It's a tough one, this. What can you do about the fact that numerous composers have written masses and masses of great work - or at least, totally pleasant work - and yet for some reason, history has chosen, in some instances, to remember them for only one work in particular. They're often called 'one-hit wonders', but this isn't quite fair. A one-hit wonder is literally that - someone who wrote or sang one hit, and then couldn't repeat the success. As we mentioned before, Joe Dolce 'What'sa-matter-you, HEY', Renee and Renato, those guys who sang that bloody awful 'Matchstalk Men and Matchstalk Cats and Dogs'. But the classical guys, well, they did write lots of other hits. It's just that cruel fate has decided that the others won't get a look in. Having said that, at least they get one piece remembered, I guess. There are those who wrote some of the most popular pieces of their day, only to be totally erased from the history books. People like Paisiello, for example, who was massive when he was alive. Now? Well, lucky to get a rare aria included as a filler track on the latest Cecilia Bartoli album.
It's 1764. Here is the news. Buildings are going up like there's no tomorrow. Just finished last year in Paris was La Madeleine, and, this year, Adam's finest, Kenwood House in Hampstead - lovely tea rooms. Talking of all things London, the chattering classes are all abuzz about the latest wheeze - house numbers. Anyone who's anyone has got one, and, indeed, many people who aren't anyone have one too. And what a good idea they are. I mean, London has had post boxes for 120 years, now, and the 'penny post' system for over eighty years, so why not house numbers?
Actually, wait a minute, that doesn't make sense. Why did they have post boxes forty years before they had the penny post? What did they have to collect in the post boxes? Just imagine, forty years of unlocking post boxes - 'Oh, empty again… that's odd.' Still. Mine is not to reason why. Anyway, they've got house numbers now, so somewhere to stick their penny post, as it were. Next year, too, they even get pavements, so the guy delivering the mail looks more like a postman and less like Swampy the Eco-Warrior. But I digress a little. Over in America, they are just coming to grips with the taxes on the colonies and it's not looking good, if you ask me. As Foghorn Leghorn might have said, 'There's troub - ah say, there's trouble a-brewin', boy, and it's git - ah say, it's gitting worse bah the cotton pickin' minute.' Sorry. I'm OK now.
THE PRODIGY
T
he big thing in 1764, musically speaking, was the lhtle thing, as it were. The first offerings of the eight-year-old Mozart. You can just imagine him being patronized by people who didn't quite realize the genius they had in front of them. 'Awwww, little Wibbly-Wobbly Amipoopot Mozart… aww… have you got some music for the nice people… have you?… have you?… Oh, it's a full symphony, right. In, er, four movements. Good. For full orchestra. Right. Good. Well. Let's hear it then.' Then, quietiy, under their breath, 'Clever little sod.'
I don't know if you've ever heard Mozart's First Symphony, from 1764, written when he was all of eight years old. By his standards, it's quite a simple thing, certainly compared to the majesty of the 'Jupiter', the originality of the 40th and, my own personal favourite, the brown-ness-" of the 29th. And yet, despite it being simple, small even, it is perfectly formed. And it is easy to just pay lip service to the fact that it is by an eight-year-old boy. EIGHT YEARS OLD! Mums and dads, just think - that's only Year 3. If your Year 3 infant came home one day with a picture of the sky made from cottonwool, a papier-mache Hallowe'en mask and a four-movement symphony, just think how you would feel! Exactly. You'd be shocked, wouldn't you? And you'd have every right to be - making cottonwool collages of the sky is for nursery school - what the hell are they doing sending your eight-year-old home with it? And, of fi If you haven't listened to the 29th, then try and hunt down a recording. The first movement is, quite simply, brown! Gloriously brown. I don't know why, it just is. This is probably one area where I'm up there in agreement with Seriabin or Bliss -1 think certain sounds surest certain colours. Don't know how they could, but they do. And the 29th Symphony by Mozart is most definitely BROWN. Good. Just wanted to get that off my chest. course, in addition to that, you'd think, 'Jeepers, she's written a symphony!!' I'm only labouring this point because I think, to some extent, the notion of a child prodigy has lost its impact today. The Charlotte Churches, the Hayley Westernras, even, to some extent, the Ruth Lawrences - they don't mean 'child prodigy' in quite the same way that Mozart was a child prodigy. A fully scored symphony in four movements at eight years of age was even astounding then, in the eighteenth century, the very era of child prodigies. It certainly makes me put things into perspective.
We'll get on to Mozart properly soon, but, for now, I want you to forget about 1764. It's dead. It's gone. It's history. Well, obviously it is, but you know what I mean. It's a mere memory. Instead, now, I want you to think the season of 1772-73.
Are you there yet? If not, let me help you place it. It's a bright, sparkly new time. Captain Cook has just discovered Botany Bay, and, as his diaries from the time show, it was not quite as they had expected: Day 13. Sighted land. After weighing anchor, I led an initial party of brave men in a rowing boat in an attempt to befriend the natives. Once on shore, we gave them gifts - gold, silver, the pennant bearing the coat of arms of our good King George? and some mirrors. Thejj in turn, gave us fresh water, some much needed food and a barbecue.
(Not sure what to do with the last item. Have given it to Mr Banks.) In addition to Cook discovering Down Under, the Encyclopaedia Britannica had been published for the first time and things are generally starting to feel a little exciting - new worlds, new learning, better understanding of the old learning. And, of course, the old guard die off and get replaced. So, Canaletto is gone - or should I say gondola?… no, OK, gone, then - and Gainsborough is gone too. The frisky Frenchman, Fragonard, is still putting out the eighteenth-century version of the saucy postcard, and the French nobility are lapping it up. Just a few years ago, he painted a suggestive little number called The Swing, and found he had quite a hit on his hands. In fact, France is a swinging place in 1773, all in all. Choderlos de Laclos, another little goer, has just published his Les Liaisons Dangereuses, and very steamy it is too. I can't say the words, myself, without thinking of John Malkovich writing on MicheUe Pfeiffer's back. Best say no more. In fact, when all's said and done, life in France couldn't have been better - /^ It
I you were on the right side of the tracks, that is. (And that's a pretty big if.) Quite. Yes. Indeed. It's a case of'Reveille et sentir le cafe' - wake up and smell the coffee.
HAYDN - ESTERHAZY DOING?
H
aydn isn't having too bad a time of it, either. In fact, to be fair, he had it cush! None of the starving artist, garret flat and pauper's grave for him, thank you very much. Oh no. He ran his composing less as an artist's life and more as… wefl, an insurance firm, or something. He got himself a nice litde deal as composer-in-residence for Prince Esterhazy at his residence in Eisenstadt not far from the Austrian capital, and then, well… simply kept it. All his life. True, he did work hard and he had to churn out music at a rate of knots. But as far as living on the edge was concerned, well… lion-taming wasn't for him.