# Your Most Moving Moments in Music



## Avey (Mar 5, 2013)

What are your favorite single *moments* in music? Be specific.

What precise melody, measure, theme, lyric, or otherwise strikes you emotionally? Was it a transient feeling? Is it a nostalgic sentiment? Does it move you in a negative way -- sadness, regret? Or maybe it's purely superficial, and you simply think it sounds _really_ amazing?

I'll attempt to illustrate what I'm getting at...


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## Mister Man (Feb 3, 2014)

Everything after the "Ode to Joy" in Beethoven's 9th symphony.

I recently had to euthanize my dog of fourteen years and I used those segments to help "wring out" the tears.


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## Physix (Feb 14, 2014)

In college, I used to have some problem getting along with my roommates. That made me depressed. Whenever I was, Shostakovich String Quartet No. 8, as strange as it sounds, helped me through it.


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## Physix (Feb 14, 2014)

Also, Mahler ninth was heartening to listen to after a family incident.


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## Avey (Mar 5, 2013)

I can think of one particular instance, at least that immediately comes to mind. It's context heavy, and obviously dependent on the narrative of the work -- which lends itself well. To say the least.

There's this moment near the end of _Ruhevoll_ in *Mahler's* _Fourth Symphony_, when the music is (allegedly) slowing down, or at least resolving in some capacity. Except for the horn calling -- casually rising -- the strings are alone, with the notes gliding upward, to D, down a step, back to D, down a step, then up to the F -- and then there's this poignant, real intense pull there for a the next few seconds, as that note just walks back down, into a quite anti-climatic resolution. Pizzicato, winds, etc.

But then, the piercingly high B to G#, the two gates of heaven, trip you right into the effulgence, the magnificently redemptive E-Major that resounds throughout. Holding through for some time, with the timpani overlay and all, you realize we're truly in Heaven, or in the least, somewhere wholly beyond the physical plane that, whether he intended to or not, *Mahler* all too often pierced with his music.

And yet, the best part, is that while one could _feel_ that we've reached some end point, some climax -- you know, dynamics and what not -- this instance carries on. The background instruments again fade away, and with that the typical Mahler sentiment, there's this quiescent descent in the strings, three times rising to some ceiling, like breathing in-and-out, and trying to gather one's self.

Then, on the fourth, we finally reach this wholly distressing, stunning, yet wonderful note -- did we, like, just realize we're up above? We're _somewhere_ else? We have actually lost life, but begun anew?

Split seconds of emotions, then enter harp, enter comfort, warmth, total peace. And the high strings of angels lead you away.

And I'm not even religious.


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## Avey (Mar 5, 2013)

Mister Man said:


> Everything after the "Ode to Joy" in Beethoven's 9th symphony.
> 
> I recently had to euthanize my dog of fourteen years and I used those segments to help "wring out" the tears.


I am truly sorry about that. I do not envy your situation. _Bruder_ need not be men, despite the line.


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## Morimur (Jan 23, 2014)

*Symphony No. 1 in D major by Gustav Mahler*

This Symphony was the soundtrack to a very troubled period in my life; it was my comforter. As such, it'll always hold a special place in my heart. On a humorous note, it also cured me of my teenage obsession with the rock band, "Nine Inch Nails". I know, I had HORRIBLE taste in music back then.


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## PetrB (Feb 28, 2012)

Mister Man said:


> Everything after the "Ode to Joy" in Beethoven's 9th symphony.
> 
> I recently had to euthanize my dog of fourteen years and I used those segments to help "wring out" the tears.


My Condolences on the loss of your pet (those who live with animals know they are far beyond mere pets


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## hpowders (Dec 23, 2013)

The entire adagio from Mahler's 10th symphony. Moves me like few other pieces.

Pettersson 7th symphony, minutes 29-35 in the CD I have of it.

The third movement of Ives Concord piano sonata. Unashamedly romantic and achingly beautiful.

The Larghissimo movement of Schuman's 10th symphony. Profoundly moving in a uniquely American style.


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## shangoyal (Sep 22, 2013)

Usually Beethoven's music is a cathartic experience for me. It's strange that I keep coming back to him, and I am now certain that it's a special affinity that I have for him. Among my favourites are the first two movements of the 7th symphony. Especially the long and expansive _Poco Sostenuto_ introduction to the first movement. I think this movement will always be near the top of my list of favourite pieces of music.

Also, I have a special relationship to the 13th Goldberg variation by Bach. It is a richly ornamented Sarabande in the French style. In general, I like Sarabandes the best among dance movements in Baroque music. My second favourite are Allemandes I think.


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## Manxfeeder (Oct 19, 2010)

Mister Man said:


> I recently had to euthanize my dog of fourteen years and I used those segments to help "wring out" the tears.


I had to do that to my beloved cat. I'm feeling for you right now. It hurts.


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## Manxfeeder (Oct 19, 2010)

There's a point in the first movement of Bruckner's 4th that, with the right performance, is transcendent. Georg Tintner does it the best. This video from Barenboim doesn't quite get me there, but I used it because it was the first video I found. It goes from 8:40 to 10:00.


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## Weston (Jul 11, 2008)

Avery asked for a moment, not entire pieces, so I'll take a stab at it.

Often my favorite moments are an effect I think of as downbeat disorientation. I don't know if there is a proper term for it. That is when the music opens with an unstressed lead-in beat but we are expecting a stressed or accented beat. So for the first few measures I get disoriented and have to do a mental flip-flop. This happens more when the music is played with only a subtle distinction between the stressed and unstressed beats.

It comes across most profoundly in an old pop song, The Who's "I'm Free." Even today when I first hear it, I think the guitar is intending: BAHM-ba-DAHM-ba BAHM-bahm-DUP (rise up a whole step and repeat) BAHM-ba-DAHM-ba BAHM-bahm-DUP

But in reality it is playing : mmm-BOW mmm-Bow mmm-BOW DOW (rise whole step) mmm-BOW mmm-Bow mmm-BOW DOW! Totally different accents.

The Who - "I'm Free"

Such a simple little thing, but it rarely fails to fill me with chills of pleasure. Sometimes I like to try to listen to the whole piece or song with the "wrong" accent orientation throughout, but with a pop song that's rarely possible once the chorus comes in firmly establishing the intended accents.

The most obvious classical piece that does this may be Handel's Bourree from Water Music. 
Bourree.

These are just fun intriguing moments. I do have some favorite deeply moving moments, but they are hard to pinpoint or describe. I'll work on that and get back with you.


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## Blancrocher (Jul 6, 2013)

"La tua bella Euridice..."


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## aleazk (Sep 30, 2011)

Some of my favorite pieces by Ravel... a bad idea, because everytime I listen to them I have bad memories...


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## Queequeg (Feb 12, 2014)

For me, the harpsichord cadenza in Brandenburg Concerto No. 5 by Bach. 

It's almost splitting hairs though and other close choices would be the Flute Concertino in D major by Cecil Chaminade, "The Swan" in Carnival of the Animals by Saint Saens, and the first movement of "Hammerklavier" by Beethoven.


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## DeepR (Apr 13, 2012)

Scriabin - Sonata no. 3 - Movement 3






I just can't keep it dry with this piece. Especially at 3:38 and onwards... when the melody returns in a lower register. It's so beautiful it hurts. I've also attached personal meaning to it so that partially explains it.


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## Avey (Mar 5, 2013)

Manxfeeder said:


> There's a point in the first movement of Bruckner's 4th that, with the right performance, is transcendent. Georg Tintner does it the best. This video from Barenboim doesn't quite get me there, but I used it because it was the first video I found. It goes from 8:40 to 10:00.


To work of *Bruckner's* _Fourth_, too, and using your video...

..at 1:02:40, there's this monumental buildup that begins, tremolando in the strings, the horns rising over and over. You know we've reached the end of the trail, the point of the journey, and I only see massive mountains in the expanse, like we're calling out, bowing down, witnessing something so large and distant. The strings continue to rise, start to scream, timpani rolls, horns carrying us through. Like you found what you were looking for, despite the odds. It's so epic.


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## Winterreisender (Jul 13, 2013)

The closing song from _Die schöne Müllerin_ is always very moving. On the one hand it sounds like a peaceful lullaby, but on the other hand it is sort of about death, and therfore quite unnerving.


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## Berlioznestpasmort (Jan 24, 2014)

_Le Sacre _, whenever I hear it, seems to summon a peculiar, unfathomable yearning. Stravinsky knew what he was doing.

But the most moving moment - now long past for me due to frequent listening or REASON - is the opening of Brahms' 3rd. The sweeping first theme in the strings - repeated throughout - seemed something I'd heard before perhaps in a previous life (not something I believe in by any means!) but it was compelling, nearly overwhelming and drew me back to the symphony time after time to re-experience. That feeling is now gone, likely never to be retrieved.


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## MrTortoise (Dec 25, 2008)

Queequeg said:


> For me, the harpsichord cadenza in Brandenburg Concerto No. 5 by Bach.


That is one of my favorite musical moments as well. The harmonic tension Bach builds sometimes feels unbearable!


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## Ingélou (Feb 10, 2013)

The 'Eia mater' change of key in Vivaldi's Stabat Mater.


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## Donata (Dec 28, 2013)

Listening to Mascagni's Intermezzo and Chopin during my down time, while I was having a tough time at an army training school.


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## Rhythm (Nov 2, 2013)

Weston said:


> ... Often my favorite moments are an effect I think of as downbeat disorientation. I don't know if there is a proper term for it. That is when the music opens with an unstressed lead-in beat but we are expecting a stressed or accented beat. So for the first few measures I get disoriented and have to do a mental flip-flop. This happens more when the music is played with only a subtle distinction between the stressed and unstressed beats.
> 
> < snip >
> 
> ...


Good observation!

When listening to the Bourree, I couldn't hear the melody line's first downbeat either until I started counting 1, 2, 1, 2, 1, 2, etc. to feel the accented notes. Yeah, me too, I had flipped to the flop and couldn't get out :lol:.

I went to the score, and there it was: seeing the first two notes in the melody line, the upbeat is pitched as much as a minor third higher than the pitch of the downbeat. Funny thing is, in most instances, I guess we're used to hearing the upbeat pitched lower than the downbeat. Anyway, it made for a fun listening exercise for stressed and unstressed beats.


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## starthrower (Dec 11, 2010)

Infernal Danse by Stravinsky


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## Itullian (Aug 27, 2011)

middle movement of Beethovens Emperor concerto always brings tears.
His Les Adieux sonata makes me feel happy as I think of reuniting with loved ones.


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## starry (Jun 2, 2009)

Can we separate what we find moving in a work from the actual performance of it that brings that out though? A moment could be very moving on one performance and not really that significant in another.


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## DeepR (Apr 13, 2012)

starry said:


> Can we separate what we find moving in a work from the actual performance of it that brings that out though? A moment could be very moving on one performance and not really that significant in another.


How do we seperate the work from performance? I don't think I can be moved from just looking at the notes.


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## Mahlerian (Nov 27, 2012)

DeepR said:


> How do we seperate the work from performance? I don't think I can be moved from just looking at the notes.


I have. Looking at Mahler scores is a very powerful experience sometimes.


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## hpowders (Dec 23, 2013)

True. I've heard horrible performances of the adagio from Beethoven's 9th and also sublime performances.
One should indicate an example of the performance or performances that move you.

Any of the 3 or 4 Karajan performances plus the Gunter Wand performance of this adagio are moving experiences as far as I am concerned. Stay away from Riccardo Chailly.


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## Rhythm (Nov 2, 2013)

Mahlerian said:


> I have. Looking at Mahler scores is a very powerful experience sometimes.


I've also experienced powerful moments looking at scores while relying on my memory for listening, page by page. I've assumed some people want silence in the room while looking at or studying scores, perhaps to see what hasn't been previously heard.


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## Weston (Jul 11, 2008)

Build ups to a release or to triumphant moments often do it for me: The unexpected quiet key change at the very of end Beethoven's Piano Concerto #5, movement 2, when it cautiously dips a toe in the water of the theme that is about to explode any second now - then the EXPLOSION! It's a combination of musical storytelling, suspense and cinematic timing.

Schumann does something similar and equally effective in his piano concerto though in this case the theme seems to briefly evolve into the third movement theme, or he makes it as evident as possible how the themes are related before it too explodes. 

Both of those moments get me every time.

Or to put it another way, as some of my fellow illustrators say, "The drama happens before and after the bloodshed."


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## hpowders (Dec 23, 2013)

Vincent Persichetti Piano Sonata #5, second movement, "Tenderly". Performed by Geoffrey Burleson. Simply very moving, in a concise three and a half minutes.


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## Skilmarilion (Apr 6, 2013)

If I wanted to narrow down all such moments, I don't know where such a list would start ... or end, for that matter.

That said, one of my favourites is in the slow movement of Beethoven's 5th, when he varies the opening cello theme for the second time. It's one of those moments where I wonder how in the world someone could create something so exquisite.

Begins at ~ 3:34:


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## Alydon (May 16, 2012)

There are many for me but the one I have to choose are the closing bars of Elgar's 2nd symphony.


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## starry (Jun 2, 2009)

I suppose you could say a performer brings out something that is latent in the music (it's just that others fail to do that), unless they actually change the notes as written.


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## Avey (Mar 5, 2013)

Mahlerian said:


> I have. Looking at Mahler scores is a very powerful experience sometimes.


1. Yes. In those particularly intense, frustrating, impassioned, frenzied, seriously significant, strewn-out, bizarre, consciously redundant, and mind-bending moments in life, the phenomenal release 20 & 17 measures from the _rondo_'s end in *Mahler's* Ninth appears in my head. Both in page and sound.

2. Standing out in job applications: "Hobbies: Working hard, staring at a computer, _reading Mahler scores despite the fact that I don't play any instrument particularly well, nor do I fully understand why he uses a glockenspiel, when he's got all that other sound, but who am I judge_, filling out timesheets"


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## Avey (Mar 5, 2013)

Alydon said:


> There are many for me but the one I have to choose are the closing bars of Elgar's 2nd symphony.


Gosh, I could on for days about moments in Elgar's music. The finale of the _First Symphony_, where his _noblimente_ theme just gets ATTACKED -- truly expected to break down -- yet it perseveres not just alone, but actually quells the assault from the strings, resolving into some evolved being -- a better lifeform, a more _noble_ thing.

I hear much more than fanfare and casual drama. There's something far more innate, poignant, and personal here.


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## hpowders (Dec 23, 2013)

Elgar? Folks around here act as if he never wrote a great violin concerto, a touching masterpiece from beginning to end.


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## worov (Oct 12, 2012)

Samuel B. was the moving moment of the day :


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## Avey (Mar 5, 2013)

hpowders said:


> Elgar? Folks around here act as if he never wrote a great violin concerto, a touching masterpiece from beginning to end.


I'm going to be selfish here...

_See MY post, http://www.talkclassical.com/22478-your-favorite-violin-concertos-7.html#post589190_


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## tdc (Jan 17, 2011)

I have too many moving moments in music to list them all, and I don't think I can rank which is the most moving, so I'll just name one of my all time most moving musical moments:

The Lake of Tears movement from Bartok's _Bluebeard's Castle_.


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## Dustin (Mar 30, 2012)

Three that came to mind first:

1. The extraordinary transition from the second to third movement of Beethoven's "Waldstein" Sonata. To me, it is the most unimaginably beautiful sunrise, in musical form. 

2. The short Adagio of Beethoven's 3rd Cello Sonata. I can't explain how or why this short little movement moves me so much but it has the most serene, heavenly quality about it. 

3. The entire Adagio of Beethoven's 5th Cello Sonata. I don't understand why I practically never hear anyone talk about his last 3 cello sonatas. In my opinion, Beethoven may have written things as good, but never better.


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## KenOC (Mar 7, 2011)

Dustin said:


> 3. The entire Adagio of Beethoven's 5th Cello Sonata. I don't understand why I practically never hear anyone talk about his last 3 cello sonatas. In my opinion, Beethoven may have written things as good, but never better.


There are seven movements in Beethoven's two Op. 102 cello sonatas. Only two are longer than, say, typical Beatle songs. But there's so much _music _in there!


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## Itullian (Aug 27, 2011)

The "man and wife" duet from the Magic Flute.
so touching.


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## Haydn man (Jan 25, 2014)

The slow movement of Mozart Piano Concerto No 23 moves me every time I listen to it
It is as close to perfection as music can get and uplifts my soul.........or something like that


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## hpowders (Dec 23, 2013)

Haydn man said:


> The slow movement of Mozart Piano Concerto No 23 moves me every time I listen to it
> It is as close to perfection as music can get and uplifts my soul.........or something like that


We agree on this. I love the entire concerto and consider it Mozart's best.


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