# What are your FORMATIVE pieces?



## 20centrfuge (Apr 13, 2007)

_*Formative:* serving to form something, especially having a profound and lasting influence on a person's development._

What pieces have made a lasting influence on you? Under what circumstances did you first hear or learn to appreciate the piece(s)? How has the piece of music impacted you?

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One of the most important formative pieces for me is Elgar's Enigma Variations. I heard it for the first time in high school at a Utah Symphony concert. I didn't fully grasp 100% of the music on that first listening, but I had heard enough to know that I HAD to hear it again.

I listened to the re-broadcast on the radio and recorded it on a casette tape. I played it over and over and found myself somehow identifying with the music, feeling like the Enigma theme was representative of ME and my life. For years and years whenever I heard the piece I felt like it would paralyze me; stop me in my tracks and make me view the panoramic sweep of my life.

I don't know why exactly it has had such an impact on me. I guess I feel like it is the perfect melody. Every phrase seems to have a question and an answer, or better put: a statement and it's inverse. It is such an ingenious melody that can transform itself so beautifully in each variation. Also, it has the capacity to reach the pinnacle of beauty and emotion, especially in the Nimrod variation. It has always, as a result, represented the PRIME EXAMPLE of what classical music can achieve - an experience that shows you beauty, the most noble sentiments of humanity, and emotion in it's most exquisite and passionate form. I can't help but measure every other piece of music to that yardstick.


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## ComposerOfAvantGarde (Dec 2, 2011)

Quite a few pieces seen live have had a huge impact on me:

Saint-Saëns: symphony no. 3
Mahler: Symphony no. 7
Ginastera: Concerto for Strings
Elliott Carter: What Next?

But above all....

Anthony Pateras: Chromatophore. This was the piece that really inspired me to compose, to find a voice and be creative in my work. If I didn't hear this piece in a concert in 2010 I probably would have lost interest in composition. It really opened my ears to discover what music really can be!


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## schigolch (Jun 26, 2011)

Formative... I'd say Olivier Messiaen's _Mode de valeurs et d'intensités_, for piano.


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## ArtMusic (Jan 5, 2013)

All of Bach's surviving orchestral music (concertos and suites), Mass in B, major harpsichord works
All of Handel's orchestral music and some operas and oratorios
All of Mozart's late symphonies, all concertos
All of Haydn's late symphonies, The Creation
All of Beethoven's symphonies, piano concertos

Basically, all the established great pieces of the 18th century that shall forever be with mankind.


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## Manxfeeder (Oct 19, 2010)

Erik Satie taught me the importance of economy of means. Later, Anton Webern. 

Beethoven's 9th, 7th, and 3rd have had a profound effect on me; the essence of those pieces speak to me on a spiritual level. Also Mahler's 3rd, how it depicts the progression of aspiration.

There are others, but these seem to be pieces I'm always up for hearing.


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## Guest (May 26, 2015)

It's all a bit new to me still so ... long lasting?

Anyway in terms of impact...

I was manfully ploughing through the centuries, and then I got up to date and stumbled across (courtesy of TC) Gyorgy Kurtag. Specifically Kim Kashkashian performing the viola expression of Signs, Games and Messages. It hit me like an ice cold shower, so intimate, so expressive, so austere. I am a fan of less is more and in this music I found the best of the least. It showed me what potential there was in contemporary music to be new, different, exciting.


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## brotagonist (Jul 11, 2013)

Getting into classical music as a youth was, itself, formative for me. A girlfriend in grade 12 and I ran with a group that was into the arts. As a result, I became a youthful—and now mature—renaissance man: knowledgeable about fine art, literature and western classical music, with a taste for mid- and far-eastern classical musics, too. The abiding interests—passions—for literature and classical music have remained my only significant entry points into the arts.

If I were to mention one formative piece, I would de facto be skipping a hundred others. I was bombarded by scores (nice pun ) of pieces all at once. Among them were Webern, Schoenberg, Messiaen, Xenakis, Stockhausen and dozens of others. To name but two, I would say Schoenberg's Pierrot Lunaire and Webern's Five Pieces for Orchestra were particularly formative. Through them, I explored my mother tongue (German), poetry (in the French original, too) and the greater world of classical music through the ages, these works being on the cusp of the past becoming the present. I immersed myself in them as one would take a long, hot bath. Their heady vapours intoxicated me, leaving me insatiable for more. This has not abated.


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## motoboy (May 19, 2008)

As a child/early teen: 
Gershwin - Rhapsody In Blue
Bach - Preludes and Fugues (I still smile broadly when I hear a well written fugue in a larger piece)
Mozart - Amadeus Soundtrack (sorry)
Beethoven 7

As a young trumpet player: 
Rhapsody again
Chuck Mangione (sorry)

As an adult comeback player and listener:
Finally playing the lead on Rhapsody
Mahler 3, 1 and 2 (in that order chronologically)
Pretty much any CPE Bach


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## Albert7 (Nov 16, 2014)

Schoenberg's Piano Concerto for me.


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## EdwardBast (Nov 25, 2013)

King Crimson, _Larks' Tongues in Aspic_ on a massive dose of acid, age 16. (Best trip I ever had) The next day I quit taking drugs, dropped all of my friends, and became interested in classical music again. I had grown up on Russian music (Musorgsky, Tchaikovsky, Rimsky-Korsakoff) but had lost track of it in late elementary school. Not sure why this experience brought me back.

Later on: 
-The Genelin Trio live in Pittsburgh. Improvisation that sounded more like Stravinsky than any jazz I ever heard.
-Musorgsky, Boris Godunov, original version in Pittsburgh
-Schnittke's Concerto for Piano and String Orchestra, Cincinnati. Played by student string players of the St. Petersburg Conservatory Orchestra. Don't remember the pianist.


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## SixFootScowl (Oct 17, 2011)

The formative pieces for me were those classical pieces that I experienced in the 1970s and I still like (I did not spend much time with classical in the 80s through the late 2000s). These include Mussorgsky's Pictures at an Exhibition, Tchaikovsky’s 1812 Overture, and Beethoven's Fifth, Sixth, and Ninth. My only excursion into classical between then and the late 2000s was to discover Handel's Messiah, so that too would be formative.


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## Chronochromie (May 17, 2014)

Schubert's Unfinished Symphony got me into Classical.
Josquin's Missa Pange Lingua got me into pre-Baroque Classical.
Messiaen's Turangalila Symphonie got me into post-WW2 Classical.


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## regenmusic (Oct 23, 2014)

When I was about 13 or so I had a reel to reel. I had used cassettes for many years before this but the reel
to reel was probably my fathers, and he gave it to me. I heard this wonderful work on the stereo, and I recorded
it, putting a microphone next to the speaker and being quiet. I didn't record the whole thing, and I'm not even
sure if at that time I had the actual annoucer stating the piece. But it was Villla-Lobos, Concerto for Guitar and
Orchestra.

I believe this is one of the greatest pieces of music written in the 20th Century. The melodicism is gorgeous. It
seem to channel all its energy towards the purpose of simple beauty. It had some modern harmonies and innovations,
but used them not to express aggression but instead wonder. I saw at that age that beauty could always be innovative.


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## Woodduck (Mar 17, 2014)

Growing up in a home and a town virtually devoid of high culture, I needed a lifeline thrown to me. Snatches of classical music heard on TV were that lifeline, and it all began with, of all things, Strauss waltzes, first noticed in a TV cartoon. Their sound, exuberant, graceful and sensual, so unlike anything around me, were a message from a time and a place infinitely more beautiful, in my imagination, than anything I knew in "real" life. From there it was on to other classical composers, but none were as "formative" - none, until I discovered Wagner in my mid-teens. It was near-total immersion, almost instantly and for several years to come, and it's impossible to estimate the influence of his works on my way of hearing and looking at music and art in general.


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## MoonlightSonata (Mar 29, 2014)

Beethoven's "Moonlight" Sonata was one of the first works that really inspired me to listen to more music. It was my favourite piece a year or so ago - hence my username.
Bach's gorgeous Organ Prelude in E Minor got me into baroque music.
Schnittke's Viola Concerto was my first 20th century favourite.


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## Guest (May 27, 2015)

EdwardBast said:


> King Crimson, _Larks' Tongues in Aspic_


Oh, well if we're talking non-classical: the two albums that turned me on to music 40 years ago (courtesy of older brother):

King Crimson - In the Court of the Crimson King

Van der Graaf Generator - Pawn Hearts

Still listening to them!


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## Guest (May 27, 2015)

My earliest exposure to classical music and the biggest impact was ... yes, you guessed it ... *Beethoven*. 5th Symphony. I was 9 years old, I had never heard classical music before, such music was never played in our blue collar, very unmusical household. I was spellbound, knocked sideways, open-mouthed, struggling to breathe, completely drawn into the unfolding drama of it; I simply could not believe such music could exist, it was too powerful for my young ears.
A couple of years later I experienced my next musical earthquake with *Bach's cello suites*. In these pieces (I had started to learn the first three 'easier' ones in G, D and C) I was just beside myself with joy that this sort of music existed for my instrument, music that had enormous expressive drive; besides which, they were just great for building technique.
Later in fairly quick succession came other shifts in the tectonic plates of my musical formation when I started at University and began to be exposed to other composers and genres of music, namely:
- *Karlheinz Stockhausen*, _Kreutzspiel _




- *Edgar Varese*, _Octandre_





and for me an incredible ear-opener:
- *Bernard Parmegiani*, _De Natura Sonorum_





I sincerely hope to have further formative experiences ....


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## Guest (May 27, 2015)

Ah, I forgot to mention one other very formative experience similar to EdwardBast's above : Listening to *Beethoven's* violin concerto whilst on LSD in some way out Scottish hamlet.


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## 20centrfuge (Apr 13, 2007)

motoboy said:


> Mozart - Amadeus Soundtrack (sorry)


If I'm being honest, I would say that same thing. Hearing Amadeus Soundtrack (and movie) as a kid opened my ears to Mozart. Before that, I had no idea.


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## Dim7 (Apr 24, 2009)

motoboy said:


> Mozart - Amadeus Soundtrack (sorry)


Nothing to be sorry about, or even "sorry" about.


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## 20centrfuge (Apr 13, 2007)

Woodduck said:


> Growing up in a home and a town virtually devoid of high culture, I needed a lifeline thrown to me. Snatches of classical music heard on TV were that lifeline, and it all began with, of all things, Strauss waltzes, first noticed in a TV cartoon. Their sound, exuberant, graceful and sensual, so unlike anything around me, were a message from a time and a place infinitely more beautiful, in my imagination, than anything I knew in "real" life. From there it was on to other classical composers, but none were as "formative" - none, until I discovered Wagner in my mid-teens. It was near-total immersion, almost instantly and for several years to come, and it's impossible to estimate the influence of his works on my way of hearing and looking at music and art in general.


It's very interesting how little things like that can pull people in. That really shows how sensitive you were to good music that you would pick up on that in the midst of a cartoon as a child.


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## DiesIraeCX (Jul 21, 2014)

I credit my professor with my interest in Classical music. He adored *Richard Wagner*, any chance he could bring him up, he did. I'm pretty sure one of the movies he showed us (_Melancholia_) was solely part of the curriculum because the *Prelude to Tristan und Isolde* is the film's predominant backdrop, it's pretty much a character in itself. He tried to make us understand how revolutionary that prelude was, how its "unresolved" nature was unheard of, I swear it was like a music class sometimes! Not being music students, his musical knowledge was lost on us, myself included, but his enthusiasm was not. I can credit that prelude as my very first "formative piece".

My curiosity nudged me to start researching Wagner, classical music, I discovered my local classical radio station and I began listening to classical on YouTube. From there I found *Mozart's 40th and Requiem*, then I found *Beethoven's Ninth* (it was the first piece to blow me away). Shortly after that, I discovered *Brahms' 1st* and *Schubert's 9th*. After that, the rest is history.


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## Ingélou (Feb 10, 2013)

Since I only started listening to classical music (in any sustained way) three years ago, it's hard to talk about anything being 'formative'. I expect - sigh!- that I am now *fully-formed*.

*The Ritual Fire Dance (a family 78) was with me from my earliest years & appealed to my imagination. 
*
*I was playing Handel's 'March from Scipio' when I was twelve or thirteen and suddenly heard that it was beautiful - before that, I'd seen the practice-music I was set as so much alien 'stuff'.*

*When I was in my twenties, we bought a German LP called 'Non-stop Dancing 1600' - most of the pieces were earlier - and it cemented my love of early music.*

*Round about three years ago, I fell in love with Lully at first hearing of Jordi Savall & L'orchestre du roi soleil, and became overnight a passionate devotee of the French Baroque*.*

*Every woman of spirit has two countries - her own, and La France. - Madame la Marquise.


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## isorhythm (Jan 2, 2015)

I grew up in a house full of classical music so it's hard to pinpoint exactly where it began. I also had piano lessons starting at age 5. But I didn't start doing a lot of listening on my own until my early teens. My listening reflects a gradual branching out from the German/Austrian music I mostly grew up with. In roughly chronological order, some of the pieces that I remember listening to over and over:

-Schubert's Winterreise
-Beethoven's Appassionata sonata and 5th symphony
-Mozart's Requiem and clarinet quintet
-Brahms' 4th symphony and clarinet quintet
-Dvorak's New World Symphony
-Tallis' Spem in alium
-Bach's Mass in B minor and Passacaglia and Fugue in C minor
-Prokofiev's 3rd piano concerto
-Faure's Requiem
-Poulenc's Mass in G
-Mahler's Das Lied and 5th Symphony

Then, a floodgate opened when I started doing a classical show at my college radio station. I suddenly had unlimited access to a huge amount of music and I was like a kid in a candy store. The pieces that stand out from then are:

-Stravinsky's Symphony of Psalms and Canticum Sacrum
-Messiaen's Visions de l'Amen
-Xenakis' Metastaseis
-Ligeti's Atmospheres and Lux Aeterna
-Schutz's Psalms of David
-Perotin's Viderunt omnes
-Reich's It's Gonna Rain and Music for 18 Musicians
-Schoenberg's Buch der hangende Garten
-Part's Stabat Mater
-Penderecki's De natura sonoris

College was also when I got into jazz, funk and hip hop. Before that my non-classical listening was mostly classic and some indie rock.

Tried to narrow this down but I really do think all those pieces qualify as formative for me.


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## EdwardBast (Nov 25, 2013)

dogen said:


> Oh, well if we're talking non-classical: the two albums that turned me on to music 40 years ago (courtesy of older brother):
> 
> King Crimson - In the Court of the Crimson King
> 
> ...


I picked that album because it led to and was related to my classical listening. What drew me into it was that half of the album is a thematically unified instrumental cycle with a dramatic problem in the beginning and its resolution in the end. It essentially _is_ classical music, from a structural perspective at least.

Pawn Hearts is pretty interesting too.


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## Guest (May 27, 2015)

EdwardBast said:


> I picked that album because it led to and was related to my classical listening. What drew me into it was that half of the album is a thematically unified instrumental cycle with a dramatic problem in the beginning and its resolution in the end. It essentially _is_ classical music, from a structural perspective at least.
> 
> Pawn Hearts is pretty interesting too.


And Fripp is on both!

I also was impressed at the time with Jamie Muir; he had a very freeing approach to percussion (and freed Bill Bruford's work up as well, as a consequence).

I think Fracture and Starless will always be, for me, "desert island" pieces.


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## clavichorder (May 2, 2011)

The formative process has been so utterly complicated for me, and is still very much ongoing.

That being said, looking upon the earlier years at around ages 8-11, here is the comprehensive list of things that I really latched onto

*Tchaikovsky* Ballet's, 
various *Saint Saens*, 
orchestral works of *Emmanuel Chabrier,* 
ballets of *Offenbach*, 
overtures and waltz's of *J Strauss*, 
late *Haydn*, Clock Symphony
*Rossini* Overtures
*Holst* Planets
*Dvorak *Symphonies 8 and 9
*Copland* Ballets
*Brahms* hungarian dances for orchestra
*Vivaldi* four Seasons
*Mozart* A musical joke

That's the first wave of formative music. Then I had a sort of renaissance as a teenager with my listening and participation. The most prominent amongst this 16-17 year old phase that has only evolved into my present condition, are these:

*Vivaldi* Concerti for various instruments(really huge multiple disc set)
*Stravinsky* Rite of Spring, Petrushka
*Tchaikovsky* Symphonies 4, 5, 6
*J.S. Bach* French Suites on piano by Andras Schiff
*Beethoven*, Symphonies 5, 6, 8, 7 Egmont Overture, Piano concerto 5, various other works
*Mozart* Dissonance String Quartet, various opera overtures, Symphonies 40, 29, 25, 1(yes, 1)
*Chopin* Ballades 1 and 2
*Bruckner* Symphony 4
*Brahms* Symphony 4
*Dittersdorf* Sinfonias in A major, D major, and E flat major(not kidding, I found these at the public library and loved them)
*Haydn* more late symphonies by Dorati and Farewell Symphony
*CPE Bach* String Symphonies
*Scarlatti* the most famous sonatas played by pianists like Pororelich, Argerich, Michelangeli
*Thomas Ades* Concentric Paths-(heard it live and was very curious about it, being a high quality recent composition)
*Anthony Pateras* Coag is not the only one, but I unfortunately lost this disc that my parents gave me and found it broken recently. It had lots of really interesting music on it, the likes of which I had never heard.
*Dvorak* Symphonies 7 and 5
*Holst* Egdon Heath and ballet music from The Perfect Fool
*Venetian Lute Music* compiled and played by Paul Odette
*teafruitbat's youtube channel* who became my friend and mentor and introduced me to more works of *CPE Bach*, *WF Bach*, and countless other composers including *Nikolai Medtner.*

That's the shortest summary I can give of formative classical music for me.


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## senza sordino (Oct 20, 2013)

Formative, music that made me:

Berlioz Symphonie Fantastique
Beethoven Symphony #9
Bartok Concerto for Orchestra
Holst The Planets
Mendelssohn Violin Concerto
Mahler Symphony #4
Rodrigo Concierto de Aranjuez 
Saint Saëns Second Piano Concerto
Stravinsky Petrushka

These pieces just seem to be a part of me, I know them inside and out. I knew them as a child. They're the start of my musical knowledge.


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## Weston (Jul 11, 2008)

My earliest classical works were in the soundtrack to 2001: a space odyssey, but this thread isn't really about what got us into classical.

I think the first work that made me pay attention to form, reoccurring phrases and motifs, though I didn't have that vocabulary at the time, was *Dvorak's 9th Symphony* which was designated the 5th back then for some reason. Dvorak's structures are so nicely obvious I didn't need a Bernstein guiding me through what happens in the work. I picked up on most of it after just a few listens, leading me to listen in the same way to most others works, even dissimilar ones.

The trouble is, I listened to it so much, not being able to afford a lot of albums, I can barely stand to hear it now.


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## pianolearnerstride (Dec 17, 2014)

Beethoven's Pathetique piano sonata. I'd just bought a cd of some of beethoven's piano sonatas on a whim... never really listened to classical music before that.

Pathetique was the first sonata.

I suspect it's because of the newness of the experience that I especially remember this fondly. I also have a very similar memory of buying my first comic book as a kid.


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## Nereffid (Feb 6, 2013)

Holst's Mars was the first piece of classical music I paid attention to, some years before I listened to any more. So I guess that piece "primed" me.
Then later, when starting to explore properly, I heard three very different works at about the same time: Mahler's 1st symphony, Glass's Glassworks album, and Stockhausen's Hymnen. The first two became favourite composers (though in truth it's mostly the earlier Glass that I really like); the Stockhausen was my first taste of the avant-garde and though I've heard a lot more, my initial impression still holds true 20-something years later. So that was maybe not so much formative as anticipatory.
Most things since then have been a gradual expansion of taste, so there's been no particular pieces that have had a significant impact on my listening. But I must mention Julia Wolfe's Steel Hammer, which last year caught my imagination sufficiently to change my attitude to the entire field of "post-classical" or whatever you want to call it.


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## Meditatio (May 23, 2015)

Elgar's _The Dream of Gerontius_, directed by Simon Rattle in the Great Hall of the University of Birmingham, with Dame Janet Baker, in 1986, (I think). My wife and I were students there, and the concert was an unforgettable and transformative experience for both of us.


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## techniquest (Aug 3, 2012)

I didn't come from a household that listened to classical music, so I found it gradually through morsels that stuck with me as I grew up. These include the main theme from the second movement of Rimsky-Korsakov's "Scheherazade" which would sometimes be played on a record player as we gathered for morning assembly at junior school, the opening bars of Beethoven's 5th which was the theme music to the TV drama 'Manhunt'; and the end of the 1st movement of Vaughan-Williams' 6th which was the theme music for TV drama 'Family at War'.
As I discovered what these pieces were, it got me into exploring other works and I remember a friend of my parents lending me a record of Stravinsky's "Rite of Spring" which I loved but my parents hated so I could only really play it when they went out. Through senior school I discovered Walton's "Belshazzars Feast" and through BBC Radio 3 discovered Mahlers' 2nd. The seed was then well and truly sewn!


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## Ilarion (May 22, 2015)

As a former organist there were two pieces that formed me and rocked my world:

Bach: Passacaglia and Fugue in C-minor.

Charles Tournemire: Sept Chorales-Poemes sur les Sept Paroles du Christ.



As a vocalist there were two pieces that rocked my world and formed me:

Bach: Grosser Herr und Starker Koenig from Christmas Oratorio

Rachmaninov: Весенные Воды (Spring Waters)Op.14


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## Gaspard de la Nuit (Oct 20, 2014)

When I was little I had listened to and was very much entertained by a lot of classical pieces, mostly your standard/ staple classical and baroque music.

But I remember listening to parts of The Planets once in 5th grade and thinking that it sounded so different, like it had so much soul, rather than the stately, classical beauty of the music I was used to. 

Of course I have a lot of music that I responded to really enthusiastically and changed me significantly, as only music can, but the memory of hearing the lyrical part in Jupiter for the first time, the reaction I had as a little kid was so strong.....I can't pinpoint exactly how it was formative but it stands out to me when asked the question.

By the way, when we listen to much of the Western Classical canon, we think of it in terms of emotion. When I heard them when I was little, I only heard beauty, albeit different kinds of beauty, but not really any kind of emotion. So I think we create that expectation and experience. But listening to Holst's piece may have been the first fully emotional response I had, the way it gripped me. Maybe it's something developmental or maybe it's something about the music, not sure.


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## Triplets (Sep 4, 2014)

For me it was the standard Classical repetoire. I remember the Violin Concertos of Mendelssohn, Bruch, Beethoven and Sibelius;Tchaikovsky's last 3 Symphonies, the Nutcracker and Serenade For Strings; Furtwangler's Beethoven/3 which we had on a budged lp, was the gateway to to the Beethoven Symphonies. Eine Kleine Nachtmusik was the introduction to Mozart.
I remember Bartok's Music For Strings, Percussion and Celeste just blowing me away. At the time I was immersed in Bach, having started with the Brandenbergs and the Goldberg Variations. The Bartok seemed such a different take on counterpoint.


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## MrTortoise (Dec 25, 2008)

motoboy said:


> As a child/early teen:
> 
> As a young trumpet player:
> Rhapsody again
> Chuck Mangione (sorry)


Why apologize! I loved his music back in the day too. There is a simply honesty and joyfulness to his playing and compositions and what a tone he produced through his instrument!


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## MrTortoise (Dec 25, 2008)

For me the piece opened my ears to classical music was Mozart's 21st Piano Concerto in C. I believe this was the first complete classical work of the standard rep I had heard. Never had I experienced any music that shimmered with such beauty and elegance. The continuity of the musical lines, the energy and sense of propulsion of the first and last movements; after this experience I was hooked and had to seek out more of the same.

As a few others have mentioned, music from cartoons was also formative. The scores written for the early Warner Brothers cartoons are filled with classical quotations (Kill the Wabbit!), and I loved how the music commented on the action of the cartoon. Hats off to Carl Stalling!

One of thing: hallucinogens and music do not always mix well. An experience with said substances and Beethoven's 7th prevented me from enjoying this master work for a considerable amount of time, so remember with hallucinogens YMMV!


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## DeepR (Apr 13, 2012)

Too many to mention, but from my early years (say, age 5 to 8) it were a couple of famous classical pieces arranged by Tom Parker for the New London Chorale (The Young Messiah, The Young Mozart, The Young Beethoven). Something my mother listened to on cassette. Well, I don't think I'd like to listen to that now, but the melodies and harmonies were there. They caught on and remained in memory.


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## vis756 (May 1, 2015)

Beethoven symphonies 3, 4 and 7 in that order, Moonlight sonata, Piano Concerto no 3
Haydn symphonies 99 and 103
Bach Brandenburg no 2
Offenbach Gaite Parissienne
The Eroica got into my head when I was 16 and has never left. Greatest piece of Western art in existence in my opinion.


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## ptr (Jan 22, 2013)

Mahler: DLVE & Kindertotenlieder
Shostakovich - Fifth Symphony
Nystroem - Sinfonia Tramontana
Hermanson - Lyrisk metamorfos
Berg - Altenberg Lieder & Lyric Suite
Schönberg - Gurrelieder

/ptr


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