulk, based on the divided-self giant green comic book character. Decided afterwards to go back to small-budged features, and won an Academy Reward for Best Director in 2005 for Brokeback Mountain, a sidesaddle all-male love tale, earning him the honor of being the first Asian to be so named. The film would be banned in China, despite that government’s crowing over his achievement, and censoring parts of his acceptance speech. His various efforts would earn numerous international awards, while his choice of subject matter would constantly change, showing an interest in delving into arenas he knew little about, so that each film would be an education in itself for both him and his audience. Won his second Best Director Oscar in 2013 for Life of Pi, a tiger by the tail tale.Inner: Unassuming, modest, with a sense that he is an extension of his father, for better and for worse. Dualistic in his boldness and humility, as an eternal son feeling compelled to both challenge and kowtow to his sire. Stranger in a strange land lifetime of coming in through a repressed environment in order to allow him to explore emotions from all vantage points, while unconsciously integrating Eastern and Western values, virtues and verisimilitudes, and breaking his previous pattern of ill-health and relatively early demises at the peak of his creative powers. Alban Berg (1885-1935) - Austrian operatic composer. Outer: Grew up in a well-to-do middle-class family. Father was a salesman in the export trade and died suddenly of a heart attack when his son was 10. 2 older brothers and a younger sister, from whose governess he first took piano lessons. Initially influenced by literary sources, which would later be his musical inspiration as well. With the help of his siblings, he was self-taught as a musician, and began composing around the age of 15. Had a daughter at 17 with a maid in his household, Marie Scheuchl. Met Arnold Schoenberg (Alex Cox) when he was 19, who was teaching in Vienna at the time, and the encounter decided his future course, after a brief venture in a public office. Dreamy and sensitive as a youth, he was transformed into a serious artist by Schoenberg, who awakened his latent talent through direct instruction, and was a continuous inspiration throughout his life. Along with Anton von Webern (Atom Egoyan), he studied under him, developing a style in which tonality and atonality are fused. The trio would later be referred to as the 2nd Viennese School. Suffered his first asthma attack July 23rd, 1908, and believed afterwards that 23 was his fated number. In 1911, he married Helene Nahowski. Under the direction of Schoenberg, his first songs were publicly played and they caused a riot, immediately curtailing the concert, an experience the sensitive young man would never forget. After seeing the play Wozzeck by Georg Buchner (Tony Kushner), he immediately decided to make an opera out of it. Served in WW I, where his delicate health got him a clerical job in the War Ministry, allowing him to complete the text in the last years of the war, and the music several years later. The atonal opera premiered in the mid-1920s in Berlin and made him famous, as well as the subject of numerous polemics for its anti-militarism. Wrote some chamber music, then decided on using the tragedy Lulu by Frank Wedekind (Rainer Werner Fassbinder) for his next operatic text. Both plays had been works he had seen in his youth. Finished the text quickly, but did not complete the score because of his early death from blood poisoning, although excerpts from it were performed during his lifetime. Interrupted his work on it for a violin concerto, which he feverishly raced to finish. Had a premonition of his own demise when a close friend, the daughter of Alma Mahler (Mia Farrow) and architect Walter Gropius, suddenly died. Entered a hospital with an abscess, from an insect bite, and after a short but intense period of stoical suffering, passed away, continuing to obsess on Lulu until his last delirious breath. Inner: Highly imaginative and original, with a rich inner life in which he fused both literature and music. Impressive appearance, looked like a romantic version of how an artist should project himself. Well-loved by one and all, kindly, modest and good-humored. Out-of-time lifetime of living in essence for his work in a world soon to grow far too barbaric for someone of his gentle, sweet nature. kCarl Maria Von Weber (1786-1826) - German composer. Outer: Born the same day as composer Henry Bishop (Roger Waters). Father was a vain and high-flown adventurer, who had been a soldier, then a steward, then a Kapellmeister and town musician, before leading a nomadic life as theater impresario. His sire’s 2nd wife was a singer, while his first marriage had produced 2 sons who became musicians. Wanted to make a prodigy of his next son as well. Born with a diseased hip, he didn’t walk until he was 4, then had a discernible limp. Received instruction from his own family as well as young court musician, and was nervous and delicate as a child. Entered the Archepisocopal Institute as a choirboy and for piano study. His mother died of TB when he was 11. Began composing under the aegis of his father, although the failure of his first produced opera sent him back to taking more music lessons. Small and narrow-chested. Through his teacher, he became Kapellmeister in 1804 at the Stadttheater in Breslau. Ultimately became a secretary to a German duke, but he got caught up in the corrupt life at Stuttgart court, from which he and his father were banished for life in 1810 for financial irregularities, after being briefly imprisoned. Moved to Mannheim, then Darmstadt, but suffered disappointments in failing to gain the appointments he desired. Accidentally drank a glass of nitric acid, mistaking it for wine, and was discovered unconscious on the floor. Subsequently lost his singing voice, while his vocal organs were permanently impaired while he suffered a long illness afterwards. Continued composing, met his future wife, a soubrette, then undertook the artistic regeneration of the Prague Opera. Spent 3 years reorganizing it, but ultimately resigned in frustration over public indifference, despite his efforts to educate the public over what he was doing. In his early 30s, he married Carolina Brandt, a soubrette, 2 sons from the union, as well as a daughter who died in infancy. Ultimately summoned to Dresden in 1817 as the conductor of the German opera to be established there and held that position the rest of his life. Sought the unity in German opera that had long been present in the Italian variety. Took over at Covent Garden for Henry Bishop in 1824, who had quit in a salary tiff, and wrote his last work, “Oberon”, in English there. Saw it produced in 1826, although by this time he was ravaged by consumption and died soon afterwards of TB. His son ultimately wrote his biography. Penned operas, other dramatic offerings, cantatas, songs, orchestral works and instrumental pieces. Wrote operas, other dramatic pieces, cantatas, songs, orchestral works and instrumental pieces. Inner: Predisposed towards bad health. Caustic wit, with a love of fun. Articulate, highly intelligent, lovable and highly influential. Kind and cordial, with an absence of jealousy towards his fellow musicians. Precursor romantic with strong sense of the theatric. Divided lifetime of playing out the role of child prodigy as well as inadvertent self-destructor while clinging to a sense of musical failure, while once again pitting his kindliness and strong will against adversity. kGeorg Handel (1685-1759) - German composer. Outer: Second and oldest surviving son of a barber-surgeon in service to the Duke of Saxony. Mother was the latter’s second wife, and the daughter of a pastor. Two younger sisters, as well as four surviving half-siblings, two of whom would die in his first five years. His sire opposed his musical interests, although his talent was so obvious, that he reluctantly allowed him to be taught by the best organ master of the city, and he quickly became proficient in a host of instruments. Raised to be a lawyer, he studied law at Halle Univ., but his father’s early death in 1697 allowed him to pursue his real interest. Soon quit school and was playing in the Hamburg opera orchestra, under Reinhard Keiser (Richard Rodgers). Reworked the libretto and score of an opera Keiser had lost interest in, which marked the beginning of his career as a composer, and also won the jealous enmity of his mentor. After writing 2 more operas, he left Hamburg at the invitation of a de’ Medici prince to travel to Italy in his suite. Large and handsome, with a tendency towards corpulence as he grew older. Over the next 3 years, he came in contact with several of the Italian masters of the day and became thoroughly familiar with their modes, allowing him to combine the best traits of both German and Italian musical traditions. During that time, he engaged in a friendly harpsichord competition with Domenico Scarlatti (Alex Cox) and the two became lifelong admirers of one another. Acclaimed as a young genius wherever he went and was received into the best society. Appointed court conductor in Hanover in 1710, where he may have had his only recorded liaison, with a married singer, and then was invited to produce a successful new opera in London. Also showed a keen business acumen, realizing his future lay in England. Returned to Hanover briefly, then was given a lifelong annual pension by the English Queen Anne (Princess Anne). Although she was succeeded by the Hanoverian George I (Jeffrey Archer), the young composer was able to ameliorate his awkward position by winning him over with a famous composition called Water Music. Became musical director for 2 years for an eccentric and wealthy English duke, then was made musical director of a new opera house connected with the Royal Academy of Music, which was formed for the purpose of presenting Italian opera. During the next decade, he produced 15 operas, although at the end of that time, the English audience had grown tired of that form and the prima donnas it produced, and the Royal Academy closed in 1728. Returned to Italy looking for new operas, and reorganized the Royal Academy using the Haymarket Theater for his venue. Closed it a 2nd time several years later, and returned to Italy before becoming opera-director at the newly built Covent Garden Theater in 1734. Despite honors and spectacular personal performances on the organ, his opera closed once again, and at the age of 52, he suffered a stroke of paralysis, and lay pain-wracked for months until he was finally cured in the hot springs of Aix-la-Chapelle. Made one more feeble attempt to organize a new opera company, but finally quit opera under a heavy load of debt and turned his musical attentions to oratorio. The most notable of his numerous compositions in that genre was his Messiah, which wrongfully made people think he was an ecclesiastical composer, rather than the musical dramatist he truly was. Towards the end of his life, he gradually lost his sight, and for his last 7 years was blind, although continued to conduct his oratorios and work on his old compositions. Died at home. Never married, lived with a devoted follower for 50 years, who handled his affairs. Probably a homophile, but was not outed until centuries later by musicologists, with little evidence to prove their claim. Wrote 46 operas, which were the high point of his art. Inner: Interior quite hidden, with only one recorded romantic connection. Opportunist, with all his ventures large and extended. Impetuous and forceful with gross and gluttonous manners and tastes. Kind, generous, religious and honest, with a short temper and a spiritual simplicity. Irascibly cheerful, but lonely at heart, with a great need to protect himself. Bridge lifetime of integrating the musical traditions of 3 nations, while expanding his own secret emotional base through triumph, rejection and ultimate debilitation in a messianic, but not messy, musical go-round that brought forth his ongoing genius. kHeinrich Schutz (1585-1672) - German organist and composer. Outer: erman organist and composer. Outer: From a family with an excellent social standing. Father was a town clerk, while his mother was the daughter of a burgomaster and his second wife. 2nd born and eldest son of 8 children. Became a choir-boy in the court chapel of Cassel when he was 14 and a pupil of the Collegium Mauricianium. His parents wished him to be a lawyer, and he studied law at Marburg Univ., but 2 years later, he so impressed the local Landgrave with his musical ability that he was sent to Venice to study, staying there 3 years before returning to take the position of organist at Cassel. Had a close marriage, although his wife died 6 years into it. 2 daughters from the union, both of whom he outlived. Served as a guest conductor to the Electoral Court in Dresden, and in his early 30s, was given that position permanently. Tried to resign when he had to pay his musicians’ salaries out of his own wages, but the Elector refused to grant him his request. Left anyway and revisited Italy for 2 years a little over a decade later. Because of the disastrous effect of the Thirty Year’s War on the German states, he became court conductor in Copenhagen, along with several other cities, before returning to Dresden a dozen years later, when the Dresden Court Orchestra resurrected itself. Composed the first German opera, and served as a bridge between the Italian mode of dramatic expression in music and the more restrained German style. In later years his hearing began to fail, and he spent most of his time reading scriptures and spiritual books, and living in seclusion. Had several severe attacks of apoplexy in the years before his death, and finally died of a stroke. Noted for his oratorios and passions. Along with Samuel Scheidt (Alex Cox) and Johann Schein (Guy Ritchie), he was part of the trio known as the three “S’s” of the Northern German school of organists. Considered a forerunner of Handel, whom he would later become. Inner: Ultimately overwhelmed by his familial losses. Steppingstone lifetime of fusing the styles of two cultures, giving Germanic religious music a far more dramatic foundation, while once again shutting down his systems to the world before making a painful exit, his signature sign of not being able to maintain his inner sense of beauty with the outer world. kCipriano de Rore (1516-1565) - Flemish composer and choirmaster. Outer: Pupil of Adriaen Willaert (Alex Cox) in Venice and chorister of St. Mark’s Cathedral there. Spent 8 years as choirmaster at the ducal court in Ferrara and then was court choirmaster in Parma. Succeeded his teacher as choirmaster at St. Mark’s in 1563 and finished his career at the Parma court. Composed madrigals, motets, masses and psalms. Inner: Foundation lifetime of working in the Renaissance church mode, while combining cultural traditions to do so, as he would continue to do in succeeding lives, while maintaining contact with his quartet of crypto-family members as he would in most of his go-rounds in this series.


Storyline: The orphic virtuoso transforms all that he touches with new structures and techniques, while reaping the inevitable alienating fallout that constantly comes from trying to teach clogged ears to listen anew and blurry eyes to see anew.

Alex Cox (1954) - English filmmaker, writer and actor. Outer: Loved comic books as a youngster and went to a local state-run grammar school, where his conformist buzz-cut and tie exterior masked a far more questioning interior. Initially pursued a law degree at Worcester College, Oxford Univ., before joining the school’s drama department and then switching to a film studies program at the Univ. of Bristol. After receiving a Fulbright scholarship, he hied to Los Angeles to study film at UCLA, where, in 1977, he made his first short, Edge City/Sleep is for Sissies, a pained paean to artistic struggles, which led to co-forming his own Edge City Productions with the hope of producing low-budget features. While awaiting further opportunities, he took a job repossessing automobiles, which led to his directorial bow, the cult classic, Repo Man in 1984. His difficulties with the commercial American studio system would begin immediately with this production, although the success of its soundtrack would give him another opportunity. A fascination with punk-rock would inform his next co-written effort, Sid and Nancy, which took artistic liberties with the doomed lives of inept Sex Pistol bass guitarist Sid Vicious and his moth-to-fhe-flames girlfriend Nancy Spungeon (Pixie Geldof). An ongoing interest in the Sandinistas and a failed attempt at a concert film in Nicaragua, led to a spaghetti western spoof, Straight to Hell, which only found audience in Japan. Walker, an overtly political take on 19th century filibuster William Walker (Guy Burgess) as a metaphor for American interventionism would scare its studio backers, enflame most American critics as blatantly unpatriotic and end his relationship with Hollywood, which he felt subsequently blacklisted him as far too radical for its tastes. Served as a host for the BBC TV series “Moviedrome,” from 1987 to 1994, while turning to Japanese investors and Mexico as a backdrop for his subsequent works in the early 1990s, after a fallow period, only to run into trouble with budgets, and be forced to serve as a directorial gun-for-hire in order to complete a BBC production of a Jorge Luis Borges story, Death and the Compass. Artistic differences would lead to his firing from his next project, a retelling of a Hunter S. Thompson gonzo tale. Married Tod Davies, a screenwriter, producer and radio food-show host, and with her, formed a production company, Exterminating Angel. Wound up in Liverpool, and did a futuristic update of The Revenger’s Tragedy, a Jacobean play, in 2001. In 2003, along with his wife, he served as co-artist in residence at St. John’s College, Oxford. Has continued in his own idiosyncratic vein, both penning and shooting his private visions, most of which would fail to get American releases. Finally able to do a sequel to Repo Man, shot largely on greenscreen, Repo Chick, in 2009 although its ultimate release fate would be in the hands of the indie gods, like many of his other efforts. Also penned “10,000 Ways to Die,” on classic westerns, and has acted in various productions. Inner: Atheistic, antiestablishment and anti-imperialist, with eclectic tastes and an ongoing desire to challenge his audiences on every level, aurally, visually and politically. Edge City lifetime of remaining an eternal outsider as well as a cult classicist in his continuing stance as both teacher and student of civilization’s cultural and political discontents. Arnold Schoenberg (1874-1951) - German composer. Outer: Son of a Jewish shopkeeper in Vienna. Parents were highly musical. Had little formal training, although started composing at 10. When he was 16, his father died, which forced him to seek employment in a bank. Totally obsessed by music, he was part of the circle of radical young musicians who met at Vienna’s literary coffeehouse, the Cafe Griensteidl, and soon became one of the leading figures in the avant-garde cultural life of that city. In his mid-20s, he married Matilde Zemlinsky, the sister of one of his teachers, and at the same time converted to Lutheranism. One son and one daughter from the union. Began to paint seriously in his early 30s, at about the same time he renounced tonality in his music. Helped in his early career by composer Richard Strauss (Guy Ritchie), who later held his nose at his innovations. Initially saw painting as a way of making money. His wife, however, ran off with the most radical of the young Austrian expressionists, Richard Gerstl, but was persuaded to return to her husband through the intervention of one of his students, Anton von Webern (Atom Egoyan). Shortly after she returned, Gerstl destroyed all his work and committed suicide. Lived in Vienna, save for 2 periods in Berlin around the turn of the century and then from his later 30s until his late 40s. Viennese hostility drove him to Berlin. Revolutionized modern music by abandoning normal tonality and developing a twelve-tone serial technique for composition. Inspired fist-fights in the audience over his first atonal performance in 1912. Established his famous private seminar in composition and the Society for private performances in which neither critics nor applause were acknowledged. His two most famous students were Alban Berg (Ang Lee) and Webern, both of whose musical lives, he totally revolutionized. After his wife’s death, he remarried in his early 50s to Gertrud Kolisch, the sister of a well-known violinist. Taught at the Prussian Academy of Fine Arts in Berlin for 8 years, until the rise of the Nazis. Went to Paris and had himself reinstated in the Jewish faith, before emigrating to the United States, where he taught at the Malkern Conservatory in Boston. Then went to Hollywood and was professor of music at USC for a year and UCLA for 8 years. Became extremely bitter over constantly being dishonored and vilified, feeling himself a martyr at life’s end to the obtuseness of the listening public, despite a growing acceptance of his work. A chronic asthma sufferer, as well. Though he did not invent the serial technique of the 12 tone scale, he was its best-known early exemplar, serving as a teacher for many others. Composed for the theater, orchestra, instruments and voices, while his reputation has soared following his unhappy and under-appreciated departure from the planet. Wrote several critical and theoretical treatises as well. Inner: Principled, uncompromising, and tenacious in his beliefs, despite disappointments in his career and the lack of public acceptance of his musical ideas. Had a great fear of the number 13, his birthdate, even going so far as to remove a letter from one of his opera titles so it would have 12 letters. Eventually died at 76, which added up to 13, on a Friday the 13th. Misanthropic moralist, extremely cerebral, saw himself as a “pupil of Mozart,” in making complex musical themes accessible and comprehensible. Also a self-styled cultural victim, unconsciously willing his rejections through his intransigence and sense of intellectual superiority. Artistically transcendent but emotionally resentful lifetime of pursuing his own musical vision at all costs, and in the process, serving as a seminal figure in helping to revolutionize 20th century world music, at the cost of his own many personal disharmonies. John Field (1782-1837) - Irish pianist and composer. Outer: From a musical family, son of a violinist and grandson of an organist, who taught him music and was such a strict disciplinarian about practice that he attempted to run away from home. The eldest of at least 7 children. Went to London and apprenticed with musician/entrepreneur Muzio Clementi (Guy Ritchie), whose pianos he exhibited, using his improvisational skills. Taken by Clementi to Paris, Germany and Russia where he settled in St. Petersburg as a teacher, upon his mentor’s departure. Married Adelaide Percheron, the daughter of the war commissioner of the French fleet in 1808 in a Catholic ceremony, despite his own Protestant upbringing. One son from the unhappy union, which, was dissolved within a decade. Also had an illegitimate son, Leon, with a French mistress, who became an operatic tenor. Enjoyed a high reputation as a virtuoso in Moscow, before touring Europe for several years with his playing and his compositions. At the last stop of his tour, in Italy, however, he failed to win favor and fell seriously ill in Naples where he was hospitalized with cancer of the rectum, thoroughly internalizing his rejection as a slap at his very essence. Sought help in London, then France and Italy, winding up in a hospital in Naples for nine months. Rescued by a Russian, who accompanied him back to Moscow, but soon after he arrived, he died. On his deathbed he was asked by a priest what his religion was, and he responded, “I am a pianist.” Considered one of the greatest pianists of the 19th century. His Nocturnes had a marked effect on Frederic Chopin (Karlheinz Stockhausen). Composed more than 60 pieces, all for the piano, Inner: Highly sensitive, pale, awkward figure, who transformed himself as soon as he started playing into a transcendent being of beauty and grace. Probably unable to countenance any sense of devaluation of his skills, having thoroughly wrapped his sense of self around them. Lithe-fingered lifetime of concentrating on his playing, rather than his composing, while ironically coming undone in the very place where he would next incarnate as a pre-eminent musical figure of the previous century. Domenico Scarlatti (1685-1757) - Italian harpsichordist and composer. Outer: Son of noted composer Alessandro Scarlatti (Guy Ritchie). Taught by his father as well as several other noted musicians of the time. Sent to Florence at 20 by his sire to expand his opportunities, and then went on to Venice where he met Georg Handel (Ang Lee). The following year, a Roman cardinal set up a famous harpsichord contest twixt the duo in his palace, and although Handel proved to be the superior player, the two held each other in warm regard for the rest of their lives. Afterwards was in the service of the Polish queen for her private theater in Rome, and then for 4 years, was music director of St. Peter’s. From there he was cembalist at the Italian Opera in London and then court cembalist for the King of Portugal as well as teacher of his daughters, before returning to Naples for several years, and then finishing off his career with a quarter century stint in Madrid, as music master to the royal family, performing exclusively for their aristocratic ears. An addictive gambler, he left his own family in want, despite having a fine home in the city. In 1728, he married Maria Gentili, 5 children from the union, before his wife died iin 1742. His 2nd wife, Anastasia Ximenes, was Spanish, and he had 4 more children with her. Took several leaves of absence, and spent his last years in Naples, only to return to die in Madrid. Unrivaled as a brilliant harpsichord virtuoso, he is looked upon as the father of modern piano-playing, introducing all sorts of new techniques to free that instrument from the rigidities of the past. Also did considerable composing for the harpsichord, most notably in the sonata form, as well as operas and oratorios, which show considerable less care and originality. At his death, his family was left in dire straits, although the queen paid his debts and settled a pension on his heirs. Inner: Under control of his father for the first 4 decades of his life, following the same patterns of searching for powerful patrons. Inner life totally hidden, left absolutely no record of himself, save for his music. His addiction to gambling may have come from a thwarted desire for taking larger chances with his life, which was secured by continual powerful patronage, from birth onwards. Non-rebellious lifetime of serving as his father’s son and pursuing the same economic pathway, while using the security of continual employment to lay the foundation for all future piano-playing, giving focus to his innovative genius, without upsetting traditions, merely improving them. Samuel Scheidt (1587-1654) - German organist. Outer: Eldest surviving son of a municipal steward of wine and beer who became the overseer of the saltworks at Halle. Mother was the daughter of a baker. Musical talent abounded in his family, which supported his own interest in that direction. Studied with Jan Sweelinck (Isaac Stern) in Amsterdam, and became one of the most celebrated German organists of the 17th century. Played in Halle for a dozen years and then became organist and choirmaster to the Margrave of Brandenberg in Halle. Married in 1627, and remained in Germany throughout the upheaval of the Thirty Years War, losing many of his musicians, while receiving little salary. When peace came in 1638, he became court choirmaster again, and passed the latter part of his life in productive harmony. Owed his high social rank to his vocal works, but his lasting fame came from his revolutionary organ-playing and integrating the chorale and the organ in Church services. Along with Johann Schein (Guy Ritchie) and Heinrich Schutz (Ang Lee), he was part of the trio known as the three “S’s” of the Northern German school of organists, and was the only one of the three who distinguished himself as a performer. In addition to his organ composing, he also produced a larger quantity of both secular and sacred vocal work. Inner: Had a strong sense of structure, and enjoying reworking not only his own works, but those of other composers as well. Steppingstone lifetime of indirect teaching through example rather than a structured school, as well as exploring technique and innovation in his instrument and métier of choice. Adrien Willaert (c1480-1562) - Flemish composer. Outer: Son of a Church musician who hoped to make him a lawyer. Sent to Paris to prepare for that career, but took up music instead. in 1515, he went to Rome, then served various members of the d’Este family over the next dozen years. In 1527, he was appointed maestro di cappella of St. Mark’s in Venice, and held that post until his death. Served as an early master of Italian madrigals, and composed in nearly every genre available to him, while composers from all over Europe flocked to learn from him. Founded a singing school in Venice, and had many eminent pupils, including Andrea Gabrieli (Guy Ritchie) and Cyprian de Rore (Ang Lee). Became the first to make use of the double chorus, and, in a sense, was a painter with musical notes, always looking for clarity in all he did. Held in great honor as organist, composer and teacher, with an abiding facility in all three disciplines. Inner: Extremely innovative, and highly versatile, with great musical curiosity, allowing him to explore every mode available to him. Foundation lifetime of establishing musical patterns of teaching, playing and composing, while continuing his association with his longtime quartet of confreres through their mutual connection with St. Mark’s Cathedral in Venice.


Storyline: The former introverted atonalist turns his teaching sensibilities to film, and plays a similar independent role as both a purveyor of thoughtful pieces, and an enthusiastic supporter of young voices eager to be seen and heard on the world’s screens.

Atom Egoyan (Atom Yeghoyan) (1961) - Canadian filmmaker. Outer: Of Armenian descent. The progeny of a pair of Armenian/Egyptian furniture store owners who had earlier studied painting. In 1963, they emigrated to British Columbia in western Canada and opened another furniture store there. Named in honor of Egypt’s first nuclear reactor, and older brother of Eve Egoyan, a concert pianist. Had difficulties with his father around his desire to assimilate into his adopted culture, and refusal to acknowledge his rich heritage. Originally wanted to be a playwright, before shooting a short and deciding on filmmaking as the key to creative expression for him. 5’7”. Studied International Relations, with the idea of becoming a diplomat, as well as classical guitar, at Trinity College, the Univ. of Toronto, and began making shorts there through the auspices of various Canadian arts funding organizations, while also reacquainting himself with Armenian culture, which would become an integral part of his subsequent work. His initial feature would be Next of Kin, after which he did TV series work in both Canada and the U.S. Continued to write and direct his own work, while making the rounds of film festivals. His breakthrough feature would be The Sweet Hereafter, a multi-perspective re-view of a school bus crash, in 1997. Married Arsinee Khanjian, a fellow Canadian-Armenian, and an actress and producer, who always appears in his films, one son from the union. Best known for Ararat, a 2002 meditation on the Armenian genocide in early 20th century Turkey. Has won numerous awards for his indie works, including 4 Cannes Film Festival trophies, as well as another quartet from the Toronto International Film Festival. Has directed several opera productions, and also made classical musical shorts in keeping with his crypto-past, and operates a 50 seat cinema-lounge in Toronto, where he also teaches at his alma mater as a visiting lecturer on theater, film, music and visual studies. His well received Remember, released in 2015, takes on both Alzheimer’s and the Holocaust, in his ongoing fascination with all aspects of genocide Inner: Quiet and thoughtful, a teacher at heart. Relaxes by playing classical guitar. Prefers non-linear plots, and out-of-sequence storylines, with a strong sense of mystery to his creations. Auteur lifetime of transliterating his musical sensiblities into the world of cinema without missing a beat in his independent approach to edifying and elevating his audiences through his keenly developed esthetic. Anton von Webern (1883-1945) - Austrian composer and conductor. Outer: Son of a successful mining engineer. Showed musical talent from an early age, as well as a mystical attachment to nature, marveling in its intricate patterns, and studied at the Vienna Conservatory with a well-known teacher. A great admirer of Richard Wagner (Werner Herzog) from youth onward. Met Arnold Schoenberg (Alex Cox), who would have a profound influence on him as a teacher and supporter, and he, in turn, would be his most loyal adherent, never returning to tonality, once he had embraced its opposite. Became a lifelong friend of Alban Berg (Ang Lee) through their mutual studies under Schoenberg, and their continual close contact with one another afterwards. Eagerly went off to WW I, and later put some stock in Nazi theories of German superiority, while viewing the Third Reich as fellow ideologues of purity, despite its decided lack of interest in his music. Married his cousin Wilhelmine Mortz in 1911, one daughter from the union. Lived quietly and modestly in and around Vienna, putting his passion into his work, rather than his life. Served as a conductor in Prague and then various little provincial theaters, although he disliked the work and never achieved an international reputation, preferring a largely German stable of music, as well as his own, Schoenberg’s and Berg’s. Because of the modernity of his oeuvre, based on the 12 tone scale, it was largely ignored by the musical world of his time, although his reputation has continued to grow after his death. Most of his works received hostile reception by audiences on first hearing them. More of a modernist composer’s composer, skirting the realm of popular taste. Wrote several song cycles, as well as instrumental works, with timing as an integral factor in his poetic, expressionistic, concise and unique pieces. His music was banned as “cultural bolshevism” during WW II by the Nazis, although he continued to view Adolf Hitler as an instrument of spiritual regeneration. Accidentally killed, after stepping outside to smoke a cigar, by an American sentry during the American occupation just after WW II. Had a profound effect on the development of modern music. Inner: Small, meek, naive, sentimental and cerebral. Always searching for purity through precision, brevity and conciseness, creating fragments to be played in very brief time spans. Sensitive, introverted, unworldly and retiring. Submerged lifetime of experimenting with alternate musical forms in the close company of longtime musical friends and supporters, after many lives as their teacher, before ironically becoming a victim of misplaced martiality and suffering a shockingly concise death. Ludwig Berger (Carl Heinrich Ludwig Berger) (1777-1839) - German pianist and teacher. Outer: Attended the Univ. of Frankfurt, then studied music in Berlin and Dresden, where he became a close friend of artist Philip Otto Runge (Lars von Trier). Settled in Berlin as a piano teacher, then was taught by Muzio Clementi (Guy Ritchie) who took him to St. Petersburg, where he met pianist John Field (Alex Cox) whose style of play greatly influenced him. Forced to flee in 1812 because of the advancing French army, he visited Stockholm and London, and became widely known as a teacher, wherever he went. Later returned to Berlin in 1815, where he lived the rest of his life. Wrote a considerable amount of music, in addition to being a piano virtuoso, with his piano duets as his most memorable works. Taught several well-known pupils, including Felix Mendelssohn (Leonard Bernstein). Eventually withdrew from active life, despite being known as one of the most esteemed teachers of his time. Composed choral works and piano music, with a particular focus on small forms. Inner: Hypersensitive and hypochondriacal. Self-involved lifetime of continued association with his longtime cohorts as a lesser light to their more celebrated luminosity, with emphasis on playing and teaching, rather than composing, only to eventually by overwhelmed by his ongoing disassociation from the world-at-large. Gaetano Greco (c1657-c1728) - Italian composer and teacher. Outer: Entered Naples Conservatory at 10 and taught violin as a student-teacher, eventually becoming primo maestro there. Taught Giovanni Pergolesi (Wolfgang Mozart) and Domenico Scarlatti (Alex Cox), among his many pupils. Aside from a 3 year break, he spent his entire career at the school. Wrote for the harpsichord, although nothing was published during his lifetime, in keeping with his longtime predilection for composing largely for himself and his own evolution as a thoroughly self-involved artist, with an outside audience completely secondary to his aims. Inner: Cerebral and hidden. Contained lifetime of continuing in his primary musical role as a teacher, with composing as a very private affair in his ongoing creative conversations with himself. Giovanni Gabrieli (1557-1612) - Italian composer, organist and teacher. Outer: Italian composer, organist and teacher. Outer: Nephew of well-known organist and composer, Andrea Gabrieli (Guy Ritchie), who was his teacher. Little known of his early life. Went to Munich and was musical assistant to Orlando Lassus (G.W. Pabst) for several years in the court chapel. An organist at St. Mark’s Cathedral from his late 20s, he succeeded his uncle and held that position until his death. Teacher of many, including Heinrich Schutz (Ang Lee), who was his favorite pupil. Achieved widespread fame by the end of his life, particularly as one of the best known teachers of his generation. Expanded on the work of his uncle, revolutionizing the sonorous balance between voices and instruments in his work. Inner: May have found fame as a detriment to his internal development, and eschewed it as a goal in succeeding go-rounds, preferring his own critical company as motivation enough for acting as peripheral partner to the careers of his fellow quartet in their collective assault on the complacency of the musical sensibilities of their times. Foundation lifetime of building on the work of his familial predecessor, while establishing his credentials as a superior teacher and revolutionary composer, two themes he would continue to explore throughout this series.


Storyline: The cryptic patrician hides his true materialist nature while continually hooking up with strong females in an odd resistance to his own unintegrated feminine, in an ongoing need to present himself as a manly reflection of the changing values of his various times.

Guy Ritchie (Guy Stuart Ritchie) (1968) - British filmmaker. Outer: Of British descent with some Irish and distant French. Father was an advertising executive, and mother was a former model. Had one older sister, Tabitha, a dance instructor, and an older half-brother. Raised in a stately home, although developed a mockney accent to give the impression of having endured more common roots. His parents divorced when he was 5, and his mother remarried a baronet, whom she later divorced as well, while his progenitor rewed a woman active in Conservative politics. Always wanted to be a filmmaker, although had no interest in film school. Because of his extreme dyslexia, he went to ten schools before he was 15, prior to being expelled from the last one for drug use. Did menial labor afterwards, including laying sewage pipes in Greece for six months. When he was 18, he got into a fight and earned a 5” knife scar on his left cheek. Eventually abandoned drinking and drugs and his rowdy ways, and got a job as a runner for a film company in 1993, which quickly led to directing music promos for bands and commercials. 5’11”, with a strongly masculine mien. Able to utilize the money he made to write and shoot a short, The Hard Case, which would lead to his debut film in 1998, the well-received Lock, Stock and Two Smoking Barrels, a testosterone testament to men behaving badly. Despite difficulties around initial distributorship, it would become one of the biggest grossing films in British his/story, and would lead to a spin-off TV series that he produced. His second feature, Snatch, a bigger-budgeted affair, would draw criticism as being too much like its predecessor in theme and cross-story style, despite its success at the box office. In 2000, he married singer and publicity hound Madonna, a decade his senior, shortly after their son was born. An adopted Malawi son would later be added to their extended household, which would feature an estate, as well as homes in London and New York. Became involved with the Jewish mystical practice of Kabbalah through her, although dropped it when he dropped her. Their relationship would largely overshadow his career, culminating in their ill-received collaboration, a remake of Swept Away, while his own material seemed to suffer in the process as well, in his continually revisiting underworld shenanigans in a host of guises, including a hidden camera TV show, “Swag,’” a “caught-ya” reality grab bag set up to nab thugs in the act. After mutually denigrating one another in the press, he divorced Madonna in 2008, making out handsomely in their ultimate settlement, to the tune of some £50-£60,000,000, while enjoying a successful release afterwards with Sherlock Holmes, in preparation for several comic book inspired features. Owner of a popular Mayfair pub, the Punch Bowl, and an ongoing paparazzi and tabloid target as the former Mr. Madonna. Had a son with model Jacqui Ainsley in 2011, followed by two daughters, then married her in 2015. Involved in a bitter custody dispute with ex-wife Madonna over their son Rocco, and won it in late 2016, which was the latter’s choice as well. His 2017 offering, King Arthur: Legend of the Sword was seen as an entertaining over the top look at the ancient legend, but proved to be a catastrophic box office failure. Has a net worth of $150 million. Inner: Active martial artist with a blackbelt in judo and a brown belt in Brazilian jiujitsu. Has shown a strong affinity for musicians, often casting them in his various works. Highly social and strongly opinionated, with a gift for lasting male friendships. Hairy-chested lifetime of mixing a creative fascination with the underworld, with an ongoing overworld captivation with both wealth and power, coupled with a need, once more, to test his sense of himself against the potency of a dominating larger-than- life female partner. mRichard Strauss (1864-1949) - German composer. Outer: Son of the first horn player at the Munich court opera, who gave him a thorough musical education. Mother was from a wealthy brewer’s family, who also supported the arts. His progenitor was quite contemptuous of composer Richard Wagner (Werner Herzog), whom he would later champion. Was composing at 6, and published several works by his teens. After a year at Munich Univ., he decided to give up his studies and devote himself entirely to music. Raised a Roman Catholic, but later abandoned the religion. Tall, distinguished and handsome. His early works, written in a classical mode, brought him instant acclaim. Went to Berlin, and was persuaded to use the great 19th century composers as his models, rather than the older classicists. At 30, he married Pauline de Anha, a shrewish soprano who ultimately dominated him, and caused him to live in fear of her in a stormy, quarrelsome 55 year union. Succeeded his mentor Hans von Bulow (Pierre Boulez) as conductor at Meiningen and later as conductor of the Berlin Philharmonic concerts. Adopted the aesthetic philosophy and style of Franz Liszt (G. W. Pabst) and Richard Wagner, and began composing in a romantic manner. His earlier works were original, richly orchestrated and highly evocative, and often taken from subject matter in his own life, but curiously unrevealing about his interior processes. Gained his greatest fame from his operas, written after the turn of the century, creating almost all of them in collaboration with the poet Hugo von Hofmannsthal (Stephen Sondheim). Continued using skilled poets as librettists, bringing the Wagnerian opera form into the 20th century, with a similar passion, intensity of drama and psychological treatment of character. Roundly dismissed avant-gardist Arnold Schoenberg (Alex Cox) for his musical experimentations, finding them uncomprehendingly ugly, after initially giving him his start. The latter part of his career was anticlimactic, having earlier spent much of his creative coin, and he settled for complacent compromise in his later works. At the ascension of Adolph Hitler to power in 1933, he was appointed president of the Reichs-Musikkammer, which was designed to regulate and stultify music in the Third Reich, despite his daughter having married a Jew. Left the post after 2 years, although continued to stay in Germany and compose, offering a dirge at war’s end to signal his feelings on Germany’s decline, while serving the regime in various representative capacities, although he did try to insure his extended family’s safety. After the war, he lived mostly in Switzerland. At the end of his long life, he was exonerated by a denazification court in Munich of having been a collaborator with the Hitler regime, although his connections and beliefs remain questionable, since he felt Nazi state authority was needed to implement reforms in operatic production. His last works were death tolls for German romanticism. Died of uremia three months after returning to Germany. Best remembered for the tone poem, Also Sprach Zarathustra and the opera Der Rosenkavalier, a look at life and love among the Viennese aristocracy several centuries previous. Inner: Aristocrat who lived in the grand manner. Refined, with impeccable taste, also petty and opportunistic and fantastically parsimonious. Strong sense of disassociation, as if he were viewing himself from afar, which may explain his relationship with Nazism, as a dualistic affair that proved useful to him at the time. Claimed, “I may not be a first-rate composer, but I am a first-class, second-rate composer!” Disconnected lifetime of bringing operatic romanticism to its completion, as a bridge between the 19th and pre-nuclear 20th century, while remaining largely hidden, even from his own non-introspective eyes. mMuzio Clementi (1752-1832) - Italian pianist and composer. Outer: Father was an artisan who worked in silver, and was musically inclined. Eldest of 7. Began his musical education at an early age by being apprenticing to a relative. At 9, he won a position as organist in a competition against much older players. Studied voice and composition and had already begun composing by his early teens. At 14, his father allowed him to go to England to study, and for the next 4 years, he lived at his patron’s house in Dorsetshire. At 18, he created a sensation as a pianist and composer in London. Later conducted Italian opera there for several years. Began his famous tours in his late 20s, playing in Paris, several German cities and Vienna. In the latter, he was pitted against his contemporary Wolfgang Mozart (Stevie Wonder) in public tests of musical skill, and held his own against the young genius, although the latter was less than complimentary about him. Returned to London, which would be his base for the next 20 years, during which time he suffered heavy business losses through his interest in a publishing firm that also made instruments. Later was more successful with a piano-making firm, which came to be known as Clementi & Co, capitalizing on his name and reputation. In 1804, he married Caroline Lehmann, the 19 year old daughter of a cantor who died giving birth to a son. Remarried an Englishwoman, Emma Grisbourne, in 1811, 2 sons and 2 daughters from the late life union. Eventually earned a sizable fortune from his various endeavors. Made further tours in Germany and Russia in his 50s, before returning to London, which he now made his permanent home, devoting his time to composing, producing symphonies, sonatas and other piano works as well as studies for playing the piano, which have come to be considered the foundation of all piano technique. The teacher of many piano virtuosos, including his longtime cohort John Field (Arnold Schoenberg), with whom he toured. Married a third time, siring children into his old age. Energetic until the end of his life, when he died of a brief illness, and was buried with high honors in Westminster Abbey. Inner: Equally adept in business as he was in his musical abilities. Dominating, energetic and effervescent, with a strong character. Great personal charm, cultured, well-read, wealthy, but parsimonious. Lucrative lifetime lived largely as a piano virtuoso and teacher, dedicating his considerable skills to one instrument, from a creative to a virtuoso to an instructional to a business end, while showing a similar stingy character unable to freely give, and therefore unable to tap into the full measure of himself. mAlessandro Scarlatti (1660-1725) - Italian operatic composer. Outer: Son of a musician, but the family was poor and the children had to be shipped off for their educations. 2 younger brothers were also noted musicians, and a sister became an opera singer. Brought to Rome when he was 12, and studied there under an established composer, producing his first recorded opera when he was 19. In 1678, he married Antonia Anzalone, 7 sons and 3 daughters from the union, with 5 surviving to adulthood. 2 of his sons became musicians, most notably Domenico Scarlatti (Arnold Schoenberg), who far surpassed him.Realized early on that wealthy secular patrons would serve his economic needs the best and geared his economic life accordingly, ingratiating himself with deep pocket royalty. Served as the conductor of Sweden’s Queen Christina’s (Laurie Anderson) private theater, composing several works while he was there. Afterwards he was court conductor and master of the royal chapel in Naples for 18 years, and is credited with being the founder of the Neapolitan school of opera. Held several musical posts in Italy, mostly shifting from Naples to Rome and back again, and had numerous pupils who went on to successful careers. Wrote 115 operas, proving to be a master craftsman of his time, with an excellent sense of structural symmetry and rigorous intellectual vision. His operas are considered an antecedent to Mozart’s in all but lyrical grace. Less successful in other musical genres, save for his chamber cantatas, which are generally considered his most masterful works. Important figure in the development of classical harmony, but also a figure of his time, whose works have served far better as foundation stones than enduring pieces for the centuries. Towards the end of his career, he was largely forgotten by the public. Inner: Dominating personality, strong character, self-assured, held a regal sense of the artist, as reflection of the princely patrons he served. Bridge-building lifetime of finding his musical milieu, while continuing in his capacity as teacher and standard-setter for his chosen form, but because of his own limitations, falling far short of being an artist for the ages, largely through the absence of the balancing lyrical feminine in his character. mJohann Schein (1586-1630) - German composer and conductor. Outer: Son of a Lutheran pastor who died when he was young. Began his career as a boy chorister in Dresden, and received a full musical education from the kapellmeister there, who recognized his talent. Continued his studies, ultimately attending the Univ. of Leipzig, where he studied both law and liberal arts. In 1616, he married Sidonia Hosel, whom he had known from childhood, 5 children from the union, but only his oldest son made it to adulthood. His wife died in childbirth, and in 1624, he married Elizabeth von der Perre, the daughter of a painter. Once again 4 out of his 5 offspring died in infancy. Became preceptor and house-music-master and then court conductor in Weimar for a year before completing his career as cantor of the St. Thomas School in Leipzig. Suffered poor health, and ultimately succumbed to a variety of afflictions including TV and a kidney disorder. Among the first of the German masters to use the early 17th century Italian style in his works, despite having spent his entire life in Germany. His oeuvre was extremely harmonious, and he is considered one of the finest of the pre-Bach musicians, while composing in both the sacred and secular mode. Along with Samuel Scheidt (Arnold Schoenberg) and Heinrich Schutz (Alban Berg), he was part of the trio known as the three “S’s” of the Northern German school of organists. Inner: Character largely unrecorded, but outer activities are a reflection of his ongoing musical skills. Stepping-stone lifetime of integrating the two cultures that he would continue to explore in his later musical lives, while paralleling his longtime associates in yet another musical grouping that has come down through the centuries as a disassociated family of sorts. mAndrea Gabrieli (c1520-1586) - Italian organist and composer. Outer: Life shrouded in obscurity until his early 30s. Uncle of Giovanni Gabrieli (Anton von Webern). May have been a singer at Verona Cathedral and seems to have traveled extensively in his early years, especially in the Rhineland and Bohemia. Connected with various German nobles, as well as the House of Fugger. Studied with Adrien Willaert (Arnold Schoenberg), and in his mid-40s, was appointed 2nd organist at St. Mark’s in Venice. Later became 1st organist there. He was succeeded in that position after his death by his nephew and chief disciple. Quite well-known during his life as an original and stimulating composer, working in both the sacred and secular mode. Able to invent music that fit into poetic ideas of text. Inner: Despite a relatively humble position, had great creative powers. Innovative, particularly in work with the organ, paving the way for the German masters who would follow him. Fusion lifetime of forging a creative base of traditions that he would unconsciously use to further his own musical aims, while fusing the musical traditions of Italy and Germany, a continual leitmotif of his, as an uncrowned unholy Germanic Roman Emperor of the cultural sphere.


Storyline: The paternalistic guide takes on the whole world as his class, after earlier learning to his regret that musical genius is best prodded rather than controlled, and that he is far better served serving the cultural tastes of the many rather than focusing on the singular career of one extraordinary exemplar of the music of the spheres.

Leopold Stokowski (1882-1977) - English/American conductor. Outer: Born in London, son of a Polish father and an Irish mother. Studied piano and violin as a child, and was imbued with a sense that he would be a musical teacher to the world. Educated at Oxford and the Royal College of Music in London. Served as an organist at St. James in London, then went to New York as organist and choirmaster of St. Bartholomew’s Church for 3 years in his mid-20s. Returned to London to conduct orchestral concerts, before focusing his career in the United States as a leader of large Symphony orchestras, which he conducted without a baton. in 1911, he married Olga Samaroff, one daughter from the union. Became an American citizen at 30, and, after 3 years as conductor of the Cincinnati Symphony Orchestra, cemented his reputation with a 26 year stint in the same position with the Philadelphia Symphony Orchestra, making it a world-class vehicle. Divorced in 1923, he married heiress Evangeline Johnson, two daughters from the union which ended in 1937. Throughout his career, he introduced new music to the listening public, as well as raised the level of play of every orchestra with which he was connected. An audience scold, he would have his orchestra cough on cue, and sometimes would have members arrive breathlessly late to underscore tardy arrivals. Once told his audience, “I hope when I come back your colds are better.” Organized an All-American Youth Orchestra prior to WW II and toured with it in South America before a 3 year stint with the NBC Orchestra. Appeared in the Walt Disney classic, Fantasia, which introduced him to a wide popular audience. Close friend of Indian Guru Yogananda, with a longheld interest in mysticism. In 1945, he married heiress Gloria Vanderbilt, when he was in his early 60s, and she was in her late teens, 2 sons from the union. A bitter custody dispute followed their 10 year marriage, since he was deeply attached to all his children. In his early 60s, he also founded the New York City Symphony Orchestra and was a frequent guest conductor of the New York Philharmonic. In his 70s, he was the conductor of the Houston Symphony Orchestra, and at the age of 80, organized the American Symphony Orchestra of New York, using young musicians. After resigning, he returned to England, where he continued his 60 year association with the London Symphony Orchestra. His 90th birthday saw him conduct the same program with the London Symphony Orchestra that he had performed at age 30. Spent his last years in England and was still active in London recording studios until the near end of his nonagenarian life. Died of a heart attack. Inner: Strong individualist with a passion for innovation and restructuring. Controversial and unorthodox, with heavily divided opinions on his musical interpretations, but universal agreement on his great love for his work and his importance as a disseminator of classical music to the public-at-large. Very tuned into attractive women. Aloof, called his players by their instruments rather than their names. Showman, populist, capricious. Served as a precursor of light shows and multimedia presentations. Long lifetime of serving as teacher, guide, scold and mentor for both audiences and musicians alike, turning his musical creativity around orchestral construction rather than composition, while playing the role of remote but passionate guide. Ignaz Moscheles (Isaac Moscheles) (1794-1874) - Polish pianist, teacher and composer. Outer: From a well-off Jewish merchant family. Father played the guitar, and wanted one of his children to be a musician. After his sister passed the mantle to him, he took up the piano. Studied at Prague Conservatory, although his enthusiasm for Ludwig van Beethoven (Van Morrison) was deliberately curbed there. At 14, he gave a concert of his own. Went to Vienna and studied composition under Antonio Salieri (Gian Malipiero), who had been a rival of his famous son, Wolfgang Amadeus Mozart (Stevie Wonder) in his earlier life. Changed his name to Ignaz, and at 20, he was commissioned to do an operatic piano score under the supervision of his musical hero, Beethoven. Wrote the extremely popular “Alexander Variations’ in celebration of the Congress of Vienna, and for the next decade, he successfully toured Europe as a virtuoso, often to sensational acclaim. As a practicing Jew, he maintained close contact with his fellow Jewish performers, as well as patrons. In 1825, he married Charlotte Emden, the daughter of a Jewish banker, who was also cousin of poet Heinrich Heine (Philip Roth), several children from union. Gave piano lessons to the young Felix Mendelssohn (Leonard Bernstein), and acted out a far more benign father/son relationship with him, than he had in his earlier life with his own son, Wolfgang Mozart. Settled in London, where he composed, played and taught, and also for convenience sake, had himself, his wife and his children baptised, although he never lost sight of his Hebraic root. In his mid-40s, he conducted with the London Philharmonic Society and became their regular conductor from his mid-50s on, while serving as a popular teacher of the children of the aristocracy. Continued to travel and compose, although the bulk of his income came from teaching. During this period he was appointed professor of piano at the new Leipzig Conservatory which had been founded by Mendelssohn, helping to establish the fame of that institution. His playing was of a high quality, and he was especially noted for his improvisations, although sadly realized later in his career that the new music had passed him by, despite being suspicious of the new wave of composers. Published 142 works. Reflective and scholarly towards the end of his life. Inner: Sensitive, noble, well-loved teacher, often taking students into his own home. Open-minded, sweet-natured, nurturing, showing a far better disposition than when he wasn’t genetically connected to his students, and financially dependent on them, as he had in the predecessor go-round. Professorial lifetime of acting as a moral force in the arts, trying to bring the best music possible to the widest audience, having learned his lesson in doing otherwise his previous existence in this series. Leopold Mozart (Johann Georg Leopold Mozart) (1719-1787) - German violinist and composer. Outer: Son of a bookbinder. Extremely ambitious and determined from an early age. Intended initially to become a priest, and received his musical education in the strict schools of the monasteries. Studied logic and law at the Univ. of Salzburg, but music gradually became his overweening interest. Proved himself to be an excellent violinist and became musician and chamberlain to the Canon of Salzburg. Later entered the private orchestra of the Archbishop of Salzburg where he eventually became court composer and vice-kappelmeister. Wrote pieces for the church as well as symphonies, concertos and clavier sonatas, and the standard violin method which was translated into several languages and served as a longtime guide for that instrument. In his mid-20s, he married Anna Maria Pertl, the daughter of a widowed pensioner with whom he had 7 children, although only two survived, Nannerl (Fiona Apple) and Wolfgang Amadeus (Stevie Wonder), both of whom would become extraordinary musicians. Immediately recognized the genius of his son and talent of his daughter and decided to dedicate the rest of his life to their exploitation. Sought audiences with the important rulers of his time to show off the skills of his children, criss-crossing Europe and playing for royalty in one of the most astonishing tours of all time. Eventually returned to Salzburg, and then back to Vienna, where a small-pox plague almost did in young Wolfgang. Continued to oversee his children’s musical education while trotting them out for the rich and powerful. Maintained his close supervision of his son’s career, until he was in his late teens, and no longer a wondrous child prodigy. Continually manipulated him, while evincing a sense of exploitation that would rival anyone in the his/story of show business. Rheumatism slowed his traveling, and after his wife died, Wolfgang began to separate from him, making a complete break by the time he had reached his mid-20s. The two wound up as semi-estranged, brought on by the father’s need to try to control every aspect of his son’s life, although the latter was deeply affected by his death, and continued to bear the burden of his father the rest of his short life. Inner: Austere, pedagogic and a tyrant in his own small family circle, although capable of servility to those in power. Combination of great musical knowledge and an equal amount of greed. Throneless lifetime of high talent of his own, and absolute genius at his behest in the form of his young son, whom he tried to orchestrate according to his own vision, only to both succeed and fail simultaneously because of his need for absolute command rather than improvisational nurturance, which he would use to greater effect in future lives of teaching and shaping those not related to him. Leopold I (1640-1705) - Holy Roman Emperor. Outer: From the House of Hapsburg. Second son of HRE Ferdinand III (Andrew Lloyd Webber) by his first marriage. His mother was the daughter of a Spanish king, and he had a royal upbringing. Excellent student as a child, fluent in several languages, with a lifelong love of learning. Inherited the musical gifts of his father, as well as a pious sense of duty to his household. Unhandsome, slim as a youth, stout as he grew older. Educated to be a prince of the church, but became heir apparent at the age of 14 on his brother’s unexpected early death. After his father died 4 years later, he was elected Holy Roman Emperor at the age of 18 after a protracted struggle. Small and unimpressive-looking. Married his cousin, Maragaret Theresa, the daughter of the king of Spain, Felipe IV (Walt Disney) in his mid-20s, but she died 7 years later, 4 children from union. Rallied from his own spent state 3 years earlier, and recovered to become a vigorous ruler. Married a 2nd time to Claudia Felicitas a distant Austrian cousin in his early 30s, who died in 1676, after producing two daughters. His final union in his mid-30s to Eleanore-Magdalena, a Palatinate duchess, which was a happy union, and produced 11 offspring. 10 children survived all told, including HREs Joseph I (David Geffen) and Karl VI (Michael Eisner). Spent most of his reign in warfare with his enemies, but turned Vienna into a cultural center, which his family continued to uphold. More connected to his own Hapsburg family and its concerns than to the extended empire under his domain. As a composer and musician, he built theaters, performed with his empress in theatricals, and saw himself as a Sun King, the end result of all his royal ancestors, both real and imagined. Designed an elaborate tomb to immortalize himself, and viewed his son and heir as his own grand continuation. The biggest royal bibliophile of his time, he saw great power in the written word. Became more fixed in his habits as he grew older. Even though he lived simply, he maintained a sumptuous court with courtly theatricals, although he was far less adept with money, allowing his treasury to be mismanaged. Suffered a series of mild heart attacks, had a relapse and died in the midst of a war waged over the Spanish throne. In his last hours, he ordered his musicians to play compositions he had written, and left this plane to the accompaniment of his own compositions. Inner: Magnanimous, pious, uncompromisingly Catholic. Cultivated, imperturbable, Baroque culture first flourished under him. Distant in public, warm and open in private with those close to him. Fading sceptre lifetime of tasting rule for the last time, before switching over to the far more satisfying realm of musical creativity, as an emperor and teacher of esthetic taste. Pier Luigi Farnese (1503-1547) - Italian duke. Outer: Eldest and illegitimate son of Alessandro Farnese (David Geffen), who later became Pope Paul III. Mother’s name is unknown. At 16, he married Grolama Orsini, which put him in position to realize his father’s family ambitions. 3 sons from union, including Alessandro (Michael Eisner), Ottavio (Steven Spielberg), Ranuccio (Brett Ratner), and a daughter. Also had an illegitimate son, Orazio. Short and physically unprepossessing. Began his military career with the armies of Charles V (Napoleon Bonaparte), although had no particular noted success, and by his mid-20s, he had retired as a condottiere, after participating in the infamous 1527 sack of Rome. Spent the next six years on the Farnese estates, showing numerous decadent proclivities, until his father became pope in 1534. Appointed captain-general of the papal army afterwards, he implemented reforms so as to make it a permanent militia in order to further Farnese ambitions within the papal states, while evincing far more leadership capabilities than he had early in his career. In 1537, he was named gonfaloniere, or standard-bearer, the highest military honor the church could bestow, and he went on to achieve some minor successes in the field. Garnered a reputation for cruelty, as well as pedophilia, while winning little popular love thanks to his high taxation, and autocratic sense of rule. The following year he was made Duke of Castro, while Charles V elevated him to Marquis of Novara, thanks to the papacy’s pro-Spanish policy. His son Ottavio (Steven Spielberg) went on to marry Charles’s daughter Margherita of Austria (Coco Chanel) to further cement the two families. In 1545, he was nominated as Duke of Parma and Piacenza, although Charles did not recognize his title, since he wished to have the two added to the Duchy of Milan. Introduced important administrative reform, and began a census of the population and property, while establishing a supreme council of justice. His latter role proved to be a threat to his former military commander, Ferrante Gonzaga, then the governor of Milan under Charles. Stabbed to death inside his residence at the old Visconti castle by a crew, led by a member of a local feudal family. Taken by surprise in his dining-room, his body was displayed from a window, then unceremoniously tossed into a moat below. Succeeded by his wife, who took his body to Parma, and ultimately buried him in the family tomb. Inner: Cruel and luxury-loving, like the other members of his family, but with a sense of order and duty. Darkside lifetime of giving expression to same need for control over children that he would try to transmute into creativity later on in this series, while evincing his usual autocratic character, which would stay with him for several centuries more.


Storyline: The charismatic charmer switches milieus from music to cinema, while retaining his seductive charisma., although finds himself in a far, far darker world than spheres past, and is forced to suffer and take on its indignities, while trying to maintain his ongoing sense of high artistry.

G. W. Pabst (Georg Wilhelm Pabst) (1885-1967) - Austrian filmmaker. Outer: Father was a railroad official whose career took him to Vienna when his son was a child. Initially studied engineering and thought about a military career, before opting for acting, much to his parents’ distress. Short, broad-shouldered and thick-chested. Spent two years at the Academy of Decorative Arts in Vienna, then got stage experience in Germany and Switzerland, before going to NYC in 1910, where he joined a theater specializing in plays by German playwrights. Returned to Europe in 1914 to recruit more performers, only to wind up an enemy alien in France. Spent 5 years in a prison camp near Brest, where he organized a theater company. Developed a great love of French culture during this period, although found his imprisonment extremely painful. Released in 1919, he became the artistic director of a French theater, where he did avant-garde plays. Returned to Germany and became involved in the cinema, beginning his long and illustrious career in the newfound medium as an assistant director. Made his directorial debut in 1923 with The Treasure, and went on to invent many of the groundbreaking techniques of German and Austrian cinema, including cinema-verite, while also focusing on the roles and problems of women in German society, working with Greta Garbo and Leni Riefenstahl, as well as American actress, Louise Brooks. Married Gertrude Henning in 1924, two children from the union. Worked in all sorts of genres, as well as several languages, German, English and French, after the advent of sound, and was noted for treating his actors and actresses with great respect, unlike many of his dictatorial contemporaries. Best remembered for Pandora’s Box and The Threepenny Opera. Although he was quite popular in the Weimar Republic, he left Germany as soon as the Nazis came to power, and sailed for Hollywood, although he made only one film in three years there, Modern Hero in 1934. Disliking the assembly-line mode of Tinsel Town, he left for Paris in 1936, and though Germany asked him to come back, he demurred until returning to Austria just before WW II, in order, as he said, to take care of family business. Despite booking passage to America afterwards, he suffered a hernia, and was detained and not allowed to leave. Forced to direct his/storical films in Germany all during the war, at the behest of the Nazis, which brought much opprobrium on him, and he never recovered from the contumely heaped on him for doing so. Made some amends by moving back to Vienna following the war, and forming his own production company, through which he made The Trial, which strongly condemned anti-semitism, as well as several other anti-Nazi films. In the 1950s, he directed a quartet of opera productions in Italy. In 1957, he developed Parkinson’s disease, and suffered from it the last decade of his life. Had a stroke after completing his final film, and died soon after. His reputation soared after his demise, and he is now considered one of the greatest of early German cineastes. Inner: Romantic-at-heart, with a seductive Viennese charm. Transition lifetime of switching creative milieus to the frozen music of film, while retaining his romantic view of the world, to a point, before the world’s own dark theater rigidified him, while forcing him to look at both it and himself through far more jaded eyes. Franz Liszt (1811-1886) - Hungarian composer and pianist. Outer: Father, who had earlier studied for the Franciscan order, was steward of the Esterhazy estates in his region, while his mother was an Austrian/German. His sire had known of Joseph Haydn, a previous incarnation of his, because of his connection with the Esterhazy court. At 9, he gave his first public concert, and played for Nicolaus II Esterhazy, Haydn’s last patron. Went to Vienna through the support of local nobles, was given lessons by topflight teachers and played for Ludwig van Beethoven (Van Morrison), who gave him a noted kiss afterwards. Famous by the time he reached Paris, 2 years later, which would be his home for the next dozen years. During that time, he made several visits to England, playing before George IV (Warren Beatty). A failed romance with a young girl of 16, whose father forbade its continuance, caused a nervous illness which lasted 2 years. Recovered, and was lionized in Paris whenever he played, meeting all the dominant musical figures of the day there, while women went ecstatic in his audiences. A hard worker, who developed his sense of flamboyance, recognizing the importance of the theatricality of his play. Amazing sight reader. Tall and thin, with long slender, multi-jointed fingers and an extremely expressive face. Met Marie d’Agoult (Marguerite Duras), the unstable married wife of a viscount who was 5 years his senior and eloped with her in his mid-20s, 3 children from the union, including Cosima (Joan Baez), who would later marry Richard Wagner (Werner Herzog), after having married the conductor Hans von Bulow (Pierre Boulez). The duo were together for 11 years, and she has alternately been called the best and worst influence on him. By his mid-20s, he was acknowledged as the greatest piano virtuoso in Europe, with no rival until a decade or so later. Invented the modern piano recital, coining the phrase. Continually toured all over Europe, as well as Russia, to universal acclaim for his grand and dramatic style of play and his expressive interpretations. Took up with a Russian-Polish aristocratic, who like his wife, was 28 when he met her and separated from her husband. In his mid-30s, he accepted the post of musical director to the Duke of Weimar, and remained there 11 years in an extremely prolific period of composing symphonic poems, rhapsodies, symphonies and lesser works. Went to Rome to marry his mistress on his 50th birthday, but the ceremony was postponed by the Vatican because of her husband. Lived in retirement in Rome and 4 years later, received minor orders, becoming Abbe Liszt, after finding that faith was the only real cure for his ongoing depression. Continued his composing, and at the end of the decade, emerged from retirement to spend part of each year in Weimar. Now divided his time between Rome, Weimar and Budapest, while having an affair with a 19 year old, known as “the Cossack Countess,” which caused him to avoid Rome for a while. In the final 15 years of his life, he acted primarily as a teacher, while continuing to compose. Undertook a “Jubilee Tour” in honor of his upcoming 75th birthday, returning to London for the first time in 4 1/2 decades, as well as Paris. The tour, however, proved fatal. Caught a chill and died of pneumonia in Bayreuth, the home of his daughter Cosima. A revolutionary figure of romantic music and dominant pianist of his time. Originated the symphonic poem, and developed the technique of transformation of themes, known as leitmotif. Much of his later works are full of dissonance and unusual harmonic effects, foreshadowing 20th century music. Inner: Effusive, generous, a natural performer and actor. Sensualist, vain and yet modest, unspoiled by adulation. His spiritual transformation later in life was genuine, and probably fed into his 20th century character, which was quite different. Dedicated father, despite his absences, and devoted son, operated under the dictum of ‘genie oblige,’ an obligation of his genius to help others. Saintly sinner lifetime of literally rising as a firebird out of the ashes of his previous incarnation to become the dominant performer of his century, as well as a bridge figure between romanticism and modernity. Franz Joseph Haydn (1732-1809) - Austrian composer. Known affectionately as ‘Poppa.’ Outer: Of German stock, and from a multigenerational family of artisans, with a recreational interest in music. 2nd of 6 surviving children of a wheelwright and small farmer. Mother was a cook. Older brother of Michael Haydn, also a composer. Showed early musical ability and at the age of 5 left home, never to return, to live with a distant relative who was a schoolmaster in Hainburg. Accepted as a choirboy at St. Stephen’s Cathedral in Vienna at the age of 8. His entire schooling over the next decade offered little food, and a patchy formal education, although a decent grounding in music. Short and unprepossessing. His lower half did not match the upper half of his body, showing a curiously unintegrated physicality, while his face was pockmarked with smallpox, making him feel ugly. After his voice broke, he was set loose at 17 to live an impoverished existence in the Austrian capital, giving music lessons, while showing a great capacity for study. Became servant to singing-teacher Nicholas Porpora (Arturo Toscanini), while augmenting his musical education, and gradually improving his social standing by impressing several important patrons. Fell in love with a woman who took the veil, then in his late 20s, he married her sister, Maria Keller, the daughter of a wigmaker, although the union proved a disaster because of her extravagance and ill temper. Accepted an offer by a prince of the Esterhazy family to go to Eisenstadt, where he eventually became Kappelmeister in his early 30s. Spent nearly 50 years at that wealthy musically-inclined court, where he composed, served in an administrative capacity and supervised the musicians below him, while conducting the prince’s orchestra, performing chamber music and directing opera productions in the castle’s theater, all the while furnishing new music for the court’s rapaciously high cultural tastes. Led an isolated and often lonely existence, although he fell in love with Luigia Polzelli, a married singer nearly 30 years his junior, and was probably the sire of her second son. Also had a close relationship with a refined woman of culture, whose Vienna home was always open to him. By this time he had an international reputation, and his work was well-known on the continent and in England. Had a close relationship as well with Wolfgang Mozart (Stevie Wonder) in a mutually beneficial creative connection for both. At the age of 58, following the death of the 2nd prince who supported him, he left the Esterhazys, despite his salary and position, and went to London for 2 stays, where he was received with great acclaim. Gave concerts and had a highly active social life, and, despite his 6 decades, found the energy to both work and play amidst the frenzy of his reception. Received several honors, composed many new works, made quite a bit of money, and returned to Vienna and the Esterhazy court, which now had a new prince, Nicolaus II Esterhazy, a new orchestra, and a new role for him, to participate only on festive occasions, so that he could concentrate on composing. Turned his talents from symphonic music to vocal works, which were fresh and inspired despite his advancing years. Now a deeply honored and universally loved figure, with all of Europe vying for his membership in their cultural organizations. Spent his last years arranging his artistic legacy, and died peacefully in his sleep of debilitation, while agitated by the occupation of Napoleon’s armies in Vienna. His works was original and lively, establishing the basic forms for symphonic music. Although later eclipsed by Ludwig von Beethoven (Van Morrison), he would rightfully regain his reputation with subsequent generations. Inner: Highly ambitious, a totally self-made man. Modest, orderly, thrifty, straightforward and precise. Sensualist who loved women, despite his unhappy marriage and homely appearance. Often sad and lonely, although the possessor of a sharp wit. Gourmand, physically very active, with a great love of nature. Thorough optimist, and serenely pious, a man of both the spirit and the flesh. Haydn-go-seek your fortune lifetime of recreating himself from a humble background, and rising to a level of social and creative preeminence through his endearing musical personality. Orlando Lassus (Roland Delattre) (c1532-1609) - Flemish composer. Outer: Year of birth unknown, as are particulars of his family. Traveled extensively during his boyhood and youth in the service of various nobles and had such a beautiful voice that he was kidnapped 3 times for choirs. Went to Rome, after sojourns in Sicily, Milan and Naples and became choirmaster at the Church of St. John Lateran in his early 20s. Returned to Flanders, visited England and France, before settling in Antwerp for 2 years, where he published his first volume of works, revealing his highly original talent. Entered the service of the duke of Bavaria in Munich in 1557, and he eventually became Kappelmeister there, enjoying the patronage of a highly cultured, principled court. The following year he happily married Regina Wackinger, 4 sons and 2 daughters from union, with all four sons becoming musicians. Had an ideal life at Munich and a guaranteed salary, while being given the freedom to create music to his own tastes. His work would be immediately performed and deeply appreciated, and he soon had a continent-wide reputation, because of his fertile output. Encouraged to be original, he soon found his own unique versatile sense of expression. Went to Venice and later Ferrara to engage musicians for the court, thanks to the freedom and support he was given. In his late 30s, he was given a patent of nobility by the Holy Roman Emperor. Visited Paris the following year and was well-received by the French court, while also becoming friendly with the literateurs there. In 1579, the duke died, much to his great grief, although his successors treated him with great kindness and respect. Given the Papal Order of the Golden Spur after presenting the pope with a volume of his masses. His last nine years, his health began to fail, although he made several more journeys during that period. His final illness left him robbed of his strength and completely depressed, so that the final several years of his life, he was completely inactive. Extremely prolific, he wrote over 2000 works, proving himself adept in all manner of composition. Through him, the tradition of Renaissance music reached its peak. Inner: Vigorous, passionate and earthy in his music and life. Called the “Belgian Orpheus” and the “Prince of Music.” Versatile and cosmopolitan, with the ability to feel at home anywhere. Well-loved lifetime of establishing his patterns of much travel, highly original and prolific composition and bringing all the elements of his age to their apogee of creation.


Storyline: The teutonic titan shakes, rattles and roils the operatic world with his vision of total musical theater, while striding across the 19th century’s cultural landscape like a promethean colossus, before bringing his rich interior to dark life on a whole new 20th century stage.

Werner Herzog (Werner Stipetic) (1942) - German filmmaker. Outer: Mother was German, father was a Croat, parents divorced when he was a child. Brother Lucki Stipetic became a producer. Raised in a small Bavarian village, then returned with his mother when he was 12 to Munich, where the two lived in abject poverty, sharing an apartment at one point with actor Klaus Kinski. After being told to sing in front of his class at school, he refused, and was almost expelled, and as a reaction, refused to listen to music until his 18, in an unconscious maneuver not to pursue his previous expertise in that art-form. Began submitting ideas to local producers when he was 14, although without success. Worked nights as a welder in a steel factory while still in high school, and invested all of his money in amateur shorts. Stole a camera and shot his first short while at the Univ. of Munich. 6’1”. In his mid-20s, he traveled to the U.S., and attended Duquesne Univ., working at a local TV station, and later as a filmmaker for NASA. Returned to Germany, formed his own film company, and in 1967, married actress/writer Martje Grohmann, 3 children from union, including Rudolf who became an actor and asst. director. The duo were divorced 20 years later. Shot his first feature in Greece, about the gradual descent into madness of one of a trio of German soldiers on a Greek island, and would continue to explore the instability of loneliness in many of his later works. In 1973, he established an international reputation with Aguirre, the Wrath of God, about a Spanish conquistador, working with actor Klaus Kinski, with whom he would have an extremely volatile love/hate work relationship in 5 films, as the actor who most embodied his inner processes. Most of his works are of an extreme high quality, in one, he had his actors hypnotized so that they could experience hallucinatory madness. Showed the same obsessiveness in Fitzcarraldo, with Kinski, about a man who hauled a ship over South American mountains to bring opera to the Amazon. Spent 3 years in preparation and 9 months shooting, experiencing incredible hardship and life-threatening danger in the process. Using Kinski, once again, when he made Nosferatu, the Vampyre, in homage to the classic he had tackled his previous life in this series, at times doing it frame for frame. Eventually shot My Best Friend - Klaus Kinski, as a response to the actor’s thorough disparagement of him in an autobiography he published shortly before the latter’s death in 1991, which he later claimed to have helped on and approved. Fathered actress Eva Mattes with German actress Hanna Mattes in 1980, and married again in 1987, one son from union. Despite his earlier disavowal of music, he wound up staging several operas, including working in Bayreuth. After divorcing his second wife, he moved to America in 1995, and married a Russian-born crew member, Lena Pisetski in 1999. Turned more and more to documentaries later in his career, with his own voiceover narrations, and proved himself a master of that genre as well, with far more of an interest in making his films, than in showing them. In 2006, he was shot during an outdoor interview by a ranting man on a balcony, who did not know who he was. Continued the interview with blood dripping from his abdomen, and a few days later pulled actor Joaquin Phoenix from an overturned car, in an ongoing existence as filmic as any of his imaginative creations. in 2016, he directed the documentary Lo and Behold: Reveries of the Connected World, in which he explored how the internet has transformed how we communicate, while also exploring its dark side, including malicious hacking and obsessive diaper-clad users unable to tear themselves away from their screens, even to relieve themselves. Inner: Completely uncompromising in his work, and insistent on absolute artistic control over all he does. Madly obsessive and determined to capture his vision on film, whether an audience appreciates it or not. Feels “humiliation and strain are essential parts of filmmaking,” while also professing the desire to die, if that is what is necessary to complete a great cinematic experience. Visionary lifetime of giving full play to his desire to render his absorbing imagination as vividly and uncompromisingly as possible, while finding the perfect, possessed alter ego to bring it to filmic life in his ongoing transition from his early musical milieu into the frozen music of cinema. F. W. Murnau (Friedrich Wilhelm Plumpe) (1888-1931) - German filmmaker. Outer: Father inherited a large textile business and was of Swedish descent. His family moved to a country estate, then was forced to live in a small apartment because of failed speculation. Interested in drama from childhood on, often creating make-believe theater with his friends and siblings. Alienated from his family because of his predilection for his own sex. Studied art and literature at the Univ. of Heidelberg, before going to Berlin, to become a pupil of, then an actor and assistant director under, the legendary producer Max Reinhardt. The death of a homophile lover, a young Jewish poet, whose parents had become a second family to him, left longterm emotional scars. Served as a combat pilot during WW I, where he strayed off course in a heavy fog and landed in Switzerland, spending the rest of the war there, directing a play and compiling propaganda footage for the German embassy in Berne. Began his career as a director in Germany the year following the war, and achieved an International reputation 3 years later with Nosferatu the Vampire, based on the Bram Stoker (Clive Barker) classic. Used real locations and everyday settings to heighten its sense of horror, while fully exploring the potential of moving pictures, and transporting film out of its earlier stagey limitations. His next great project was The Last Laugh, a silent with no titles, that still managed to tell its story through absolute visual clarity. Invited to Hollywood on the strength of it in his late 30s, right at the end of the silent era. His first American film was with his longtime German collaborator, Sunrise, which was called by some the greatest of all time, with a similar pessimistic outlook as all his German films. Collaborated with documentarian Robert Flaherty (Jonathan Caouette) on a South Sea epic, Tabu, but the two strong personalities clashed, and he bought him out, and made it his own way, focusing on the inner, rather than the outer world of his characters. Killed in an auto accident a week before its successful premiere. Inner: Strong, uncompromising sense of artistic integrity coupled with a brilliant artistic vision. Melancholic, preferred using universal figures in his work, rather than specific characters. Rose from the dead of his parents’ poverty and failures to re-create himself as a powerful cinematic visionary. Transitional lifetime of readopting his visual and aural sense to an entirely new medium and showing a complete mastery of it, before exiting at the peak of his powers, while never transcending his sadness and melancholy, despite his successes. Richard Wagner (1813-1883) - German composer. Outer: 9th child of a police clerk who died of typhus several months after his birth. The family moved to Dresden after his mother quickly married Ludwig Geyer, an actor and painter who had been friends with her late husband. Took on the latter’s name, and later thought he may have been his real sire. His stepfather died when he was 7, and a younger brother helped with his education. Originally wanted to be a poet, and studied Greek tragedies in school towards that end, then took up the piano, but showed a far greater interest in opera. His family moved to Prague, leaving him alone in school in Dresden, where he neglected his studies and began writing a tragedy. Entered St. Nicholas School, completed his tragedy and attempted composition after hearing Ludwig van Beethoven’s (Van Morrison) music. Also studied violin and theory. His first composition to be publicly played was greeted with ridicule. Continued his studies and began composing operas, before becoming chorusmaster at Wurzburg. Suffered from erysipelas, a bacterial disease which manifested in skin inflammation, indicative of his own angry, flaming spirit. As a conductor, he joined the company where his future wife, Minna Planer, was a member. Married her 2 years later, while in his early 20s. His unhappy spouse left him, then returned, as his lifelong difficulties with creditors began. Traveled, did hackwork and articles, as well as librettos, before becoming 2nd conductor of the court opera at Dresden. Identified with the revolutionary sentiments sweeping Europe in the late 1840s and joined the radical Vaterlansverein. Made friends with fellow musical uberpersonality Franz Liszt (G. W. Pabst), fled to him, and then to Paris, before settling in Zurich, where his wife joined him. Sought his fortune again in Paris, a city long indifferent to him, and in 1850, under a pseudonym, he published a critical essay called “Judaism in Music,” a polemic against Jewish composers, particularly Giacomo Meyerbeer (Richard Rodgers), while fulminating about Jews being a harmful and alien presence in German culture. Planned to elope but changed his mind and returned to his wife. Given an annuity, he met Liszt’s daughter, Cosima (Joan Baez) when she was 16. Had many love affairs, often with wives of those men who promoted or helped him. Continued writing operas, and was visited by Cosima, who was now married to conductor Hans von Bulow (Pierre Boulez). Worked in Paris, before an amnesty permitted him to return to Saxony for his first time on German soil in 12 years, allowing him to give concerts in various cities. Harassed by debts and debtors, but was befriended by the 19 year old king of Bavaria, Ludwig II (Adolf Hitler), and became his advisor in Munich. Fell in love with Cosima, then went to Switzerland after his political opponents persuaded the unstable Ludwig to have him sent away. Formed a friendship with philosopher Friedrich Nietzsche (Bob Dylan). The two later had a falling out over his decision to use the Christian mythos of the grail-searcher, Parsifal, as an operatic theme. Cosima got a divorce and the duo married in his mid-50s, after his first wife, from whom he had been long estranged, died. 3 children from the union. Went to Bayreuth for the laying of a stone for a new festival theater, then moved there, feeling the opera house, which was built there according to his specifications, would elevate German culture. Wrote his autobiography, My Life, in 1880. Suffered from rheumatism and heart trouble, and after an attack of erysipelas, went to Italy to rest. Finally died after a heart seizure. A titanic figure of 19th century music, bringing a Germanic sense of romanticism and theater to its fullest expression. Wished, above all else, to purify opera, and return it to its roots, which were based on the principles of Greek drama, so that it was a complete and integrated Gesamtkunstwerk or total work of art, with everything an inseparable part of the whole. Often employed a large orchestra for its full range for its works, and pushed tonality to its limits. Despite opposition to his operas and ideas during his lifetime, the next generation overwhelmingly embraced both, while he remains the most controversial cultural figure of his century, with detractors and enthusiasts galore. Best remembered for his four-part Ring cycle, as well as Tristan und Isolde, and his thundering theatricality. Inner: Highly disagreeable, ruthless, selfish, self-centered, vain, irritable, demanding. Brooked no disagreements, and felt he would change the world through his art. Highly spiritual, and absolutely driven to create. Had a complete identification with the German character, employing it as the basis for all his work. Very attuned to the weather, abhorred sunless days and winter, while plunging totally into his muse when he worked, deliberately creating a physical atmosphere of harmony around himself. Loved comfort and wealth, as well as adulation. Sturm und drang lifetime of fusing his sense of artistry and sense of self together so as to be inextricably entwined, while viewing himself as the compleat artiste, a master of words, mood and music. Cristophe Gluck (1714-1787) - German composer. Outer: Son of a gamekeeper. Educated at a Jesuit seminary before moving to Prague where he studied both music and philosophy. Tall, strong, stiff and solemn in public, with a face pocked with smallpox scars. Traveled to Vienna, where he was engaged in a private orchestra of a prince, with whom he went to Milan, and completed his musical education there. Produced his first opera in his late 20s, which was quickly followed by 7 others, all successful, albeit imitative, then traveled to London with his first princely patron. Although his work there was a failure, he first heard fellow musical expatriate Georg Handel (Alban Berg), who inspired his own composing abilities. Left England with an opera company, and traveled in Germany as well as Copenhagen. Became engaged to Marianne Pergin, the daughter of a retired Viennese businessman who was hoping for a better match for her. In his mid-30s, he married with his future quite uncertain. No children from the union, although he adopted a niece. After a successful opera in Milan, he returned to Vienna and gained a position as Kapellmeister to the Prince of Sachsen-Hildburghausen, where he wrote his symphonies. Impressed the Empress Maria Theresa (Queen Victoria), who appointed him Kapellmeister for the opera at the Court Theater, thereby securing his career financially. Continued writing operas, traveling, and producing his own works in both Italy and Vienna. Through his association with a group of gifted and high-minded artists, he was able to open up opera from its previous confinements. Important figure at the Viennese court. When Marie Antoinette (Lana Turner) married the French Dauphin (Lex Barker), he was able to leave his position and go to Paris and compose for the Paris Opera, although his successes there brought many enemies as well as a contrived feud. After his final opera in Paris in 1779, he retired back to Vienna. Had expensive tastes, in which he could finally indulge, including a large home, fine clothing and large-scale entertaining. Died after drinking a forbidden glass of liqueur while dining with 2 friends. Inner: Strong sense of aesthetics, but quick to anger, irritable, totally lacking in self-control. Plain-spoken, coarse and undemonstrative. Cared for few people, save for intimates, and, as always, himself. Only drinking loosened him up, while money was a primary motivating factor for him. Stepping-stone lifetime of bringing opera out of its stifling traditions and into a more integrated dramatic form which combined both singer, dramaturgy and music, while reveling in his deeply flawed character and giving himself the integrating creative basis for a life for the centuries during his next go-round in this series. Jean-Baptiste Lully (1632-1687) - French/Italian composer. Outer: Son of a miller, received no formal education. Learned to read from a Franciscan friar who also taught him the violin. Often joined the strolling players at carnival time and became a performer. Thick and short. Attracted the attention of the Chevalier de Guise who brought him to Paris in 1646, where he entered the service of a female cousin to the king of France, Louis XIV (Charles de Gaulle). Began his Parisian stay as a kitchen scullion, but was made leader of a small band of violins, in an unconscious replaying of the Parsifal legend. Remained in her service for 6 years, before entering the service of the young king, who was particularly fond of ballet. Began his career at court as a ballet-dancer, composer and violinist, and eventually rose to the position of music-master to the royal family. Claimed to be a gentleman, despite his humble birth, which was upheld by the king. In his late 20s, he married Madeleine Lambert, the daughter of a court-musician, and had 6 surviving children with her, although it was a union of convenience, allowing him to frequently engage in amorous scandals with both sexes. Collaborated with playwright Moliere (Charlie Chaplin) in a series of comedy ballets, and brought the opera to French culture by combining his knowledge of Italian opera with French musical tastes. Was able to obtain exclusive right from the king to present opera in Paris, after the financial failure of Robert Cambert (John Lennon) and Pierre Perrin (George Harrison) to translate their work to the Parisian stage, thereby obtaining a virtual monopoly over operatic production in France. Turned out about 20 operas and ballets with great success, controlling both the artistic and financial management of all his productions. Also conducted, coached the singers, and ruled everyone with a strict discipline and a demand for the highest of standards. First to introduce male dancers to the ballet. Amassed a great fortune, but died at the height of his fame and power, of an injury to his foot which he received while he was conducting a Te Deum to celebrate the king’s recovery from a serious illness. Used to pound time on his foot with a heavy walking stick. Eventually his foot became gangrenous, but he refused to have it amputated and died from gangrene. Inner: Shrewd, with great energy and ability. Excellent administrator and producer. Contemptuous of inferiors, obsequious to superiors. Libertine, arrogant, unscrupulous and ruthless, until literally losing his grounding through his excess need for control. Parsifal lifetime of finding his holy grail in grand opera, while embarking on a series of lives that would focus on bringing the musical theater to life in its ultimate and most emotional dramatic form. Jacob Obrecht (c1450-1505) - Dutch composer. Outer: Only son of a city trumpeter. Lost his mother early on, and learned to play the trumpet from his sire. Probably received a thorough musical education at a choir school. Studied at the Univ. of Louvain, then took holy orders. Ill most of his adult life. Held numerous important positions in Flanders and the Netherlands. Kapellmeister at Utrecht and later at Antwerp Cathedral, where he eventually became chaplain, then provost at St. Peter’s in Thourout. Returned to the Netherlands in 1484 under somewhat of a cloud, following a stint at the Church of Cambrai. Journeyed twice to Italy, where his fame had preceded him, to the court of Ferrara in the late 1480s. From 1485 on, his employments were relatively short, including some firings, in a rotating series of Flemish churches. Probably neglected his administrative and teaching responsibilities in favor of composing. Also had a poor singing voice. Returned to Ferrara to join the ducal Chapel in 1504, dying of the plague a year later. Wrote motets, masses, hymns and church music. His music was deeply rooted in folk traditions in a conscious attempt at tapping into his native cultural impulse, which would be his artistic instinct in all his future lives in this series. Inner: Extremely original composer in the Netherlandish mode, with an impulsive, spontaneous musical imagination. Combination of the mystical and the earthy. Experimented widely within the traditions of his time. Foundation lifetime of giving himself a firm grounding in musical composition, while integrating popular culture with high art. Wolfram Von Eschenbach (c1165-c1220) - German poet. Outer: Born into the knightly class, but lived in poor circumstances, depending upon patrons for his livelihood. Began his career as a singer of minnelieder. Married and was a devoted father, although spent a great deal of his life traveling, finding absence a great tonic for domesticity, and allowing him to maintain a balance between his creative and mundane life, through the stimulation of the German courts that supported him, particularly the Landgrave of Thuringia. Wrote a number of lyric poems, but his fame rests on his epic poem, Parzifal, a tale of the grail that he would later use as operatic material in his Richard Wagner go-round. Not a great stylist or original thinker, but his work was imbued with a powerful personality that has worn well with the ages. Eventually became a knight, a status which gave him great pride, although he was always dependent on others for his finances. Inner: Highly spiritual, albeit iconoclastic, viewing humanity’s inner life as far more important than the institution of the Church. Troubador lifetime of giving verbal celebration to his inner life, and his own search for artistic truth and beauty before turning in his next series to music and opera for his ultimate integrating form of aesthetic expression. Arius (256-336) - Libyan theologian. Outer: Probably of Berber descent, although his origins are obscured. Educated by the martyr Lucian of Antioch, before becoming presbyter of Alexandria in 313, after earlier running afoul of the city’s church authority. Tall and lean with a downcast brow, and austere, ascetic habits, as well as an impressive intelligence. Championed the earlier idea that Jesus was not co-eternal with the Father, but rather was a creation of the latter as an instrument for the salvation of the world, without being divine himself. Despite dwelling in perfection, the son would always be subservient to the Father, and never His coequal, since his nature was human, rather than divine. A brilliant publicist, he wrote several popular songs and jingles to underline his views, which were sung and whistled in the streets by the general populace, helping to give rise to the movement, Arianism, which would challenge orthodox Christianity over the next several centuries. His archbishop, Alexander, saw his heresy as extremely dangerous, and he was arraigned before a synod of a hundred North African bishops in 320 and excommunicated as a heretic. Quickly left Alexandria, and found enthusiastic support from churchmen elsewhere, allowing him to return to Egypt and demand he be reinstated, as his ideas proved extremely popular in Asia Minor. When Alexander refused, the populace rose up in riotous reaction. The Roman Emperor, Constantine (Mohandas Gandhi) called the first ecumenical council in Nicaea in 325 in order to deal with this division, along with other issues, as a sixth of all bishops in the Greco-Roman Empire participated. The Nicene Creed which grew out of it, subsequently affirmed the divine status of Jesus, and he wound up banished to Illyricum, while his writings were burned. The sister of the emperor, as well as his mother and many of the Asian bishops, however, proved sympathetic to his views, although the Alexandrian archbishops, especially Athanasius, who succeeded Alexander in 327, were dead-set against his reinstatement. Each time he tried to return to Alexandria, rioting broke out, before Constantine finally summoned him back to Constantinople in 336. Just before he was to be reinstated in the Church, he died suddenly of a bloody hemorrhage as his spleen and liver erupted, while he was purging his bowels, in what was believed to be a poisoning, although his enemies attributed it to divine retribution for his apostasy. Arianism would prove particularly popular among the barbarian Germanic tribes, and the division would linger for many centuries, while Arian sects would continue to the present day. Inner: Charming as well as quarrelsome and confrontational, with a great sense of moral rectitude and unimpeachable ethical character. Basically conservative in his desire to remove any pagan blight from Christianity, which led him to deny a godhead to anyone save the Supreme Being. Heretic lifetime of deeply embroiling himself in the religious controversies of the day, before ultimately turning to his incipient gift for music as his ultimate communication tool, in his ongoing desire to stand stage center in the various worlds of his times.


Storyline: The dualistic diviner of popular tastes continually feels it incumbent upon himself to taste both glory and degradation in his ongoing attempt at integrating the various elements of his opposing nature into a holistic sense of the good, the bad and the ugly.

Harmony Korine (1973) - American filmmaker, writer, composer and artist. Outer: Father was an itinerant documentary filmmaker. Both of his parents were Trotskyites. One of two brothers, with brother Avi an actor and writer, along with a sister. Claimed that badboy poet Jim Carroll cut his umbilical cord, after attending his birth. Spent much of his eccentric childhood in the Appalachians, where his father filmed moonshiners. Eventually went to live with his grandmother in Queens. 5’8”. Attended NYU for one semester, but dropped out, and after meeting photographer Larry Clark, wrote the screenplay for his controversial 1995 film, Kids, a look at the sexuality of teenagers. Met Chloe Sevigny when both were 17, and got her a role in the film, and continued an on-again, off-again relationship with her. As an homage to comic Buster Keaton, he tried to make a film, Fight Harm, getting into fights with strangers on the streets of Manhattan, despite his slight build, but abandoned the project after breaking several ribs and an ankle, thanks to a bouncer. Afterwards, at the behest of his mother, he began seeing a psychiatrist. Wrote and directed his first feature in 1997, Gummo, a sordid look at a pair of young Tennessee cat-killers, that fit no categorization because of its pastiche style and very unHollywood squalor. Wrote a novel the following year, “A Crackup at the Race Riots,” limning his bleak overview of life. Also a composer, working with singer Bjork, as well as doing the soundtrack for at least one of his films. A protégé of German film/director Werner Herzog, who is equally obsessive about film and its potential. The latter appeared in his Julien Donkey-Boy, a 1999 release, based in part on a schizophrenic uncle who expresses love in moments of lucidity. Heavily into drugs when younger, although eventually he cleaned out. Married actress Rachel Simon in 2007, one daughter from union. Had his first commercial hit in 2013, with Spring Breakers, a lurid crime drama. An artist as well, he paints seven foot psychedelic orbs on canvases in a Nashville warehouse he uses as a studio. Inner: Extremely work-obsessed, with a need to be looked after by those around him. Fearless dedication to his art, with a strong desire to make people uncomfortable through it. Red tattoo of an upside-down pitchfork on his right hand, tattoo of an overturned cross on his left. Eschews story-lines, preferring to juggle symbols and images in his ongoing extremely unconventional, and often quite disturbing fare. Transition lifetime of carrying his musical past in his name, while trying to break through the conventions of filmdom to create his own unique harmony and disharmony with his projected audience’s needs. Kurt Weill (1900-1950) - German/American composer. Outer: Descended on both sides of his family from rabbis and cantors. Father was a cantor as well as a composer of sacred music, siblings all became Orthodox Jews, while he remained a nonbeliever, although never disavowed his Jewish identity. Despite his non-identification with religion, he was extremely aware of the cultural position and limitations of his spiritual upbringing. Began composing at 12, and played organ in a synagogue during the day, and piano in a bar at night, to support himself as a musical student. Studied with Englebert Humperdinck (Andrew Lloyd Webber), among others, before making a name for himself as the founder of a new school of popular opera, called Zeitoper or topical opera. Announced at 17, that he wanted to work until he dropped, and did so. Joined the Novembergruppe in Berlin, which wanted to address the broad, popular audience, and made that wish his life’s artistic goal. Much to his parents horror, in his mid-20s, he married actress/singer Lotte Lenya, a former prostitute and non-Jew, who took little interest in his work, but demanded his total involvement in hers. The duo divorced in Germany, then remarried 4 years later in America. Both had numerous infidelities, she in Germany, he in America, but managed to maintain their unusual bond, although each continually wounded the other deeply. Took on students and also wrote weekly columns for a German cultural magazine. Collaborated with numerous writers, the most fruitful being Bertholt Brecht, with the two diametrically opposite characters creating some of the epochal musical stage works of the century, including Die Dreigroschenoper (The Threepenny Opera), which made them famous, and allowed him to compose full time, although he often had a stormy relationship with Brecht. Considered a decadent artist by the Nazis, he fled Germany in 1933, and settled first in Paris before emigrating to the United States, where he had a successful career composing for the commercial theater. His life neatly divided, exactly spanning the first half of the 20th century, while his 30 year career was perfectly cleft in twain, fifteen years in Europe composing classical music and operettas for European tastes, and 15 years in America composing more commercial musicals for American tastes. Won the enmity, or was it envy of numerous well-known fellow musicians for his work, despite his mastery of each idiom in which he worked. Made his own simpler divisions between only good and bad music. Died of a long-standing heart ailment. Inner: Withdrawn, calm, sardonic with an extraordinary ability to judge the tastes of his audiences, be they German, French or American. Also vain, jealous, and very gossipy. Divided lifetime of chameleonically reflecting the cultural milieu in which he found himself, and composing accordingly, while balancing off an improbable marriage with an improbable mate, so that the two got a maximum spur out of each other, despite their capacities to make each other miserable. Carl Otto Nicolai (1810-1849) - German composer. Outer: Father was an autocratic teacher of music and elocution, who wanted his son to be a prodigy, so that his lessons were accompanied by severe blows and violent temperamental outbursts. His parents separated when he was a child. Turned into a handsome youth, and ran away from home when he was 16, before being sent by a friend to Berlin, where he continued his studies, then went to Rome as an organist in the chapel of the Prussian Embassy. In his late 20s, he moved to Vienna, where he was Kapellmeister and singing master of the Karntnerthor Theater, before returning to Rome the following year. Later was chief conductor of the Vienna Court Opera, then founded and conducted the Berlin Philharmonic and became head of the Berlin Opera in 1847. Composed numerous operas, the best known being The Merry Wives of Windsor. His works showed a decidedly Italian influence of lightness, clarity and humor. Elected to the Berlin Academy of Arts on his death. Died of an apoplectic stroke. Also wrote in numerous other genres. Inner: Dualistic character, working in a light mode despite carrying the heavy scars of an oppressive upbringing. Transmutating lifetime of linking Italian and Germanic operatic traditions, using his innate skills at giving the public what it wanted, after escaping from the brutalizing influence of an unhappy childhood. Karl von Dittersdorf (Karl Ditters von Dittersdorf) (1739-1799) - German composer and violinist. Outer: Father was a military tailor, while serving in the Austrian Imperial army. Following his retirement, he was given a sinecure as a costume designer with the Imperial theater. As a boy, he was in the band of a German prince who sponsored his education. Accompanied Christoph Gluck (Werner Herzog) on a tour of Italy, then had brilliant success as a virtuoso in Germany. Married Nicolina Trink, a Hungarian soprano, one son from the union. Spent 5 years as a Kappelmeister to a German bishop, writing his first comic opera, then spent 15 years as music director to the Prince Bishop of Breslau, gaining a title of nobility in 1773 as well as being made a Knight of the Golden Spur. Continued his theatrical successes, although his last years saw a decline in his reputation. in 1794, he was expelled from his patron’s castle after nearly a quarter century, and ended his career in southern Bohemia, composing comic operas for a small Silesian court theater. Crippled by gout, as well as povety and a total eclipse of his popularity, he retired to the house of a count, dying 2 days after dictating his autobiography to his son. Wrote 28 operettas, including a setting for The Merry Wives of Windsor, which he would bring to fruition his next life. Also composed in a variety of genres. Inner: Roller coaster lifetime of great popularity, only to descend into ill health and obscurity, perhaps to deepen his measure of musicianship in his succeeding lives in this series, and also as a reflection of his signature dividedness and continual attempts to integrate his dualistic experiences into a unified whole. Thomas Corneille (1625-1709) - French playwright. Outer: Middle-class upbringing, from a family of lawyers of government officials. Father was supervisor of forests and water of Rouen Vicomte. Youngest of 7, oldest brother Pierre Corneille (Saul Bellow) was a playwright. Studied with the Jesuits, then finished his education under his sibling, who was nearly 2 decades his senior. Gained a law degree from the Univ. of Caen, although only practiced briefly. He and his brother married a pair of sisters and lived in Paris in close proximity for a quarter century, combining incomes, which allowed him the freedom to write. Far more the imitator than the innovator, he began his career in 1647, and produced his best remembered work in 1678, Le Comte d’Essex, an his/storical piece. In 1673, he helped reorganize the comic theater, and also worked with Jean-Baptiste Lully (Werner Herzog), versifying to his music. Became an editor and later co-owner of the Mercure Galant, the most influential literary magazine of the times. Took the side of the Moderns in the contretemps between the supporters of classical and contemporary literature, and succeeded his brother to the French Academy in 1685. Also a skilled lexicographer, he gave foundation to the next century’s obsession with accumulated knowledge. His last years saw the loss of many friends, as well his own sight, ultimately rendering him blind, while his fortunes also sagged at the end. Inner: Elegant, highly moral, and highly esteemed for his many admirable traits. Multi-faceted lifetime of close proximity to great theatrical talent, while flexing his literary muscle in a variety of genres, before turning to music in later lives to give full play to his far more unique talent in that artistic discipline.



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