Category Archives: Rehearsal Notes

Comment on Mary Baker Eddy

Mary Baker Eddy
Mary Baker Eddy (1821 – 1910)

Thinking about the relationship between Christian Science, the music of Prokofiev and the tenets of Judaism, one notable essay* about the personality and writings of Mary Baker Eddy stands out (Eddy founded the Christian Science religion in Boston at the end of the 19th century),  It seems she was a woman of incredible capacity and determination, despite lifelong ill-health.  That’s on the positive side.  The negative side is more interesting, however:

  1.  Her writings and beliefs are not exactly Christian, nor are they scientific.
  2.  Her thinking was hardly original, but derived from a competing “guru” of the time,   named Phineas P. Quimby.  (the name itself raises suspicions of charlantry!).
  3.  She was outrageously paranoid, and blamed the death of her 3rd husband on poisoning from enemies.
  4. In another sign of mental instability:  she told colleagues she wanted to be remembered as “mentally murdered”.

The fine line between genius and insanity?  I recommend the 2002 article:


Accessed 12.01.2018

Who Knew????


Not many classical composers are known for their religious inclinations, including any general awareness of Prokofiev’s penchant for Christian Science:  A vaguely Protestant, cultish religion developed in the USA by Mary Baker Eddy and her published text, Science and Health with Key to the Scriptures (1875).  His diary indicates that from about 1924 both Prokofiev and his wife Lina  followed Christian Science principles, particularly the tenet that sickness was an illusion.  Meditation around this tenet had a calming effect.

But, did it affect his music?  Sources claim that it did.  He heavily condemned his own opera The Fiery Angel for its moral heresy, for example, and subsequently wrote mainly of characters with high moral virtues and a spiritual attitude.

Fortunately all his confusion between spiritual urges and sensual text occurred well after the creation of Overture on Hebrew Themes (1919) in New York. That many (reform-progressive) Jews promoted Christian Science in the late 19th century, suggests the Overture never provoked spiritual condemnation from its composer,

Prokofiev left America in 1920 for life in Paris (and later a short stay in  Bavaria, where he wrote the “heretical”  Fiery Angel).  He returned permanently to Russia in 1936.

As for Christian Science, he remained convinced of the faith for the rest of his life.


Journal of Religion and Society, Vol 15 (2013).  Rolf Swensen,  “Israel’s Return to Zion” – Jewish Christian Scientists in the United States, 1880 – 1925.

Bathtub Bulletin (July 19, 2017).  Mike Zonta. Prokofiev the Christian Scientist (  Accessed 10.1.2018.

Wikipedia.  Sergei Prokofiev.  Accessed 10.1.2018

Wikipedia. Overture on Hebrew Themes.  Accessed 10.1.2018






Prokofiev: A Surprising Commission


The Russian émigré ensemble Zimro approached Serge Prokofiev (1891-1953)  during his USA period with a commission and a book of Jewish folk tunes for guidance! The result was a charming sextet with Klezmer influences:  Overture on Hebrew Themes opus 34 (1919), for clarinet, piano and string quartet.  It was premiered in New York City in 1920, with Prokofiev as guest pianist.  The Overture was later grudgingly transcribed for chamber orchestra (1934):   “I don’t understand what sort of obtuse people could have found it necessary to reorchestrate….”cropped-east-windies-logo-small-jpg3

Neilsen’s childhood Home in Fumen, Denmark

odense-mapCarl Nielsen grew up in the village of Norre Lyndelse, south of Odense on the Island of Funen, Denmark.  carl-nielsen-homenielsen-childhood-home






 Nielsen’s Funen home, now a museum













Carl Nielsen (1865-1931)

East Windies Players begin 2017 by embarking on 20th Century music with Carl Nielsen’s famous Wind Quintet Op 43.  Here is some generic info about Nielsen (for starters):




Carl Nielsen age 14, 16th  Battalion, Odense
  • Denmark’s most prominent composer (orchestral and chamber music)
  • Works are organized by CNW (Carl Nielsen Works) numbers
  • Generally well-received during his lifetime, although his 5th Symphony was described by one critic as:         

“Filthy music from [the] trenches” and “Bloody, clenched fist in the face of an unsuspecting snob audience.”

Nielsen’s Wind Quintet Op 43 (1922)

  •  Written specifically for members of the Copenhagen Wind Quintet
  • Opus 43 has become a major “staple” of the modern wind quintet repertoire
  • Structure: 3 movements a) Allegro  b) Minuet  c) Prelude/Theme & Variations.
  • Variation theme based on Nielsen’s melody for his hymn:
    • My Jesus Let my heart receive
  • Performed at Nielsen’s funeral in 1931


  • Influenced by song; background interest in folk music
  • Energetic rhythms and generous orchestration
  • Ambiguous re: late Romanticism and nationalistic theme

Life Events 

  • Raised in modest circumstances on Island of Funen
  • Father worked as a house painter and occasional musician (played “fiddle” and cornet)
  • Played violin (at first self-taught/age 6) and bugle/trombone; Joined army band age 14  (16th Battalion near Odense)
  •  Played in the Violin 2 section, Royal Danish Orchestra (1889 – 1805)
  • Tempestuous marriage (open relationship) to Danish sculptor, Anne Marie Broderson (1891)            
  • Fathered five children (only 3 with Anne Marie)
  • Died of heart attack, age 66.