A composer (Latin ''com''+''ponere'', literally "one who puts together") is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media. The level of distinction between composers and other musicians varies, which affects issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European music, the function of composing music initially did not have much greater importance than that of performing it. The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the concerto form, the soloist would often compose and perform a cadenza as a way to express their individual interpretation of the piece.
Inasmuch as the role of the composer in western art music has seen continued solidification, in alternative idioms (i.e. jazz, experimental music) it has in some ways become increasingly complex or vague. For instance, in certain contexts - the line between composer and performer, sound designer, arranger, producer, and other roles - can be quite blurred.
The term "composer" is often used to refer to composers of instrumental music, such as those found in classical, jazz or other forms of art and traditional music. In popular and folk music, the composer is usually called a songwriter, since the music generally takes the form of a song. Since the mid-20th century, the term has expanded to accommodate creators of electroacoustic music, in which composers directly create sonic material in any of the various electronic media. This is distinct from instrumental composition, where the work is represented by a musical score to be interpreted by performers.
Category:Occupations in music Category:Musical terminology
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alt | A mid-twenties African American man wearing a sequined military jacket and dark sunglasses. He is walking while waving his right hand, which is adorned with a white glove. His left hand is bare. |
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background | solo_singer |
birth name | Michael Joseph Jackson |
alias | Michael Joe Jackson, MJ, King of Pop |
birth date | August 29, 1958 |
birth place | Gary, Indiana, U.S. |
death date | June 25, 2009 |
death place | Los Angeles, California, U.S. |
instrument | vocals, guitar, drums, percussion, keyboards |
genre | R&B;, pop, rock, soul, dance, funk, disco, new jack swing |
occupation | Singer-songwriter, musician, composer, dancer, choreographer, record producer, actor, businessman, philanthropist |
years active | 1964–2009 |
label | Motown, Epic, Legacy |
associated acts | The Jackson 5 |
relatives | Janet Jackson (sister) |
website | 130pxMichael Jackson's signature }} |
Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American recording artist, entertainer, and businessman. Often referred to as the King of Pop, or by his initials MJ, Jackson is recognized as the most successful entertainer of all time by Guinness World Records. His contribution to music, dance, and fashion, along with a much-publicized personal life, made him a global figure in popular culture for over four decades. The seventh child of the Jackson family, he debuted on the professional music scene along with his brothers as a member of The Jackson 5, then the Jacksons in 1964, and began his solo career in 1971.
In the early 1980s, Jackson became a dominant figure in popular music. The music videos for his songs, including those of "Beat It", "Billie Jean", and "Thriller", were credited with transforming the medium into an art form and a promotional tool, and the popularity of these videos helped to bring the relatively new television channel MTV to fame. Videos such as "Black or White" and "Scream" made him a staple on MTV in the 1990s. Through stage performances and music videos, Jackson popularized a number of complicated dance techniques, such as the robot and the moonwalk, to which he gave the name. His distinctive musical sound and vocal style have influenced numerous hip hop, post-disco, contemporary R&B;, pop and rock artists.
Jackson's 1982 album ''Thriller'' is the best-selling album of all time. His other records, including ''Off the Wall'' (1979), ''Bad'' (1987), ''Dangerous'' (1991), and ''HIStory'' (1995), also rank among the world's best-selling. Jackson is one of the few artists to have been inducted into the Rock and Roll Hall of Fame twice. He was also inducted into the Dance Hall of Fame as the first (and currently only) dancer from the world of pop and rock 'n' roll. Some of his other achievements include multiple Guinness World Records; 13 Grammy Awards (as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award); 26 American Music Awards (more than any other artist, including the "Artist of the Century"); 13 number-one singles in the United States in his solo career (more than any other male artist in the Hot 100 era); and the estimated sale of over 750 million records worldwide. Jackson won hundreds of awards, which have made him the most-awarded recording artist in the history of popular music.
Jackson had a troubled relationship with his father, Joe. In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B; Album, Favorite Soul/R&B; Male Artist, and Favorite Soul/R&B; Single for "Don't Stop 'Til You Get Enough". That year, he also won Billboard Year-End for Top Black Artist and Top Black Album and a Grammy Award for Best Male R&B; Vocal Performance, also for "Don't Stop 'Til You Get Enough". Jackson again won at the American Music Awards in 1981 for Favorite Soul/R&B; Album and Favorite Soul/R&B; Male Artist. Despite its commercial success, Jackson felt ''Off the Wall'' should have made a much bigger impact, and was determined to exceed expectations with his next release. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.
In ''Bad'', Jackson's concept of the predatory lover can be seen on the rock song "Dirty Diana". The lead single "I Just Can't Stop Loving You" is a traditional love ballad, while "Man in the Mirror" is an anthemic ballad of confession and resolution. "Smooth Criminal" was an evocation of bloody assault, rape and likely murder. Allmusic's Stephen Thomas Erlewine states that ''Dangerous'' presents Jackson as a very paradoxical individual. He comments the album is more diverse than his previous ''Bad'', as it appeals to an urban audience while also attracting the middle class with anthems like "Heal the World". The first half of the record is dedicated to new jack swing, including songs like "Jam" and "Remember the Time". The album is Jackson's first where social ills become a primary theme; "Why You Wanna Trip on Me", for example, protests against world hunger, AIDS, homelessness and drugs. ''Dangerous'' contains sexually charged efforts such as the multifaceted love song, "In the Closet". The title track continues the theme of the predatory lover and compulsive desire. The second half includes introspective, pop-gospel anthems such as "Will You Be There", "Heal the World" and "Keep the Faith"; these songs show Jackson opening up about various personal struggles and worries. In the ballad "Gone Too Soon", Jackson gives tribute to his friend Ryan White and the plight of those with AIDS.
''HIStory'' creates an atmosphere of paranoia. Its content focuses on the hardships and public struggles Jackson went through just prior to its production. In the new jack swing-funk-rock efforts "Scream" and "Tabloid Junkie", along with the R&B; ballad "You Are Not Alone", Jackson retaliates against the injustice and isolation he feels, and directs much of his anger at the media. In the introspective ballad "Stranger in Moscow", Jackson laments over his "fall from grace", while songs like "Earth Song", "Childhood", "Little Susie" and "Smile" are all operatic pop pieces. In the track "D.S.", Jackson launched a verbal attack against Tom Sneddon. He describes Sneddon as an antisocial, white supremacist who wanted to "get my ass, dead or alive". Of the song, Sneddon said, "I have not—shall we say—done him the honor of listening to it, but I've been told that it ends with the sound of a gunshot". ''Invincible'' found Jackson working heavily with producer Rodney Jerkins. It is a record made up of urban soul like "Cry" and "The Lost Children", ballads such as "Speechless", "Break of Dawn" and "Butterflies" and mixes hip-hop, pop and R&B; in "2000 Watts", "Heartbreaker" and "Invincible".
A distinctive deliberate mispronunciation of "come on", used frequently by Jackson, occasionally spelled "cha'mone" or "shamone", is also a staple in impressions and caricatures of him. The turn of the 1990s saw the release of the introspective album ''Dangerous''. ''The New York Times'' noted that on some tracks, "he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth" and he had a "wretched tone". When singing of brotherhood or self-esteem the musician would return to "smooth" vocals. When commenting on ''Invincible'', ''Rolling Stone'' were of the opinion that—at the age of 43—Jackson still performed "exquisitely voiced rhythm tracks and vibrating vocal harmonies". Nelson George summed up Jackson's vocals by stating "The grace, the aggression, the growling, the natural boyishness, the falsetto, the smoothness—that combination of elements mark him as a major vocalist".
In the 19-minute music video for "Bad"—directed by Martin Scorsese—Jackson began using sexual imagery and choreography not previously seen in his work. He occasionally grabbed or touched his chest, torso and crotch. When asked by Oprah in the 1993 interview about why he grabbed his crotch, he replied, "I think it happens subliminally" and he described it as something that was not planned, but rather, as something that was compelled by the music. "Bad" garnered a mixed reception from both fans and critics; ''Time'' magazine described it as "infamous". The video also featured Wesley Snipes; in the future Jackson's videos would often feature famous cameo roles.
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Category:1958 births Category:2009 deaths Category:African American dancers Category:African American male singers Category:African American record producers Category:African American singer-songwriters Category:American beatboxers Category:American businesspeople Category:American child singers Category:American choreographers Category:American dance musicians Category:American dancers Category:American disco musicians Category:American male singers Category:American boogie musicians Category:American pop singers Category:American rhythm and blues singers Category:American rock singers Category:American soul singers Category:American tenors Category:American vegetarians Category:Boy sopranos Category:Brit Award winners Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Drug-related deaths in California Category:English-language singers Category:Epic Records artists Category:Expatriates in Bahrain Category:Former Jehovah's Witnesses Category:Grammy Award winners Michael Jackson Category:Manslaughter victims Category:Motown artists Category:Musicians from Indiana Category:People acquitted of sex crimes Category:People from Gary, Indiana Category:People from Santa Barbara County, California Category:Rock and Roll Hall of Fame inductees Category:Songwriters from Indiana Category:Songwriters Hall of Fame inductees Michael Jackson Category:World Music Awards winners Category:People charged with child sexual abuse Category:Grammy Legend Award
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name | Michael Giacchino |
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birthname | Michael Giacchino |
birth date | October 10, 1967 |
birth place | Riverside Township, New Jersey, U.S. |
occupation | Film, television, and video game score composer |
yearsactive | 1995 – present |
website | }} |
Michael Giacchino (; born October 10, 1967) is an American composer who has composed scores for movies, television series and video games. Some of his most notable works include the scores to television series such as ''Lost'', ''Alias'' and ''Fringe'', games such as the ''Medal of Honor'' and ''Call of Duty'' series, and films such as ''Mission: Impossible III'', ''The Incredibles'', ''Star Trek'', ''Cloverfield'', ''Ratatouille'', ''Up'' and ''Super 8''. Giacchino has received numerous awards for his work, including an Emmy, multiple Grammys, and an Academy Award.
In 2001, J. J. Abrams, producer of the television series ''Alias'', discovered Giacchino through his video game work and asked him to provide the new show's soundtrack. The soundtrack featured a mix of full orchestral pieces frequently intermingled with upbeat electronic music, a departure from much of his previous work. Giacchino would go on to provide the score for J.J. Abrams's 2004 television series ''Lost'', creating an acclaimed score which employed a unique process of using spare pieces of a plane fuselage for percussion parts. The score for ''Lost'' is also notable for a signature thematic motif: a brass fall-off at the end of certain themes. Just like his counterpart Stu Phillips, he worked with the television show creator Abrams on his shows with his music scores while Abrams supplied the show's main themes on his certain shows such as ''Alias''.
In 2004, Giacchino received his first big feature film commission. Brad Bird, director of Pixar's ''The Incredibles'', asked Giacchino to provide the soundtrack for the film after having heard his work on ''Alias''. The upbeat jazz orchestral sound was a departure in style not only for Giacchino but for Pixar, which had previously relied on Randy and Thomas Newman for all of its films. Director Brad Bird had originally sought out John Barry – perhaps best known for his work on the early James Bond films—but Barry was reportedly unwilling to repeat the styles of his earlier works.
Giacchino was nominated for two Grammy Awards in 2005 for ''The Incredibles'': Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media and Best Instrumental Composition.
Like his other counterparts Joel McNeely, J. A. C. Redford and Frank DeVol, Giacchino mostly associated with Disney from early in his career up to most recently, ranging from video games such as ''Mickey Mania'' and ''Gargoyles'' to films such as ''The Incredibles'' and eventually collaborated with Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain at Disneyland, Space Mountain: Mission 2 at Disneyland Paris, and Space Mountain at Hong Kong Disneyland.
Giacchino also composed scores for the 2005 films ''Sky High'' and ''The Family Stone'', and the television movie ''The Muppets' Wizard of Oz''. Additionally, he wrote the music for Joseph Barbera's final theatrical Tom and Jerry cartoon ''The Karate Guard'', and scored the Abrams-directed 2006 film ''Mission: Impossible III''. Giacchino's next musical achievement was his Paris-inspired score for the Disney-Pixar film ''Ratatouille'', which includes the theme song "Le Festin", performed by French artist Camille. He received his first Academy Award nomination for this score. He also created the score for Abrams' 2009 ''Star Trek'' film.
As of 2010, Giacchino's latest score was for the Pixar film ''Up'' (and its accompanying animated short ''Partly Cloudy'') for which he collaborated with director Pete Docter. This marked the first time Giacchino worked with a Pixar director other than Brad Bird. This work gained Giacchino his first Academy Award, for Best Score—the first-ever win for Pixar in that category.
Giacchino has continued his collaboration with J. J. Abrams. For the Abrams-produced monster film ''Cloverfield'', Giacchino wrote an homage to Japanese monster scores in an overture entitled "ROAR!", which played over the credits (and which constituted the only original music for the film). He composed for the pilot of the new Abrams series ''Fringe'', after which Giacchino gave scoring duties to his assistant Chad Seiter (who scored the first half of season one), and then Chris Tilton (who scored the latter half of season one and everything after that).
Giacchino has frequently referenced previous work when naming his pieces. For example, the score for ''The Incredibles'' contains a piece named "100 Mile Dash", and the album with the score from ''Ratatouille'' has a track entitled "100 Rat Dash". Another series of examples: "World's Worst Beach Party" from the first ''Lost'' album, "World's Worst Last 4 Minutes To Live" from the ''Mission: Impossible III'' soundtrack, "World's Worst Road Rage" from the ''Speed Racer'' score, "Galaxy's Worst Sushi Bar" from ''Star Trek'' (2010 deluxe release), "World's Worst Landscaping" from the second ''Lost'' album, "World's Worst Car Wash" from the soundtrack album ''Lost: The Final Season'', and "World's Worst Field Trip" from the soundtrack of Super 8. Inversely, the score for ''Mercenaries: Playground of Destruction'' has a track entitled "World's Best Carpool Lane".
In 2009 he was asked to conduct the Academy Awards orchestra for the 81st Academy Awards. For this project he rearranged many famous movie themes in different styles, including a 1930's Big Band treatment of ''Lawrence of Arabia'' and a bossa nova of ''Moon River''.
Year !! Notes | ||
''Legal Deceit'' | 1997 | |
''My Brother the Pig'' | 1999 | |
''The Trouble With Lou'' | 2001 | |
''Sin (disambiguation) | Sin'' | 2003 |
''The Incredibles'' | 2004 | |
''Sky High (2005 film) | Sky High'' | 2005 |
''The Muppets' Wizard of Oz'' | 2005 | |
''The Family Stone'' | 2005 | |
''Looking for Comedy in the Muslim World'' | 2006 | |
''Mission: Impossible III'' | 2006 | |
''Ratatouille (film) | Ratatouille'' | 2007 |
''Cloverfield'' | 2008 | |
''Speed Racer (film) | Speed Racer'' | 2008 |
''Star Trek (film) | Star Trek'' | 2009 |
''Up (2009 film) | Up'' | 2009 |
''Land of the Lost (film) | Land of the Lost'' | 2009 |
''Earth Days'' | 2009 | |
''Let Me In (film) | Let Me In'' | 2010 |
''50/50 (2011 film) | 50/50'' | 2011 |
''Cars 2'' | 2011 | |
''Super 8 (film) | Super 8'' | 2011 |
''Monte Carlo (2011 film) | Monte Carlo'' | 2011 |
''Mission: Impossible – Ghost Protocol'' | 2011 | |
''John Carter (film) | John Carter'' | 2012 |
Year !! Notes | |||
''Alias (TV series) | Alias'' | 2001–2006 | Bad Robot Production |
''Lost (TV series) | Lost'' | 2004–2010 | |
''Six Degrees'' | 2006–2007 | ||
''Fringe (TV series) | Fringe'' | 2008–2011 | |
''Undercovers (TV series) | Undercovers'' | 2010 | |
''Alcatraz (TV series) | Alcatraz'' | 2012 (Pilot only) |
Year !! Notes | ||
''No Salida'' | 1998 | Short film |
''String Of The Kite'' | 2003 | |
''Space Mountain (Disneyland, Anaheim) | Space Mountain'' at Disneyland'' | 2005 |
''Space Mountain (Hong Kong Disneyland) | Space Mountain'' at Hong Kong Disneyland | 2005 |
''Space Mountain: Mission 2'' at Disneyland Park (Paris) | Disneyland Paris | 2005 |
''The Karate Guard'' | 2005 | |
''One Man Band (film) | One Man Band'' | 2005 |
''Lifted (film) | Lifted'' | 2006 |
''How to Hook Up Your Home Theater'' | 2007 | |
''Presto'' | 2008 | |
''81st Academy Awards'' | 2009 | |
''Partly Cloudy'' | 2009 | |
''Dug's Special Mission'' | ||
''Prep & Landing'' | 2009 | |
''Day & Night (2010 film) | Day & Night'' | 2010 |
''Space Mountain (Magic Kingdom) | Space Mountain'' at Magic Kingdom | 2010 |
''Prep & Landing: Operation: Secret Santa'' | 2010 | |
''Star Tours: The Adventures Continue'' at Disneyland and Disney's Hollywood Studios | 2011 | |
''The Ballad of Nessie'' | 2011 |
Category:1967 births Category:American film score composers Category:American people of Italian descent Category:American television composers Category:Best Original Music Score Academy Award winners Category:Italian musicians Category:Juilliard School alumni Category:Living people Category:Mission: Impossible music Category:Musicians from New Jersey Category:People from Burlington County, New Jersey Category:School of Visual Arts alumni Category:University of California, Los Angeles alumni Category:Video game composers
bg:Майкъл Джакино ca:Michael Giacchino cs:Michael Giacchino da:Michael Giacchino de:Michael Giacchino es:Michael Giacchino fr:Michael Giacchino gl:Michael Giacchino ko:마이클 지아키노 it:Michael Giacchino hu:Michael Giacchino nl:Michael Giacchino ja:マイケル・ジアッキーノ no:Michael Giacchino pl:Michael Giacchino pt:Michael Giacchino ro:Michael Giacchino ru:Джаккино, Майкл sk:Michael Giacchino fi:Michael Giacchino sv:Michael Giacchino tr:Michael Giacchino zh:迈克·吉亚奇诺This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Ludwig van Beethoven (; ; baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
Beethoven was born of this marriage in Bonn. There is no authentic record of the date of his birth; however, the registry of his baptism, in a Roman Catholic service at the Parish of St. Regius on 17 December, 1770, survives. As children of that era were traditionally baptised the day after birth in the Catholic Rhine country, and it is known that Beethoven's family and his teacher Johann Albrechtsberger celebrated his birthday on 16 December, most scholars accept 16 December, 1770 as Beethoven's date of birth. Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, and two younger brothers survived infancy. Caspar Anton Carl was born on 8 April 1774, and Nikolaus Johann, the youngest, was born on 2 October 1776.
Beethoven's first music teacher was his father. Although tradition has it that Johann van Beethoven was a harsh instructor, and that the child Beethoven, "made to stand at the keyboard, was often in tears," the ''Grove Dictionary of Music and Musicians'' claimed that no solid documentation supported this, and asserted that "speculation and myth-making have both been productive." Beethoven had other local teachers: the court organist Gilles van den Eeden (d. 1782), Tobias Friedrich Pfeiffer (a family friend, who taught Beethoven the piano), and Franz Rovantini (a relative, who instructed him in playing the violin and viola). Beethoven's musical talent was obvious at a young age. Johann, aware of Leopold Mozart's successes in this area (with son Wolfgang and daughter Nannerl), attempted to exploit his son as a child prodigy, claiming that Beethoven was six (he was seven) on the posters for Beethoven's first public performance in March 1778.
Some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Court's Organist in that year. Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition: a set of keyboard variations (WoO 63). Beethoven soon began working with Neefe as assistant organist, at first unpaid (1781), and then as a paid employee (1784) of the court chapel conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named "Kurfürst" ("Elector") for their dedication to the Elector Maximilian Frederick (1708–1784), were published in 1783. Maximilian Frederick noticed Beethoven's talent early, and subsidised and encouraged the young man's musical studies.
Maximilian Frederick's successor as the Elector of Bonn was Maximilian Franz, the youngest son of Empress Maria Theresa of Austria, and he brought notable changes to Bonn. Echoing changes made in Vienna by his brother Joseph, he introduced reforms based on Enlightenment philosophy, with increased support for education and the arts. The teenage Beethoven was almost certainly influenced by these changes. He may also have been influenced at this time by ideas prominent in freemasonry, as Neefe and others around Beethoven were members of the local chapter of the Order of the Illuminati.
In March 1787 Beethoven traveled to Vienna (possibly at another's expense) for the first time, apparently in the hope of studying with Mozart. The details of their relationship are uncertain, including whether or not they actually met. After just two weeks Beethoven learned that his mother was severely ill, and returned home. His mother died shortly thereafter, and the father lapsed deeper into alcoholism. As a result, Beethoven became responsible for the care of his two younger brothers, and he spent the next five years in Bonn.
Beethoven was introduced to several people who became important in his life in these years. Franz Wegeler, a young medical student, introduced him to the von Breuning family (one of whose daughters Wegeler eventually married). Beethoven often visited the von Breuning household, where he taught piano to some of the children. Here he encountered German and classical literature. The von Breuning family environment was less stressful than his own, which was increasingly dominated by his father's decline. Beethoven also came to the attention of Count Ferdinand von Waldstein, who became a lifelong friend and financial supporter.
In 1789 Beethoven obtained a legal order by which half of his father's salary was paid directly to him for support of the family. He also contributed further to the family's income by playing viola in the court orchestra. This familiarised Beethoven with a variety of operas, including three by Mozart that were performed at court in this period. He also befriended Anton Reicha, a flautist and violinist of about his own age who was a nephew of the court orchestra's conductor, Josef Reicha.
Beethoven did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance. Working under Haydn's direction, he sought to master counterpoint. He also studied violin under Ignaz Schuppanzigh. Early in this period, he also began receiving occasional instruction from Antonio Salieri, primarily in Italian vocal composition style; this relationship persisted until at least 1802, and possibly 1809. With Haydn's departure for England in 1794, Beethoven was expected by the Elector to return home. He chose instead to remain in Vienna, continuing his instruction in counterpoint with Johann Albrechtsberger and other teachers. Although his stipend from the Elector expired, a number of Viennese noblemen had already recognised his ability and offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten.
By 1793, Beethoven established a reputation as an improviser in the salons of the nobility, often playing the preludes and fugues of J. S. Bach's Well-Tempered Clavier. His friend Nikolaus Simrock had begun publishing his compositions; the first are believed to be a set of variations (WoO 66). By 1793, he had established a reputation in Vienna as a piano virtuoso, but he apparently withheld works from publication so that their publication in 1795 would have greater impact. Beethoven's first public performance in Vienna was in March 1795, a concert in which he first performed one of his piano concertos. It is uncertain whether this was the First or Second. Documentary evidence is unclear, and both concertos were in a similar state of near-completion (neither was completed or published for several years). Shortly after this performance, he arranged for the publication of the first of his compositions to which he assigned an opus number, the three piano trios, Opus 1. These works were dedicated to his patron Prince Lichnowsky, and were a financial success; Beethoven's profits were nearly sufficient to cover his living expenses for a year.
For the premiere of his ''First Symphony'', Beethoven hired the Burgtheater on 2 April 1800, and staged an extensive program of music, including works by Haydn and Mozart, as well as his Septet, the First Symphony, and one of his piano concertos (the latter three works all then unpublished). The concert, which the ''Allgemeine musikalische Zeitung'' described as "the most interesting concert in a long time," was not without difficulties; among the criticisms was that "the players did not bother to pay any attention to the soloist."
Mozart and Haydn were undeniable influences. For example, Beethoven's quintet for piano and winds is said to bear a strong resemblance to Mozart's work for the same configuration, albeit with his own distinctive touches. But Beethoven's melodies, musical development, use of modulation and texture, and characterization of emotion all set him apart from his influences, and heightened the impact some of his early works made when they were first published. By the end of 1800 Beethoven and his music were already much in demand from patrons and publishers.
In May 1799, Beethoven taught piano to the daughters of Hungarian Countess Anna Brunsvik. During this time, Beethoven fell in love with the younger daughter Josephine who has therefore been identified as one of the more likely candidates for the addressee of his letter to the "Immortal Beloved" (in 1812). Shortly after these lessons, Josephine was married to Count Josef Deym. Beethoven was a regular visitor at their house, continuing to teach Josephine, and playing at parties and concerts. Her marriage was by all accounts happy (despite initial financial problems), and the couple had four children. Her relationship with Beethoven intensified after Deym died suddenly in 1804.
Beethoven had few other students. From 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote ''Beethoven remembered'', a book about their encounters. The young Carl Czerny studied with Beethoven from 1801 to 1803. Czerny went on to become a renowned music teacher himself, instructing Franz Liszt, and gave the Vienna premiere of Beethoven's fifth piano concerto (the "Emperor") in 1812.
Beethoven's compositions between 1800 and 1802 were dominated by two works, although he continued to produce smaller works, including the Moonlight Sonata. In the spring of 1801 he completed ''The Creatures of Prometheus'', a ballet. The work received numerous performances in 1801 and 1802, and Beethoven rushed to publish a piano arrangement to capitalise on its early popularity. In the spring of 1802 he completed the Second Symphony, intended for performance at a concert that was canceled. The symphony received its premiere instead at a subscription concert in April 1803 at the Theater an der Wien, where Beethoven had been appointed composer in residence. In addition to the Second Symphony, the concert also featured the First Symphony, the Third Piano Concerto, and the oratorio ''Christ on the Mount of Olives''. Reviews were mixed, but the concert was a financial success; Beethoven was able to charge three times the cost of a typical concert ticket.
Beethoven's business dealings with publishers also began to improve in 1802 when his brother Carl, who had previously assisted him casually, began to assume a larger role in the management of his affairs. In addition to negotiating higher prices for recently composed works, Carl also began selling some of Beethoven's earlier unpublished works, and encouraged Beethoven (against the latter's preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations. Beethoven acceded to these requests, as he could not prevent publishers from hiring others to do similar arrangements of his works.
As early as 1801, Beethoven wrote to friends describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems). Beethoven, on the advice of his doctor, lived in the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote his Heiligenstadt Testament, a letter to his brothers which records his thoughts of suicide due to his growing deafness and records his resolution to continue living for and through his art. Over time, his hearing loss became profound: there is a well-attested story that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuous applause of the audience; hearing nothing, he wept. Beethoven's hearing loss did not prevent his composing music, but it made playing at concerts—a lucrative source of income—increasingly difficult. After a failed attempt in 1811 to perform his own ''Piano Concerto No. 5 (the "Emperor")'', which was premiered by his student Carl Czerny, he never performed in public again.
A large collection of Beethoven's hearing aids, such as a special ear horn, can be viewed at the Beethoven House Museum in Bonn, Germany. Despite his obvious distress, Carl Czerny remarked that Beethoven could still hear speech and music normally until 1812. By 1814 however, Beethoven was almost totally deaf, and when a group of visitors saw him play a loud arpeggio of thundering bass notes at his piano remarking, "Ist es nicht schön?" (Is it not beautiful?), they felt deep sympathy considering his courage and sense of humor (he lost the ability to hear higher frequencies first).
As a result of Beethoven's hearing loss, his conversation books are an unusually rich written resource. Used primarily in the last ten or so years of his life, his friends wrote in these books so that he could know what they were saying, and he then responded either orally or in the book. The books contain discussions about music and other matters, and give insights into Beethoven's thinking; they are a source for investigations into how he intended his music should be performed, and also his perception of his relationship to art. Out of a total of 400 conversation books, it has been suggested that 264 were destroyed (and others were altered) after Beethoven's death by Anton Schindler, who wished only an idealised biography of the composer to survive.
While Beethoven earned income from publication of his works and from public performances, he also depended on the generosity of patrons for income, for whom he gave private performances and copies of works they commissioned for an exclusive period prior to their publication. Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works.
Perhaps Beethoven's most important aristocratic patron was Archduke Rudolph, the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with Beethoven. The cleric (Cardinal-Priest) and the composer became friends, and their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio (1811) and his great Missa Solemnis (1823). Rudolph, in turn, dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.
In the Autumn of 1808, after having been rejected for a position at the royal theatre, Beethoven received an offer from Napoleon's brother Jérôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, the Archduke Rudolph, Prince Kinsky and Prince Lobkowitz, after receiving representations from the composer's friends, pledged to pay Beethoven a pension of 4000 florins a year. Only Archduke Rudolph paid his share of the pension on the agreed date. Kinsky, immediately called to military duty, did not contribute and soon died after falling from his horse. Lobkowitz stopped paying in September 1811. No successors came forward to continue the patronage, and Beethoven relied mostly on selling composition rights and a small pension after 1815. The effects of these financial arrangements were undermined to some extent by war with France, which caused significant inflation when the government printed money to fund its war efforts.
Beethoven's return to Vienna from Heiligenstadt was marked by a change in musical style, and is now designated as the start of his "Middle" or "Heroic" period. According to Carl Czerny, Beethoven said, "I am not satisfied with the work I have done so far. From now on I intend to take a new way." This "Heroic" phase was characterised by a large number of original works composed on a grand scale. The first major work employing this new style was the Third Symphony in E flat, known as the "Eroica." This work was longer and larger in scope than any previous symphony. When it premiered in early 1805 it received a mixed reception. Some listeners objected to its length or misunderstood its structure, while others viewed it as a masterpiece.
The "Middle period" is sometimes associated with a "heroic" manner of composing, but the use of the term "heroic" has become increasingly controversial in Beethoven scholarship. The term is more frequently used as an alternative name for the Middle period. The appropriateness of the term "heroic" to describe the whole Middle period has been questioned as well: while some works, like the Third and Fifth Symphonies, are easy to describe as "heroic", many others, like the "Pastoral" Sixth Symphony, are not.
Some of the Middle period works extend the musical language Beethoven had inherited from Haydn and Mozart. The Middle period work includes the Third through Eighth Symphonies, the Rasumovsky, ''Harp'' and ''Serioso'' string quartets, the "Waldstein" and "Appassionata" piano sonatas, ''Christ on the Mount of Olives'', the opera ''Fidelio'', the Violin Concerto and many other compositions. During this time Beethoven's income came from publishing his works, from performances of them, and from his patrons. His position at the Theater an der Wien was terminated when the theater changed management in early 1804, and he was forced to move temporarily to the suburbs of Vienna with his friend Stephan von Breuning. This slowed work on ''Fidelio'', his largest work to date, for a time. It was delayed again by the Austrian censor, and finally premiered in November 1805 to houses that were nearly empty because of the French occupation of the city. In addition to being a financial failure, this version of ''Fidelio'' was also a critical failure, and Beethoven began revising it.
During May 1809, when the attacking forces of Napoleon bombarded Vienna, according to Ferdinand Ries, Beethoven, very worried that the noise would destroy what remained of his hearing, hid in the basement of his brother's house, covering his ears with pillows.
The work of the Middle period established Beethoven as a master. In a review from 1810, he was enshrined by E. T. A. Hoffmann as one of the three great "Romantic" composers; Hoffman called Beethoven's ''Fifth Symphony'' "one of the most important works of the age."
His relationship with Josephine Brunsvik deepened after the death in 1804 of her aristocratic first husband, the Count Joseph Deym. Beethoven wrote Jospehine 15 passionate love letters between late 1804 to around 1809/10. Although his feelings were obviously reciprocated, Josephine was forced by her family to withdraw from him in 1807. She cited her "duty" and the fact that she would have lost the custodianship of her aristocratic children had she remarried to a commoner. After Josephine married Baron von Stackelberg in 1810, Beethoven may have proposed unsuccessfully to Therese Malfatti, the supposed dedicatee of "Für Elise"; his status as a commoner may again have interfered with those plans.
In the spring of 1811 Beethoven became seriously ill, suffering headaches and high fever. On the advice of his doctor, he spent six weeks in the Bohemian spa town of Teplitz. The following winter, which was dominated by work on the Seventh symphony, he was again ill, and his doctor ordered him to spend the summer of 1812 at the spa Teplitz. It is certain that he was at Teplitz when he wrote a love letter to his "Immortal Beloved." The identity of the intended recipient has long been a subject of debate; candidates include Julie Guicciardi, Therese Brunsvik, Josephine Brunsvik, and Antonie Brentano.
Beethoven visited his brother Johann at the end of October 1812. He wished to end Johann's cohabitation with Therese Obermayer, a woman who already had an illegitimate child. He was unable to convince Johann to end the relationship, and appealed to the local civic and religious authorities. Johann and Therese married on 9 November.
In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped. His personal appearance degraded – it had generally been neat – as did his manners in public, especially when dining. Beethoven took care of his brother (who was suffering from tuberculosis) and his family, an expense that he claimed left him penniless.
Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of the defeat of one of Napoleon's armies at Vitoria, Spain, by a coalition of forces under the Duke of Wellington. This news stimulated him to write the battle symphony known as ''Wellington's Victory''. It was first performed on 8 December, along with his Seventh Symphony, at a charity concert for victims of the war. The work was a popular hit, probably because of its programmatic style that was entertaining and easy to understand. It received repeat performances at concerts Beethoven staged in January and February 1814. Beethoven's renewed popularity led to demands for a revival of ''Fidelio'', which, in its third revised version, was also well-received at its July opening. That summer he composed a piano sonata for the first time in five years (''No. 27, Opus 90''). This work was in a markedly more Romantic style than his earlier sonatas. He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats that came to the Congress of Vienna that began in November 1814. His output of songs included his only song cycle, "An die ferne Geliebte," and the extraordinarily expressive, but almost incoherent, "An die Hoffnung" (Opus 94).
Carl had been ill for some time, and Beethoven spent a small fortune in 1815 on his care. After Carl died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Carl's wife Johanna over custody of their son Karl, then nine years old. Beethoven, who considered Johanna an unfit parent because of her morals (she had an illegitimate child by a different father before marrying Carl, and had been convicted of theft) and financial management, had successfully applied to Carl to have himself named sole guardian of the boy. A late codicil to Carl's will gave him and Johanna joint guardianship. While Beethoven was successful at having his nephew removed from her custody in February 1816, the case was not fully resolved until 1820, and he was frequently preoccupied by the demands of the litigation and seeing to Karl's welfare, whom he first placed in a private school.
The Austrian court system had one court for the nobility and members of the Landtafel, the R&I; Landrechte, and many other courts for commoners, among them the Civil Court of the Vienna Magistrate. Beethoven disguised the fact that the Dutch "van" in his name did not denote nobility as does the German "von" and his case was tried in the Landrechte. Owing to his influence with the court, Beethoven felt assured of the favorable outcome of being awarded sole guardianship. While giving evidence to the Landrechte, however, Beethoven inadvertently admitted that he was not nobly born. The case was transferred to the Magistracy on 18 December 1818, where he lost sole guardianship.
Beethoven appealed, and regained custody. Johanna's appeal to the Emperor was not successful: the Emperor "washed his hands of the matter." During the years of custody that followed, Beethoven attempted to ensure that Karl lived to the highest moral standards. Beethoven had an overbearing manner and frequently interfered in his nephew's life. Karl attempted suicide on 31 July 1826 by shooting himself in the head. He survived, and was brought to his mother's house, where he recuperated. He and Beethoven were reconciled, but Karl insisted on joining the army, and last saw Beethoven in early 1827.
The only major works Beethoven produced during this time were two cello sonatas, a piano sonata, and collections of folk song settings.
By early 1818 Beethoven's health had improved, and his nephew moved in with him in January. On the downside, his hearing had deteriorated to the point that conversation became difficult, necessitating the use of conversation books. His household management had also improved somewhat; Nanette Streicher, who had assisted in his care during his illness, continued to provide some support, and he finally found a skilled cook. His musical output in 1818 was still somewhat reduced, but included song collections and the Hammerklavier Sonata, as well as sketches for two symphonies that eventually coalesced into the epic Ninth. In 1819 he was again preoccupied by the legal processes around Karl, and began work on the ''Diabelli Variations'' and the ''Missa Solemnis''.
For the next few years he continued to work on the Missa, composing piano sonatas and bagatelles to satisfy the demands of publishers and the need for income, and completing the Diabelli Variations. He was ill again for an extended time in 1821, and completed the Missa in 1823, three years after its original due date. He also opened discussions with his publishers over the possibility of producing a complete edition of his work, an idea that was arguably not fully realised until 1971. Beethoven's brother Johann began to take a hand in his business affairs, much in the way Carl had earlier, locating older unpublished works to offer for publication and offering the Missa to multiple publishers with the goal of getting a higher price for it.
Two commissions in 1822 improved Beethoven's financial prospects. The Philharmonic Society of London offered a commission for a symphony, and Prince Nikolay Golitsin of St. Petersburg offered to pay Beethoven's price for three string quartets. The first of these commissions spurred Beethoven to finish the Ninth Symphony, which was first performed, along with the Missa Solemnis, on 7 May 1824, to great acclaim at the Kärntnertortheater. The ''Allgemeine musikalische Zeitung'' gushed, "inexhaustible genius had shown us a new world," and Carl Czerny wrote that his symphony "breathes such a fresh, lively, indeed youthful spirit [...] so much power, innovation, and beauty as ever [came] from the head of this original man, although he certainly sometimes led the old wigs to shake their heads." Unlike his more lucrative earlier concerts, this did not make Beethoven much money, as the expenses of mounting it were significantly higher. A second concert on 24 May, in which the producer guaranteed Beethoven a minimum fee, was poorly attended; nephew Karl noted that "many people have already gone into the country." It was Beethoven's last public concert.
Beethoven then turned to writing the string quartets for Golitsin. This series of quartets, known as the "Late Quartets," went far beyond what musicians or audiences were ready for at that time. One musician commented that "we know there is something there, but we do not know what it is." Composer Louis Spohr called them "indecipherable, uncorrected horrors." Opinion has changed considerably from the time of their first bewildered reception: their forms and ideas inspired musicians and composers including Richard Wagner and Béla Bartók, and continue to do so. Of the late quartets, Beethoven's favorite was the Fourteenth Quartet, op. 131 in C# minor, which he rated as his most perfect single work. The last musical wish of Schubert was to hear the Op. 131 quartet, which he did on 14 November 1828, five days before his death.
Beethoven wrote the last quartets amidst failing health. In April 1825 he was bedridden, and remained ill for about a month. The illness—or more precisely, his recovery from it—is remembered for having given rise to the deeply felt slow movement of the Fifteenth Quartet, which Beethoven called "Holy song of thanks ('Heiliger dankgesang') to the divinity, from one made well." He went on to complete the quartets now numbered Thirteenth, Fourteenth, and Sixteenth. The last work completed by Beethoven was the substitute final movement of the Thirteenth Quartet, which replaced the difficult Große Fuge. Shortly thereafter, in December 1826, illness struck again, with episodes of vomiting and diarrhea that nearly ended his life.
Beethoven was bedridden for most of his remaining months, and many friends came to visit. He died on Monday, 26 March 1827, during a thunderstorm. His friend Anselm Hüttenbrenner, who was present at the time, claimed that there was a peal of thunder at the moment of death. An autopsy revealed significant liver damage, which may have been due to heavy alcohol consumption. It also revealed considerable dilation of the auditory and other related nerves.
Beethoven's funeral procession on 29 March 1827 was attended by an estimated 20,000 Viennese citizens. Franz Schubert, who died the following year and was buried next to Beethoven, was one of the torchbearers. Unlike Mozart, who was buried anonymously in a communal grave (the custom at the time), Beethoven was buried in a dedicated grave in the Währing cemetery, north-west of Vienna, after a requiem mass at the church of the Holy Trinity (Dreifaltigkeitskirche). His remains were exhumed for study in 1862, and moved in 1888 to Vienna's Zentralfriedhof.
There is dispute about the cause of Beethoven's death: alcoholic cirrhosis, syphilis, infectious hepatitis, lead poisoning, sarcoidosis and Whipple's disease have all been proposed. Friends and visitors before and after his death clipped locks of his hair, some of which have been preserved and subjected to additional analysis, as have skull fragments removed during the 1862 exhumation. Some of these analyses have led to controversial assertions that Beethoven was accidentally poisoned to death by excessive doses of lead-based treatments administered under instruction from his doctor.
Sources show Beethoven's disdain for authority, and for social rank. He stopped performing at the piano if the audience chatted amongst themselves, or afforded him less than their full attention. At soirées, he refused to perform if suddenly called upon to do so. Eventually, after many confrontations, the Archduke Rudolph decreed that the usual rules of court etiquette did not apply to Beethoven.
Beethoven was attracted to the ideals of the Enlightenment. In 1804, when Napoleon's imperial ambitions became clear, Beethoven took hold of the title-page of his Third Symphony and scratched the name Bonaparte out so violently that he made a hole in the paper. He later changed the work's title to "Sinfonia Eroica, composta per festeggiare il sovvenire d'un grand'uom" ("Heroic Symphony, composed to celebrate the memory of a great man"), and he rededicated it to his patron, Prince Joseph Franz von Lobkowitz, at whose palace it was first performed.
The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller's Ode ''An die Freude'' ("Ode to Joy"), an optimistic hymn championing the brotherhood of humanity.
Beethoven is acknowledged as one of the giants of classical music; occasionally he is referred to as one of the "three ''B''s" (along with Bach and Brahms) who epitomise that tradition. He was also a pivotal figure in the transition from the 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound.
His large body of compositions for piano includes 32 piano sonatas and numerous shorter pieces, including arrangements of some of his other works. Works with piano accompaniment include 10 violin sonatas, 5 cello sonatas, and a sonata for French horn, as well as numerous lieder.
Beethoven also wrote a significant quantity of chamber music. In addition to 16 string quartets, he wrote five works for string quintet, seven for piano trio, five for string trio, and more than a dozen works for various combinations of wind instruments.
In his Early period, Beethoven's work was strongly influenced by his predecessors Haydn and Mozart. He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous ''Pathétique'' sonata, Op. 13.
His Middle (Heroic) period began shortly after Beethoven's personal crisis brought on by his recognition of encroaching deafness. It includes large-scale works that express heroism and struggle. Middle-period works include six symphonies (Nos. 3–8), the last three piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos. 7–11), several piano sonatas (including the ''Moonlight'', ''Waldstein'' and ''Appassionata'' sonatas), the ''Kreutzer'' violin sonata and Beethoven's only opera, ''Fidelio''.
Beethoven's Late period began around 1815. Works from this period are characterised by their intellectual depth, their formal innovations, and their intense, highly personal expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement. Other compositions from this period include the ''Missa Solemnis'', the last five string quartets (including the massive ''Große Fuge'') and the last five piano sonatas.
In 1962, Walt Disney produced a made-for-television, largely fictionalised, life of Beethoven titled ''The Magnificent Rebel'', starring Karlheinz Böhm as Beethoven. The film was given a two-part premiere on the Walt Disney anthology television series, and was released to theatres in Europe.
In 1994 a film about Beethoven (played by Gary Oldman) entitled ''Immortal Beloved'' was written and directed by Bernard Rose. The story follows Beethoven's secretary and first biographer, Anton Schindler (portrayed by Jeroen Krabbé), as he attempts to ascertain the true identity of the ''Unsterbliche Geliebte'' (Immortal Beloved) addressed in three letters found in the late composer's private papers. Schindler journeys throughout the Austrian Empire to interview potential candidates. Filming took place in the Czech cities of Prague and Kromeriz, and the Zentralfriedhof in Vienna, Austria, between 23 May and 29 July 1994.
In 2003 a made-for-television BBC/Opus Arte film ''Eroica'' dramatised the 1804 first performance of the ''Eroica'' Symphony at the palace of Prince Lobkowitz. Ian Hart was cast as Beethoven, while Jack Davenport played Prince Lobkowitz; the Orchestre Révolutionnaire et Romantique conducted by Sir John Eliot Gardiner perform the Symphony in its entirety during the film.
In a 2005 three-part BBC miniseries, Beethoven was played by Paul Rhys.
A movie entitled ''Copying Beethoven'' was released in 2006, starring Ed Harris as Beethoven. This film is a fictionalised account of Beethoven's production of his Ninth Symphony.
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Name | Roger Hodgson |
---|---|
landscape | Yes |
Background | solo_singer |
Birth name | Charles Roger Pomfret Hodgson |
Birth date | March 21, 1950 |
Origin | Portsmouth, England |
Instrument | Vocals, keyboards, piano, guitar, bass, pipe organ, harpsichord, harmonium |
Genre | Progressive rock, pop rock, art rock |
Occupation | Musician, songwriter |
Years active | 1969–present |
Label | A&M;, Unichord/Voiceprint, Epic |
Associated acts | Supertramp, Ringo Starr and His All-Starr Band, Argosy |
Website | RogerHodgson.com }} |
Charles Roger Pomfret Hodgson (born 21 March 1950) is a British musician and songwriter, best known as the former co-frontman, and founding member, of progressive rock band Supertramp.
Hodgson solely composed and sang on the majority of the band's biggest hits, including "Dreamer", "Give a Little Bit", "The Logical Song", "Breakfast in America", "Take the Long Way Home" and "It's Raining Again," earning him the fan-given nickname of ''Mr. Supertramp''.
He has enjoyed a solo career since his departure from the group in 1983, and continues to tour internationally to this day. He is recognised for his tenor singing voice, which became a trademark of his former band Supertramp, and often writes about spiritual and philosophical topics.
At age 19, Roger Hodgson made his first appearance in a recording studio as guitarist for the band People Like Us. The group recorded a single, "Duck Pond" b/w "Send Me No Answers", which was never released.
After People Like Us disbanded, Hodgson became vocalist for the "flower power" pop band Argosy, which also included Reginald Dwight (later known as Elton John), Caleb Quaye, and Nigel Olsson. Their sole single, "Mr. Boyd" b/w "Imagine", consisted of two pieces of orchestrated pop and was issued on the DJM (U.K.) and Congress (U.S.) record labels. It remains rare and sought after. "Mr. Boyd" was covered in 1997 by Jake Shillingford and his band My Life Story on their album "The Golden Mile".
The songs on Supertramp's self-titled first album, released in 1970, were composed by Roger Hodgson, Rick Davies, and Richard Palmer; however, since both Hodgson and Davies were unwilling to write lyrics, Palmer wrote all the album's lyrics. Palmer left shortly after the album's recording, allowing Hodgson to switch back to guitar, but leaving him and Davies no choice but to serve as the band's lyricists. The hugely successful ''Crime of the Century'' was released in 1974. ''Crisis? What Crisis?'', released in 1975, was followed by ''Even in the Quietest Moments'' in 1977. In 1979, they released their most successful album, ''Breakfast in America''. This album has sold over 20 million copies to date. The live album, ''Paris'', was released in 1980, with ''…Famous Last Words…'' being released in 1982.
Through 1983, all songs recorded by Supertramp were legally credited with a shared writing credit of Davies/Hodgson. Roger Hodgson was the writer of hits such as "The Logical Song", "Dreamer", "Give a Little Bit", "Breakfast in America", "It's Raining Again", "Take the Long Way Home" and "Fool's Overture".
As was common practice for bands of the era, Hodgson recorded demos of his compositions and presented them to the other members so that they could learn their parts. Hodgson wrote songs "Breakfast in America", "The Logical Song", and some of "Fool's Overture" at home with a harmonium he had bought from a neighbour when he was 17 years old (this instrument is used in the background of "Breakfast in America", and prominently appears on "Two of Us" and his solo track "The Garden").
The agreement between Hodgson and Davies upon Hodgson's departure from the band in 1983 was that Davies would keep the band’s name, Supertramp, while Hodgson would keep his songs in order to carry on as an artist. Another component of this agreement was that Davies would no longer perform any songs written and composed by Hodgson. Davies has performed Hodgson's songs on every tour since the latter's departure, and this led to the departure of bassist Dougie Thomson out of principle.
Hodgson's first solo album, ''In the Eye of The Storm'' contained the singles "Had a Dream (Sleeping with the Enemy)" and "In Jeopardy". His second album, 1987's ''Hai Hai'', had a distinctive synthpop-oriented feel, in the vein of the mid-80s trends.
There are at least three other versions of the song "Land Ho"; the first version was an early demo which was then edited and recorded as a "B" side of the song "Summer Romance" - a single that was released in 1973 when the most popular version of Supertramp came to be - and a third version which was yet another edit and was a contender for Supertramp's "Crisis What Crisis?" in 1975 but never included on the album and instead released on The Supertramp Anthology - A Retrospectacle. The version that 'introduced' the song to most fans was that which appeared on "Hai Hai". However, just prior to the release of "Hai Hai", Hodgson fell from a loft in his home and broke both wrists, which disabled him from successfully promoting the album. He also took a long break from both touring and recording.
In 1990 Hodgson was approached by Yes to take the lead singer position after Jon Anderson had left to record and tour with ABWH. Hodgson enjoyed working with the group but declined the offer, saying it was unwise to attempt to pass off the music as Yes. One of the songs he co-wrote with Trevor Rabin, "Walls", was released in 1994 on Yes' ''Talk'' album, with lyrics revised by Anderson. A version of "Walls" with only Hodgson and Rabin on vocals can be found on Trevor Rabin's 2003 archival release ''90124''.
After a long break, he launched into his very first solo tour (and his first since his final tour with Supertramp in 1983) and released 1997's live ''Rites of Passage'' to document the tour. The live album was recorded at the Miners Foundry in Nevada City, California. He performed with a full band including his son Andrew, and Supertramp sax player John Helliwell. He then embarked on a world tour in 1998.
Hodgson played King Arthur in the rock opera ''Excalibur: La Legende Des Celtes'', and appeared on the album for two songs: "The Elements," and "The Will of God." The project was headed by Alan Simon and released in 1999.
In 2000, Hodgson contributed vocals on a track titled "The Moon Says Hello" by Carlos Núñez, on the CD ''Mayo Longo''.
Hodgson's fourth solo effort ''Open the Door'' was released in 2000 and continued in the vein of his previous work. He collaborated again with Alan Simon on the album. In August 2000, Hodgson guested with Fairport Convention at that years Cropredy Festival. He performed "Breakfast In America", "The Logical Song", "Open The Door" and "Give A Little Bit".
In 2001, Hodgson toured as a member of the All-Starr Band in 2001, playing lead guitar, and has since collaborated with Trevor Rabin (who appears on the track "The More I Look" on ''Open the Door'') and Ringo Starr.
Hodgson is still touring, often playing alone, but from time to time he is joined by other musicians or has a full orchestra accompanying him. He has taken part in the Night of the Proms concert series in Belgium and Germany in late 2004, as well as the rock festival, Bospop in 2005.
In May 2006, Roger Hodgson was honoured by ASCAP (American Society of Composers, Authors, and Publishers) in recognition of his song Give A Little Bit being one of the most played songs in the ASCAP repertoire in 2005.
On 30 November 2005, he held his first concert in England in over twenty years, at Shepherd's Bush, London. While that performance was filmed and scheduled for a DVD release, the plan was scrapped. Instead, the concert recorded at the Place Des Arts in Montreal, Canada on 6 June 2006 was his first DVD, released on 22 August 2006, entitled ''Take The Long Way Home - Live In Montreal.'' In October 2006, the DVD was certified multi-platinum by the CRIA (Canadian Recording Industry Association).
Hodgson participated as a mentor on ''Canadian Idol'' along with Dennis DeYoung. He continued mentoring several of the finalists during his 2006 Canadian Tour.
Hodgson performed at the Concert for Diana at Wembley Stadium , UK on 1 July 2007. He sang a medley of his most popular songs: "Dreamer", "The Logical Song", "Breakfast in America" and "Give A Little Bit".
On 18 September 2007, Eagle Vision released the DVD ''Take the Long Way Home - Live in Montreal'' worldwide, achieving gold in Germany and France.
On 9 April 2008, Hodgson received an ASCAP award for the Gym Class Heroes' song "Cupid's Chokehold", recognized as being one of the most played songs in ASCAPs repertoire from the fourth quarter 2006 through to the fourth quarter of 2007.
Hodgson toured the US, Australia, New Zealand, South America, Europe, and Canada on his own 2010 World Tour, whilst Davies mainly concentrated on touring around Europe during Supertramp's 40th anniversary tour. Though Hodgson's former bandmates in Supertramp announced a 40th Anniversary reunion tour, he was not invited to join them. In 2010, Hodgson did offer to do some shows with Supertramp, between his own previously schedule concert dates, but his offer was declined.
Both Hodgson and Supertramp released live versions of their tour material on download only on their websites. Hodgson's ''Classics Live'' is a collection of live recordings taken from solo, band, and orchestra shows from his 2010 world tour. Hodgson is again touring worldwide in 2011 and is planning a world tour for 2012.
Category:1950 births Category:Living people Category:English male singers Category:English songwriters Category:English rock guitarists Category:English keyboardists Category:People from Portsmouth Category:Old Stoics Category:Supertramp members Category:English expatriates in the United States Category:Ivor Novello Award winners
bs:Roger Hodgson bg:Роджър Ходжсън ca:Roger Hodgson cs:Roger Hodgson da:Roger Hodgson de:Roger Hodgson es:Roger Hodgson fa:راجر هاجسون fr:Roger Hodgson io:Roger Hodgson it:Roger Hodgson nl:Roger Hodgson no:Roger Hodgson pl:Roger Hodgson pt:Roger Hodgson ru:Ходжсон, РоджерThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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