An Excerpt from
My (Not So) Classical Life in Music ©2011, Bobby D. Lux, All Rights Reserved
xcerpt from “Beethoven –
My (Not So) Classical Life in MusicBy Bobby D. LuxFor Immediate Release:
books is proud to release the following excerpt from “Beethoven –
My (Not So) Classical Life in Music” a forthcoming book by
Mickey Templeton, the premiermusic journalist of the early nineteenth century. Templeton was best known for his books
The Piece that
Hard Times and Fast Women
Six Months onthe Road to Hell with Franz Schubert,
Bach - From Skid Row to Front Row in Only 65Years.
As many of you know, this manuscript, previously thought lost to history, was recentlydiscovered in the storage facility of Tem
-great-great-granddaughter, unpublishedand untouched.
In anticipation of the book‟s release in time for the holidays, we‟re excited to
share a brief excerpt from one of the many interviews Templeton conducted with thelegendary composer. All of which appear unedited in the book.
The year is 1808. Composers were huge. They were selling out halls and theatersacross the world. The formula was simple. You write a symphony, you cash in. By that time,
you‟d already written four symphonies but were on the verge of premiering
your fifth -
Let me stop you right there.
talk about Symphony number five. Not a
day goes by that I don‟t think about that piece of music. You want to know the truth, here it is.I‟ve never told anyone this, but here goes. I hate that symphony. I wish I‟d ne
ver written it.
You‟re right, I was ready to premiere it in Vienna and then take it on tour. It was done. It was
finished. Three days before the opening, the concert hall promoter who also happens to be theguy who was fronting most of the cash for the tour comes
up to me and says that something‟smissing from the symphony. He tells me there‟s no hook.
‟t hear it. Ther
‟s nothing tha
tgrabs him. They wanted another Mozart
twenty-fifth. It just needed that something extraaccording to him. Quick and catchy. Otherwise, he hinted, there may not be money for thetour. So, I go home that night, that night, and I write the opening. Duh-duh-duh-