On an early summer’s day in 1775, somewhere near Hammersmith, West London, highwaymen attacked a stagecoach and relieved the passengers inside of valuables. We know the details because (through the efforts of a privately hired ‘thief-taker’) the highwaymen were tracked down, tried and hanged. But it’s the passengers whose names stand out. Among them were three friends: the painter Thomas Gainsborough, and composers Johann Christian Bach and Carl Friedrich Abel. That this snapshot of history caught them travelling together was no accident, because they were often together – joined by a shared love of music that with Bach and Abel was professional but, in the case of Gainsborough, a deep-rooted amateur obsession.
One of the great portrait painters of the 18th century, Gainsborough nonetheless complained of being ‘sick of Portraits’, wishing ‘very much to take up my Viol da Gamba and walk off to some sweet Village where I can … enjoy the fag End of Life in quietness and ease’. Had that happened, it wouldn’t just have been a single viola da gamba that he took with him to rural obscurity. He owned at least five. He called them ‘my comfort’. And over time, the comfort embraced a theorbo, violin and harp, growing to the dimensions of a small orchestra.
As another friend put it, there were occasions ‘when music seemed to be his employment and painting his diversion’. It’s only fitting, then, that this key ingredient in Gainsborough’s life gets due notice.
Denne historien er fra May 2023-utgaven av BBC Music Magazine.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra May 2023-utgaven av BBC Music Magazine.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Discovering Donizetti - Thanks to a two-year lockdown project, nearly 200 previously lost Donizetti songs will now see the light of day
Thanks to a two-year lockdown project, nearly 200 previously lost Donizetti songs will now see the light of day. For most people, undertaking a lockdown project meant learning to bake sourdough bread, getting fit with Joe Wicks, or taking up a language. But Professor Roger Parker, the eminent historian of Italian opera and emeritus professor at King's College London, had something far more ambitious in mind. He set about unearthing songs by Gaetano Donizetti - many of which had been lost since the composer's lifetime - and the enterprise turned into a two-year labour of love.
Composer of the month - Bohuslav Martinů - Though the Czech absorbed many influences from his exile abroad, his colourful music was always distinctively his own
The youngest of six, Bohuslav was a sickly child, and his father or older sister often had to carry him the 193 steps up to the tower. He was shy at school, too, though showed an early talent for the violin and gave his first concert at 14. By the following year, the future composer was off to the Prague Conservatoire to take the first, if faltering, steps towards a career in music.
Symphonies Beside the Sea- Before cinema, the wireless and coach trips cast them adrift, seaside orchestras were once a major holiday attraction
Before cinema, the wireless and coach trips cast them adrift, seaside orchestras were once a major holiday attraction. It's a dimension of music-making that once was integral to many a British holiday experience, yet now has all but vanished. The tide went out, you might say, on the professional seaside (or pier, or spa) orchestra many decades ago. In their glory days, though - perhaps a quarter-century on either side of 1900-these ensembles were everywhere, from Bridlington to Eastbourne, New Brighton to Worthing, Blackpool to Bexhill-on-Sea, Cleethorpes to Brighton... the list is astonishing.
Richard Morrison- Do Classical Works About Mortality Reveal More To Us As We Get Older? Is it inevitably true that, as we journey through the decades, we are better able to interpret or empathise with a profoundly death-obsessed masterpiece such as Schubert's Winterreise?
As we get older do we respond differently to that vast canon of music dealing with mortality? Is it inevitably true that, as we journey through the decades, we are better able to interpret or empathise with a profoundly death-obsessed masterpiece such as Schubert's Winterreise? Or do human beings possess such a flexible sense of empathy that we can relate to virtually any state of mind if it is evoked convincingly enough by a composer?
Do Notes Win Votes? - There are multi-dimensional ways that music is used by political campaigners and their supporters today.
It was a little bit of history repeating when Rishi Sunak announced the UK General Election to the heckling of his political opponents blasting out D:Ream's 'Things Can Only Get Better'.
Västra Karup Sweden
The spirit of soprano Birgit Nilsson is alive and well in the town of her birth, home to a festival dedicated to her memory
Federico Colli
\"At this moment in time we don't need more virtuosi. We need musicians to engage with the philosophy of music
Harmonic Progression
What happens when classical music-style levels of ambition, invention and sheer length are brought to pop? The answer, as Meurig Bowen explains, is Prog Rock
Golden years
Young musicians may be physically fit, but with age come the advantages of wisdom and experience
Sweet Sixteen
As The Sixteen celebrates its 45th birthday, founder Harry Christophers speaks to Andrew Stewart about directing a choral powerhouse
