Composers and Their Teachers

In the history of music, we too often (in my opinion) study the winners, the revolutionary, firebrands who blazed their own path and sent music along a new path, blah blah blah. And by referring to them as ‘winners’ I generally mean those composers whose music was premiered, played, played, and played again. After all, that is how we have the music we have today. 

But that is only the upper 10% of the musical history iceberg (music-berg?). There are generally twice as many composers who played it safe, or worked with the authorities, or who only barely broke new ground with their compositions, or who did not at all. In fact, I daresay that most composers fit this mold to some extent. Don’t forget, between 1823 - 1825 Beethoven not only composed the Diabelli Variations, Ninth Symphony, and Missa Solemnis, but also Bundeslied, op. 122, and his Six Bagatelles, op. 126 (his last work for piano). These pieces show that a composer can be dramatic and access the depths of human expression and understanding, and be light and fluffy, even at the same time. So, at times I like to give back by reading, listening, and attempting to understand the unappreciated musicians of the past. Lately, this has taken the form of studying the teachers of famous musicians of the distant and not-too-distant past. 

I would never be so bold as to suggest that a teacher is due all the credit afforded to his famous student. However, I do want to shine a light and give a little more appreciation to the (mostly) unknown teachers who helped mold minds and hearts to be receptive to divine musical influences. 

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