Julius Weiss
Encyclopedia
Julius Weiss was a German music professor, best known for being Scott Joplin
's "first piano teacher." He is credited with inspiring and influencing Joplin, considered "the king of ragtime," during his early years. He taught Joplin music and other subjects for a number of years, beginning when Joplin was eleven years old, and did so free of cost. Joplin's parents, former slaves, had no way to pay for private lessons. One writer refers to Weiss as "legendary," since little was known about him until 60 years after Joplin's death. Joplin's widow recalls that in her husband's "later years (1907 to 1917), he sent his teacher, by then ill and poor, gifts of money from time to time," until "the older man died."
, Germany
, of Jewish heritage. His parents were also born in Saxony. He graduated from the University of Saxony
, presumably when he was 19. He moved to the United States in the late 1860s and first settled in St. Louis, Missouri
, in order to teach music. In the late 1870s he was hired to privately tutor the children of a wealthy landowner in the lumber industry, Robert W. Rodgers, in Texarkana, Texas
. After moving to Texarkana he taught the Rodgers children various subjects, including German, astronomy, mathematics, and violin. He also took on other students in town, and listed his profession with the town recorder as "Professor of music." Musicologist Edward Berlin notes that one of Rodger's children credited Weiss for having inspired his lifelong appreciation and love of opera.
According to Joplin biographer, Rudi Blesh, Weiss, then about age 39, "heard young Joplin play and as a result gave him free lessons in piano, sight reading, and the principles to extend and confirm his natural instinct for harmony." Although young Joplin was said to have received some beginner's guidance from local teachers, it was Weiss who first introduced Joplin "to European art music," and the "European masters." Blesh writes that "the professor is said to have played the classics for him, and to have talked of the great composers, and especially of the famous operas."
Berlin points out that Weiss, through his teaching, had "a profound influence on the young Joplin." It is assumed that "the essence of what Weiss accomplished was to impart to Scott an appreciation of music as an art as well as an entertainment. Weiss helped shape Joplin's aspirations and ambitions toward high artistic goals," by introducing him to theories of music composition, European culture, and the benefits of education. During those years, Joplin's father moved out and left his wife and six children, forcing Joplin's mother to work in menial house-care jobs. Weiss helped Joplin's mother acquire a second-hand piano. He continued teaching Joplin for years, free of cost, until his employment with the Rodgers family terminated and he moved away. Albrecht speculates that without his father present, the young Joplin "may have found a substitute in his teacher - an 'intellectual parent'" Joplin's widow notes that in his later years after he became a recognized composer, he sent Weiss, "by then ill and poor, gifts of money from time to time," [until] Weiss later died.
As an adult, Joplin taught music to aspiring pianists, some of whom became notable composers of ragtime. "They looked upon him almost as a hero," adds Berlin. Joplin himself enrolled in a college of music in his late 20s, an indication, writes Berlin, of his "respect for education." Joplin had obviously "had some training in fundamental theory," historian John Hasse points out, in order for him to enroll in advanced harmony and composition courses at the college. Whereas Larry Walz, of The Texas State Historical Association
believes that "Weiss was surely the inspiration for Scott Joplin's quest to continue his musical education."
. Numerous music historians, along with Joplin's widow, have pointed out similarities between the story and theme of Treemonisha with Joplin's own childhood years. Berlin describes the libretto (the written text of the opera,) as something more than "just a fictional vehicle for Joplin's music," as the story is autobiographical in its message. Key aspects of the storyline were so important to understanding the opera, that Joplin wrote portions of the story in the opera's Preface, so that viewers would need to read it first. Joplin's widow, Lottie, likewise drew a connection between Joplin's personal aspirations and the traits he gives to Treeemonisha, when she says about her earlier husband:
Berlin asks, "Does Treemonisha represent Joplin?" In attempting to answer that question, Berlin points out that the opera, in many ways, "is a medium through which he commemorated people in his life and expressed some of his most personal feelings." "Ignorance is criminal," Joplin writes on page 209 of the libretto. And education, which was necessary to earn respect and livelihood, should become a goal of the black community. Joplin writes that the black people in his opera lived "in dense ignorance, with no one to guide them, as the white folks had moved away" (p. 5) Treemonisha, the protagonist of the opera, was a black teenager who was educated by a white woman, "just as Joplin received his education from a white music teacher," notes Berlin. In addition, Treemonisha began her education from the white teacher at age 7, only a few years apart from the age that Joplin began studying with Weiss.
The setting of the story also takes place near Joplin's childhood home. And at the conclusion of the opera's Preface, there are parallels to Joplin's own early life, where he writes, "The opera begins in September 1884. Treemonisha, being eighteen years old, now starts upon her career as a teacher and a leader" (libretto p. 7). Berlin speculates that Joplin was "commemorating something." He notes that "Weiss, Joplin's early music teacher, [also] left Texarkana in . . . 1884." Music historian Theodore Albrecht also believes the date was relevant to young Joplin's life:
In 1908, Joplin did become a teacher, and during the peak of his career, he self-published a ragtime music manual for aspiring students entitled, School of Ragtime. The manual contained exercises and notes written by Joplin. However, Joplin generally "shied away from public performances later in his career." Ragtime expert Terry Waldo explains that Treemonisha was "Joplin's greatest attempt to synthesize all of his musicial and ideological thought." Walz, in addition, notes the "influence of mid-nineteenth-century German operatic style" is quite obvious in Treemonisha.
Waldo explains many of Joplin's themes:
discusses Joplin's last composition, "Magnetic Rag
," before Joplin's early death. The song was subtititled "Syncopations classiques," which Rifkin describes as a "valedictory work." He notes that in its middle sections, Joplin seems to be paying "tribute" to a "transplanted Middle-European dance music" . . . and the European masters whom he tried to emulate. Rifkin speculates that the composition also "seems like a farewell, as if he knew how brief and bleak was the time still alloted him."
Scott Joplin
Scott Joplin was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas...
's "first piano teacher." He is credited with inspiring and influencing Joplin, considered "the king of ragtime," during his early years. He taught Joplin music and other subjects for a number of years, beginning when Joplin was eleven years old, and did so free of cost. Joplin's parents, former slaves, had no way to pay for private lessons. One writer refers to Weiss as "legendary," since little was known about him until 60 years after Joplin's death. Joplin's widow recalls that in her husband's "later years (1907 to 1917), he sent his teacher, by then ill and poor, gifts of money from time to time," until "the older man died."
Early life and career
Weiss was born in SaxonySaxony
The Free State of Saxony is a landlocked state of Germany, contingent with Brandenburg, Saxony Anhalt, Thuringia, Bavaria, the Czech Republic and Poland. It is the tenth-largest German state in area, with of Germany's sixteen states....
, Germany
Germany
Germany , officially the Federal Republic of Germany , is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km2 and has a largely temperate seasonal climate...
, of Jewish heritage. His parents were also born in Saxony. He graduated from the University of Saxony
Saxony
The Free State of Saxony is a landlocked state of Germany, contingent with Brandenburg, Saxony Anhalt, Thuringia, Bavaria, the Czech Republic and Poland. It is the tenth-largest German state in area, with of Germany's sixteen states....
, presumably when he was 19. He moved to the United States in the late 1860s and first settled in St. Louis, Missouri
Missouri
Missouri is a US state located in the Midwestern United States, bordered by Iowa, Illinois, Kentucky, Tennessee, Arkansas, Oklahoma, Kansas and Nebraska. With a 2010 population of 5,988,927, Missouri is the 18th most populous state in the nation and the fifth most populous in the Midwest. It...
, in order to teach music. In the late 1870s he was hired to privately tutor the children of a wealthy landowner in the lumber industry, Robert W. Rodgers, in Texarkana, Texas
Texarkana, Texas
Texarkana is a city in Bowie County, Texas, United States. It effectively functions as one half of a city which crosses a state line — the other half, the city of Texarkana, Arkansas, lies on the other side of State Line Avenue...
. After moving to Texarkana he taught the Rodgers children various subjects, including German, astronomy, mathematics, and violin. He also took on other students in town, and listed his profession with the town recorder as "Professor of music." Musicologist Edward Berlin notes that one of Rodger's children credited Weiss for having inspired his lifelong appreciation and love of opera.
According to Joplin biographer, Rudi Blesh, Weiss, then about age 39, "heard young Joplin play and as a result gave him free lessons in piano, sight reading, and the principles to extend and confirm his natural instinct for harmony." Although young Joplin was said to have received some beginner's guidance from local teachers, it was Weiss who first introduced Joplin "to European art music," and the "European masters." Blesh writes that "the professor is said to have played the classics for him, and to have talked of the great composers, and especially of the famous operas."
Berlin points out that Weiss, through his teaching, had "a profound influence on the young Joplin." It is assumed that "the essence of what Weiss accomplished was to impart to Scott an appreciation of music as an art as well as an entertainment. Weiss helped shape Joplin's aspirations and ambitions toward high artistic goals," by introducing him to theories of music composition, European culture, and the benefits of education. During those years, Joplin's father moved out and left his wife and six children, forcing Joplin's mother to work in menial house-care jobs. Weiss helped Joplin's mother acquire a second-hand piano. He continued teaching Joplin for years, free of cost, until his employment with the Rodgers family terminated and he moved away. Albrecht speculates that without his father present, the young Joplin "may have found a substitute in his teacher - an 'intellectual parent'" Joplin's widow notes that in his later years after he became a recognized composer, he sent Weiss, "by then ill and poor, gifts of money from time to time," [until] Weiss later died.
As an adult, Joplin taught music to aspiring pianists, some of whom became notable composers of ragtime. "They looked upon him almost as a hero," adds Berlin. Joplin himself enrolled in a college of music in his late 20s, an indication, writes Berlin, of his "respect for education." Joplin had obviously "had some training in fundamental theory," historian John Hasse points out, in order for him to enroll in advanced harmony and composition courses at the college. Whereas Larry Walz, of The Texas State Historical Association
Texas State Historical Association
The Texas State Historical Association or abbreviated TSHA, is a non-profit educational organization, dedicated to documenting the rich and unique history of Texas. It was founded on March 2, 1897. As of November 2008, TSHA moved from Austin to the University of North Texas in Denton.The executive...
believes that "Weiss was surely the inspiration for Scott Joplin's quest to continue his musical education."
Treemonisha
In 1911, Joplin published one of the most important compositions of his life: the opera TreemonishaTreemonisha
Treemonisha is an opera composed by the famed African-American ragtime composer Scott Joplin. Though it encompasses a wide range of musical styles other than ragtime, and Joplin did not refer to it as such, it is sometimes incorrectly referred to as a "ragtime opera"...
. Numerous music historians, along with Joplin's widow, have pointed out similarities between the story and theme of Treemonisha with Joplin's own childhood years. Berlin describes the libretto (the written text of the opera,) as something more than "just a fictional vehicle for Joplin's music," as the story is autobiographical in its message. Key aspects of the storyline were so important to understanding the opera, that Joplin wrote portions of the story in the opera's Preface, so that viewers would need to read it first. Joplin's widow, Lottie, likewise drew a connection between Joplin's personal aspirations and the traits he gives to Treeemonisha, when she says about her earlier husband:
- "He was a great man, a great man! He wanted to be a real leader. He wanted to free his people from poverty, ignorance, and superstition, just like the heroine of his ragtime opera, Treemonisha.
Berlin asks, "Does Treemonisha represent Joplin?" In attempting to answer that question, Berlin points out that the opera, in many ways, "is a medium through which he commemorated people in his life and expressed some of his most personal feelings." "Ignorance is criminal," Joplin writes on page 209 of the libretto. And education, which was necessary to earn respect and livelihood, should become a goal of the black community. Joplin writes that the black people in his opera lived "in dense ignorance, with no one to guide them, as the white folks had moved away" (p. 5) Treemonisha, the protagonist of the opera, was a black teenager who was educated by a white woman, "just as Joplin received his education from a white music teacher," notes Berlin. In addition, Treemonisha began her education from the white teacher at age 7, only a few years apart from the age that Joplin began studying with Weiss.
The setting of the story also takes place near Joplin's childhood home. And at the conclusion of the opera's Preface, there are parallels to Joplin's own early life, where he writes, "The opera begins in September 1884. Treemonisha, being eighteen years old, now starts upon her career as a teacher and a leader" (libretto p. 7). Berlin speculates that Joplin was "commemorating something." He notes that "Weiss, Joplin's early music teacher, [also] left Texarkana in . . . 1884." Music historian Theodore Albrecht also believes the date was relevant to young Joplin's life:
- "With his teacher no longer available to him, the 16-year-old Scott saw no reason to remain in town. . . He then set off upon his career as a musician, perhaps with hopes of eventually becoming a teacher and leader of his people, the course he ascribes to his heroine Treemonisha.
In 1908, Joplin did become a teacher, and during the peak of his career, he self-published a ragtime music manual for aspiring students entitled, School of Ragtime. The manual contained exercises and notes written by Joplin. However, Joplin generally "shied away from public performances later in his career." Ragtime expert Terry Waldo explains that Treemonisha was "Joplin's greatest attempt to synthesize all of his musicial and ideological thought." Walz, in addition, notes the "influence of mid-nineteenth-century German operatic style" is quite obvious in Treemonisha.
Waldo explains many of Joplin's themes:
- "Of all the ragtime music, Joplin's is the most purely artistic and autobiographical. It is music written for its own sake and always reflective of Joplin's personal life. . . "
"Magnetic Rag"
Musicologist and ragtime recording artist Joshua RifkinJoshua Rifkin
Joshua Rifkin is an American conductor, keyboard player, and musicologist. He is best known by the general public for having played a central role in the ragtime revival in the 1970s with the three albums he recorded of Scott Joplin's works for Nonesuch Records, and to classical musicians for his...
discusses Joplin's last composition, "Magnetic Rag
Magnetic Rag
"Magnetic Rag" is a ragtime composition for piano by Scott Joplin. It is significant for being the last rag which Joplin published in his lifetime, three years before his death in 1917...
," before Joplin's early death. The song was subtititled "Syncopations classiques," which Rifkin describes as a "valedictory work." He notes that in its middle sections, Joplin seems to be paying "tribute" to a "transplanted Middle-European dance music" . . . and the European masters whom he tried to emulate. Rifkin speculates that the composition also "seems like a farewell, as if he knew how brief and bleak was the time still alloted him."