MUSICIANS - THE FRANCO/RUSSO/ENGLISH CONNECTION

PATHWAY OF THE MUSICIAN AS RIGOROUS MENTALIST:
Storyline: The icy firebird brings his phoenix sensibilities to western music past, present and future and rewrites the canon for 20th century consumption, cleaving his head from his heart for absolute clarity in his goals, after earlier having been either ill-rewarded or ill-integrated around his ongoing visionary musical genius.
Igor Stravinsky (1882-1971) - Russian/French/American composer. Outer: Family was well-to-do and cultured. Father was the descendant of Polish landowners, and was principal bass at the Imperial Opera House in St. Petersburg, while his mother was the daughter of a minister of state. Third of four brothers. Despite a musical household and a proximity to high culture, he had a less than happy childhood. Disliked school intensely and both parents were distant, with his mother never giving him his due, even after he was famous. Obsessed with music as a child, he began studying piano at 9, but did not show any particular precocity, nor was he encouraged in his pursuits, since his father, a bookish introvert when off-stage, did not think much of the artist’s life. Largely self-taught, he wrote small pieces on his own, but his musical life didn’t really begin until his father died of cancer when he was 20. 5’3”, 120 lbs and wiry, with hooded eyes, a large nose, long-lobed ears and full lips, a caricaturist’s delight. Used to walk on his hands as part of his morning calisthenics. Began taking instruction from Nikolas Rimsky-Korsakov (Pinchas Zukerman), after first befriending his son at St. Petersburg Univ., where he studied criminal law and legal philosophy with great indifference. Regularly attended musical gatherings at the Rimsky-Korsakov household, where he was introduced to impresario Sergei Diaghilev’s (Gerard Mortier) avant-garde “World of Art” Movement. In his mid-20s, he married his first cousin, Catherine Nossenko, and did most of his early composing on her family’s estate, 4 children from union. His compositions were heard in concert by Diaghliev, who asked him to compose for his Ballets Russe in Paris. With the performance of Firebird in Paris when he was 28, he became an international figure, although he found the work’s initial riotous reaction a depressive fiasco. 3 years later, he firmly entered the 20th century with his masterpiece, The Rite of Spring, based on his desire to do a symphonic pagan ritual. The audience at the premiere hated its dissonance and irregular, primitive rhythms, but within a year it was recognized as a landmark of modern music. Moved to Switzerland just days before the outbreak of WW I. During his exile, he turned to Russian folk tales and poetry for inspiration, and began working in a lighter neoclassical mode. The Russian Revolution, which he had at first greeted enthusiastically, saw his property confiscated and made him a permanent exile. After the War, he reestablished his connection with the Ballets Russe, and moved to France. During the 1920s, he rejoined the Russian Orthodox Church after abandoning it in his teens, and started moving away from the graphic and visual arts, to create a more architecturally self-structured music. Made a concert tour as a conductor, and then paid his first visit to the United States in the mid-1920s. By the end of the decade, Diaghliev had died, ending his ties with the past, as France became less supportive of him, despite his 15 year residency there and in Switzerland. Nevertheless, he became a French citizen in the mid-1930s, largely to protect his copyright interests. Just after the outbreak of WW II, he fled Europe and moved to the United States, becoming an American citizen at the end of the war. During the 1930s, he toured the continent and the United States as pianist and conductor of his own works, before discovering he had tuberculosis in one of his lungs. His wife, mother and a daughter all died towards the end of decade, and, two years later, he married his French mistress, Vera de Bosset, a painter, settling in Los Angeles, which would become his permanent home. While there, he penned his tightlipped autobiography, Chronicles of My Life. A chronic hypochondriac, he would visit his doctor almost daily, and then walk two miles home. Continued his prolific and diverse composing, experimenting with the serial techniques of twelve-tone music, while showing that his originality, craftsmanship and freshness were undiminished even into old age. Continued touring and conducting, since he didn’t make enough from composing, and was raised to iconic status, despite most people’s unfamiliarity with his music. Given a host of celebratory concerts around the world for his 75th birthday, which was followed by the publication of informal conversations in book form, as well as more work. Revisited the Soviet Union in his 80th year, after an absence of almost 5 decades, for an emotional round of honors and performances. Although in increasingly frail health, he continued working until his very last years. A controversial younger musician, Robert Craft, took over his affairs for the last part of his life, beginning in 1947. Died of heart failure in his apartment, surrounded by his family, while his last words were reputedly, “How lovely. This belongs to me, it is my home,” as he was wheeled through his apartment by his nurse. His funeral services took place, at his request, in Venice, and he was buried near Diaghliev. Probably the most honored composer of the century, and certainly the most dominant figure of the first half. Revolutionized 20th century music, and proved himself a master of all forms he undertook. Given a posthumous Grammy Lifetime Achievement Award in 1987. Inner: Magisterial, self-assured, highly cerebral. Very money conscious, he wrote most of his pieces on commission. Political, anti-Semitic, passionately anti-Wagnerian, after earlier being seduced by him, seeing music as a sensual experience in itself, rather than a wrap-around art catch-all. Extremely sensitive to words, with the ability to pun in at least four different languages. Somewhat dismissive of his earlier go-round as Berlioz. Able to look backwards and forwards, taking the masters of the past, as well as the avant-gardists of the present in his rewrite of the language of both form and rhythm. Selfish, controlling, but also charming. Promethean lifetime of musically straddling a century like a great colossus, revitalizing the old and experimenting with the new, while literally calling the world his home. Hector Berlioz (1803-1869) - French composer. Outer: Father was a doctor who owned considerable property. Grew up in a comfortable bourgeois household in the provinces. His sire supervised his education, and he also attended a local Catholic Seminary, showing a natural aptitude for music from an early age. Able to sing at sight, as well as play several instruments, although he never learned the piano, preferring not to be dependent on it for his composing. Immediately began writing music after reading a treatise on harmony by Charles Catel (Paul Simon), then tried to have his pieces published, showing an impatience and a determination to be known as a composer. Despite obvious talents, his father wanted him to be a doctor, and he was forced at 16 to begin his medical studies, then went on to Paris to a medical school there. Thin and angular, fair-skinned, with deep-set and piercing blue eyes, and of medium height. Also deep-voiced, but with a halting pattern of speech that was often tremulous with emotion. Learned the scores of all of Christoph Gluck’s (Richard Wagner) operas. Finally began to study music formally, and decided to write an opera, although was rebuffed when he asked a celebrated writer to do a libretto for him. His first oratorio was accepted for performance, but after the horror of rehearsal, the performance was canceled. Finished medical school, but refused to practice, causing a strain with his parents. Determined to prove himself as a composer, but ran into debt over producing a Mass he had penned. Failed to win the Prix de Rome, and finally convinced his father to support him in entering the Paris Conservatoire as a pupil, where he stayed for 2 years, living under extremely strained financial circumstances. Composed several masterworks by his mid-20s, including his most famous piece, Symphonie Fantastique and on his fifth try, finally won the coveted Prix de Rome, although was bored and restless when he finally got to the Eternal City. Had several unrequited loves, and returned to France 6 months early, staying with his parents. In his late 20s, after a stormy courtship, he married Henrietta Smithson, an English actress who had earlier rejected him, one son from union. Eventually abandoned her in 1842 for a Spanish singer, Marie Recio, and she wound up bedridden and paralyzed, and ultimately dying alone in 1854. His support of composer Franz Liszt (G. W. Pabst) helped him greatly in eventually becoming popular in Germany, although he still struggled in France for support. Despite a governmental commission for a requiem, an opera he composed was withdrawn after 4 performances, closing the doors of the Paris Opera to him, while also being rejected for a professorial post at the Paris Conservatoire on the grounds he couldn’t play the piano. Became a music critic to supplement his meager income, but hated it, despite the brilliance of his articles. Finally appointed assistant librarian at the Conservatoire, but his home life was unhappy. Separated from his wife and on her death, he married Marie Recio in his early 50s, although that union also proved ill-fated. Earlier they had toured Germany together. The rest of his career saw equal amounts of successes and failures, largely due to the exacting instrumental demands of his work. Continued to receive far more accord outside of France, particularly in Germany. His 2nd wife died when he was in his late 50s, and he was extremely lonely, making a pathetic attempt to revive a relationship with a woman he had known as a boy and was now in her late 70s. The death of his son caused him great sorrow. On his final tour, he revisited Russia, the scene of an earlier triumph, and then returned to Paris, where his health completely broke down, and he died the following winter, following a period of great physical agony. Inner: Usually ungracious and reserved, save for subjects which interested him, bringing out an effusive passion beneath his outer inhibitions. Audaciously original, the subject of fervent admiration and equally hostile vilification. Capable of both the beautiful and the banal, largely through an unintegrated interior. Hypersensitive, with a great love of nature, with an iron constitution, although he ruined his health by sleeping outdoors in any kind of weather, even snow. Saw life in histrionic, dramatic terms, as the last of the major French romantics. Tormented by a morbid craving for love and sympathy that belied his hard exterior. Held William Shakespeare (William Butler Yeats) as his lifelong idol. Dualistic lifetime of frustrations and disappointments to match his successes, despite his superior abilities, perhaps to temper his appetite for fame and power through his musical genius, and to force him to integrate his sense of the classical with his equal draw towards the visionary. Jean Rameau (1683-1764) - French composer and theorist. Outer: Son of a church organist. Mother was the daughter of a notary. 7th of 11 children. Learned music before he could read or write. Educated a Jesuit college to be a magistrate, but had little interest in his studies, often interrupting his classes with his singing, while showing far more of an early inclination towards music, teaching himself the elements of harmony and composition and mastering several instruments. Tall, thin and spare. At 18, he went to Italy, then was made organist at Clermont-Ferrand. Held that same position in a number of French cities, including Paris, over the next 2 decades, while working out his theoretical ideas of chord progression through composition in his Traite de l’Harmonie. In his mid-40s, he married Marie-Louise Mangot, a much younger singer, two sons and two daughters from the happy union. Constantly tinkering with his system through a series of works written over the span of much of his life. From the age of 40, he composed short pieces for the stage, and after winning patronage several years later, was able to expand it into opera at the age of 50. His first opera was poorly received because of its novelty. Became the first composer to make the orchestra part of the drama. His later works were more successful, including his masterpiece Castor et Pollux. Rarely had a librettist to match his music, but, nevertheless, holds a significant role in the development of French opera, and is viewed as the successor to Jean Baptiste Lully (Richard Wagner). Appointed composer of the King’s chamber music in his early 60s, and was about to receive a patent of nobility when he died of typhoid fever. Quite rich when he passed on. Wrote operas, ballet and suites. Inner: Exhibited rude manners and boorish behavior, proving himself to be both unsociable, disagreeable, and difficult to get along with. Parsimonious, yet avaricious around money and honors. Dualistic lifetime of musical innovation and theorizing, giving harmonic foundation to French music, while showing a remarkably ugly character around his gifted abilities at aesthetics. Josquin Des Pres (c1445-1521) - Flemish composer. Outer: Pupil of Jan Okeghem (Johann Sebastian Bach). Resided in Milan for 20 years, then was a member of the Papal Chapel in Rome for 6 years, before entering the service of Louis XII (Herbert Hoover) of France. A prolific composer of both Church and secular music, he was known for his great technical skill and rare command of expressive melody. Considered by his contemporaries as the greatest musician of his age, and was Protestant reformer Martin Luther’s (Martin Luther King) favorite composer. May also have instructed Erasmus (Edward Abbey). Became Provost of the Collegiate Church of Conde at the end of his career. Had an enormous impact on his contemporaries, as the first composer to express the ideals of the Renaissance in his music. Inner: Extremely self-critical, his works had to meet his very exacting standards. Well-heeded lifetime of being one of the earliest European composers, and as usual, constructed the basis for musical development for his own and succeeding ages. Guillaume de Machaut (c1300-1377) - French poet and composer. Outer: Educated at the cathedral school in Rheims, where he was born. Also may have attended the university in Paris. Small, and of frail health. Took holy orders and in 1323, entered the service of the King of Bohemia as a clerk, accompanying him as his chaplain and secretary on his campaigns in central and eastern Europe, reading aloud to him to amuse him. Made canon of Reims cathedral as a reward for his service in 1340, a sinecure that allowed him the freedom to compose. After the king’s death, 9 years later, the monarch’s daughter Bonne of Luxembourg (Mabel Dodge Luhan), the future queen of France, became his protector, and in 1349, the king of Navarre did the same for him, while he was patronized by the various high nobles of France. Much praised and honored. Penned hundreds of poems, and worked in most of the musical genres available to him. Although he stayed within the traditions of his time in his writing, he exercised influence beyond the borders of France, particularly in the works of Geoffrey Chaucer (William Butler Yeats). Far more innovative as a composer, and esteemed throughout the western part of the continent for his polyphonic forms and motets. Strongly affected the development of the French lyric. Inner: Foundation lifetime of weaving his lyric facility with language with that of sound, and creating a cultural base for France in the process, which he would augment in later lives in this series.

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PATHWAY OF THE MUSICIAN AS DEEPLY DIVIDED CHARACTER:
Storyline: The misogynistic maestro does never-ending battle with his female side through his life-and-death struggles with his mates, and is continually forced to pay the piper for the sharply held divisions he constantly manifests between the lustrous sheen of his works and the shabby self-centeredness of his lives.
Sergei Prokofieff (1891-1953) - Russian composer. Outer: Son of the director of an estate of a noble Russian family that did not live there. Father was distant and silent, while his mother was musically inclined. Began playing the piano at a very early age, and was already composing and improvising as a child. Started his serious training at age 11. Entered the St. Petersburg Conservatory two years later, studying with Rimsky-Korsakoff (Pinchas Zukerman), among others. Continued his composing, although it did not meet with approval there. Gave his first concert of his own pieces at 17, which caused a flurry of excitement, although his compositions continued to receive divided reaction, thanks to an emphasis on the harsh and the dissonant, as well as a bent for grotesque titles. Finally found his true musical voice in composing for the piano, and by his early 20s had established his distinctive style, evoking highly specific moods, either humorous or lyrical, while proving himself to be a piano virtuoso, with a particularly sensitivity for that instrument. Tall and bald, with a poker face. Often conducted his own works, while continuing to experiment with modern sounds played off of traditional structures. By his mid-20s, he had written his first important opera, after having experimented in that form most of his early life. Following the Russian Revolution, he departed Russia via Siberia and landed in NYC, making several appearances as a pianist, playing his own works, but he soon left the United States feeling quite disillusioned because of critical reaction to his work. Two years later, he settled in Paris in 1922, and began a close association with ballet impresario Sergei Diaghliev (Gerard Mortier), producing several ballets for him, while establishing a rivalry with fellow Russian émigré, Igor Stravinsky. In 1923, he married Lina Codina, a Spanish-born singer, with whom he had 2 sons. Returned to Russia 7 years later on a concert tour, where he was received as a Russian citizen rather than an emigrant. Came back to Paris, and lived there for 11 years, while continuing as a concert pianist in Europe and America. Initially given a hero’s welcome on his return to Russia in the mid-1930s, but he had to seriously readjust to musical life there, because of the repressive Stalin regime. Completed his best-loved work, Peter and the Wolf, two years later, which characterizes each figure by an instrument and motif. Continued working in the Russian idiom in a variety of modes, and made several visits to Europe and the United States prior to WW II. Never joined the Communist Party. Settled in the Caucasus when Germany invaded Russia in the early 1940s, writing his 5th and 6th symphonies. His marriage deteriorated, and he left his wife and moved in with a young Soviet writer. As a foreigner, his wife was ultimately sent to a Siberian labor camp and remained there for 8 years. 3 weeks before her interment, he had married his mistress, Mira Mendelson, thereby directly sentencing her to imprisonment. In the late 1940s, he was sharply criticized by the Soviet press for his “formalism,” and was forced to admit his faults in an open letter to the Union of Soviet Composers, although he later worked his way back into official good graces. Suffered two strokes, and died of a cerebral hemorrhage just hours before Joseph Stalin, allowing the dictator one final overshadowing act. The official denunciation that had destroyed his last years was not lifted until 5 years later. Wrote 7 operas, and 7 symphonies, gradually simplifying his style to make it more accessible. Inner: Cold, aloof, arrogant, sardonic, constantly looking for greater recognition. Efficient, neat and punctual. Passionate chess player. Indifferent to ideology and politically naive, but identified heavily enough with his native country to continue living there under the most creative and culturally repressive circumstances. Partial payback lifetime of continuing his life’n’death struggles with mates, while suffering for his strong identification with his native soil, allowing its artistic degeneration to bury him alive as well. Mikhail Glinka (1804-1857) - Russian composer. Outer: Son of a retired army captain who was a prosperous landowner. Deeply and sometimes violently affected by music as a child. Entered a private school for the children of the nobility in St. Petersburg, and proved himself an excellent student in music, language and sciences. Studied piano briefly with Irish émigré John Field (Arnold Schoenberg), as well as a series of other expert teachers, and became a proficient pianist, while also training in the violin. His health was always weak, and he suffered a nervous disorder, causing him to go to the Caucasus for rest and vacation. Began studying music more assiduously on his return, but had no real ambition, and so, at the insistence of his father, he became a civil employee in the Ministry of Communication in 1824 for 4 years. Took up singing, resigned his official post and began studying composition. Afterwards, he went to Italy, where he became imbued with Italian Opera. Eventually went on to Vienna and Berlin in 1833 to continue his musical education, but began to feel he should involve himself with Russian national music. Returned to Russia on his father’s death and managed his estate, then moved to St. Petersburg, and in his early 30s, married Maria Petrovna Ivanovna, a shrewish young woman who had no interest in his music. Deeply affected by the constant nagging of both her and her mother, as his engaging disposition turned foul under their unhappy ministrations. The two were separated and divorced 11 years later, and he serially went to live with his mother, and then his sister. Wrote a patriotic Russian opera, which was successfully produced, and then was appointed Kapellmeister of the Imperial Court. After writing a 2nd opera, he went to Paris in 1844, where he became friendly with Hector Berlioz (Igor Stravinsky), and gave a successful concert of his work. Traveled through Spain, where he was much fascinated by the popular music and dancing there. Returned to Russia, then traveled again to Warsaw. The rest of his life was spent intermittently traveling and living in Russia. Wrote his memoirs at 50. Caught a cold while traveling in Berlin and died suddenly. Inner: Libertine with a strong wanderlust. Idealistic and lyrical. Capricious and spoiled, had to have things his own way, extremely self-involved. Dreaded death; the slightest indisposition terrified him. Had an ample medicine chest, and was neurotic to the extreme on health matters. Unable to conduct simple household matters. Often dilettantish, with little self-discipline and great difficulty in applying himself. Replicant lifetime of giving foundation to a national music of Russia through his directly reflective dark aesthetic and jumbled emotions, acting as a perfect mirror for the conflicted cultural soul of his native land. Jean Leclair (1697-1764) - French composer and violinist. Outer: Son of a lacemaker. 5 siblings became musicians. Married Marie-Rose Casthanie, a dancer, in 1716, who died a dozen years later. In 1722, he went to Turin as a ballet-master, where he took up the violin. Returned to Paris and played for 6 years at the Paris Opera, and also played at the Concerts Spirituels and at the French court. Unhappily married a 2nd time to Louise Roussel, an engraver who prepared his printworks. The duo subsequently separated, and he was eventually appointed concertmaster to a French duke in 1748. Wrote one opera, and several ballets but is best noted for his violin works, which, despite being technically difficult, had great expressive power. Lived in sedentary seclusion at life’s end in a bad Parisian neighborhood, before being mysteriously stabbed to death in his home. His assassin was never caught, although his gardener and ex-wife were both suspected. Probably was killed by his estranged wife, who had wanted to place his nephew in the duke’s orchestra, but he refused out of jealousy, because he resented his nephew’s liaison with her. Stabbed 3 times, once in the shoulder, once in the chest and once in the stomach. The murder was probably directly linked to the 3 deaths he caused in his earlier musical life, when he had his child (shoulder-responsibility), wife (chest - heart) and her lover (stomach - power) done in through a similar spate of jealousy. Inner: Competitive, unpleasant and insecure. Compensating lifetime of paying the piper for his passionate vengeance of the past. Don Carlo Gesualdo, Prince of Venosa (c1560-1613) - Italian composer and lutenist. Outer: From a wealthy princely Neapolitan family. Had the look of a vampire, with dark narrow eyes, a lifeless complexion, and large ears. Became betrothed to a woman who had been twice married, and an infant child resulted from the union. In 1590, he discovered she was having an adulterous affair and had both her and her lover murdered and their naked bodies flung on the steps of his palace where they were displayed for several days. Also had his infant child killed because he did not know its true paternity. Subsequently, he went into hiding over the act, returning to his court 2 years later. In 1594, he went to the brilliant court of the Este in Ferrara, and married Leonora d’Este, daughter of the Duke of Ferrara. His wife complained about his continual infidelities and tried to divorce him but couldn’t. Published 4 books of madrigals, which showed his mastery of the classical style, and then returned to his own court, where he spent the rest of his life. Wrote 2 more books of madrigals, showing extraordinary originality, with a technical modernity to them, and a bold and complex harmonic style. The dramatic feeling and passion in his work were very unusual for the day. Inner: Passionate, seductive, jealous, self-involved. Vengeance-is-mine lifetime of establishing karmic patterns of bad relationships with wives and brilliance to his music, a divided character unable to integrate his inner and outer lives, and therefore subject to the violent whims of the fates, and literally forced over and over to pay his own demanding pipers.

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PATHWAY OF THE MUSICIAN AS SELF-INVOLVED AVANT-GARDIST:
Storyline: The driven dualist duels with his progressive creative nature and his regressive internal mechanisms to fashion a far-sighted vehicle whose myopic view of his unintegrated self runs totally counter to the lyrical legacy he continually leaves in the wake of his angry existences.
Luciano Berio (1925-2003) - Italian conductor, composer and musical theorist. Outer: Family included 3 generations of composers. His grandfather and father were church organists, and he studied with both of them, often assisting them as a child. Grew up resentful, despite his musical milieu, because of his cultural isolation. Drafted into the Italian army during WW II, but was given a loaded gun on his first day, and it went off, badly injuring his right hand, ending any possibility of a career as a pianist. Spent three months in a military hospital, faked a discharge and fought with Italian partisans against the German forces occupying the north. Enrolled at law school, but dropped out the following year and, like his father, attended Milan Conservatory, where he learned composing and conducting, but, because of the political situation, never heard the works of the German avant-gardists, isolating his initial musical growth. Began composing, as well as coaching singers and conducting operas, while touring northern Italy with a small opera company, creating a lifelong bond behind himself and the lyric theater. In his mid-20s, he married Cathy Berberian, an American soprano, who served as an inspiration and interpreted his work even after their divorce 15 years later. One daughter from union. Graduated school in his mid-20s, and won a fellowship to study at the Berkshire Music Center in Tanglewood, Mass. Returned to Italy, and with a fellow composer, founded the Studio di Fonologia Musicale at Milan Radio, which became one of the foremost electronic music studios in Europe. Co-founded a journal, and continued experimenting with synthesizing real noise with musical patterns. Contact with fellow avant-gardist Karlheinz Stockhausen influenced him, as did other progressive thinkers and tinkerers of the time. Held several teaching posts in the United States, culminating with a position at the prestigious Juilliard School of Music in NYC in 1965. His opera Sinfonia assured his international reputation, although the musical world remained divided over his gifts. In his early 40s, he married Susan Oyama, a Japanese-American psychology student, son and daughter from union. Returned to Italy in the early 1970s, and continued to experiment with pure sound and its harmonic potential. Wrote for orchestra, the theater, chamber, vocal and keyboard music. After divorcing again, he married an Israeli musicologist, Talia Pecker, two sons from union. Able to integrate all elements of his vocal works, creating very dream-like effects in his full theater pieces. Died in a hospital. Inner: Controversial, angry, and very self-involved. Volatile and overbearing, a political radical, with little patience for the past. Very attuned to the linguistics of sounds, he viewed his lifework as a continuing experimentation with the possibilities of beautiful noise. Passionate lifetime of electrifying his musical imagination in order to continue his ongoing role as teacher of the harmonic and lyric potential of sound. Achille-Claude Debussy (1862-1918) - French composer. Outer: Father owned a little china shop, and moved with his family to Paris shortly after his son was born, while his mother was devoted to him. Although his sire loved operetta, he wanted a nautical career for his son. His first music lessons were paid for by a banker attached to the boy’s aunt, who helped bring up the Debussy children. Never went to school. At 8, he met a former student of Frederic Chopin’s (Karlheinz Stockhausen), and studied piano with her for 3 years, feeling indebted to her for his keyboard inventiveness. Entered the Paris Conservatoire at 11, and stayed there 11 years, although he proved to be an erratic student, resistant to some of his teaching, and an exemplary talent in other areas. Primarily a pianist, the singular instrument with which he felt totally at home. Visited London, then later became the household pianist for the patroness of composer Petr Ilich Tchaikovsky (David Bowie). Made several summer continental journeys with her, meeting composer Richard Wagner (Werner Herzog) on one of them. Visited Russia twice, and finally won the Grand Prix de Rome, his avowed goal. Lived in the Villa Medici there, where he met Franz Liszt (G. W. Pabst) shortly before that virtuoso’s death. Ran away to Paris, but was convinced to return to Rome, which he did, only to return to Paris without completing his term in order to pursue a career as a composer. Settled into the nightlife of the City of Lights, living in Montmartre. In his mid-20s, he met Stephane Mallarme (Simone de Beauvoir) and began attending the famous “Tuesdays” at his house where he came in contact with the Symbolist poets of the day, who would exert a strong influence on his desire to be a prototypically French composer. The meetings produced his best known work, Prelude to the Afternoon of a Faun, which was inspired by a pastoral poem of Mallarme’s. Visited Bayreuth twice and, although initially much taken with Richard Wagner’s music, later rejected it in his desire to remain a Francophile. Severed his connection with the Conservatoire when it refused to put his Roman works on its program. Began work on one of his major opuses, Pelleas et Melisande, which would take a full decade to complete. After the turn of the century, he started working as a critic on successive journals. Lived with a series of mistresses, eventually marrying one in his late 20s, Rosalie Texier, a dressmaker who had been his constant companion. Later rejected her for the wife of a local banker who was a social singer of his songs, much to the disapproval of his friends, and to the suicidal despair of his wife, who recovered from a self-inflicted gunshot wound in 1904. Won a divorce, and in his early 40s, married a 2nd time, to Emma Bardac, one daughter from that union. With an established reputation as a composer, he saw his operas performed in several countries, going to London to conduct one of them. After his 4th visit to London, he discovered he had cancer of the rectum, a malignant symbol of sheer survival, in his inability to relieve himself of his own effluvia and darkness. The following year, he conducted in Vienna and Budapest, before writing two ballets. As a semi-invalid, he was totally unfit for military duty, and spent his last years composing for the piano, searching for subtle coloring that would label him a musical impressionist. Just after WW I broke out, he revisited the Villa Medici, after conducting at The Hague, Amsterdam and Rome. The following year he underwent his first operation for cancer, then wrote two of his three sonatas. The annum afterwards, he made his final public appearance and completed his last work, before undergoing a 2nd operation, which left him progressively weaker. Died of cancer of the colon during the long-range bombardment of Paris in the last year of WW I. Most noted for his sense of harmony, exploring both new harmonic relationships and dissonances, using a whole tone scale rather than the traditional western one, while taking the piano and its possibilities to its next level. Inner: Totally self-involved, prickly personality, with the inability to relieve himself of his rage save through his music. Chain smoker and scrupulous dresser, while harboring a host of contradictory traits: melancholic and voluptuous, ironic and sensual. Anal/oral lifetime of exploring the ever-expanding possibilities of music, creating an impressionistic oeuvre that would give a musical base to the dissonant century to come, while undoing himself through his difficulties with releasing his negative emotion. Etienne Mehul (1763-1817) - French composer. Outer: Son of a cook. Studied organ and quickly mastered that instrument, becoming organist of a convent at the age of 10. Later trained at the convent of La Val Dieu and at 14 was appointed deputy-organist there. At 15 he was taken to Paris by an amateur musician who was impressed with his talent. Studied piano and composition, then began to compose while teaching to make a living. Made the acquaintance of Christoph Gluck (Werner Herzog) who urged him to write for the stage. Composed 3 operas for practice before writing one which was accepted at the Paris Opera, although not produced. Allied himself with the new regime during the French Revolution. His first production, an opera-comique, at the age of 27, was a huge success, and eventually he wrote another 30 in the next 17 years. His best known work was Joseph, which was original, had great dramatic power and was both simple and serious. Particularly good at uniting melody and diction. In addition, he wrote instrumental works, several ballets, many patriotic songs & cantatas, and some symphonies. Made a member of the Institute at 32, and was also appointed as one of the inspectors of the new Conservatoire. 7 years later, he was admitted to the Legion d’Honneur. Consumptive, he made an unhappy marriage to a physician’s daughter. Bad health coupled with a broken marriage and later failures as a composer, led to paranoia at the end of his career, which made him feel that he was the victim of intrigues of other composers. Went to a Mediterranean island for his health and probably identified with the fallen Emperor Napoleon’s concurrent isolation. Died of consumption shortly afterwards. Considered an heir of Gluck in the reform and development of the opera. Inner: Difficult character, with an overblown view of himself, but had great perseverance in continually overcoming his obstacles. Dyspeptic lifetime of delving into the absolute passion of his work, expending much extraneous energy that he would reapply to his music in later lives in this series, while doing battle with his ongoing unintegrated character. Louis Marchand (1669-1732) - French composer and organist. Outer: Taught organ by his father, and showed a precocious skill. Began his career on that instrument at various churches in Paris, before becoming an organist at the Chapel Royal at the age of 28 for 6 years. Had the reputation as a legendary virtuoso. Because of his dissipated, wild behavior, Louis XIV (Charles de Gaulle) withheld 1/2 his salary out of pity for his wife. Got up in the middle of Mass afterwards and left, announcing that if his wife got 1/2 his salary, she could play the second half of the service. Subsequently banished for his insouciance, he went into exile in 1717, traveled widely in Germany, and wound up in Dresden. There he engaged in a competition with J.S. Bach (Isaac Stern) at the harpsichord, before being challenged on the organ, which he defaulted on, although the story may be apocryphal. Returned to Paris after the repeal of his banishment and settled there as a teacher, becoming the most fashionable and expensive instructor of his day, although he eventually died in great poverty. Composed an opera, as well as pieces for the organ and the harpsichord. A great improviser, he continually experimented with his music. Inner: Highly self-involved. Dissipated and uninhibited, taking advantage of power and fame, while showing the same dyspeptic character as in all his lives in this series. Self-aggrandizing lifetime of dealing with his own overblown self-view, despite his superior talent, causing him to suffer greatly for his hubris at life’s end. Claude Le Jeune (c1530-c1600) - French/Belgian composer. Outer: Parentage unknown, and early life unknown. Acquired a high reputation in Paris for his musical skills. During the religious wars of the Catholics and Protestant Huguenots, he favored the latter, and barely escaped with his works and his life when he had to flee Paris in 1588. His manuscripts would have been burned had it not been for the intervention of a fellow musician. Wrote many psalters for devotional use in homes and churches. After his death, his works were published by his sister, and later by a nephew. Inner: Hotfooting lifetime of working within the traditions of Church music and establishing himself as one of two French masters of that time in that mode, while externalizing his internal conflicts, by choosing the losing side in the outer upheavals of his time.

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PATHWAY OF THE MUSICIAN AS MAGICIAN OF THE PIANO:
Storyline: The synthesizing romantic gradually builds a transcendent stairway to the heavens that he can musically climb, while exploring the possibilities of unifying the opposing dimensions of sound, time and space into an appealing, holistic esthetic.
Karlheinz Stockhausen (1928-2007) - German composer and pianist. Outer: Of peasant stock, father was a village school-teacher who was killed after 5 years in the German army. Mother was confined to a mental hospital and exterminated by the Nazis as a “useless member of society.” His off-putting childhood would give him the will to challenge the authority of musical tradition, and also send him on a non-stop spiritual journey, where he would serially embrace a host of belief systems, extract what he felt was useful from them, and turn it all into vibratory sound. Began studying piano at 6, and also became proficient as a violinist and oboist. Lived in Cologne, then in 1941, after his mother died, began boarding at a teachers’ training college. Drafted at the end of WW II as a medical orderly and stretcher-bearer, symbolically carrying off the remains of the past. Worked as a farmhand, studying music at night, then resumed fulltime schooling, supporting himself by playing piano in dance bands and directing school operetta productions. Moved back to Cologne in 1947, studied at a music school, as well as the university there, while continuing to support himself with piano playing. Began looking closely at contemporary avant-garde composers, and was most strongly influenced by Anton Webern. Met a music critic who took an interest in his work, and arranged to have some of it broadcast while enrolling him in 1951 at the International Summer School at Darmstadt, a gathering place for musical progressives. Both composer Oliver Messaien, under whom he studied, and conductor Pierre Boulez, whom he met there, would also affect him greatly. Produced his first acknowledged work at Darmstadt, creating geometrically shaped pieces, which were very mathematical in their precision and intersections, so that by the early 1950s, he was in the forefront of the musical world. In his mid-20s, he married a former fellow student, Doris Andrae, and moved to Paris with her, 4 children from the union, later divorced. His 2nd wife, Mary Bauermeister, whom he married in 1967, was a sculptor and painter, 2 children from union. Played with electronic noise sources and created his own distinctive 20th century sound of carefully controlled musical elements cascading off of one another. Returned once again to Cologne and continued his exploration of acoustical phenomena, shading color, shape and density through electronics that bypassed the role of the performer. Became a world figure, and began editing Die Reihe, which would give intellectual weight to the new music of electronics. Continued his exploration into sounds, allowing chance to become an element in his works. Made head of composition and analysis courses at Darmstadt, as well as taught and lectured in various countries in western and northern Europe, touring frequently to counterbalance his teaching, proving to be extremely charismatic in all his various roles. In the 1970s, he became fascinated with spirituality and extraterrestrial life, making his works longer, louder and stranger, in order to embrace his uberzeitgeist. Began a series of 7 operas in 1977 under the banner of Licht, or ‘Light,’ to celebrate the days of the week, while borrowing his theology from the “Urantia” book, and spent a quarter century on the project, which would not be performed in its entirety until after his death. Ultimately reached the position as one of the foremost practitioners of avant-garde music of the century, creating not only distinct compositions, but also the written and teacherly exposition behind them. Permanently tarred and feathered his reputation in 2001 by proclaiming the World Trade Center bombing in NYC, a “work of art,” failing to acknowledge the dimension of human tragedy in the visual spectacle of it, and, in a sense, showing his disconnection from all things that sat outside his unusual aesthetic. Swiftly suffered stern rebuke for his sentiments, and apologized. Died at home of undisclosed causes. Composed over 360 performable works, and influenced a wide range of musicians from pop-stars to classicists, while also earning his fair share of opprobrium. Inner: Solemn, austere, mystical and serious. Highly spiritual but not into any orthodox theology, seeing music as his means of communing with the heavens, while equating life with work. Prickly and self-involved with an insatiable curiosity about the esthetic and spiritual potentiality of sound. Fond of experimenting with polarities and finding their integrating center. Licht-filled lifetime of exploring the interrelationships between time, space, tone and form and the connection between the composer and listener, while keeping his prickly persona separate from his investigations into unifying the heavens and the earth through sound, only to ultimately fall victim to his inability to integrate his larger world-view around his visionary sensibilities. Alexander Scriabin (1872-1915) - Russian composer and pianist. Outer: Son of a law student. Mother was a brilliant young pianist who died of tuberculosis a year after his birth. Father could barely support the family working in the consular service. Brought up mainly by his grandmother and aunt, while once again being denied direct maternal contact. Pampered and spoiled as a child, and a hypochondriac, with a great fear of being by himself, but was also not allowed to play with other children. Evidenced a mystic strain from a young age, and began playing the piano at 5, pursuing formal study when he was attending army cadet corps school. From the age of 16, he was a piano pupil at the Moscow Conservatory of Safonoff, where he continued his studies in composition, despite dissatisfaction from his teachers, although he won a gold medal for piano playing. Slept with Frederic Chopin’s music under his pillow, unconsciously tuning into his earlier existence in this series. Won the interest of an influential publisher, who continued bringing out his work until his early death and sponsored a concert tour for him that took him to western Europe, where he played all his own compositions. Later toured Russia. In his mid-20s, he married Vera Ivanovna, a gifted pianist, and the duo gave joint recitals. Taught piano at Moscow Conservatory, although was quite bored with it, and eventually was saved with an annuity from a rich pupil, enabling him to go off to Switzerland with his wife. The twosome amiably separated, and he went to Paris alone, after coaching VI on his works to give her a special authority in them. She became a teacher at Moscow Conservatory and inaugurated a series of recitals of his work. Fell in love with an admirer of his, a young pianist, and made a successful American tour which ended disastrously via the moral repercussions over his flouting of convention, when his new love joined him, 3 illegitimate children from union. Given a yearly retainer for his works, and spent 2 years in Brussels, where he became very involved in the spiritualist Theosophy movement, then continued his touring, eventually reaching London. After touring Russia, he fell ill from a carbuncle on his lip, and died. Initially strongly influenced by Chopin, he eventually found his own musical voice, which was always based on classical principles. His son Julian began composing seriously after his death, and was seen as a prodigy, only to drown in a boating accident at the age of 11. Inner: Excellent pianist, highly sensitive with an extremely poetic nature. Intense, passionate, decadent and delusional. Extremely mystical, which became more pronounced as he grew older. Directly tapped into his antecedent go-round, bringing its romance into an attempted fusion of art and religiosity. Continuation lifetime of trying to achieve a perfect synthesis of the arts, which would be used in service of spirituality, although his relatively early death prevented him from actualizing it in a completed composition. Frederic Chopin (1810-1849) - Polish composer and pianist. Outer: Father was a French emigre revolutionary soldier who gave lessons in his native language, when he was unable to leave Poland. Mother was the daughter of an impoverished Polish nobleman. Both were in the employ of a Polish countess. Showed a precocity for the piano, and by 8, was the pet of the Polish aristocracy. Studied under a lenient teacher, who gave him the freedom to explore his originality as an artist. Had little formal teaching otherwise, which he would later regret. Although healthy as a child, he began to strain himself by feverishly working through the night on compositions as a teenager. Sent to a health spa at 16, along with his 14 year old sister, because he showed signs of tuberculosis. He recovered, but she died, and his mother went into mourning the rest of her life, while he always felt death shadowed him. Very slight, a little over 100 lbs. Decided at 19 to pursue the career of a piano virtuoso, and left with friends for Vienna, where he gave concerts, met most of the leading Viennese musicians, and received great critical acclaim for the finesse of his playing as well as his published compositions. Made a leisurely trip back through German cultural centers, returning to his homeland to much acclaim. Left Warsaw for Vienna the following year, never to return to Poland again, after giving a farewell series of concerts. When he arrived, an insurrection had broken out in Warsaw against the Russians. After one disastrous concert, he decided to leave, and, heartbroken by the fall of Warsaw, arrived several weeks later in Paris, greatly exhausted both physically and emotionally. Received a much better reception in Paris, expanded his musical friendships, and decided to concentrate on composing, while settling there in 1831. Attended the opera almost every evening, and found inspiration in the singers, which enhanced his sense of melodic ornamentation. Still depended on his parents for money, and knew he couldn’t support himself by his music. At a low ebb, and thinking of going to America, he was invited to play at the house of Baron James de Rothschild (Simon Cowell). Finally found his support, through lessons to the rich women of the audience, who formed a committee to protect his interests. Freed from financial worries, he was able to spend the next decade purely in the pursuit of music. As his fame as a composer increased, his fame as a pianist decreased, which suited him, since he preferred playing for intimate gatherings; large concert halls made him nervous. Wound up giving only 30 more public performances. After a 5 year absence, he met his family at Karlsbad for a joyous reunion. The following year, his health began to become a factor, through his feverish work habits. More than likely a virgin when he met French writer George Sand (Rebecca West) in 1836, although he was at first put off by her strong personality. The duo had a 9 year affair, much like a nurturing mother with a flowering child, which ultimately resulted in an ill-fated trip to the Spanish isle of Majorca, where his poor health turned into bronchitis. For the next few years he spent summers at her noted place in Nohant, and winters in Paris, as his coughing fits increased. The early part of their connection resulted in some of his greatest work. Occasionally rallied, but news of the death of his father prostrated him, and 2 years later, he had his final break with Sand, largely through a mutual dislike of her son. After leaving Nohant, he could compose no longer, and afterwards rapidly declined. The Revolution of 1848 forced him finally to leave Paris for London, where he was equally lionized. Gave his farewell performance at a Polish ball for refugees. Returned to Paris and died of tuberculosis of the lungs later that year. At his funeral, Polish soil was strewn on his grave. Much of his work was not published until after his death. His oeuvre, which consisted of only 206 published works, remains unrivaled in both its poetic sweep and tonal feel. Inner: Extremely shy, but charming and elegantly mannered, with a love of finery. Snob, social butterfly and devout Catholic. Witty, fine mimic, fastidious dandy. Effeminate, passive, complacent, albeit iron-willed when it came to his art, allowing his pieces a long time to gestate. Deeply enamored of the human voice, loved opera and singing, as well as the pure beauty of the music of the pianoforte. Weak-bodied and strong-minded lifetime of living out the role of the archetypal death-embracing romantic artiste, while establishing the piano as a solo instrument. Francois Couperin (1668-1733) - French composer and harpsichordist. Known as “le Grand.” Outer: From a large family of musicians. Father, Charles Couperin, was an organist, as was his uncle of the same name. First learned from his sire, who died when he was ten, then studied with the organist of the King’s chapel. On his 18th birthday, he became organist at the Church of Saint-Gervais, a post he inherited from his sire and kept until his death. From his 20s onward, he was held in the highest esteem as a teacher and composer. 8 years later, he succeeded his teacher as organist of the Royal Chapel and received the title of “Organiste du Roi.” Married Marie-Anne Ansault in his late 20s, and had 2 daughters, one of whom became a harpsichordist and teacher of the king’s children, and ultimately took her father’s position as harpsichordist to the king. A son died in infancy, and another survived. Because of his teaching demands, he found it difficult to find time to publish his vocal and instrumental music, and after 1690, wrote no more original pieces for the organ. Afterwards, he focused on Italian sonatas and cantatas, which strongly influenced his sacred vocal music. Stood in high favor with Louis XIV (Charles de Gaulle), taking part in court concerts, as well as serving as music-master to the children of the royal household, while performing as harpsichordist at Versailles from 1700 to 1717, dividing his time between there and Paris. Known as a virtuoso organist, as well as a skilled performer on the harpsichord. Wrote a work on keyboard style that would influence J.S. Bach (Isaac Stern). Published 4 books of harpsichord pieces as well as chamber music, songs and religious vocal music. Most of his compositions had great charm and wit. The end of his life was spent in virtual seclusion. Inner: Social, graceful, but probably tinged with melancholy, which sent him deep into himself during his farewell years. Saw music as a reflection of poetry and prose. Well-honored lifetime of exerting considerable musical influence through his connection to the royal household, as well as establishing his technical and compositional mastery over the keyboard, while repeating himself as the most memorable of a family of several generations of musicians. Orlando Gibbons (1583-1625) - English composer and organist. Outer: Father was a musician, two older brothers, Edward and Ellis, also became organists and composers, with Edward serving as his teacher. Entered the choir of Cambridge’s King’s College and became organist of the Chapel Royal in his early 20s, before taking a music degree at Cambridge. Married the daughter of a yeoman of the vestry, 7 children from the union, son Christopher became an organist and composer. His first published composition appeared in 1610. Gained an enthusiastic patron, who was a knight of the Bath, and contributed some well-wrought lyrics to some of his pieces. Appointed chamber musician to James I (Kenneth Tynan), and in 1622, he was made a doctor of music at Oxford Univ. The following year, he was appointed organist for Westminster Abbey. Conducted the music for the James’s funeral and then died suddenly of an apoplectic seizure while attending the new king, Charles I (George VI) at Canterbury, although his demise was erroneously blamed on the plague or smallpox in some sources. His wife followed him in death a year later. Best noted as a composer of church music, and also as skilled performer upon the organ and the virginals. His music was largely austere but showed a mastery of the forms available. Also composed for the keyboard, and was the first major English choral composer to work out of the Protestant tradition at a unique time when England was a dominant musical force on the European continent. Inner: Grave and solemn. Serious lifetime of following tradition and proving himself the most memorable of a family of several generations worth of musicians, a dynamic he would directly repeat in the French mode to gain the same musical perspective of opposing cultures.

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PATHWAY OF THE MUSICIAN AS SECULAR SPIRITUALIST:
Storyline: The religious sensualist has difficulty in resolving the two distinct sides of his nature, until he learns to totally separate them, giving praise to the on-high through his music and succor to his more hedonistic tastes through the un-abiding successes he garners from transliterating his sense of the divine into his appetites for earthly delights.
Francois Poulenc (1899-1963) - French composer. Outer: Mother was the daughter of a cabinet-maker who had a love for the arts, and was a talented pianist, giving her son his first lessons at 5. Father was part owner and director of a drug company that bore the family name. Born after the duo was married for a long time, one sister who was much older. Sickly as a child but smothered with attention by his overly-protective parents and sister, as well as a nurse who cared for him until he was 12. Enjoyed a comfortable upbringing, with his family indulging him with several music lessons a week, so that he was actively composing by his early teens. Wished to be a composer, but his father insisted he complete his academic education, which he did, although never had any abiding intellectual interests. Fortuitously, he came under the influence of an excellent Spanish piano teacher at 15 to whom he felt he owed his subsequent career. Had his first piece played at an avant-garde theater when he was 19, and became associated with the group called “Les Six,” who held Erik Satie (Frank Zappa) as their master, and writer and filmmaker Jean Cocteau (Bryan Singer) as their defender and spokesman. A natural composer who worked more on instinct that distinct musical knowledge, he was still taking lessons after he began his career. Drafted into the army during WW I, he served at the front, then was a typist. Very social, he mingled freely with the cultural world of Paris, and worked in concert with several poets. Never married, he loved only one woman in his life, who died prematurely. After first rejecting religion, he had a renewed sense of Catholicism, which made itself felt in his music after his mid-30s. During WW II, he was an active member of the French Resistance. His first opera was composed during the period and was an irreverent, bawdy work. His 2nd opera was the complete opposite, Dialogues des Carmelites, about the fate of a community of Carmelite nuns during the French Revolution. The two together symbolized his life, a combination of the sacred and profane, and the boisterous and the melancholic. Wrote sacred music later on, into which he was able to pour his reawakened spirituality. Toured as an art-song team with a partner for a quarter of a century, made numerous recordings and gave concerts with other performers. Died quite suddenly, with all his work completed, and his datebook, which he always kept filled, unmarked beyond the day of his death. Wrote orchestral works, concertos, chamber music, choral and piano works. Inner: Amiable, but also extremely superstitious. Loved luxury, fine foods and wines, a great placater of his own senses. Harbored contradictions galore, said one thing, did another. Pleasure-loving lifetime of segmenting his longtime spiritual character rather than trying to integrate it so that he could directly experience all of his many parts, instead of denying them as he had in his musical lives of the past. Charles Gounod (1818-1893) - French composer. Outer: Descended from a family of artists. Mother was an accomplished pianist, probably the same figure as in his next life in this series, although married to a different mate, but supplying the same support. Father was a distinguished painter. Received his musical education at the Paris Conservatoire after a general education. Won the Grand Prix de Rome in 1839, and was deeply impressed by the artistic atmosphere of that city, studying the old church composers, with a particular interest in Giovanni Palestrina (Ignace Paderewski). Wrote his first important composition, a mass, which was performed there. Returned to Paris, after visiting Germany and Austria, and was then appointed organist and choirmaster of the Eglise des Missions Etrangeres. Devoted himself to theological studies with the thought of becoming a priest, including a period of 5 years of silence, which enhanced his listening abilities, as well as love of reading, but before taking orders, he reverted back to his musical interests. Wrote 2 operas that were unsuccessful, as well as a comic opera, before producing his best-known piece, Faust, in 1859, which has had an enduring life of its own, with several thousand performances in the last century and a half. Never able to repeat that high point of his creative life, although he composed a dozen operas all told. Earlier, he had become conductor of the Orpheon, a union of choral societies, and held that post for 8 years, which inspired many of his choral pieces. Lived in England for 5 years in his 50s, enjoying considerable success there for his religious works. In the latter part of his life, he became much more of a religious mystic, and devoted himself to sacred works, with his best known heavenly chant being the Ave Maria for soprano. Elected a member of the French Institute and was made an Officer of the Legion d’Honneur, and wrote a volume of reminiscences which was published posthumously. Collapsed from brain congestion at the piano, and died of a stroke, an indication of a mind unsatisfied with itself. Had a great lyrical charm to his music, showing originality and a genuine appeal to the senses and emotions of his listeners. Inner: Amiable, sentimental, serious, but enjoyed a good laugh. Cloying, flattering, with a strong ego, a non-Faustian figure who sold his soul to the musical world to satisfy his secular ambitions. Divided lifetime of searching for his spirituality through music, while trying to project a sense of sanctified humility, despite his talents for making his presence felt in the material world, and his conflicts over it. Andre Gretry (1741-1813) - Belgian composer. Outer: Son of a violinist. As a child, he was a chorister in St. Martin’s Church, where his father played. Profoundly religious and mystic, he begged God, as a youngster, to allow him to die if he did not possess the talents to be a great musician. A rafter subsequently fell on him and nearly killed him, but he survived the accident and felt fate had given him an answer. Suffered delicate health throughout his life. Decided on a career of writing for the stage after hearing his first opera, and apprenticed with various local teachers. As a teenager, he obtained the patronage of a canon through his compositions to study in Rome for 8 years. The teacher there thought he was hopelessly ignorant, but he managed to compose a successful intermezzo which was produced in Rome. Never mastered harmony and counterpoint, but had an excellent lyrical sense. Left Rome for Geneva in 1767 where he unsuccessfully tried to obtain a libretto from French writer Voltaire (Michael Foucault), then went to Paris where he gained the protection of the Swedish ambassador, and began his productive outpouring of operas, of which about 50 were ultimately produced. Married Jeanne-Marie Grandon, a young painter, 3 daughters from the union, all of whom died from tuberculosis. Had an extremely successful career, with many honors and a high-standing at the French court. One of the original members of the Institute in 1795, he also became an inspector of the Paris Conservatoire. Made a member of the Legion d’Honneur and received a pension from Napoleon, as well as having a street named after him. Purchased the home of writer Jean Jacques Rousseau (D.H. Lawrence), and lived in semi-retirement during the last decade of his life, before being given an impressive public funeral in Paris. 15 years after his death, his heart was brought home to his birthplace. His works were marked by simplicity and melody, and he was considered one of the masters of the opera-comique. Inner: Egotist with an inflated sense of his own abilities, feeling he was touched by God. Deeply religious, but often expressed it through superstition. Destined lifetime of feeling fated to be who he was, a spiritualist with a gift for spectacular secular success, and never quite able to integrate the two. Tomas Luis de Victoria (c1548-1611) - Spanish composer. Outer: Little known of his origins, probably a chorister of Avila Cathedral until his mid-teens, when he went to Rome and was admitted to the Collegium Germanicum to study for the priesthood. Probably received musical instruction from Giovanni Palestrina (Ignace Paderewski). Left school to become organist and choirmaster at the church of S. Maria de Monserrato. Enjoyed a cardinal’s patronage and succeeded his teacher as maestro di cappella at the Collegium Romanum for 2 years, then held a similar post at the German College for 5 years, during which time he was ordained as a priest. Received several benefices and was also a chaplain at the same church as the sainted Philip Neri, the two sharing a deeply mystical and spiritual bond. Although he eventually left his post, he remained in Rome for another decade, as chaplain to the widowed sister of Spanish king Felipe II (Adolf Hitler). From 1596 until his death he was organist and choirmaster at a Madrid convent, and was also chaplain to the royal princess. Most of his works were published in Rome during a 20 year span, and he is considered, along with Palestrina, the acme of religious polyphonic music, adding Spanish drama, vigor and color to the Italian traditions under which he wrote. Inner: Mystical, highly spiritual, searching directly for God through his music, which was passionate and emotional. Clasped hands lifetime of directly working out of his deep spirituality in order to define his music, before stepping more into the secular world, and its far more slippery emotional slopes.

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PATHWAY Of THE MUSICIAN AS CATHOLIC CELESTIALIST:
Storyline: The deep-seated spiritualist continually looks upward and outward for his inspiration, weaving a medley of sound straight from his God-loving heart in order to uplift the planet to its greater divine sensibilities.
Oliver Messiaen (1908-1992) - French composer, organist and teacher. Outer: Grew up in a highly cultured home in the countryside. Father was of Flemish descent, a scholar and teacher of English literature. Mother was of Provencal descent and a noted poet. Entered the Paris Conservatoire at the age of 11. Had already taught himself to play the piano, as well as experimented with composition as a child. Stayed at the Conservatoire for 11 years, winning virtually every prize the school had to offer, while composing his first known piece there. Became organist at L’Eglise de la Trinity in Paris, a post he held most of his life, in a symbolic link with the traditions of the past. Also an enthusiastic ornithologist, who preferred the song of birds to all other music. Eventually traveled the world to notate them and wove their melodies into his own works. Became connected in his late 20s with the so-called Jeune-France group who were deeply disturbed by the direction of French music, particularly the harshness, triviality and technical nihilism of its avant-garde composers. Wrote a manifesto 2 years later, upon which he would later expand, which stressed a divine order to the universe which music should reflect. Saw theory and practice as one and the same, and composed accordingly. In 1932, he married violinist and composer Claire Delbos, who served as his partial muse. In the early part of WW II, he was a prisoner of war, but was released because of health reasons, and the following year, he became a professor of harmony at the Paris Conservatoire, where he had a legendary reputation as an inspiring and unacademic teacher, who felt all theory and analysis began and ended with the music itself. During the war, his wife incurred a brain disease which gradually emptied her of her being, one son from union. Met a young pianist, Yvonne Loriod, during that time who would eventually become his 2nd wife in 1961, although his religiosity initially kept them apart, and he poured his sense of transcendental love into his music instead. During the 1950s, birdsong became his primary inspiration. Belonged to no compositional school, but rather ingested elements from nature, ancient Greek meter and Hindu rhythms, as well as tonality and serialism. Particularly adept at composition for the organ, the instrument with which he identified the most. In considerable back pain towards the end of his life, requiring repeated surgeries, he died after one of them. Wrote orchestral, vocal and choral works, as well as for the piano and organ. Inner: Devout Roman Catholic, bordering on the fanatic to some and the naive to others. Dignified but warm, loved youth and freshness. Obsessed with pulse, always searching for uneven beats, as reflected by the sounds of nature. Harbored a deep sense of spirituality, and perceived music in term of color. Saw rainbows in what he called “iridescent music.” Sincere, emotional and vulnerable, as was his work. God-in-nature loving lifetime of searching for the simple heart of things through the spiritual universality of music. Cesar Franck (1822-1890) - French composer, teacher and organist. Outer: Came from a Flemish line of painters in his distant past, although his father was a banker with a domineering disposition. Attracted to music from a very early age, and by 11, he was an accomplished pianist who did a concert tour of Belgium. 2 years later he was taken by his father to Paris to further enhance his studies. Entered the Paris Conservatoire 2 years following that trip, and proved himself an adept, as well as so singular in his talent that his teachers didn’t always know exactly what to make of him, several times giving awards to others, despite his clear superiority. When he left the Conservatoire at 20, his father wished him to pursue the career of a virtuoso, but his sole ambition was to be a composer. Spent 2 years in Belgium and then settled in Paris for the rest of his life. To support himself, he began giving lessons, although the revolutionary political situation sent the wealthy scattering from Paris. Remained there and married during the revolution of 1848. Had to surmount a barricade in order to get to the church, and the couple were helped by the insurgents. Became choirmaster and later organist at Saint-Clothilde, while composing every single day. Made organist at Saint-Jean-Saint-Francoise, which housed a magnificent instrument, on which he played until he died. Many would come to hear his improvisations, for which he had a particular genius. Spent 10 years on Les Beatitudes, which was inspired by the Sermon on the Mount, although he did not live long enough to hear its first complete public performance. Named a Chevalier of the Legion d'Honneur in his early 60s. Although he had a following among musicians, the public was largely indifferent to him, so his friends organized a “Franck Festival” of his work towards the end of his life. Did some of his most beautiful work in his last years. Wrote orchestral and chamber music as well as for voice & orchestra, voice & piano, and for organ, piano and harmonium. Had his first public success in his late 60s, when his work was performed at the Societe Nationale de Musique, of which he had been president. The following month, while crossing a street, he was struck in the side by the pole of an omnibus. Didn’t think the injury was serious, despite fainting, then began to perceptibly weaken over the next few months. Suffered an attack of pleurisy and was confined to bed, resulting from neglecting his injury. Died several months later after visiting the organ-loft at Saint-Clothilde to play one of his compositions one more time. Inner: Devoutly Catholic, as well as a believer in the divinity of music. Simple and warm-hearted. Extremely influential, and an inspiring teacher who gave his students great freedom in finding their musical selves. Never sought honors, passing away just before his public reputation would truly ascend. God-loving lifetime devoted entirely to the spiritual upliftment of his work as teacher, composer and organist, while purposefully avoiding the distraction of wide acclaim. Giovanni Battista Martini (1706-1784) - Italian composer, canon and theorist. Outer: Known as “Padre” Martini. Son of a violinist, with whom he studied. Also studied harpsichord and voice. Ordained as a priest at 16 and 3 years later became maestro di cappella of the Church of San Francisco in Bologna. Took holy orders at 23. Was a serious student of music, approaching it from a scientific and mathematical viewpoint. Eventually possessed one of the finest libraries in Europe. A member of the Accademia Arcadica of Rome, where he took the pseudonym of Aristoxenus Amphion. Composed in all forms, writing in the style of the Roman school. Founded a musical school and distinguished himself as a teacher, with many pupils who would become well-known. Suffered severe asthma most of his life. Endured bad health at the end, including bladder disease and a leg wound, which he bore stoically, suffering a martyrdom of the body in order to reflect his divine sensibilities. Inner: Pure and simple information-gatherer and dispenser, re-entering the material world through a vehicle that would purposefully give him reminder of the intransigence of the physical plane. Bridge lifetime of making the cross-over from the purely sacred world into the sacred/secular world with music as his stepping-stone. Clement IX (Giulio Rospigliosi) (1600-1669) - Italian pope. Outer: From a noble family, which got its wealth from sheep-farming. Studied liberal arts in Rome with the Jesuits, then theology and law at Pisa. While in the priesthood, he showed himself to be a talented man of letters, writing poetry and dramas with literary themes, as well as several libretti to sacred operas. Credited with creating comic opera as an individual form. Rose steadily in the curia, and was appointed titular archbishop of Tarsus. Served as a papal ambassador to Spain from 1644 to 1653, and then was elevated to the rank of cardinal and became Secretary of State under his predecessor, before being elected pope in 1667. Ran afoul of the secular ambitions of Louis XIV (Charles de Gaulle), although he was able to appease him, but not win his support in martial matters. His reign lasted only 2 years, and saw him greatly saddened at its end over the Christians slain in Crete during his watch. Died of a stroke. Inner: Extremely devout, patient and adroit in handling problems. Also kindly, and noted for his charity. Completion lifetime of giving full expression to his deep sense of spirituality, before going on in his next series of lives to explore more fully his creative side, untrammeled by the politics of ultimate spiritual power.

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PATHWAY OF THE MUSICIAN AS WELL-NAMED GREAT BRITON:
Storyline: The arrested adolescent plays with his own stunted development in his ongoing exploration of the possibilities of the human voice, and though remaining an immature teenager-at-heart, manages to bring his gifts to their full maturity.
Benjamin Britten (1913-1976) - English operatic composer. Outer: Mother was a singer and member of a musical family, father was a doctor. Showed early musical skills, and studied at the Royal College of Music. Tall, blond, blue-eyed and slightly built. Enjoyed successes with his first compositions, as well as doing film scores for documentaries, including two with poet W. H. Auden. Extremely sensitive to criticism, particularly sniping over his early popularity, which showed a technical ingenuity and originality. Often felt he was being persecuted for his success. Followed Auden to the United States prior to WW II, where he lived communally with him and others, including writers Paul Bowles, Jane Bowles and Carson McCullers, with Auden playing housemother to the whole creative crew. Returned to England in 1942, and avoided WW II, because of his firm pacifism. Had a longtime homophile relationship and musical partnership with singer Peter Pears, with whom he lived for 37 years, although was always reluctant to openly admit his sexual preference for his own gender, since it was against the law until 1967. His operatic compositions insured his worldwide reputation, most of which were written for Pears, and were centered around the theme of offended innocence. Had a lifelong interest in young boys, as well, although the erotic component was submerged in a paternal caring, that usually resulted in nothing more steamy than a sweet goodnight kiss, even when they shared his bed. Combined the old and the new in his work, handling familiar material in a novel way. In the mid-1950s, a trip to Japan opened him up to Far Eastern influences, while in the 1960s, he concentrated on instrumental works. In his last year, he was made a baron and granted a life peerage, before dying from heart problems. Called by many the greatest English composer of the last 300 years, with a deep understanding of musical his/story, a conservative sense of aesthetics and an ingenious mode of adopting the past to his present modes. Inner: Self-involved, with an adolescent heart to go with his ancient sense of aesthetics. Had a strong capacity for bequeathing affection, and deep regrets that he had never been a father himself. Often distanced himself from his colleagues when he no longer had use for them. Primarily a vocal rather than instrumental composer. Arrested lifetime of building on the base of his past accomplishments to a world-renowned career, while remaining a teenager at heart. Thomas Arne (Thomas Augustine Arne) (1710-1778) - English composer. Outer: Son of a well-to-do upholsterer and undertaker. Mother was a midwife and Catholic, as well as her husband’s second wife, and brought up her progeny in her faith. One of 8 children and brother of Susannah Arne (Julie Andrews). Intended for the law at Eton College, and articled to a solicitor, despite showing an early precocity for music. Practiced secretly, snuck into the opera, and when he was discovered leading a group of players at his friend’s house, his father relented and allowed him to pursue music as a profession, particularly after the latter’s finances declined precipitously when his son was in his late teens. Gave 2 younger siblings instruction in singing, and the trio became associated with a group of musicians wishing to establish English opera after the Italian manner. His sister appeared on stage, married the actor son of Colley Cibber (Brendan Behan) and pursued a thespian career, while he began composing. Slender, with pointed features. In his mid-20s, he married Cecilia Young, a former soprano and member of a noted family of musicians, one son from the union, Michael Arne, who also became a noted composer, as well as an instrumentalist and singer. With the song “Rule, Britannia,” he was considered, at the age of 30, to be England’s national composer. Visited his sister in Dublin, gave concerts with his wife, and stayed for 2 seasons. Returned to London, where he was appointed composer to Drury Lane. Put out a song collection almost every year, while penning operas, masques, oratorios, instrumental music, sonatas and many songs suited for the stage and musical entertainments. His legal training made him a hard negotiator around all his works, as he extracted as much financial reward as possible from his efforts, retaining copyrights as long as he could, and suing when they were abridged. His wife began evincing signs of madness, and after visiting Dublin again, the 2 legally separated. Returned to London alone, and focused his emotional life on a young female protégé, Charlotte Brent, whose singing career he supervised, although she eventually married a violinist. Despite being an excellent violinist, himself, he eventually became victim to rheumatism and had to give up the instrument. Continued his theatrical composing after a break, reaching his peak in his early 50s. Spent his last decades giving concerts, winning honors and displaying the talents of his singing pupils. Shortly before his death, he became reconciled with his wife, and then succumbed to a “spasmodic complaint,” while at a friend’s house. Inner: Temperamental, and at times cruel. Active Freemason, and as a Catholic never composed sacred music for the Church of England, which probably cost him some recognition in his own time. Focused on the development of others, where his self-involvement was less pronounced. Rule Britannia lifetime of continued strong identification with his native land, while allowing his spouse to act out his unintegrated sides, before achieving a re-healing with her, so as to allow him later on to experience his own adolescent draws, as a literal ongoing emblem of his native isles. John Bull (1563-1628) - English composer and organist. Outer: Parentage unclear, but may have been son of a goldsmith. Trained in Queen Elizabeth’s Chapel, then became organist of Hereford Cathedral, before taking the same position at the Chapel Royal in 1591. Despite his lack of knowledge of Latin, his popularity with the queen and the public secured him the post of music professor at Gresham College. He was, however, eventually disqualified from his position in 1607 because he married. Taught children of the royal family, then was mysteriously forced to leave England quite suddenly in his late 40s under a suspicious cloud, perhaps pederasty. Spent the rest of his life in Belgium, first as the organist in the Archduke’s Chapel, and then as organist of the Antwerp Cathedral, a position he held until his death. Considered an excellent performer, contributing much to the development of the harpsichord and organ. Much admired by his contemporary, Jan Sweelinck (J.S. Bach). Also a gifted composer, with a particular emphasis on the human voice. Inner: Dark and melancholic. Carried the name of the prototypical Englishman, just as he would give later reflection to a variation on the name of his native isles. Clouded lifetime of standing out during a particularly fertile period of English music, while carrying a darkness from a stunted childhood, that forced him from his native soil and an even more prominent career, had he been able to continue there. Michael Balfe (1808-1870) - Irish composer and singer. Outer: Father was a dancing-master. Studied violin as a small child and first played publicly for a dancing class at 6. His sire died when he was 15, at which time he had learned the rudiments of scoring. Continued his education in London, as well as appearing on stage as a singer. Went to Rome at 17, and lived in his noble patron’s house. Saw success as an opera singer in Italy, and also began to compose operas. In 1831, he married Lina Roser, a Hungarian born singer of Austrian parentage. Two sons, with one dying in infancy and two daughters, with one, Victoire, becoming a well-known soprano. Returned to England in his mid-20s, and began seriously composing, while continuing his career as a vocalist. His best known work was The Bohemian Girl. Held numerous musical posts in England, including conductor at His Majesty’s Theater, traveled widely, and maintained his regular output, while winning several international honors. Retired and became a gentleman farmer. Died from bronchitis and complications from asthma, after long suffering from the latter. Also composed ballads, cantatas and an operetta. Inner: Had a gift for facile melody, as well as an attunement to singer’s needs in his music. Aware of his limitations, he allowed his melodic gift to surface. Smooth sailing lifetime of familiarizing himself with the operatic stage both as a performer and a composer, weaving the two together into a well-received international career with a minimum of conflict to inspire him to any greater heights than popular acclaim, causing him to spin back in time in order to temper his gifts with other urges that would impel him to a more outstanding creative careers.

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PATHWAY OF THE MUSICIAN AS IMPRESARIO EXTRAORDINAIRE:
Storyline: The inestimable aesthete gradually integrates his wondrous gift for teaching and his visionary sense of the arts with his own personal sense of fulfillment, after many a go-round of focusing on the former to the detriment of the latter.
Gerard Mortier (1943) - Belgian impresario. Outer: Of peasant descent. Father was a baker, mother’s family were factory workers, and he had a workingclass upbringing. Taken to the opera as a child by his mother, and fell in love with it, creating his own puppet theater in an early conscious nod to his life’s work. Both his parents had to leave school at 14, so they were determined that his education be complete. His mother got tuberculosis when he was 5, and he was sent away to a boarding school run by nuns and then a local Jesuit school, where he developed his taste for courting controversy. Also remained a practicing Catholic well into his adult life, with a great love for the Church’s pomp and mystery. Small and birdlike, with brilliant blue eyes, a high voice, a conservative mode of dress, and a constant whir of energy about him. Went to the university there, majoring in communication science, and later getting his doctorate in law. As a student, he organized a group of militant opera fans who razzberried colorless productions, then served his aesthetic apprenticeship as assistant to the director of the Flanders Festival, before being plucked by conductor Christophe von Dahanyi to become his assistant director at several opera houses during the 70s. Served under avant-garde director Rolf Liebermann at the Paris Opera, during this period as well, learning how to put together programs of must-hear music, even when it didn’t quite suit his tastes. During the 1980s, he established his impresario style at the Brussels Opera House, creating controversial programs while thumbing its nose at conventionality and continually searching out the new. Worked in close concert with the conductor Sylvain Cambreling, while attracting Germany’s theatrical elite. Made manager and artistic director of the prestigious Salzburg Festival in 1991, and applied the same imaginative touch to its repertoire, bringing it squarely into the 21st century, with his ongoing celebration of the challenging and the new, while outraging the staid Austrian public with his none-too-subtle takes on its right-wing past and present, including an in-your-face production of Johann Strauss’s (Billy Corgan) Die Fledermaus, replete with cocaine and sexual references. Averaged a major scandal a year, and also introduced subsidized tickets for young people and cheap seats for those without wherewithal, much to the annoyance of the traditional elitist audience. Forced into semi-exile afterwards, he accepted a fellowship at the Institute for Advanced Study in Berlin, and then in 2004, assumed the directorship of the Paris Opera, with the goal of continuing to excite and stimulate his audiences, and remain in the black doing so. Able to reorient European operatic theater towards directors, rather than divas. In 2007, he was named general manager and artistic director of the NYC Opera, a post he will assume in 2009. Inner: Subversive, provocative, highly intellectual and very much in control. Master of the bon mot, and an incendiary esthetic figure wherever he alights. Unconsciously taps into his Diaghilev life as a template for his own outer accomplishments. Man-on-a-mission lifetime of finally integrating the personal with the universal, through his own expanded sense of self, and a passionate dedication to opening the eyes and ears of all who wish to be elevated by the sheer power of transcendental art. Serge Diaghilev (1872-1929) - Russo/French impresario. Outer: Father was a Russian major general, mother died in childbirth. Sire remarried, and his stepmother gave him a sense of discipline, as well as helped in his music education with her many connections and support. Studied the piano, performed and also composed as a child. To please his sire, he studied law at St. Petersburg Univ., where he was dismissed as a fop. His real interest lay in the arts, and he presided over assemblages of his fellow aesthetes, establishing a lifelong pattern of gathering the best and the brightest of the modernists around him. Large and handsome, and an exquisite dresser, with a curious rolling gait. Traveled abroad for the first time in 1893, visiting Germany, Italy and France, while connecting with several of the major artistic players in those countries. Gained his degree 3 years later, but decided to become a great patron of the arts, particularly after his own modest efforts at compositions were met with little enthusiasm. Despite having none of the wealth involved, and being a homophile in an environment that tut-tutted that proclivity, he was able to use his magnetism and chutzpah to begin to realize his goals, first through a magazine, then an organized portrait exhibition at the Tauride Palace in his adopted city. In 1899, he became an assistant to the director of the Imperial Theater, and saw that ballet would become the venue for him to place his lasting imprint on the cultural life of his times. Viewed it as an art form that synthesized a vast array of creative expression. It was not until 1906, when he emigrated to Paris, however, that he was able to realize his larger dreams, beginning with Russian art, and then serving as impresario for a series of concerts dedicated to Russian nationalist composers. Never returned to Russia afterwards, but managed to elicit the talents of his fellow émigrés in his subsequent oeuvre. Produced Modest Moussourgsky’s (Peter Townshend) “Boris Godunov,” at the Paris Opera in 1908, and from that point onwards was a major apostle of capital ‘A’ Art. The following year, he met dancer Vaslav Nijinsky when the latter was 19 and he had a highly public four year affair with him, then felt betrayed when the latter got married, as he also did with dancer and choreographer Leonide Massine. Nevertheless, he took his avant-garde view of ballet, and brought that art-form firmly into the 20th century, reaching his heights in his collaborations with composer Igor Stravinsky during the next several years, most particularly via the latter’s “Rites of Spring,” in combination with the choreography of Nijinsky. Its initial performance in 1913 was met with hoots and catcalls, but it would remain as a landmark event in 20th century art. For most of the next two decades, he toured the world with his Ballet Russes, while continually introducing the works of new composers, in an unending desire to uplift and open the eyes and the ears of the world to higher and higher forms of expression. Suffered from diabetes, and ultimately died from its effects, during a vacation, suffering a final artistic demise, his own “Death in Venice,” after falling into a coma there. Inner: Great attention to detail, and a superb musician in his own right, with an uncanny prescience about talent. Harbored an inborn love of power, with the ability to gauge people’s weaknesses and play them. Snobbish, willful and conceited. Hedonist at heart, inheriting his mother’s love of luxury, and her large, dreamy eyes. Impecunious, lived larger than his income, and was never able to realize love for long, making for a lonely, dissatisfied person, despite his highly social and active life dedicated to the upliftment of everyone, save perhaps himself. Glass half-full lifetime of bringing out his interior showman in order to show the world its potential for high art, while remaining personally at low ebb for his own inabilities to create a satisfactory private theater of the heart. Giovanni Battista Viotti (1755-1824) - Italian violinist. Outer: Father was a blacksmith who played the horn, and taught his son the rudiments of music. Learned to play the violin with very little instruction in the small Italian village in which he had been born. Brought to Turin at 11, where he won important patrons through his astonishing abilities. Tutored by famous violinist Gaetano Pugnani, who brought him along slowly, and also taught him the rudiments of composition. Handsome, leonine, powerful, impressive figure. Joined his master on a concert tour, then separated, going on alone to Paris. Became an overnight celebrity there in his mid-20s, as combination conductor-soloist, playing in a lusty dramatic fashion, where heretofore, the sound had been dainty and slightly nasal. Became a close friend of cellist Luigi Cherubini (Arturo Toscanini), sharing lodgings for six years. His reputation burgeoned as both composer and virtuoso through his public concerts as he dropped his provincial Piedmontese style for a sophisticated Gallic one. Cut his public performing career short in Paris, perhaps after a cool reception, and thereafter gave only court concerts, sponsored by the queen or nobles. Continued composing and gave musical matinees at his lodgings with Cherubini. His true ambition was to run an opera house, which he did, but the French Revolution intervened and he left for London in 1792. Had a spectacular debut in Hanover Square, despite his not having played publicly in a decade, and became acting manager of the King’s Theater in London. Despite his continuing successes, he was expelled from the country in 1798, and falsely accused of being a Jacobin, despite his royalist sentiments. Spent his banishment in isolation in a little village in Germany, devoting his time to composing. Returned afterwards briefly to Paris and then to London, but his career had been shattered. Became a wine merchant over the next decade, while playing privately and composing, although music was now an avocation for him. The wine business went bankrupt and he began returning to Paris, eventually being named director of the Royal Opera House, although he could not hold that disintegrating institution together and was discharged. Returned to a household in London where he had lived, and died there. Composed 29 violin concertos, as well as numerous other works. Inner: Modest, sensitive, proud, gentle and affectionate. Also self-defeating, despite his virtuoso status, with only a brief public playing life. Excellent teacher, and an inspiration to a generation which followed him. Transition lifetime of failing to integrate his remarkable abilities with a world largely insensitive to the overly sensitive artisans within it, while opening himself up to being a larger force in the music world, than performer and composer. Arcangelo Corelli (1653-1713) - Italian violinist and composer. Outer: 5th child of a prosperous family of landowners. Probably studied with the local clergy, before continuing his education in nearby towns, and finally going to Bologna when he was 13, where he eventually entered the Accademia filarmonica. May have also studied in Rome, and also may have visited Paris and Spain, before settling in Rome in his early 30s, where he lived at the palace of a Roman cardinal for the rest of his life. By 1679, he began leading Roman orchestras, and the following year, he probably visited Germany. Thereafter, he rarely left the Eternal City. Became a favorite among the highest circles of Roman society, and was probably a homophile. Conducted weekly concerts there, as a leader of both small and large instrumental ensembles, while cultivating friendships with the eminent artists and musicians of his time. Amassed a handsome fortune, as well as a rich collection of paintings through his associations and legendary frugality. In 1706, he was inducted into the Arcadian Academy under the name of Arcomelo Erimaneo. Two years later, he retired. Left an equally rich legacy of works for the violin, characterized by both charm and beauty, particularly in his sonatas and dance movements. Showed great taste in his compositions, as well as a deep understanding of the capacities of the string instruments for which he primarily wrote. Important forerunner of Italian baroque music. Inner: Modest, and unpretentious, with a great love for esthetics. Miserly and anal, dressed shabbily, and watched his expenses very, very carefully. Far less the virtuoso than the teacher, showing the sublime possibilities that great music held, while leaving innovation to others, preferring to build on the traditions given to him. Contained lifetime of associating with power and mastering the forms of his time, although with an inability to integrate his human side into his soaringly superior aesthetic gifts.

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PATHWAY OF THE MUSICIAN AS BELOVED BALLET-MASTER:
Storyline: The cosmopolitan communicator learns to love and revere himself as others have always done, while coping with his reluctant lungs, so as to give himself the full breath of life and actualize his musical mastery over his special niche in theatrical his/story.
Aaron Copland (1900-1990) - American composer. Outer: Of Lithuanian Jewish descent. Before coming to America, his father anglicized his name from Kaplan to Copland, and ultimately owned a neighborhood dry goods store in Brooklyn. Youngest of 5. Secular and assimilated, with a leftist bent, although he never belonged to any political organizations. Received piano lessons from his sister when he was 11. Decided to become a composer while in high school and began studying harmony. Became the first student to enter the American Conservatory, opened after WW I at Fontainebleu, outside of Paris. Returned to the U.S. in his mid-20s, and his first symphony was introduced by the New York Symphony Society. Came to prominence soon afterwards with two works using the jazz idiom. Held a Guggenheim Fellowship, and won a $5000 prize in a contest sponsored by the RCA Victor Company, after having abandoned his jazz tendencies. Began his career as a modernist, before reverting to traditional idiomatic music, and then ended his career as modernist, coming full circle as a composer. By the mid-1930s, he felt he was losing contact with his audiences and began a more assimilable style using folk themes and popular melodies. His first such work, El Salon Mexico, based on popular Mexican melodies, was an outstanding success. He then used cowboy songs for two ballets. Won a Pulitzer Prize in 1945 for employing a Shaker tune in an orchestral suite. Wrote one full-scale opera, which he later extensively revised. Also wrote incidental music for film, winning an Academy Award for one of his efforts. In addition, he composed for radio, television, the stage and for children. Organized concerts and festivals of modern American music, and was chairman of the executive board of directors of the League of Composers as well as chairman of the faculty at the Berkshire Music Center at Tanglewood. Wrote several books and did a series of lectures at Harvard. in the latter part of his life, he turned to conducting, directing over 50 orchestras around the world. Showed himself to be a consistent mastery of technique, with a clear direct sense of communication in whatever idiom he worked. Diabetic with respiratory problems, he suffered 3 strokes in 3 weeks before dying of complications from the last one. Inner: Homophile, self-effacing, socially active, well-liked by virtually everyone who knew him. Well-adjusted, calm, discreet. Generous in spirit with a strong sense of America, which he transliterated into his works. with his trenchant intellect and his high-minded purpose, he was rightfully called the “dean of American music.” Integrated lifetime of musically experimenting in a variety of idioms, searching for simplicity and truth in all that he created, while exhibiting a clarity of character that made him beloved by one and all. Leo Delibes (Clement Philbert Leo Delibes) (1836-1891) - French composer of ballets. Outer: Mother was the daughter of an opera singer, father worked for the postal service. An only child, he learned music from his mother and an organist uncle. Studied at the Paris Conservatoire from the age of 12 onwards, although was an undistinguished student. At 17, he was appointed accompanist at the Theater Lyrique, and 2 years later, he began to compose for the theater. Over the next 14 years, he composed nearly 20 opera-comiques and operas, but did not find his true metier until he was nearly 30, when he became 2nd chorus-master at the Paris Opera, and began composing ballets, for which he won his ultimate renown. In his mid-30s, he married Leontine Denain, an actress of the Comedie-Francais, and gave up other musical duties to focus on composing. His best known work was Coppelia. In addition, he did several dramatic operas, and one five-acter, which was completed by Jules Massenet (Stephen Sondheim) after his death. Also wrote incidental music and a set of 15 songs, and introduced symphonic music into ballet. Spent 9 years as an organist at the St. Jean-St. Francois, and finished his career as professor of composition at the Paris Conservatoire, becoming a member of the French Institute 7 years before his death from lung congestion. A very melodic writer, whose works were well-suited for the stage. Inner: Witty and charming, although lacked self-confidence. Also restless, shrewd, sharp critic. Inner body-building lifetime of expanding his abilities for writing for the stage, bringing both charm and elegance of style to all his works, from a self-questioning sense of musical self. Francois Boieldieu (1775-1834) - French composer. Outer: Father was secretary to an archbishop, mother had a successful millinery shop. His parents divorced at the height of the French Revolution. After the divorce, he went to live with the organist of the Rouen Cathedral, who gave him a systematic musical education. Produced his first opera at the age of 18. Settled in Paris 2 years later, and through his instrumental compositions, he was made professor of the piano at the Paris Conservatoire. His first real success was at the turn of the century with Le Calife de Bagdad. Unhappily married a dancer of dubious reputation, later divorced. In 1803, he left Paris to become conductor of the Imperial Opera in St. Petersburg, and also composed 3 operas a year by contractual obligation. Returned to Paris 8 years later, and continued composing successful operas. In 1817, he became professor of composition at the Conservatoire, and the following year, he was made a member of the Institute. His masterwork was La Dame Blanche, considered one of the best examples of opera-comique. Married a singer to whom he had long been attached in his early 50s. His last years were weighted down by ill-health from lung disease and financial difficulties. Suffered extreme poverty at the end of his life, when he also lost his speech. Finally awarded a grant from the government just prior to his death. Known for tender, graceful works with a rich sense of melody. Inner: Witty and charming. As in all his lives in this series, suffered respiratory problems, a literal difficulty of giving full breath to his existences. Disintegrating lifetime of establishing his mastery over the opera-comique form, while manifesting problems in his personal life to bring out more of the artist within, a belief system he was eventually able to transcend.

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PATHWAY OF THE MUSICIAN AS MELODIC MASTER:
Storyline: The tuneful tunesmith knows exactly how to feed into the tastes of his times, and does so with an increasing adeptness, to enjoys succeeding lives of low-level conflict and high-level enjoyment.
Henry Mancini (1924-1994) - American composer. Outer: His family moved when he was an infant to a steel mill town. Father was a member of a local Sons of Italy band. Began studying the flute at 8, but then switched to the piano at 12, which became his instrument. Disliked practice, until he learned jazz. Played in several local bands, while also studying with an eminent Pittsburgh conductor/arranger. Enrolled in the Juilliard School of Music after high school, but wound up in the U.S. Army Air Forces from 1942 to 1945, during WW II. Tall and lean. Afterwards, he became a piano arranger for the Tex Beneke-Glenn Miller (Wynton Marsalis) orchestra, although really wanted to compose. Married singer Virginia O’Conner in 1947, 3 children, including a set of twins. Settled in Hollywood, and began scoring for films, joining the musical staff of Universal-International in 1952. 2 years later he received his first Academy nomination for The Glen Miller Story. By the end of the decade, he was also writing themes for TV shows, scoring two big hits with “Peter Gunn,” and “Mr. Lucky,” which made him a name, and allowed him a long and successful recording career, as an easy-listening jazz-tinged composer. In 1961, he won his first Academy Reward for “Moon River,” which would be his most popular song, and the following year he repeated for the theme song for Days of Wine and Roses, and then topped himself 3 annums later, with the opening theme for the Pink Panther series, reducing his pop musical essence to a few notes, with humorous spaces between them. A serious classicist, as well, he wrote orchestral works, but his major contribution to the ongoing collective story of music would always be viewed in terms of his theme songs. Given a Grammy Lifetime Achievement Award in 1995, the year after his death from cancer. Inner: Modest and commonsensical. Act Two lifetime of finding his metier in the simplest of tunes, satisfying his public, and enjoying the rewards of his gifts, without a host of complications to dampen his enjoyment of his life. Jules Massenet (Jules Emile Frederic Massenet) (1842-1912) - French composer. Outer: Youngest son of a military officer turned iron manufacturer, who eventually had to abandon the business and move to Paris because of ill health, when his son was 6. The family lived in dire poverty, with their only income coming from his mother’s piano lessons, from whom her son also learned. Entered the Paris Conservatoire at 11, and eventually won the Grand Prix de Rome there in 1863, supporting himself by playing drums in a theater orchestra. Spent three years in Rome and married Louise-Constance de Gressy, one of his pupils, in his early 20s. Began composing operas in his late 20s, and continued in that form for the rest of his creative life. Best known for Manon, which typifies his melodic sentimentalism, and has become one of the most popular operas in the world. Served in the National Guard during the Franco-Prussian War, and later became professor of advanced composition at the Conservatoire, teaching there from 1878 to 1896. Elected at 36 to the Academie des Beaux-Arts, the youngest ever to win that honor, and later was made a Chevalier of the Legion d’Honneur. Composed 27 operas, most now forgotten, and died full of honors. Published his memoirs in 1912, Souvenirs d’un Musicien. Inner: Sentimental, charming, alternately viewed as saccharine and melodic. Unchallenged lifetime of meeting public tastes without exciting them, and being well-honored for his efforts, while leaving a sweet legacy of works. Louis Herold (1791-1833) - French composer. Outer: Father was an Alsatian pianist. Precocious, he studied piano under his godfather, Louis Adam, then entered the Paris Conservatoire in his mid-teens, where he continued under Adam, as well as others, and won the Prix de Rome in 1812. Composed 2 symphonies in the Eternal City, then went to Naples as a pianist for Caroline Bonaparte (Unity Mitford), continuing his composing, before returning home via Vienna. Came back to Paris in 1816, and began his operatic career, initially composing with Francois Boieldieu (Aaron Copland). Produced 12 operas and several ballets over the rest of his career, as well as numerous piano pieces, which he considered throwaway art. Best remembered for Le Pre aux Clercs, which is considered one of the finest examples of French Opera-Comique, although it has not worn well with age. Married in 1827, 3 children from union. Subject to consumption, he died of the disease shortly after the production of his masterpiece, mourning himself with the sentiment, “I am going too soon; I was just beginning to understand the stage.” Inner: Hard-working and persevering, allowing him to make the most of his gifts. Foreshortened lifetime of taking himself to the next level, although he probably exited when he realized he would go no higher.

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PATHWAY OF THE MUSICIAN AS CHAMPIONING CONDUCTOR:
Storyline: The prodigiously knowledgeable musicologist brings an impassioned heart and an incisive mind to the dissemination of the classical canon, while working on his own tendencies towards over-intellectualization and living at a remove from the ordinary spheres of human activity.
Pierre Boulez (1925) - French composer and conductor. Outer: Father was a steel manufacturer, who wanted his son to be an engineer. Became interested in the piano at 7, when his older sister began taking lessons. Continued to work in music while studying math and engineering in Lyons. Short and stocky. During WW II, he studied at the Paris Conservatoire during the German occupation of that city, and completed his education at the end of the war. Became musical director of a touring company in 1946, spending a decade with them, visiting North and South America, as well as Europe with the reputation as a firebrand polemicist for dodecaphonic music. Won recognition both as a composer and for his analytic writings on music. Noted for his clarity, logic and precision in all his undertakings. Established his reputation as the driving force behind the Concerts Marigny, which was home to his musical company. Vitally interested in re-introducing the works of the modern German masters, particularly Webern, to the French public in favor of musical nationalism, which he felt was no longer applicable in the modernist world. Through his efforts, he became a celebrity in the classical musical world as a conductor, appearing with numerous European orchestras. Became alienated from the French musical establishment because of its nationalist leanings, and ultimately moved to Germany, unconsciously tapping into his earlier musical base, while maintaining homes in London and New York. Made his conducting debut in the U.S. in the mid-1960s with the Cleveland Orchestra, and then appeared as guest conductor with numerous American orchestras, while maintaining musical ties with his initial host. Spent 6 years with the NY Philharmonic, experimenting with presentation, such as his Rug Concerts, where the audience sat on rugs and cushions and the players performed on the floor of the auditorium. Also willing to showcase the old masters, such as Franz Liszt (G. W. Pabst). Extremely sparing in his gestures as a conductor, putting everything into the music, and little into the show of personality. Composes in the twelve-tone, serial, atonal style of modern music. Softened his image in his latter years through a mellowing of his attitudes towards classicism, and the sensitive textural work of his conducting. Inner: Highly intellectual, with strong musical convictions. Charming, courtly and cultivated. Deep sense of the currents of modernism, and a continual champion of the bold and the new, with a rejection of tonalism, as well as an affinity for truly modern music, employing it in his own compositions, which are dedicated to exploring the new musical language of the 20th century. Able to alter the severity of his earlier stances without compromising the integrity of his beliefs. Fiercely partisan lifetime of serving as teacher, conductor and composer to the world-at-large, a role he continues to build on throughout all his lives in this series. Hans von Bulow (1830-1894) - German pianist and conductor. Outer: Showed talent for music only after a long illness as a child. Studied with the disciplinarian father of Clara Schumann (Jacqueline Du Pre) beginning at age 9. His parents, nevertheless, saw music as only an avocation for him, and pushed him to study law, which he did for a year at the Univ. of Leipzig, before illness curtailed that unwanted career. Returned to music, apprenticing on the piano under Franz Liszt (G. W. Pabst), who impressed him mightily, then made an extensive tour of Central Europe, before becoming principal piano teacher at the Stern-Marx Conservatory in Berlin for 9 years, where he wrote both articles on both politics and music. In his mid-20s, he married Liszt’s daughter, Cosima (Joan Baez), and then became chief conductor of the Royal Opera in Munich, and several years later, directed the Conservatory there. Cosima became involved with Richard Wagner (Werner Herzog), with whom he had worked, and who influenced him both politically and musically, as well as aided his career. The duo divorced in 1869, although his enthusiasm for Wagner’s works remained unabated, and his wife married the latter. Moved to Florence, and it served as his base for touring. Became a first-rate conductor with his extraordinary musical knowledge. Toured America, reintroducing the German masters there, then returned to Germany, becoming a ducal Hofmusikintendant, making his orchestra at Meiningen one of the finest in Europe, while marrying an actress. Afterwards, he was guest pianist and conductor, as well as a teacher in Frankfurt and Berlin, with frequent visits to England. Because of failing health, he went to Egypt, where he died. His best known compositional work was for the piano. Inner: Demanding, dictatorial, sarcastic, virulently anti-Semitic, with a high opinion of himself and a legendary temper. Prodigious musical memory, knew the whole canon of the piano. Far more the intellectual than the romantic in his work and life, with far too much discipline to allow his emotions full expression. Biting wit, with a hatred of pretense, yet kind and generous. Known for his supreme lack of tact, he often alienated those he worked with. Less the composer than the musical enthusiast and teacher. Professorial lifetime of bringing his acute mind to his work, while being embarrassingly reminded of the undeveloped arena of his heart, despite its ongoing passion for beautiful sound. Johann Reichardt (1752-1814) - German composer, conductor and writer. Outer: Became court composer and conductor under Friedrich the Great, in his early 20s, and held that post through his patron’s successor for nearly 20 years. Established the Concerts Spirituels for bringing unknown works forward and instituted many reforms in the Court orchestra and opera performances. In his mid-20s, he married singer Juliane Benda (Joan Baez), who died 6 years later. Visited London and Paris on a leave of absence after his wife’s death, and gave performances of his works in both cities. Although commissioned by the Paris Opera to write 2 works, he was recalled by Friedrich and the one he completed was never given. Took another extended leave, and then was dismissed because of his sympathies for the French Revolution. Went to his German estate, where he continued composing, while also serving as inspector of the Halle salt works. In 1808, he was appointed conductor of the Cassel Opera, although he lost his post because of an extended stay in Vienna. Remained on his estate the rest of his life, put out by the vagaries of politics and his own lack of freedom of movement. Noted as one of the first Singspiel composers. In addition to his compositions, he also wrote on both musical and political subjects, as well as edited several musical periodicals. His writings became as important a legacy as anything he composed. Inner: Cerebral and reform-minded. Revolutionary sensibilities, and, as always, a champion of the new and the bold. Politicized lifetime of extending his interests beyond the sphere of the musical, while establishing his patterns as teacher and bearer of high culture to the civilized world-at-large, as a highly articulate voice of contemporary currents.

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PATHWAY OF THE MUSICIAN AS CONTINUAL PRODIGY:
Storyline: The prodigious performer mixes an improvisatory and classical style to make himself a world-class attraction, although his prickly personality prevents him from plumbing his greater depths in order to raise him to greater heights, and he remains a master for his times and not for the ages.
Keith Jarrett (1945) - American pianist and composer. Outer: From a large musical family. Father was a real estate salesman. Began picking out piano melodies at 3, when he started taking lessons. Started composing at an early age and appearing in public, playing a classical repertoire as well his own compositions. Gifted with perfect pitch, as well as a talent for improvisation. His parents separated when he was 11, and he was raised by his mother and grandmother. 4 brothers all became musicians as well, with all 5 extremely bright and gifted. Began composing seriously by the age of 16. Played in a local Dixieland band, then was hired by bandleader Fred Waring to be his pianist. Rejected a scholarship offer to study with famed French teacher Nadia Boulanger, and instead enrolled in the Berklee School of Music in Boston, but left after a year, feeling that study would ruin his spontaneity as a musician. Played jazz piano in NYC and joined 2 top jazz orchestras, before forming his own trio, with whom he recorded. In 1964, he married Margaret Erney, a high-school friend, 2 soms from the union. In his mid-20s, he played in the prestigious Miles Davis band for a while. Achieved an international reputation, particularly in Europe for his jazz improvisations as well as his classical performances. His album “The Koln Concert,” would rank among the best-selling solo piano recordings of all time. A two-handed musician, with each given a separate sense of voice and expression. Vocalizes while playing, which annoys some people, as does his tendency towards whimsical pretentiousness. Noted for his solo improvisations, in which he has, on occasion, launched into long musical critiques or walked out on noisy spectators. Also chides occasional audiences for being too quiet. In 1997, he became hobbled by chronic fatigue syndrome, forcing him to curtail concerts, although he recovered and turned his disability into an artful, albeit funereal album, filled with somber musical reflections on mortality. After separating and divorcing, he married Rose Anne Colavito, his longtime live-in girlfriend. Inner: Intense, softspoken and moody. Maverick, stickler and blowhard, with a dislike for electronic music. Sees his solo concerts as athletic contests, with much grunting, moaning and sighing, as well as physical movement. A unique combination of classical proficiency, improvisatory talent and brilliant creative imagination. Self-celebrating lifetime of recreating himself as a unique public personality who does not easily fall into musical categorization. Camille Saint-Saens (1835-1921) - French composer. Outer: Father was of peasant stock and died shortly after his son’s birth. An astonishing musical prodigy as a child, often compared to Wolfgang Mozart (Stevie Wonder). Began formal studies at 7, and at 10 gave his first public concert, already showing amazing virtuosity. Entered the Paris Conservatoire at 13, and 3 years later met Franz Liszt (G. W. Pabst), whose music would influence him greatly, as would his lasting friendship. His compositions began being successfully performed, and he won 2 church organist posts, while, in the first half of the 1860s, he held his only teaching position, at the Ecole Niedermeyer. After his 2nd failure to win the coveted Prix de Rome, the first because he was too young, and the 2nd because he was too old and already established, he turned his musical skills toward the theater. Wrote several operas which were performed much later, including his best known, Samson et Dalila. In 1871, he co-founded the Societe Nationale de Musique to encourage French instrumental works, contributing several remarkable symphonic poems to that end. Also continued his career as a virtuoso, touring widely throughout Europe. Admitted to the Legion d’Honneur, rising ultimately to Commandeur, and elected to the Institute. Married Marriet Truffot at 40, two short-lived sons from the union. His later life saw him return to composing operas, as well as traveling widely all over the world. Extremely active and vigorous all the way to the end of his long and highly productive musical life. Had an enormous output, having composed continuously for almost 8 decades, although emotion was curiously missing from his work. Died of pneumonia while traveling in North Africa. Inner: Highly cultured with a keen intellectual curiosity. Preferred a purity of style and perfection of form to deep emotional revelation in his music, limiting his depth as an artist. Well-rewarded lifetime of sticking to the surface of things, so as not to come undone as he probably has in his deeper past in this series. Francois Gossec (1734-1829) - Belgian/French composer. Outer: From a Walloon peasant family, father was a farmer. Began his musical life as a chorister in the Cathedral at Antwerp. Able to teach himself composition, and had no further musical education. Gained a letter of introduction to Jean Rameau (Igor Stravinsky), and went to Paris in 1751, where he became the conductor of Rameau’s patron’s private band. 3 years later, he began to compose symphonies for this orchestra, in the manner of the Mannheim school. Married Marie-Elizabeth Georges in 1759, one son from the union. Published his first quartets and in 1762, entered the service of the Prince of Conde, and eventually became his intendant of music. Founded the Concerts des Amateurs in 1770, and did more conducting throughout the decade. Organized the Ecole Royale de Chant in 1784, and remained its conductor until 1795, when it became the National Conservatory. Remained with it as a professor of composition, as well as one of its inspectors. In 1795, he was appointed a member of the newly-established Academy of Beaux-Arts, and after the turn of the century, he was made a member of the Legion d'Honneur. Extremely prolific, he wrote some 30 symphonies and 15 operas, as well as chamber and church music. Had a fine lyrical gift, although his operas suffered from poor choices of librettos. Introduced horns and clarinets into the orchestra, although he was largely a composer of his times, rather than the ages. Inner: Long and prolific lifetime of being well-honored and respected for what he did, which was to add to the development of French classical musical tradition, without transcending his times.

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PATHWAY OF THE MUSICIAN AS PURITANICAL PIANIST:
Storyline: The wandering minstrel lets his fingers and musical mind do the passionate talking, while the rest of him remains tightly clamped shut.
Sergei Rachmaninoff (1873-1943) - Russian composer, conductor and pianist. Outer: Son of a captain of the Imperial Guards. Grandfather had been an amateur musician. The family fortunes had dwindled because of his father’s propensity for gambling, as well as the freeing of the serfs in 1861, which reduced the size of the family’s property considerably. Went with his mother to St. Petersburg when his parents separated, which allowed him to pursue his musical interests, rather than following his father’s profession. Showed a precocity from the age of 4, and began lessons the following year. Studied at the College of Music, although his gifts were so evident, he never applied himself. To give him more discipline, he was enrolled at the Moscow Conservatory, where he flowered under the stricter guidance there, although a fierce argument almost ended his stay. Ultimately lived with an aunt, whose daughter Natalia Satina, he later married in 1902, 2 daughters from the union.. Became Moscow Conservatory’s fair-haired boy as a composer, winning its Great Gold Medal on graduation for his one act opera. Scored a worldwide hit with his Opus 3 at 20, although his subsequent works were less well-received, causing personal misgivings. Close friend of composer Alexander Scriabin (Karlheinz Stockhausen). Concentrated on his own works until the Russian Revolution, when he went into exile to Stockholm, and never returned home afterwards. With his aristocratic instincts, he projected a musical elegance, while tightly controlling his own expressiveness to give a fantastic clarity to his play. Extremely well-organized, he studied every piece he played very carefully. The possessor of enormous hands, he performed with a boldness and a passion that belied his own restrained personality, and was the perfect interpreter of his own works. Didn’t like conducting or teaching. In 1931, he bought a small estate on Lake Lucerne, in Switzerland, and would divide his time between there and touring in America from January through April, and Europe from October to November. Eventually moved to the U.S., and died of cancer there. Composed for the theater and orchestra, as well as the piano, and was a prolific writer of vocal works as well, penning over 70 songs. Inner: Perfectionist, dubbed the Puritan of Pianists. Tall, dour, lank, never smiled in public. Evinced a great purity of playing, and was emotionally direct. Tight-assed lifetime of bringing his dark Russian sensibilities to the world’s aesthetic attention, while putting a clamp on every other level of his gift for expression. Alexander Dargomijsky (1813-1869) - Russian composer and pianist. Outer: Son of a government official. Educated in St. Petersburg, studying both the violin and piano. Became known in society circles as an accomplished amateur pianist and superficial composer. Entered the civil service in the Department of Justice at 18 and remained there 13 years. Met Mikhail Glinka (Sergei Prokofieff) in his early 20s, and began pursuing a serious interest in composition from then on, learning by copying notebooks that his mentor lent him. Wrote his first opera in his mid-20s, but it was not produced for another 8 years, and then for only a few performances, causing him much anxiety, since he had resigned his post to be a fulltime musician. Made a continental trip during those years, and did not achieve success until his best-known work Roussalka was produced to considerable success in his early 40s. Composed several orchestral works, then went to France, England and Belgium, enjoying particular success in Brussels. Ended his career with an opera based on the Don Juan legend, but died before he could complete it. His use of the Russian national character in his work had a strong effect on the younger generation of musical nationalists, who completed it, although it failed to find an audience. Inner: Pioneering lifetime of coming to identify strongly with his native idiom, before taking his musicianship up to the next level, the next time around, as a world, rather than a national figure, thanks to a complementary virtuosity on the piano to equal and surpass his composing skills.

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PATHWAY OF THE MUSICIAN AS INCONSISTENT TALENT:
Storyline: The erratic eclectic shows a varied musical voice, but cannot transcend his own unintegrated interior and desire for the fortunes of fame to compensate for his uncertain self-importance.
Darius Milhaud (1892-1974) - French composer. Outer: From a prosperous family that belonged to the Comtadin Hebrew sect. Mother, who had studied singing many years in Paris, was from a distinguished family of Sephardic Jews in Italy, while his father was the director of a firm that transported almonds. Neurotic as a child, he was subject to nervous attacks. Studied at the Paris Conservatoire from the age of 8 on, winning several prizes, before his education was interrupted by the outbreak of WW I. Towards the end of the war, he took a position as an attache to the French Legation in Rio de Janeiro, where he met the poet-diplomat Paul Claudel, who would become the librettist for most of his important work. Despite Claudel’s deep identification with Catholicism and his own Judaic root, which often showed in his work, the two worked well together. On his return to Paris, he became part of the group known as “Les Six,” who played off the aesthetic ideas of writer Jean Cocteau (Bryan Singer) and the music of Eric Satie (Frank Zappa). Known as an enfant terrible , but also enjoyed considerable celebrity in Paris during this period. Worked in all genres, proving himself both prolific and adept at any musical form he tried, although there would be an inconsistency to all his work, showing an alternate flippancy, vulgarity and warm lyricism. Because of his wide-ranging oeuvre and the differing styles he brought to it, he elicited a rainbow array of criticism, ranging from warm praise to cold contempt. Visited the United States at 30 and toured as both conductor and pianist, playing his own works. Married in his mid-30s to Madeline, a cousin who wished to be an actress and lived to a 105, son from the union became a painter. Continued composing and touring in Europe as well, until the outbreak of WW II. When Paris fell to the Germans, he escaped to the United States and taught at Mills College in Oakland, where he remained for 3 decades. Also taught in Aspen, Colorado during the summer months, as well as being on the faculty of the Paris Conservatoire after the war. Retired from teaching when he was almost 80 and returned to Europe. During his last years he was severely crippled by arthritis, which confined his corpulent frame to a wheelchair. Still managed to compose, and until his 70s, conduct. His earlier work showed jazz tendencies, while his later work was more ponderous and spiritual. Inner: Alternately mischievous and serious. Possessor of genuine lyrical creative gifts, but with a tendency towards either over-intellectualization or triviality, rarely finding the proper medium twixt the two. Arthritis is usually signal of strong rigidity, which literally crippled him at the end. Inconsistent lifetime of uneven achievement, growing more serious in his intent as he aged, while, symbolically stiffening and becoming more inflexible in his own sense of self-importance. Jacques Halevy (Jacques-Francois-Fromental Levi) (1799-1862) - French composer. Outer: Of Jewish descent. Father was a scholar and poet. Studied at the Paris Conservatoire from the age of 10 and won the coveted Prix de Rome a decade later. While in Rome, he wrote an opera and some church music. On returning to Paris, his first 3 operas were rejected, but in his late 20s, his works began to be produced, while he toiled as an accompanist at the Theatre des Italiens, as well as taught at the Conservatoire. Achieved fame with his best-known opera, La Juive, which proved the high point of his career in his mid-30s. His next 20 operas were often marred by careless workmanship and inferior librettos. Had a keen sense of dramatic characterization and an overall good feel for the theater, although his work was overshadowed by Giacomo Meyerbeer (Richard Rodgers), whom he strove to emulate. In his mid-40s, he married a rich and extravagant woman, daughter from union married composer Georges Bizet (Stevie Wonder). Became a professor of composition at the Conservatoire in his early 40s, and spent 15 years as chorusmaster at the Paris Opera. Widely read, well-informed. Elected to the French Institute in his mid-30s, and in his mid-50s was permanent secretary to the Academie des Beaux-Arts, where he served as official eulogist. Wrote operas, ballet, cantatas and miscellaneous music. Died of consumption. Inner: Tactful, adaptable, honest, extremely social. Felt compelled to keep his name in the public eye, and worked hard at it. Carried around a masked sadness, despite an outward conviviality. Inconsistent lifetime of uneven accomplishment, despite obvious musical talent, while probably always felt the outsider because of his religious heritage.

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PATHWAY OF THE MUSICIAN AS CLOSETED COMPOSER:
Storyline: The in-group outsider learns to face his fears of discovery, by ultimately allowing himself to find serenity with his orientations through an overwhelming positive response to his creative nature and a concomitant self-acceptance of who he is.
Virgil Thomson (1896-1989) - American composer. Outer: Son of a post office clerk. Showed himself to be a prodigy, and studied piano with Kansas City’s leading teacher. Took singing lessons as well, and by 12 was giving local recitals, in addition to serving as a substitute church organist. HIs mid-western upbringing gave him a distinct American vocabulary for his music. After high school, he served in WW I as a 2nd lieutenant in the U.S. Military Aviation Corps. His musical education afterwards at Harvard proved restrictive, but he made a summer tour of Europe as a member of the Harvard Glee Club, and won a fellowship to study abroad. Became a student of famed teacher Nadia Boulanger, who, despite being a strict disciplinarian, gave him the freedom to find himself as a composer. Returned to Harvard when it refused to extend his fellowship until he graduated. Held several posts there and in the Boston area, and won a Juilliard Fellowship. After a year in New York, he returned to Harvard, and began writing musical criticism for Vanity Fair, proving himself an adept and discerning critic. Refused all job offers, and in the mid-1920s headed back to France, preferring, as he said, “to starve where the food is good.” A highly social homophile, he immediately integrated himself into the musical community there, although kept himself publicly closeted, feeling shameful and insecure about his sexual draws. A public homophobe, although he was once arrested in a police raid, much to his mortification, but later was able to resolve his orientation. Met expatriate writer Gertrude Stein (Sinead O’Connor) the following year, and became part of her famous salon, ultimately writing an opera with her, which became his best-known work, Four Saints in Three Acts. Continued to study with Nadia Boulanger, and evolved his characteristic style of composing musical portraits, as if he were a painter engaged in rendering a lifelike rendition of a sitter. Became a transatlantic liaison between Paris and NYC, with his reputation equally strong in both places, often giving singing and playing performances of his works at private parties, as a social celebrity. Decided to stage his opera with an all African-American cast, and in the mid-1930s, it opened on Broadway to enormous success, making him internationally famous. Despite his successes, and fees from lectures and magazine articles, he decided it would be more economically feasible to live in Paris and did so, with intermittent trips to NYC, resettling there when France fell at the beginning of WW II. Immediately on his return, he began writing for the New York Herald Tribune as music critic. For the next decade and a half, until his retirement in his late 50s, he was one of the cultural lights of New York’s renascence as a world artistic center. Afterwards, he continued his composing, lecturing, conducting and writing, in a full and highly active life that lasted over 90 years. Won a Pulitzer Prize in 1949 for Louisiana Story. In addition to several operas and a ballet, he also did film scores, choral and orchestral works, songs, and worked in a host of other genres, as well as wrote several books. Had a talent for vocal composition, with a highly personal style that transcended fashions. Died at home in his sleep. Inner: Socially adept, with an equal facility for engaging people in his projects, as he did for composing them. Charming, witty, driven, generous, loyal, affectionate, but also petty and mean upon occasion. Deep sense of inner serenity, after having been continually stroked for his gifts. Self-discovery lifetime of considerably expanding his breadth and scope as a composer by returning to his previous life’s milieu with a far deeper understanding of both himself and his art, through overwhelming public acceptance, which ultimately allowed him to accept who he was as well. Daniel Auber (1782-1871) - French composer. Outer: Father was an officer of the Royal Hunt, but lost his position in the French Revolution, then set up an art dealer’s shop and prospered. His son wrote well, spoke Italian fluently, and began composing at 11, but despite his precocity, was timid. Worked in London as a commercial clerk, and became known as a “drawingroom” composer, doing works for friends. Forced to leave England because of its tensions with France, he returned and pursued music more seriously. Published several concertos, and studied under taskmaster Luigi Cherubini (Arturo Toscanini), who brought out his latent talents. His first dramatic works failed to charm the public, and curtailed his career through the 1810s. Following his father’s business failure and death in 1819, he returned to music, but it wasn’t until he began working in the genre of opera-comique, that he came into his own, continuing the tradition established by Francois Boieldieu (Aaron Copland). Extremely prolific, sometimes finishing several works in the same year. Beginning in 1822, he worked in close concert with writer Eugene Scribe (Sinead O’Connor), whose librettos greatly enhanced his works. Made a member of the Legion d’Honneur in 1825, attaining the rank of commander a little over two decades later. His best known work was Fra Diavolo. Became Director of the Conservatoire for the last 3 decades of his life, succeeding his old teacher Cherubini, and was maitre de chapelle to Napoleon III (Darryl F. Zanuck). Probably a homophile, but he kept his inner life largely hidden. Spent most of his life in the same house, attended by domestics who spent decades in his employ. Died during the first riots of the Paris Commune, his heart sickened by the excesses in the streets. Wrote subtly refined music, and was called the last great exponent of opera-comique. Inner: Witty, kind, charming, gentle, benevolent, epicurean, with a need for security to offset his fears of the outer world. Contained lifetime of establishing the pattern of productive relationships in his creative works, while maintaining strict control over his outer life through repetitive patterns, in order never to ‘out’ himself for fear of losing his public support and much-needed sense of protection against the vagaries of fate.

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PATHWAY OF THE MUSICIAN AS LITERALLY MAD RUSSIAN:
Storyline: The compromised composer looks everywhere but into himself for the reasons for his own limitations, after rejecting the role of virtuoso, for which he had earlier won acclaim, showing a weakness of character in his inability to assess his own strengths and shortcomings while projecting on others his own defects.
Dmitri Shostakovich (1905-1975) - Russian composer. Outer: Mother had studied at the St. Petersburg Conservatory, father was a chemist, and was also musical. His sister pursued a musical career as well. Began taking piano lessons from his mother at 9, and was soon writing music. Attended the Glasser School of Music during WW I, composing a symphony in honor of the Russian Revolution. Completed his musical education at the Leningrad Conservatory, and despite the opportunity to become a concert pianist, put all his creative energy into composing, rarely appearing on the podium after his mid-20s. Composed his first opera in his late 20s, using a story by Nikolai Gogol (Woody Allen). During the 1930s, he continued writing for the theater and wed Nina Varzar, a physicist, 2 children from union, which would be characterized as an open marriage. His son became a pianist and conductor of his father’s works, and eventually defected to the West, although later returned to Russia. Had numerous affairs, including a brief one in the 1930s, with a translator, Elena Konstantinovskaya, who would serve as his muse afterwards, and was probably the true love of his life. Took an active part in public political life as a district Soviet deputy. Highly regarded both at home and abroad, until articles critical of him in Pravda in 1936 showed the Stalinist government’s dictatorial desire to totally control the arts. Turned to composing compromised symphonies in a classical, realistic mode to assuage the authority’s condemnation of his questionable creative stance. Very active during WW II in organizing musical programs, while composing his war symphonies, as well as taking advantage of the Communist Party’s lessening of control over the artistic life of the country. Moved to Moscow with his family during that time, which would become his base, while his great rage at Stalin was put to ferociously eloquent effect in his works. Condemned once again in the late 1940s, for what was called “formalism,” he was relieved of his professorial post at the Moscow Conservatory for a dozen years, and was forced to issue an apology, much to his chagrin. During his period of rehabilitation, he wrote film scores and instrumental works, and eventually became an honored citizen once again, after the death of Stalin in 1953. Married Margarita Kainova, a schoolteacher, following the demise of his wife in 1954, and traveled relatively sparingly for a well-known artist. Active in the peace movement, but he was also a signatory on a letter denouncing dissident physicist Andrei Sakharov. Continued his eclectic and prolific composing throughout his life, with a special talent for instrumental works. Following a divorce in 1959, he married a 3rd time in 1962 to Irina Supinskaya, and eventually died from chronic heart disease and lung cancer. After his death, a series of untaped interviews, "Testimony: The Memoirs of Dmitri Shostakovich," came out detailing his bitter creative struggles with state conformity and his fear and loathing of it, despite winning two Orders of Lenin and the Stalin Prize twice. Also claimed to have used his music as a protest vehicle for his true feelings. Inner: Pompous, grandiose, imitative of others earlier in his career, and himself later on. Had a lack of self-criticism, although able to occasionally transcend his limitations. Deeply troubled by the restrictions imposed on him, harboring great resentment towards Stalin. Overall, felt “I failed; I was human.” Compromised lifetime of having his creativity curtailed by an insensate state and suffering greatly both as an artist and a human being for it. Anton Rubenstein (1829-1904) - Russian pianist and composer. Outer: Mother was an amateur pianist, father was a Jewish merchant, who converted to Christianity when his son was 2. His brother, Nicholas Bernstein, was also a noted conductor and teacher. Taught the piano by his mother, and then had only one teacher. Made his first public appearance at 10, and his first continental tour at 15, where he met Franz Liszt (Paul Hindemith), whose playing he would eventually surpass as the greatest virtuoso of the 19th century, in the minds of some. Shaggy, leonine, very strong-bodied, both looked and played like Beethoven, spurring fantasy rumors he was his son. Studied composition in his mid-teens in Berlin, spending his next several years there and in Vienna. Returned to Russia at 19 with the helpful patronage of a grand duchess, then went back to Germany 5 years later, with many of his compositions, and won great acclaim for his playing, as well as ready publication for his works, with the ability to totally enthrall audiences with the pure sound he could draw from the piano. Settled in St. Petersburg, becoming court pianist and concert director to the Czar, and gave periodic tours, always to magnificent acclaim. Founded and was the initial director of the St. Petersburg Conservatory. Later ennobled by Alexander II (Steven Spielberg) in 1869. Directed the Vienna Philharmonic and Choral Society concerts, toured America, and in his mid-50s gave a series of farewell recitals throughout Europe, before assuming the directorship of the St. Petersburg Conservatory. Lived for a time in Germany, then returned to Russia to retire. Was unrivaled in the richness of tone he could extract from a piano, but was less concerned with technical skill than with the spirit of the music that he could extract. Wrote in the style of the Germanic romantic school, although his work was inconsistent. Bitter at the end of his life, feeling he hadn’t received proper recognition for his composing skills, once again feeling compromised by an insensate force larger than himself. Inner: Extroverted musical reactionary. Harbored a lack of self-criticism, which limited his creative abilities. Self-deluding lifetime of trying to expand his extraordinary fluency with the piano into composing and teaching roles, once again evincing an inability to correctly assess his limitations and blaming it on external, rather than internal, forces.

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PATHWAY OF THE MUSICIAN AS DROLL MISCHIEFMAKER:
Storyline: The candid charmer unconsciously but directly taps into his roots, while making sure, through his mastery of two disciplines, that he will be well-remembered and well-heard for his witty efforts at self-mythologizing self-expression.
Ned Rorem (1923) - American composer and diarist. Outer: Father was a medical economist and one of the founders of Blue Cross and Blue Shield, who taught college, mother was an activist Quaker. raised as a Quaker in an upper-class bohemian milieu, and wound up a believer in beliefs, although not in the concept of God. His family moved to Chicago when he was a child. introduced to works of Claude Debussy (Luciano Berio) and Maurice Ravel (Paul Simon), and decided to become a composer and live in Paris. 5’10”, slim. Studied piano and composition at Northwestern Univ., then won a scholarship at the Curtis institute in Philadelphia when he was 19, and also studied at the Berkshire Music Center before going to the Juilliard School of Music, where he received his degrees. Moved to Paris in 1949, and worked privately with both Aaron Copland and Virgil Thomson, while hanging out with the artistic lights of the time. Received several awards, and the prestigious Guggenheim and Fulbright Fellowships during the 1950s. During that decade, he lived most of the time in France, which he later wrote about in his infamous Paris Diaries, a commemoration of his promiscuous ways. In 1958, he returned to NYC, which became his permanent home. Taught at both the Univ. of Buffalo and Univ. of Utah. The French influence is clearly seen in his music, with its formal clarity, harmonic elegance and rhythmic wit. Because of its accessibility, lyrical charm and fluency, his output has received wide play. Awarded the Pulitzer Prize in music in 1976 for Air Music. His varied oeuvre has included operas, orchestral works, song cycles, choral and orchestral works. Equally adept at writing as a form of expression, with strong opinions on a host of esthetic and non-esthetic issues, although he incurred much criticism for setting the poetry of others to music, and losing their written cadences. Had the same partner for over 3 decades, Jim Holmes, an organist and choirmaster, who served as his domestic ballast. Deeply affected by his death at the end of the 1990s. Still composing memorable texts in his late 70s, as evinced by “Evidence,” a commissioned 36 song cycle which he wrote as a summation of his song-writing career. Published a later diary, Lies, at new century’s beginning, revealing himself as ever the solipsistic child, trying to make sense of an unknowable universe. Inner: Clever, charming, self-absorbed and witty homophile. Handsome and narcissistic, imaginative social climber, given to both eros and alcohol. Candid, sensitive, rigorously intellectual, and obsessed with being original. Embittered at the lack of remunerative respect he has received. Claims reading and drinking as his favorite hobbies, and also lists some 3000 lovers, including one woman, and 4 recipients of Time Magazine covers, Leonard Bernstein, Tennessee Williams, Noel Coward and John Cheever. Eternal youth lifetime of sticking to his tonal roots, while celebrating his bad boy sexuality and good boy creativity, through words, music and libidinous acts. Emmanuel Chabrier (1841-1894) - French composer. Outer: Father was a lawyer. Had a Polish music teacher as boy. His parents were unsympathetic to his early interest in music and insisted he become a lawyer. Went to Paris at the age of 16 to study law, and at 20 gained a position at the Ministry of the Interior, which he held for almost 20 years before resigning to devote himself entirely to music. Had some lessons with a couple of Spanish piano teachers, but was largely self-taught. Wrote 2 operettas which were fairly well-received, but his reputation did not really soar until he created an orchestra rhapsody inspired by a trip to Spain. Worked as an assistant chorus-master to the conductor who brought out more of his work, although was victim of a series of misfortunes. The theater went bankrupt after 2 performances of his 2nd opera, while a fire broke out at the Opera-Comique after 3 performances of his next. In his early 30s, he married Marie Alice Dejean, the daughter of a theater manager, 3 sons from the union, with one dying in early childhood. An enthusiast of composer Richard Wagner (Werner Herzog), although not above wickedly mocking him in his own work. The end of his life saw his health fail both physically and mentally. A lyrical, rather than a dramatic composer, whose humor could be readily heard in his music. Wrote operas, orchestral and choral works, and works for both voice and piano and the two combined. Had a strong influence on both Claude Debussy (Luciano Berio) and Maurice Ravel (Paul Simon), who in turn, would influence him in his next go-round in this series. Inner: Clever, charming and witty, with a keen sense of drollery and a hearty laugh. Well-loved by everyone, including the great masters of French music. Perfectionist beneath his humorous exterior, with a serious sense of purpose. Caustic, brusque, great integrity. Suspended lifetime of deferring his true vocation for many years so that he would be fully mature when he embarked upon his unfortunately brief, but memorable, career.

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PATHWAY OF THE MUSICIAN AS ISOLATED PHENOMENON:
Storyline: The specious spectacle-maker fills his pockets with enough coin to create an impressive shield against any questioning of his true talent, while proving to be far more the economic magnet than the artist of any great magnitude.
Andrew Lloyd Webber (1948) - English composer. Outer: From a musical family. Father was a doctor and brilliant organist, choirmaster and director of the London College of Music for the last 18 years of his life, as well as a composer of liturgical music for the Anglican Church. Mother was a piano teacher, while his brother became a cellist. Began playing the violin at 3, before staging productions of shows at 8, evincing a lifelong fascination with the musical theater, after seeing Rodgers & Hammerstein’s South Pacific. Met lyricist Tim Rice in his late teens and between them composed Joseph and the Amazing Technicolor Dreamcoat, followed by Jesus Christ, Superstar, in 1970, and concluding with Evita in 1976, which made his double name a singular byword in the commercial theater. Nevertheless, he was forced to mortgage his 5000 acre estate in a gamble which resulted in his most spectacular hit, Cats, which opened on Broadway in 1982, after a West End London success, went on to play for 18 years and nearly 7500 performances, transforming him into a Midas of the Great White Way. Ultimately became the only composer ever to have three shows running simultaneously in London and New York, not once, but twice. Later surpassed himself with Phantom of the Opera, which ultimately broke his earlier record in 2006. Married Sarah Tudor Hugill, a singer and pianist in his early 20s, son and daughter from union, divorced in 1984. As the most commercially successful composer in the his/story of the theater, he achieved great wealth, nearly 3/4 of a billion dollars, and great power through his ability to choose themes that match his musical sense of spectacle, despite occasional failures. Confirmed materialist with all the accouterments money can buy; collector of artifacts and pre-Raphaelite works. Married soprano Sarah Brightman, who starred in his Phantom in 1984, divorced in 1990, allowing her to go on to her own high-powered career as a pop diva. His third marriage to equestrienne Madeleine Gurdon would be in 1991 and prove the charm, 2 sons and a daughter from the happy union, which would give him an astute business partner as well. Knighted in 1992, he was made a member of the House of Lords in 1997, where he showed himself to be a highly conservative Tory. At century’s end, through his Really Useful Group, he purchased 10 playhouses in London’s West End, to become a major landlord of tastes as well, with dreams of Las Vegas and Hollywood in his future, despite not having a megahit since 1993, with Sunset Boulevard, because of changing public tastes. Very much a cultural figure of the last quarter of the 20th century, with its blockbuster mentality and by-the-numbers artistic demands on those who can deliver the largest audiences without challenging any more than their pocketbooks and their willingness to be satisfied by a couple of hours in the dark of having their senses overwhelmed by spectacular effects. Inner: Cold, aloof and distant. Perfectionist with an absolute surety of his abilities, despite being criticised for being overly derivative. Gift for melody, and an operatic sense of structure to all his shows, with a strong desire to successfully broach that medium eventually. Views himself as a musical architect with a need to control all aspects of his work. Inflated lifetime of rising to the level of critic-proof composer, in order to insulate and isolate himself from self-doubt, while fattening his coffers with the ongoing tributes of undemanding audiences, despite secretly harboring that ultimate of elusive goals, abiding critical respect for his abilities. Englebert Humperdinck (1854-1921) - German dramatic composer. Outer: Sister became a librettist. Took piano lessons, and at the age of 7, he composed his first piece. Originally destined to become an architect, but his musical interests prevailed. Studied at the Cologne Conservatory, and, after winning the Mozart Stipendium, continued his education at the Royal Music School in Munich. Won the Mendelssohn Prize which enabled him to go to Italy where he met Richard Wagner (Werner Herzog) in his mid-20s and was invited to Bayreuth to assist in that master’s production of Parsifal. Had close ties with the Wagner family, teaching his son Siegfried. 2 years later, he won the Meyerbeer Prize, spending time in Italy, France and Spain, where he taught in Barcelona at the conservatory for 2 years. Returned to Cologne, then taught for 6 years at 2 schools in Frankfurt, while also serving as music critic for the Frankfurter Zeitag. Won world fame for the operetta, Hansel and Gretel, which premiered in Weimar in 1893, then had an equally enthusiastic reception in London and New York the following 2 years. Originally had written it at the suggestion of his sister for a play for her children in 1890. None of his subsequent works, including a half dozen operas, had anywhere near the same success. Retired in 1896, only to accept the directorship of the Akademische Meisterschule in Berlin. Named Royal Professor the year he retired. The year he unretired, he was elected to the Senate of the Royal Academy of Arts and became its president 13 years later. Wrote some incidental music and vocal works in addition to his operas. In 1912, he had a stroke that permanently paralyzed his left arm. Also lost part of his hearing. Suffered a heart attack while attending the opera, and the next day he died of of an apoplectic stroke. After his death, his works were performed in both London and New York, his two primary venues his next life, as his odd name was also appropriated by a popular singer in an unconscious homage to his future commercial value. Inner: Always the collector, this time around for honors and awards as well as positions. Steppingstone lifetime of being strongly affected by an association with Richard Wagner, inspiring him to compose his singular memorable work, in a life of otherwise mediocre creative effort, despite many honors to the contrary, which may have motivated him to go directly for the gold in his next go-round in this series, through his capacity to magnetize attention to himself, despite limited capabilities. Prince Louis Ferdinand (Friedrich Christian Ludwig) (1772-1806) - Prussian prince, pianist and composer. Outer: Nephew of Friedrich the Great (Michael Milken), and son of his brother. Displayed great keyboard facility as a child. Enjoyed a highly cultured home, where he was educated, and which served as a gathering place for French émigrés. Joined the army in 1789, and won a heroic reputation for his exploits on the battlefield. Also an integral part of the cultural life of Berlin, impressing no less than Ludwig van Beethoven (Van Morrison) with his playing. A romantic, with modest abilities, he was influenced by pianist and composer Jan Dussek (Michael Tilson Thomas), who served him the last three years of his abbreviated life. Fatally wounded at the battle of Saalfeld, while commanding a Prussian advance guard, and became a symbol of German nationalism afterwards. Inner: Royal lifetime of being allowed to dabble with some major heavyweights in both war and peace, before embarking on his own royal careers in the realm of marginal music. Ferdinand III (1608-1657) - Holy Roman Emperor. Outer: Eldest son of HRE Ferdinand II (Kurt Waldheim) and a German princess. Crowned king of Hungary in 1625 and Bohemia in 1627. From the age of 18, he was allowed to take part in councils and affairs of state. Married in 1631, to Maria Anna, the daughter of Felipe II (Adolph Hitler) of Spain, which produced his heir, Leopold I (Leopold Stokowski), among their 6 progeny. When Albrecht von Wallenstien (Arnold Schwarzenegger) refused to share command of the imperial armies with him during the Thirty Years’ War, he took part in the conspiracy that had him assassinated in 1634. Became nominal commander of the armies afterwards, as well as a leader of the peace party at the court, which led to the Peace of Prague in 1635. After being elected king of the Romans the following year, he became HRE on his father’s death in 1637. Following his first wife’s death in 1646, he wed Archduchess Maria Leopoldine two years later, and she died the following year. Their single issue, a son, passed on his mid-teens. Shared his father’s Catholic zealotry and remained a hardliner on religious issues in his own domains, but was not as intransigent elsewhere and agreed to the 1648 Peace of Westrphalia which put an end to nearly a century and a quarter of religious warfare between Catholics and Protestants on the European continent. In 1651, he married a duke’s daughter, Eleonora of Mantua, and they had four children. Began the tradition of musicianship for which his house would become known. Excellent administrator, reformed the imperial council, supported the arts and handed over a solid empire to his son Leopold I on his death, which was celebrated in a highly ritualistic burial ceremony celebrating both his magnificence and his humble status as a mortal that would also be shared by his heirs. Inner: Energetic and highly able, although without any noticeable idiosyncrasies. Dealt with the politics of continuance rather than innovation. Duty-fulfilling lifetime of ably handling his responsibilities and putting together a successful imperial package to hand down to his succeeding line of future Hollywood moguls, without putting any specific imprint of personality on his rule.

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