# What is the most emotionally moving classical composition you've heard?



## AnthonyAlcott (May 16, 2014)

Hi, I'm new. I am very interested in pieces that really move the soul and generate profound emotional states.

I find a lot of compositions very technically interesting and stimulating in many ways. But some pieces really stir up my emotions, and I think I like that most.

There are many works that do this for me, but perhaps my favorite at the moment is Elgar's piano concerto (opus 90). If I'm in the right state, it moves me to tears and makes me think and feel beautiful things. If I needed music for people to remember me by after I died, I would like them to hear this piece.

So what do you think? I'm sure I'll be suggested many things I'm unaware of, which is what prompted my post. Thank you in advance.


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## cwarchc (Apr 28, 2012)

I've posted this before, and make no excues for it
I have personal history, with the images


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## PetrB (Feb 28, 2012)

Specific text or image triggers aside, there were a number of posts in another thread
http://www.talkclassical.com/31937-mahlers-5s-opening-made.html

I.e. this piece makes me cry, get all emotional, etc.








...._Music stirs the emotions._

I think the most accurate answers about _why_ is not really about the music, but the listener. The listener has to bring that emotion, have it within, to have the music trigger the emotion. Interesting that the emotions triggered might be quite similar, _while the actual triggers can be pieces of music which vary greatly in their quality and 'character.'_

The work then is 'highly emotional' _only if the listener is_, and any particular work is more a trigger of that response in the listener vs. 'the cause.'

People bring what they carry within themselves to the music. The music, whatever people generally think about its 'emotional character,' is a pretty neutral party in these events


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## Mister Man (Feb 3, 2014)

The fourth movement of Beethoven's 9th symphony _always_ gets me.


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## Levanda (Feb 3, 2014)

For me Tchaikovsky's ballet Black swan music.


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## schuberkovich (Apr 7, 2013)

Beethoven is the man for moving music. In my opinion his two most moving works:


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## Winterreisender (Jul 13, 2013)

This song by Schubert is a perpetual favourite of mine:






There is something chilling about it because the piano part is so sparse and yet the vocalist seems to cry out with desperation and despair.


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## GGluek (Dec 11, 2011)

Beethoven: Missa Solemnis, Opus 111, Eroica funeral march; Mahler: Das Lied, Sixth Symphony finale; Strauss: final Trio and Duet from Der Rosenkavalier; Schubert: B-flat sonata, C major Quintet, Die Wintereisse; Prokofiev: love music and funeral music from Romeo and Juliet . . .


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## ArtMusic (Jan 5, 2013)

PetrB said:


> Specific text or image triggers aside, there were a number of posts in another thread
> http://www.talkclassical.com/31937-mahlers-5s-opening-made.html
> 
> I.e. this piece makes me cry, get all emotional, etc.
> ...


Statistical fact would be that many listeners would react emotionally to the finest pieces of CM. Other pieces far, far less so, which is perhaps why the OP started this thread asking why there is this statistical fact.


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## PetrB (Feb 28, 2012)

ArtMusic said:


> Statistical fact would be that many listeners would react emotionally to the finest pieces of CM. Other pieces far, far less so, which is perhaps why the OP started this thread asking why there is this statistical fact.


The OP does not ask "why there is this statistical fact."

The only statistical fact is that many listeners emotionally react to music to which they emotionally react, whether it is a simple pop song, a bit of dance music without lyrics, Beethoven or Penderecki. There is no statistical fact that the only emotional reactions listeners have are 'to _the finest_ pieces of CM.' (Clearly, you have not ever seen people getting tearfully emotional while speaking of their having attended a concert of Englebert Humperdinck, or Tom Jones, or Celine Dion, etc. as being one of the most profound and emotionally moving events of their musical lives. -- All that is meant to show is the the emotions of the listeners, and the music, could be 'anything,' whether it is great or less than great CM, or musics of other genres.)

I was only stating a real (vs. made up) "statistical fact," i.e. that the emotions the music evokes within the listener _are brought to that music by the listener_.

Music is not going to trigger any emotions in a listener which they do not already have within them.

If those emotions were not already somewhere present in the listener, they would not have those specific emotional reactions to a particular piece, whether it is 'the finest CM or "other."


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## KenOC (Mar 7, 2011)

A quibble: None of these are "statistical facts." First, statistical analysis generates no facts, only estimates that are normally expressed quantitatively with due regard to uncertainty (confidence intervals and confidence levels).

Example: We are 95% certain that the music of such and such composer causes earbleeds in 70% plus or minus 5% of people who claim to habitually listen to classical music.

Second, statistics representing the characteristics of a larger population are derived from a sample properly selected from that population, which is a science in itself.

What we have here are what are more commonly called WAGs, or perhaps simply opinions chosen as required to support pre-existing positions.


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## PetrB (Feb 28, 2012)

KenOC said:


> A quibble: None of these are "statistical facts." First, statistical analysis generates no facts, only estimates that are normally expressed quantitatively with due regard to uncertainty (confidence intervals and confidence levels).
> 
> Example: We are 95% certain that the music of such and such composer causes earbleeds in 70% plus or minus 5% of people who claim to habitually listen to classical music.
> 
> ...


Hey, you are correct and making sense, which is more than... 

... but sometimes you have to resort to fighting fictional fire with more fictional fire!


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## SimonNZ (Jul 12, 2012)

Reminds me of the joke I heard recently: "74% of all statistics are completely made up"


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## Dustin (Mar 30, 2012)

I know I mention this piece a lot but it goes to show how much it means to me. The middle slow movement of Beethoven's Emperor Concerto is probably the most moving music I've ever heard.


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## Blancrocher (Jul 6, 2013)

Winterreisender said:


> This song by Schubert is a perpetual favourite of mine:
> 
> 
> 
> ...


I find Schubert to be an incomparably moving composer, and I'm touched by many of his compositions, though in general it's his happiest songs that _really_ twist the knife in my heart. The nicer he seems, the harder it is to take--knowing what's coming to him!


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## Novelette (Dec 12, 2012)

SimonNZ said:


> Reminds me of the joke I heard recently: "74% of all statistics are completely made up"


What I especially enjoy is when people throw around numbers when, in fact, what they say is completely meaningless, or, at best, unclear. But, I suppose we're all guilty of it sometimes. :/


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## Novelette (Dec 12, 2012)

PetrB said:


> The OP does not ask "why there is this statistical fact."
> 
> *The only statistical fact is that many listeners emotionally react to music to which they emotionally react*, whether it is a simple pop song, a bit of dance music without lyrics, Beethoven or Penderecki. There is no statistical fact that the only emotional reactions listeners have are 'to _the finest_ pieces of CM.' (Clearly, you have not ever seen people getting tearfully emotional while speaking of their having attended a concert of Englebert Humperdinck, or Tom Jones, or Celine Dion, etc. as being one of the most profound and emotionally moving events of their musical lives. -- All that is meant to show is the the emotions of the listeners, and the music, could be 'anything,' whether it is great or less than great CM, or musics of other genres.)
> 
> ...


Are tautologies even properly statistical?


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## PetrB (Feb 28, 2012)

Novelette said:


> Are tautologies even properly statistical?


They're not even proper. But to me, none of this thread is very 'proper' anyway, being a bunch of varied reactions to what are basically a bunch of aural Rorschach blots, those blots evidently being attributed with weird magical powers, lol.


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## Blancrocher (Jul 6, 2013)

PetrB said:


> They're not even proper.


Indeed, they're tautologies, in my view.


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## Novelette (Dec 12, 2012)

PetrB said:


> They're not even proper. But to me, none of this thread is very 'proper' anyway, being a bunch of varied reactions to what are basically a bunch of aural Rorschach blots, those blots evidently being attributed with weird magical powers, lol.


Come now, PetrB! I don't think people put _that_ much weight on this question. It hasn't been dignified with a poll--yet...


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## PetrB (Feb 28, 2012)

Novelette said:


> Come now, PetrB! I don't people put _that_ much weight on this question. It hasn't been dignified with a poll--yet...


Ahh, but this is the manner in which those with agendae slip in under the radar and start religions!


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## AnthonyAlcott (May 16, 2014)

PetrB said:


> Specific text or image triggers aside, there were a number of posts in another thread
> http://www.talkclassical.com/31937-mahlers-5s-opening-made.html
> 
> I.e. this piece makes me cry, get all emotional, etc.
> ...


I agree with you. I guess when I made the first post I was really looking for moving and emotionally powerful music, and I thought why not ask other people and start my search there as opposed to starting at random with music I hadn't heard before and just hope for the best. I don't agree with everything my friend likes in music, but I ask him suggestions about what are his current favorites and a lot of times I like what he suggests. Asking him his opinion helps give me a better place from which to start, as opposed to looking from nowhere at all, without any clues or markers and at random, etc.


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## PetrB (Feb 28, 2012)

AnthonyAlcott said:


> I agree with you. I guess when I made the first post I was really looking for moving and emotionally powerful music, and I thought why not ask other people and start my search there as opposed to starting at random with music I hadn't heard before and just hope for the best. I don't agree with everything my friend likes in music, but I ask him suggestions about what are his current favorites and a lot of times I like what he suggests. Asking him his opinion helps give me a better place from which to start, as opposed to looking from nowhere at all, without any clues or markers and at random, etc.


Case in point, though it did not 'make me cry,' I remember actually groaning, the equivalent of an 'Oh, God,' at how beautiful and deeply moving I found the opening bars of Stravinsky's _Orpheus._




(I prefer above any other the recording of Stravinsky conducting the work from the Columbia Record series done in the late 1960's - 70's.)

In recalling being so moved by this piece, much of that very much depended upon "who I was" at the time I first heard that music.

Would recommending this piece to you really 'do it for you?' or do you think you were / are more likely to be (currently) moved by late to later romantic music than, say, the Stravinsky?

That is somewhat my point about the errant hit and miss / useful and not I think about such posts and searches.


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## Blancrocher (Jul 6, 2013)

PetrB said:


> Case in point, though it did not 'make me cry,' I remember actually groaning, the equivalent of an 'Oh, God,' at how beautiful and how deeply moving I found the opening bars of Stravinsky's _Orpheus._
> 
> 
> 
> ...


I am also extraordinarily moved by that music--especially, as was your case, the first time I heard it. It's a special case, of course, since it's _supposed_ to be heard as exquisitely beautiful and mournful: it's the sound of Orpheus grieving for his beloved. Its transformation at the end of the ballet is exhilarating. I've always been surprised this wonderful work isn't more popular.


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## PetrB (Feb 28, 2012)

Blancrocher said:


> I am also extraordinarily moved by that music--especially, as was your case, the first time I heard it. It's a special case, of course, since it's _supposed_ to be heard as exquisitely beautiful and mournful: it's the sound of Orpheus grieving for his beloved. Its transformation at the end of the ballet is exhilarating. I've always been surprised this wonderful work isn't more popular.


Damned fine writing for the harp throughout the piece, too


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## Vaneyes (May 11, 2010)

My top five in no order (tonight), probably are: Romeo & Juliet Phantasy Overture (Tchaikovsky); Piano Concerto in G (Ravel); Symphony 3 (Mahler); Piano Concerto 2 (LvB); Eroica (LvB). :tiphat:


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## PetrB (Feb 28, 2012)

Vaneyes said:


> My top five in no order (tonight), probably are: Romeo & Juliet Phantasy Overture (Tchaikovsky); Piano Concerto in G (Ravel); Symphony 3 (Mahler); Piano Concerto 2 (LvB); Eroica (LvB). :tiphat:


I feel compelled to add to your Ravel citation:
_Piano Concerto in D_ (for the left hand)
_L'enfant et les sortileges_; final chorus _Il est bon enfant._ (@ 03'17'')


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## aleazk (Sep 30, 2011)

PetrB said:


> I feel compelled to add to your Ravel citation:
> _Piano Concerto in D_ (for the left hand)
> _L'enfant et les sortileges_; final chorus _Il est bon enfant._ (@ 03'17'')


Oh, I love that opera so much. The Maazel version is definitely the best and that ballet realization is really amazing (the costumes, the choreographies, etc.)

I think it's Ravel's finest piece.


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## PetrB (Feb 28, 2012)

aleazk said:


> Oh, I love that opera so much. The Maazel version is definitely the best and that ballet realization is really amazing (the costumes, the choreographies, etc.)
> 
> I think it's Ravel's finest piece.


I agree, while without saying 'best,' I think there are four masterpieces by Ravel, all pretty much equal _for different reasons,_ of course 

In chronological order:
Daphnis et Chloe 
L'enfant et les sortileges 
Piano Concerto in G
Piano Concerto in D

L'enfant et les sortileges is also remarkable in the severely reduced number of instruments in the pit orchestra, and that Ravel still got such maximum timbrel color and effect from it. His so often using a much fuller orchestra to get his effects makes this opera a tour de force standout in that regard.


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## aleazk (Sep 30, 2011)

PetrB said:


> I agree, while without saying 'best,' I think there are four masterpieces by Ravel, all pretty much equal _for different reasons,_ of course
> 
> In chronological order:
> Daphnis et Chloe
> ...


haha, yes, you are right in those four pieces. I guess I just got carried away because I was listening to that final number while typing


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## Novelette (Dec 12, 2012)

PetrB said:


> Ahh, but this is the manner in which those with agendae slip in under the radar and start religions!


A very good point! I don't take kindly to rivalry to my divine of Robert Schumann. A very exclusive conventicle, I might add. :angel: Indulgences for sale now!

Also, I can't type.


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## PetrB (Feb 28, 2012)

Novelette said:


> Also, I can't type.


Maybe some piano lessons would help that


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## Kevin Pearson (Aug 14, 2009)

All music is emotional, or should I say elicits an emotional response of some kind. Hate is an emotion and a valid one and some music evokes that kind of a response. Some music moves me very deeply, not necessarily to tears mind you, but deeply none-the-less. Some music moves me with emotions that I do not have the knowledge or experience to convey into meaningful words and yet it exists. If a piece of music moves you negatively does that disqualify the piece? Perhaps the piece was meant to induce those kinds of emotions? 

I'm sure I'm not alone in saying that I don't particularly like negative emotions but they are necessary. I experience negative emotions anytime I watch Schindler's list or Saving Private Ryan but those emotions are quite necessary to truly value those films. I certainly don't purposefully seek out those kind of films just to experience those emotions because they are painful but do I wish I had never seen those films? Not at all because they convey human experience even at it's most painful and ugly reality. There are pieces of music that I feel much the same way about. Not works I would intentionally visit often, or maybe never again, and yet I'm glad I had experienced them.

My advice is to just explore with an open mind and soon you will find what pieces reach you on a deep level and ones you will cherish for the rest of your life. Some of those pieces may move you to tears but not perhaps in the way you think.

Kevin


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## Novelette (Dec 12, 2012)

PetrB said:


> Maybe some piano lessons would help that


Ouch!!!!!

I find the piano more friendly to my fingers than this ghastly computer keyboard; and unfortunately, my computer doesn't have a sustain pedal to encloud the errors/omissions/etc.


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## Stargazer (Nov 9, 2011)

PetrB said:


> Specific text or image triggers aside, there were a number of posts in another thread
> http://www.talkclassical.com/31937-mahlers-5s-opening-made.html
> 
> I.e. this piece makes me cry, get all emotional, etc.
> ...


This is one of the most thoughtful posts I've read in a while, if I could "like" it twice I would!

Now, to actually try and add some substance of my own to the thread...hope you don't mind if I post more than one :

Rachmaninoff's Cello Sonata (particularly the 3rd movement): This one has stuck with me for a while...seeing it performed live was one of my most memorable classical experiences 




The adagio from Beethoven's Hammerklavier Sonata - This needs no explanation, and this gets my vote easily: 




Sibelius - Symphony 4: Pretty much everything Sibelius wrote feels charged with emotion to me, but this one a bit more so: 




Strauss - Morgen: I was gonna post Metamorphosen, but I decided for this short song instead: 




Brahms - German Requiem: One of the most emotional choral works for me...the last movement always gives me goosebumps. I consider the section from 4:12-5:15 to be one of the most powerful pieces of music for me, it never ceases to affect: 




I could probably post more, but I'll leave it here for now! This is the kind of topic that always gets me fired up.


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## Frei aber froh (Feb 22, 2013)

Oh, so, so much music...

At the very top of my list, though, are Tchaikovsky's sixth symphony, Swan Lake, Sleeping Beauty, and first string quartet; Shostakovich's eighth quartet, first violin concerto, viola sonata, fourth symphony, eighth symphony, tenth symphony, first cello concerto, and second piano concerto; Barber's violin concerto and Adagio for Strings; Mahler's second and fifth symphonies; the slow movements of Beethoven's Emperor and violin concertos; late Beethoven quartets, especially Op. 131; Mozart's Requiem, Sinfonia Concertante, Ave Verum, and fourth violin concerto; Rachmaninoff's second symphony, second and third piano concertos, and cello sonata; Osvaldo Golijov's _Last Round_, and more music by Bach than I really should list.

And a lot of music that I've played, most especially the Walton viola concerto. That piece has incredible personal significance to me.


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## Muse Wanderer (Feb 16, 2014)

Musical composition, interpretation and listener perception is widely subject to a whole multitude of variables. 

The composer embeds his own musical learnings, technique, intellect, emotion and originality whilst responding to the environmental and period pressures at the time of composition. 

Furthermore, the musical performers add further subjectivity with their own interpretation of the notated work.

At the other end the listener may interpret the music in an entirely different manner depending on the context of his own life experience, his personality and the environment and time he lives in.

These highly variable contexts result in a myriad of reactions that are in constant flux and can never be quantified. 

Thus music transcends generations of listeners and still invokes different emotional and intellectual responses decades and centuries after its composition. 

That's why one can never generalise his own subjective response to a piece of music onto others. 

That particular response at that particular time in that particular listener is unique and will never be repeated...

And that is the beauty of it all...


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## hpowders (Dec 23, 2013)

The first 10 minutes or so of Copland's Appalachian Spring.


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## Woodduck (Mar 17, 2014)

PetrB said:


> Specific text or image triggers aside, there were a number of posts in another thread
> http://www.talkclassical.com/31937-mahlers-5s-opening-made.html
> 
> I.e. this piece makes me cry, get all emotional, etc.
> ...


I'm having trouble understanding what you're saying here. You seem to be saying that the reasons we respond emotionally to music are to be found in us rather than in the music itself - that the emotion has somehow to be already in us. But I'm not clear on just what you mean by this. Are you saying that music triggers an emotional response because the listener is _capable_ of having such a response? That seems pretty obvious. Or are you saying that it happens because the listener is _ready_ to have that response at that particular time? That doesn't tell us much either. Or maybe you're saying that the listener must already be feeling something and that the music just exacerbates the feeling? But that doesn't sound right. You say that any particular work is more of a "trigger" than a "cause" of the listener's feelings. This suggests that the feelings are on the verge of happening and just need some stimulus to set them off. But something as simple and meaningless as a smell can trigger strong emotions in us merely by evoking a memory. Is this all that music does? There is obviously nothing intrinsic in the smell of, say, cinnamon which relates to a feeling of sadness and nostalgia. But can the same really be said about a Chopin nocturne? Aren't there things going on in a piece of music - sounds, rhythms, gestures, patterns, surprises, integrations, dissolutions, transformations, interruptions, contrasts, whole narratives filled with the foregoing and more - that relate to human feelings in ways that make them something more than mere "triggers" of feelings in listeners? Is it really delusional to attribute a substantial part of our feeling responses to qualities present in music itself?

I have to say that the way classical music opened up my childhood consciousness to a new universe of unsuspected ecstasies and agonies, a range of feelings for which everyday life could hardly have prepared me and which I would only come to (partially) understand over the years ahead, forbids me to understand music as a "neutral party in the event." I think there are things in it - complex and subtle things - that I, as a listener, recognize intuitively as images of my organismic life, and that that recognition can sometimes strike to the very core of my being. And I know I'm far from unique in this perception.

I wonder how the ideas you've expressed above might account for the rich and complex ways people actually experience emotion in music.


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## brotagonist (Jul 11, 2013)

The mystery solved:

The most emotionally moving piece of classical music _always_ turns out to be the one I am currently emotionally moved by.


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## Dustin (Mar 30, 2012)

hpowders said:


> The first 10 minutes or so of Copland's Appalachian Spring.


Oh yes definitely! I just discovered this work recently and the beginning part absolutely fits the bill of "moving". Such a brilliant, serene melody. Just makes you want to go out in the Appalachian woods with Ol' Yeller and make a day of it.


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## Op.123 (Mar 25, 2013)

Brahms - Piano Concerti 
Beethoven - Piano Concerto 4
Schumann - Piano Concerto
Puccini - O Mio Babbino Caro
Schubert - Piano Sonata No. 21


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## tdc (Jan 17, 2011)

aleazk said:


> I think it's Ravel's finest piece.


_L'enfant et les sortileges_ is a stunning work, personally I don't find it very representative of Ravel's over-all sound, so I'm not sure if I agree it is his very finest, but I think it is beautiful and certainly one of his most innovative works - it prefigures Messiaen with its use of birdsong.


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## Svelte Silhouette (Nov 7, 2013)

Gorecki's Sorrowful


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## hpowders (Dec 23, 2013)

Dustin said:


> Oh yes definitely! I just discovered this work recently and the beginning part absolutely fits the bill of "moving". Such a brilliant, serene melody. Just makes you want to go out in the Appalachian woods with Ol' Yeller and make a day of it.


Glad you like it. So nostalgic. Copland at his best!


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## Polyphemus (Nov 2, 2011)

Barbers Knoxville 1915 though I still do not understand the last two lines. 

"After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am." 

The text of the prose poem is key to the work so the articulation of the soloist is key, every word must be crystal clear.


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## hpowders (Dec 23, 2013)

I would say the adagio to Mahler's fourth symphony, especially when Bernstein conducted it.


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## Metairie Road (Apr 30, 2014)

One can almost pick anything by Sibelius at random. This is one of my favorites.

*Sibelius - Scene with Cranes, Op. 44 no. 2*





Some works by lesser known composers that I find very moving.

I'm not Russian Orthodox but this is stunning.

*Kyiv Chamber Choir - Bless the Lord, Praise the Lord, Amen*





*Vitali - Ciaccona*





Wonderfully romantic and I make no apologies for it.

*Sir Granville Bantock - Celtic Symphony*





Best wishes
Metairie Road


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## millionrainbows (Jun 23, 2012)

AnthonyAlcott said:


> Hi, I'm new. I am very interested in pieces that really move the soul and generate profound emotional states.
> 
> I find a lot of compositions very technically interesting and stimulating in many ways. But some pieces really stir up my emotions, and I think I like that most.
> 
> ...


For me, it's *Mahler's Kindertotenlieder*_,_ but only this recording, with Janet Baker singing it:










Also, Loraine Hunt-Leiberson singing Handel Arias, knowing she would die of breast cancer shortly after this:










Also, ironically, Peter Sellers singing "All the Things You Are."


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## Marschallin Blair (Jan 23, 2014)

brotagonist said:


> The mystery solved:
> 
> The most emotionally moving piece of classical music _always_ turns out to be the one I am currently emotionally moved by.


I get completely caught up in the _petitio principii_ fallacy too. I can't tell you at a psysiological level _why_ certain music moves me; only that it does.


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## Woodduck (Mar 17, 2014)

Marschallin Blair said:


> I get completely caught up in the _petitio principii_ fallacy too. I can't tell you at a psysiological level _why_ certain music moves me; only that it does.


Yes, the exact same thing happens to me! The other day I was listening to Rachmaninov's second symphony, and by the middle of the third movement I was weeping uncontrollably and thinking "My God, does this guy know how to employ the petitio principii fallacy or what?"


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## Chronochromie (May 17, 2014)

Fantasia on a theme by Thomas Tallis. First time I listen to Vaughan-Williams, wasn't disappointed.


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## IBMchicago (May 16, 2012)

I guess there are different pieces for different emotions, but, generally, I'm thinking of three second movements of piano concertos which I find deeply moving: Mozart's 20th and 21st, and Beethoven's 5th (an obvious choice).

I'm also going to add Bach's Prelude and Fugue in D minor (my favorite from Book I of WTC) -- he moves from what seems to be man (tangible, earthly tones) to the divine (the sounds of a meditative, contemplative monastery) rather suddenly between the prelude and fugue. the contrast between earthiness and meditative prayer/pleading itself is spellbinding and emotional.

And what about the emotion of love? I'm going off the beaten path and picking Pa-pa-pa-Papageno. It's the most honest, real-life interpretation of first love I've seen in opera. The lovers feel a little goofy and silly inside, yet grateful and delighted and optimistic.


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## cliftwood (Apr 17, 2014)

Two compositions rank equally at the top of my list..

Verdi's Requiem and Bach's Mass in B minor.

Two masterpieces.


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## JCarmel (Feb 3, 2013)

Bach Concerto for 2 violins...Largo

Mozart Mass in C Minor...Et Incarnatus Est

Chopin Nocturne No 13 in C Minor

Brahms Alto Rhapsody

Elgar Dream of Gerontius ..the Angel's Farewell

Bach Mass in B Minor....Agnus Dei

Mozart Requiem...the 'Recordare'

Haydn Kleine Orgelmesse...Benedictus

Mozart Piano Concerto 21... Adagio

And many other compositions that I have the miniature score for...that when using to listen to music, make my appreciation of it magnify even more.


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## Arsakes (Feb 20, 2012)

Fast Answer: 
Beethoven's 3rd symphony - II. Marcia funebre
&
Dvorak's 3rd symphony - II. Adagio molto, tempo di marcia

and much of BRUCKNER.

I need much more time to compare other candidates...


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## millionrainbows (Jun 23, 2012)

(attributed to) Albinoni's Adagio, a real classic tear-jerker. This flute version will have you down on your knees sobbing like a baby by the time it's over, and you'll have chosen it as your ideal funeral music.


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