# How to start a major piece of music ..



## Enthusiast (Mar 5, 2016)

It seems to me that an imaginative opening for a piece of music is a hallmark of the Romantic. I think Baroque and Classical composers tended to just start their pieces although it does seem that late Mozart and late Haydn (The Creation!) took more interest in the potential of interesting openings and Beethoven did the same earlier in his career - perhaps from 1800 onward. The thing is I think the interest in imaginative openings sort of tailed off during the 20th century but remains a feature that some (but only a few) composers cared about. I'm sure these are not original thoughts! What do _you _think (and what do _you _know)?


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## Pat Fairlea (Dec 9, 2015)

Two obvious candidates for the 'imaginative opening' award, in the context of their times, are Beethoven's 4th Piano Concerto and Liszt's B minor Sonata. 
I have a fondness for pieces that introduce themselves quietly (so maybe not the Liszt!). Two openings that are very effective in that way, though maybe not 'imaginative', are Sibelius' 6th Symphony and Ravel's Piano Trio.


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## MarkW (Feb 16, 2015)

Seems to me your premise is skewed. The composer who most obsessively experimented with new ways to begin pieces was Beethoven, more so than any Romantic or 20th c composer -- and most of them were furthering (or imitating) something that Beethoven already tried. (Examples: Symphonies 3, 5, 8, and 9; piano concertos 4 and 5; violin concerto, "Waldstein" sonata, slow movement of middle Rasumovsky, Quartets opp. 95, 131, sonatas opp. 106, 109,111. . . etc. etc.). Even the opening of the Liszt Sonata is little more than first cousin to that of the Grosse Fuge.


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## Sun Junqing (Sep 26, 2018)

there is one composer coming to my mind Jean-Fery Rebel


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## Larkenfield (Jun 5, 2017)

I prefer the slow suspenseful opening like in Beethoven's 4th and in Mahler's 1st. Then as the suspenseful opening draws to a close, the rest of the first movement gives away and breaks free. Beautiful. I don't think it has to be a major opening with all flags waving, but a _memorable_ opening.


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## Enthusiast (Mar 5, 2016)

MarkW said:


> Seems to me your premise is skewed. The composer who most obsessively experimented with new ways to begin pieces was Beethoven, more so than any Romantic or 20th c composer -- and most of them were furthering (or imitating) something that Beethoven already tried. (Examples: Symphonies 3, 5, 8, and 9; piano concertos 4 and 5; violin concerto, "Waldstein" sonata, slow movement of middle Rasumovsky, Quartets opp. 95, 131, sonatas opp. 106, 109,111. . . etc. etc.). Even the opening of the Liszt Sonata is little more than first cousin to that of the Grosse Fuge.


Many would consider Beethoven post-1800 as an early Romantic and one of the pioneers or Romanticism. So my premise seems secure so far. My premise also allows that late Haydn and Mozart showed strong signs of the tendency I talk of ...


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## Enthusiast (Mar 5, 2016)

That's a disappointment! I really love the very varied and imaginative ways that Romantic composers (from mid-period Beethoven onward but also including some very late Haydn and Mozart) start important works, particularly symphonies and concertos. But I may be alone in this? Think of any Brahms symphony or the piano concertos, or of Schubert's Great, or ... the list is so long. And it is there in chamber music, too. I saw it as a development in music but it seems to be only a hallmark of Romanticism? Among modern composers, only the most Romantically (capital R) inclined seem to continue the custom.


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## Crudblud (Dec 29, 2011)

A bold claim, but without defining your terms you're inviting people to respond at cross-purposes, so it would be helpful if you explain what you mean. You've listed several works and said that they have "imaginative" openings, but have not explained what is meant by that. For example, could you explain what it is for you that makes the opening of Schubert's 9th "imaginative"? I think it is also fair to ask you what it is that makes openings of 20th century works not "imaginative". Given that the 20th century is one of great musical diversity, it might be best for you to give several examples from different composers.


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## Ras (Oct 6, 2017)

Just make a big *BOOM CRASH BANG!* like Beethoven...


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