Paganini, How The Great Violinist Was Helped By A Rare Medical Condition

Paganini was one of the world’s great virtuoso violinists. But what is especially fascinating is that part of Paganini’s great success came as a result of a rare physical ailment.

Portrait of Niccolò PaganiniNiccolò Paganini was born in 1782 in Genoa, Italy. His father taught him mandolin at age five and violin two years later. Like many child prodigies, the boy’s musical talents were quickly recognized, and he began the serious study of the violin with a number of skilled teachers. By the time Paganini was eighteen he was well known around Genoa and Parma, and a decade or so later, the violinist had made a name for himself throughout Europe. When he died in 1840 in Nice, France, Paganini had established himself as one of the great masters of the violin.

Pushing the Limits of the Violin

In his relatively short life, Paganini dramatically increased the technical possibilities of the violin. He could do what no one had ever done on the instrument. The virtuoso made left hand pizzicato and harmonics hallmarks of his style, and was even said to be able to play three octaves of notes across the four strings. Most violinists consider this impossible today.

But why could Paganini do these miraculous feats on the violin? Scholars have pondered this question for more than a century and a half, and many have come with the conclusion that the violinist had a little known medical condition called Marfan syndrome.

Sketch of Niccolò Paganini's handsPaganini’s Hands

Marfan syndrome is a genetic disorder changes a person’s connective tissue, often making them unusually tall with lengthened limbs and long, thin fingers. Observers of Paganini frequently commented on his unique hands. In 1831, his personal physician wrote, “Paganini’s hand is not larger than normal; but because all its parts are so stretchable, it can double its reach. For example, without changing the position of the hand, he is able to bend the first joints of the left fingers –which touch the strings–sideways, at a right angle to the natural motion of the joint, and he can do it with effortless ease, assurance, and speed. Essentially, Paganini’s art is based on physical endowment, increased and developed by ceaseless practicing.”

An anecdote of Paganini’s unheard-of ability is especially telling. One night, a rich gentleman asked the virtuoso to serenade his lady friend. The air was quite damp, and the violin strings of the day did not respond well to this kind of humidity. First the “E” string broke. The violinist was not fazed. Then the “A” and “D” strings snapped. The older gentleman was instantly worried and feared that the serenade for his friend would be ruined. What did Paganini do, now that he only had one string to play on? He simply smiled and continued to play on one string just as if he was playing on all four. The serenade was a success after all, thanks to the virtuoso’s amazing ability.

Caricature of Niccolò PaganiniThe “Witch’s Child”

Having Marfan syndrome also created a certain mystique for Paganini. People called him “Hexensohn” (“Witch’s Child”) because of his seemingly superhuman ability. Some claimed that he had made a pact with the devil to play as well as he did. Reports of his “demonic” possession were enhanced by the medical condition which made him appear unusually thin and pale.

Paganini loved all this notoriety and had fun with it. To accentuate the rumors, he would dress completely in black and sometimes arrive at a concert in a black carriage pulled by four black horses. And when he lost his teeth in 1828, his face looked even more ghostly. Of course, people flocked to his concerts. Some have even called him music’s first rock star.

Medical ailments are often viewed as things to overcome. With Paganini, Marfan syndrome actually enhanced an already considerable talent to help him become one of the world’s finest instrumentalists.

This column first appeared in Greensboro, North Carolina’s News and Record on January 9, 2011.

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A “Novel” Way To Learn Venice

Before I travel, I like knowing as much about a new city as I can. And I am a map person, so I want to know my way around before my foot ever hits the pavement. In the last few years, a new and fun method has emerged to me:

Read mystery novels set in that city and follow along with a map.

Venice is the next city I want to master. Luckily for me, the magical place of canals, gondolas, and amazing architecture has inspired many writers over the years.

My method is simple. As I read, I have a map next to me and find all of the locations mentioned in the book. This takes a little time, but the neighborhoods, important buildings, and public transportation just come to life as you do this.

For Venice, I like Donna Leon’s series of mysteries featuring Commissario Guido Brunetti – sort a Venetian Hercule Poirot or Adrian Monk. Brunetti ingeniously solves a variety of murders, but, to me, the star of these stories is Venice. When I read the following passage, I got out my trusty maps to see exactly where it occurred:

“Late in the afternoon of the third Sunday in August, the shutters were pushed open on the windows of the second-floor apartment just off the Canale della Misericordia, not far from the Palazzo del Cammello.”

After some detective work of my own to find these places on the map, this exotic city felt more like home!

I also highly recommend Thomas Mann’s “Death in Venice” and Michael Diblin’s “Dead Lagoon”.  Both are moving stories that live and breathe Venice.

Do you want to learn Stockholm or Sweden? Then read Steg Larsson’s wonderful trilogy: “The Girl With The Dragon Tattoo”, “The Girl Who Played With Fire”, and “The Girl Who Kicked The Hornet’s Nest”. These books are full of addresses, neighborhoods, and towns. For the person interested in learning this part of the world, I can think of no better way to do this than reading with a map nearby!

How do others learn a city before hopping on a place to visit it?

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Dmitry Sitkovetsky’s Concert Week in Greensboro

Dima Sitkovetski is a world class musician who is continually on the move. When he’s not conducting in Greensboro, he may be rehearsing in New York, playing a recital in Paris, or staying at his home in London practicing for his next engagement. So what does he do during the several weeks a year he is in Greensboro preparing for the Symphony Concerts and Chamber Music Series? Recently, I had the chance to discuss this with the maestro.

“Normally, people think a conductor just comes in for rehearsals, and maybe a board meeting, and that’s it. There is a lot more.” A typically busy week for Dima includes teaching classes to students in the community, meeting with donors and other friends of the orchestra, planning concerts for future years, and finding some time to relax. Of course, the main reason he is here is to rehearse and perform as the conductor of the orchestra and as a chamber musician.

More than just conducting

Commenting on how much more to being a music director than just conducting, the maestro says, “There is a lot more. The music director is really like a cultural ambassador of the city. With any major or minor orchestra, full time or part time, he is the face of music or the arts in town. There is a lot of responsibility that comes with being a music director.”

The educational aspect of his Greensboro weeks is especially special for Sitkovetski. He described some of these activities. “Just today I taught a class and talked to students at the Weaver Academy. And then I went to UNCG and conducted a rehearsal with their fine orchestra. We worked on Respighi’s “The Pines of Rome. In my role as Distinguished Visiting Professor at the UNCG School of Music, I do many things like working with conducting students, teaching violin master classes, and talking about how to build a career in music.”

Sitkovetsky, Chess Master

One way he interacted with the community was on a recent Sunday when he spent three hours playing fifteen simultaneous games of chess. Is the maestro as comfortable behind a chess board as he is on the podium? “I’m an OK player. I won all but one, that that game was a draw.”

Even many of his social activities have an important outreach function beyond just having fun. “Those things are all important. Of course, you can do lots of things with email, but it’s always good to be with people in person.”

Next to his primary residence in London, Greensboro has truly become his second home. The international nature of his schedule is such that he actually spends about the same about of time here as he does in London.  “I’m never really home more than two or two and a half months combined. When I’m in London, I usually don’t work. Here, I always work.”

A Few Minutes to Relax

With such a varied and busy schedule while in Greensboro, Dima needs a few precious minutes for relaxation. “Every day I need some quiet time just by myself either in my apartment or when I go on walks. There are a lot of outgoing activities like rehearsals or classes. So I need the time to reflect. Exercise is also important so I try to walk as much as possible. Movies are always fun for me, and I have already seen one film there this trip [after three days in Greensboro]. And there was a nice Russian party this time. The social times are important, too.”

For each series of concerts, the maestro is usually in Greensboro for about ten days. These days are packed to the rim with a myriad of activities, culminating with magnificent orchestral concerts and sophisticated chamber music performances. He ended our interview with how it felt at the end of one of these weeks. “I’m always tired, but if the musical result was good, if we accomplished great things, and if we had a good turnout at the concerts, then I’m very satisfied. It’s a very good reason to be tired.”

This article originally appeared in Greensboro, North Carolina’s News and Record on October 4, 2009.

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John Denver, Composer of Two State Songs

Some state songs are well known and others are not. Everyone knows Rodgers and Hammerstein’s “Oklahoma!” as both the song of the Sooner State and as the title song of the Broadway musical. And two of Stephen Foster’s melodies are official state songs: “Old Folks at Home (Swanee River)” for Florida and “My Old Kentucky Home.” Alongside such monumental figures of American music, one might not expect to see John Denver’s name. But he is the composer of one official state song, and one adopted state song. You can guess one of them. It has to do with his last name.

John Denver loved Colorado. The mountains, fresh air, cold streams, and vast skies all appealed to his sense of nature. Because of all this, he moved to Aspen in 1970. Three years later, the singer collaborated with Mike Taylor and they created one of Denver’s signature songs, “Rocky Mountain High.”

Rocky Mountain High becomes  Colorado’s State Song

For years, the song had been performed in Colorado so often that many people considered it the state’s unofficial anthem. That all changed on March 12, 2007 when the Colorado General Assembly named “Rocky Mountain High” as one of two official state songs. (The other is “Where the Columbines Grow.”)

The lyrics abound with imagery of the spectacular mountains. One of the interesting lines is “I’ve seen it rainin’ fire in the sky.” Denver was asked about this, and he responded that these words were about “the elation, celebration of life, or the joy in living that one feels when he observes something as wondrous as the Perseid meteor shower on a moonless, cloudless night, when there are so many stars that you have a shadow from the starlight, and you are out camping with your friends, your best friends, and introducing them to one of nature’s most spectacular light shows for the first time.”

Take Me Home, Country Roads

If “Rocky Mountain High” was directly influenced by Denver’s life in Colorado, then it probably makes sense that “Take Me Home, Country Roads” came from time he spent in the West Virginia. After all, the song begins with “Almost Heaven, West Virginia.” In one of the strange quirks of music, he had never even been to the state when he recorded this hit.

In late 1970, the singer had an engagement singing in a club in Washington, D. C. Just after Christmas, Denver broke his thumb in a car accident. As he was recovering, two of his musician friends sang him a little song about driving on winding roads through Maryland. John loved the tune, although they all felt that setting it in West Virginia was better somehow. Why they thought this is a mystery because neither John nor his friends has ever been to West Virginia.

The three musicians stayed up until 6 a.m. changing words and tweaking the melody. John knew he had a hit on his hands, and when he sang “Take Me Home, Country Roads” at the same club on December 30, the audience gave him a five-minute ovation.

Of course, West Virginians love the song. One could hardly imagine a better tribute to their state, even if it originated in Washington, D.C. and was about Maryland roads. It is now the theme song of West Virginia University and has been performed before every home football game since 1972. Like in Colorado, West Virginia legislators have attempted more than once to replace the current state song,  “The West Virginia Hills”, with “Take Me Home, Country Roads,” but unfortunately the resolutions have not yet passed.

This article originally appeared in Greensboro, North Carolina’s News and Record on November 8, 2009.

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Benny Goodman’s Visit to Greensboro

When Dave Bennett brings his clarinet to play Benny Goodman’s music with the Greensboro Symphony on New Year’s Eve, it won’t be the first time the orchestra has played the music of the “King of Swing” in a Pops Concert. Almost thirty years ago Goodman himself came to Greensboro to play with the Symphony. Bernie Mann, publisher of Our State Magazine, met with the jazz master at the time, and sat down with me last week to talk about Goodman, how the concert came to be, and the history of the orchestra’s pops concerts.

Bernie Mann

Birth of the Pops Concerts

“I used to be in the radio business and owned radio stations. Our stations played what was then called Beautiful Music, music by a large orchestra with high quality sound. I was also active with the symphony. One day I went to them and suggested starting a pops series that my radio stations would underwrite. I told the symphony that if they made any money, they would keep it, and if they lost any money, I’d pay for it. So it was hard for them to say no!

“After we did this for couple of years, we wondered how we could do something really big, and decided to book some top-flight artists to bring in. One of the first marquee names we tried to book was Benny Goodman, and we succeeded.”

Goodman’s Greensboro Concert

The Pops concerts had been at the Carolina Theater and other concert venues in town. But for the performance of one of the all-time greats of jazz, the orchestra decided to create a different mood. They held the concert at the Greensboro Coliseum, arranged dozens of tables on the floor, and established a cabaret atmosphere similar to the concerts of the Boston Pops.

Benny Goodman towards the end of his career

When I asked Mr. Mann about the concert, his eyes lit up. “The concert was wonderful. We had a big crowd and people enjoyed hearing him. Of course, many were there to be able to say that they heard Benny Goodman in person. He was still playing well, with great skill and with the ability to perform the full range of the things he wanted to.

“He played some of his own repertory and some of the great tunes from the Swing Era. The concert had Glenn Miller and standard Goodman tunes like ‘Sing, Sing, Sing’. It was the music of his idiom that he was known for and that people wanted to hear.”

Lunch with the “King of Swing”

When a soloist comes to play with an orchestra, they usually arrive a day or so early to rehearse, and this is how Mann got to meet Benny Goodman. “The orchestra needed someone to take him to lunch, so I was nominated. We ate at the Starmount Forest Country Club.”

Starmount Forest Country Club

One might expect that a person as famous as the ‘King of Swing’ would have a commanding presence and become the center of attention wherever he went. That was hardly the case. “He was a very low-key, unassuming kind of man. If he walked in here now, unless you really knew who he was, you might think he was the mail man or a UPS guy. The great clarinetist had no airs or big ego. He was just a very pleasant person, and was so gracious to me.

“It was such an interesting situation because he was so unimposing for being a man who had such a varied background, done so many things, and met so many people. Goodman had numerous stories he could regale someone with, and yet he was more interested in talking about his house and the things he enjoyed doing. I found myself wondering if should have asked him more about his involvement with Gershwin, Paul Whiteman, and so many other famous   people he knew and worked with during his long career.” But Benny Goodman just wanted to talk about the same things that a regular person would.”

This article originally appeared in Greensboro, North Carolina’s News and Record on December 26, 2010.

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How a Three-Hour Time Change Helped Benny Goodman’s Career

Benny Goodman, “The King of Swing”, is one of the most important figures in jazz.  A strange fact of music history is that we probably would not even know the great clarinetist’s name today if it were not for a real quirk of fate: it was a three-hour difference in time zones that changed Goodman’s career.

Chicago Roots

Goodman was born into a poor Jewish family in 1909 in Chicago. He made the musicians’ union at age 14 and was soon playing all over the Windy City. After a stint in California, he came to New York City in the early 1930’s and made a name for himself there as a virtuoso clarinet player.

In 1934, NBC studios offered Goodman a contract to host their radio show, “Let’s Dance”. It was broadcast nationwide live on Saturday nights from 11 p.m. until 2 a.m. For the first two hours, Benny played music that was fairly conservative and easy to dance to, but for the third hour, he played his own music, a newer kind of music which would later become known as “Swing”. The radio audience did not like this new swing music as much as the more traditional dance music, but NBC allowed Goodman to play it because of the late hour.

A Failing Tour

Goodman did “Let’s Dance” from December 1934 to May 1935, and then decided to take his band on a national tour. That the tour began poorly was an understatement. His first venue, the Roosevelt Hotel in New York, fired Benny after one night. The hotel’s management was conservative and the audience wanted Guy Lombardo-style dance music, not the “new fangled” music that Goodman played. The next stops heading west did not go much better. The concert promoters even tried to cancel the tour after a performance in Denver. Goodman was not attracting much of an audience, and those in the audience did not like what he played. His career was almost finished.

The Palomar Ballroom in Hollywood

By the time they got to California, Goodman and his band were fatigued and discouraged from the poor reception they had been receiving. For their first concert at the Palomar Ballroom in Hollywood, Benny and his band decided to play it safe by performing some older-style dance arrangements that he has just purchased. But the California crowd seemed indifferent to this conservative music.

Gene Krupa’s Suggestion

After the first set, the band did not know what to do because this audience did not even like the older dance music. Finally, drummer Gene Krupa said to the band leader, “If we’re gonna die, Benny, let’s die playing our own thing”. So they brought out the newer swing music that most of the previous audiences had hated.

The young crowd loved what they heard and lively dancing began. When trumpeter Bunny Berigan played his solos on tunes like “Sometimes I’m Happy” and “King Porter Stomp”, the audience cheered. They even approached the bandstand just to watch the band play this new music. At last, Benny Goodman had found the right audience for his music. The date was August 21, 1935, and most people call this day “The Birth of the Swing Era.”

Goodman's name on the marquee of the Paramont Theater in 1937, after his career had taken off.

West-Coast Time

What no one had realized up to then was that most of the audiences for the Goodman’s radio show were in the Eastern and Central Time Zones, and had only heard the first two hours of “conservative” music. But because “Let’s Dance” was broadcast live to a nationwide audience, the 1 a.m. hour when Benny played his newer “swing” music in New York was actually 10 p.m. on the West Coast, prime listening time for California music fans. And not only did the California radio listeners hear the final hour of “Let’s Dance”, but a local disc jockey liked swing and had been playing the clarinetist’s music on his radio show. When Goodman arrived in Los Angeles, there was an audience that was just waiting to hear him play.

The “Swing Era” had now started and “The King of Swing” had just been crowned. Without a three-hour time difference, we might not even know Benny Goodman’s name today.

A version of this originally appeared in Greensboro, North Carolina’s News and Record on December 19, 2010.

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The Story of Silent Night – Spreading the Hymn to the World

Organ builder Karl Mauracher

How Silent Night spread to the rest of the world is an interesting story by itself. In 1819, the master organ builder Karl Mauracher came to St. Nicholas Church to work on the organ. (Perhaps this is why some have thought the organ was not functioning on Christmas Eve, but we don’t know this for sure.) When he left, he probably took the first copy of Silent Night with him when he returned to his home in the Zillertal (near Innsbruck).

Outside of Oberndorf, the music found its way to two musical families: the Rainer’s and the Strasser’s. The Rainer’s sang it on Christmas Eve 1819 in their church in Fügen, and three years later performed it for Tsar Alexander I of Russia and Emperor Franz I of Austria. They also gave the first performance of Silent Night in the United States outside of Trinity Church in New York in 1839. The Strasser’s were a family of glove makers who were also fine singers. Each year, they traveled to German fairs to sell their gloves and often sang to entertain the shoppers. A Leipzig newspaper reported that the Strasser’s sang Silent Night at one of these fairs in 1832.

Trinity Church in New York. This drawing is of the church that was standing in 1839. The church that stands today was consecrated in 1846.

By the middle of the 1800’s, the music was well known and well loved, but its authorship was unknown. To determine who actually created this hymn, the Royal Prussian Court Chapel in Berlin contacted the Benedictine Monastery in Salzburg to ask who might have written Silent Night. In 1854, word of this got to Franz Gruber, and he wrote a two-page document entitled the Authentic Reason for the Composition of the Christmas Song ‘Silent Night, Holy Night’. (Click here to read.) In it, Gruber presented a brief history of the origins of the work and named himself and Mohr as its creators.

Following their collaboration in 1818, the Mohr and Gruber went their separate ways. Gruber continued to serve as organist for St. Nicholas Church and as teacher in Arnsdorf until 1829, when he moved to Berndorf to serve in a similar capacity. It was not until 1835 that he fulfilled his career dream of being solely a musician when he became the choir director, singer, and organist for the parish church in Hallein. He lived there until his death in 1863.

Gruber's grave and museum in Hallein

Mohr left Oberndorf in 1819 and then worked in a number of churches. His longest positions were in Hintersee (ten years) and Wagrain (eleven years), where he died in 1848.

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Franz Gruber’s Verification of Who Wrote “Silent Night”

Even after Silent Night had become well known in Europe, no one knew who composed it. Authorities in Berlin began to search its creator, and contacted the Benedictine Monastery in Salzburg. Franz Gruber was contacted and wrote the following document to finally verify that he and Joseph Mohr had written the famous hymn. This is the only statement about the Christmas carol to come from either Gruber or Mohr. Gruber probably wrote it quickly, and spent more time talking about himself than about his collaborator!

Authentic Reason for the Composition of the Christmas Song “Silent Night, Holy Night!”

On December 24th in the year 1818 the curate of the newly erected parish-church St. Nicola of Oberndorf, Mr. Joseph Mohr handed over a poem to the deputy organist, Franz Gruber (at that time also teacher at Arnsdorf) with the request to compose a suitable melody for two solo voices with choir and the accompaniment of one guitar.

The latter handed his simple composition over to the musically trained clergyman as requested – an exact copy of the original is attached hereto – his composition was produced immediately on Christmas Eve with great applause.

Mr. Joseph Mohr, the originator of this, and other spiritual poems, died on December 4, 1848, the worthy vicar at Wagrain in Pongau.

Franz Gruber, at present choir-conductor and organist at the parish-church of Hallein, who is the third son of a poor linen-weaver, born at Hochburg in the year 1787; after leaving the weaver’s loom was apprenticed at the age of 18 to H. Georg Hartdobler, who was parish-organist at Burghausen. After only three months study he attained such proficiency to be able to play the organ at high mass.

In the year 1806 he switched over to teaching and was employed as teacher and curate the following year at the school of Arnsdorf. From there, after the separation due to territorial changes of the suburb of Oberndorf from the town of Laufen, with the approval of his superiors he took up the organist and choir duties at St. Nicola until the year 1829, when he was promoted to the position of a schoolteacher of Berndorf.

In the year 1833, a vacancy for a choir-conductor and organist at the parish-church of Hallein was offered to him, which he accepted. Two sons and two daughters of his twelve legitimate children are still alive, all of whom have had a musical education. The eldest son, who is employed as teacher at the royal high school of Hallein has already submitted several successful compositions.

In view of the fact that this Christmas song had reached the Tyrol first by means of a well known man from Zillertal and has appeared since then in a slightly different form in a collection of songs at Leipzig; the originator considers it a favor to be able to enclose the song in its original version.

Hallein, 30th December 1854

Franz Gruber
Parish choir conductor and organist

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Franz Gruber's handwritten authentication

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Visiting the Sites of Silent Night

Silent Night Memorial Chapel

Unfortunately, St. Nicholas Church, where Silent Night was first performed in 1818, was torn down in 1906 because of repeated flood damage. Today, the most important Silent Night site to see is the Silent Night Memorial Chapel in Oberndorf, which stands on the site of the original church. (Thankfully, the location has been built up to avoid more flood damage!)

The intimate Memorial Chapel was built in 1924-1937, and contains a beautiful wooden altar and stained glass windows dedicated to the Mohr and Gruber. Every year on December 24th, the surrounding area is lit with hundreds of candles and people from many lands come here to sing and celebrate this wonderful hymn.

Next to the chapel is Oberndorf’s Silent Night and Local History Museum. In addition to presenting the history of the hymn, the museum also has exhibits regarding the history of Oberndorf, its important role in the shipping of salt, and the philosopher and economist Leopold Kohr.

The stained glass window dedicated to Franz Gruber in the chapel in Oberndorf. An image of St. Nicholas Church is in the bottom half.

Other Silent Night Sites

Steingasse 31 in Salzburg. The site of  Mohr’s birth.

The Franz Xaver Gruber Museum in Arnsdorf is located in the school building where Gruber lived and taught. You can visit his living space and classroom. This is the oldest school building in Austria that is still in use.

The Silent Night Museum in Hallein contains Gruber’s piano and furniture, and the original guitar that Mohr used in 1818. Next to the parish church is the original house where he lived. Every Christmas Eve, Mohr’s original guitar is used to accompany the singing of Silent Night which is broadcast to thousands of listeners.

The village of Wagrain has several sites relating to Mohr’s life. One can visit his grave, the church where he played the organ, an elementary school that he built, and an exhibition about him in the Waggerl Haus.

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The Story of Silent Night: The Origin Of The Hymn

An old photo of St. Nicholas Church where Silent Night was first performed on Christmas Eve, 1818. This church was razed in 1906.

With such a beloved piece of Christmas as Silent Night, it is not surprising that there are many stories of how it came to be. Although some of these are lovely tales, most are works of romanticized fiction. After studying as many reliable sources as i could find, including many at Oberndorf, I am quite confident that what follows is what we actually know about its composition.

On December 24th, 1818, Father Joseph Mohr walked over to Franz Gruber’s home. He asked the organist to take a Christmas poem the pastor had written two years earlier and set it to music. Mohr and Gruber would sing the melody, the choir would join in, and the accompaniment would be for solo guitar played by Mohr himself. Years later, Gruber’s own words describe the result. “On the very same evening, [I] fulfilled the musical curate’s request and [the] simple composition was immediately performed on the holy night to the acclaim of everyone present.” Silent Night was born.

No one knows why Mohr wanted this music to be written, or even why he wrote his six-stanza poem in 1816. Many have speculated that the church’s organ was broken, but there are no records to support this. Perhaps Mohr wanted to play his guitar or even just desired to hear something new. One of the more delightful tales was that mice ate through the organ’s bellows, making the instrument unplayable.

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An early copy of Silent Night written by Joseph Mohr

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