# The Greatest Melodists



## Op.123

I posted a thread on this topic a few years ago, but my views have changed a lot since then and I would be interested to hear any new views anyone might have.

To me, melody is one of the most important aspects of music, and I generally have a preference for more melodic music, not to say I don't enjoy good music that is not particularly melodic, however. One of the first composers that I immediately think of as a great melodist is Tchaikovsky. Melodists are rarely discussed without Tchaikovsky being mentioned and I feel that is quite justified given the large amount of beautiful melodies he wrote. Operatic composers often seem to have a great gift for melody too. Puccini wrote many, in fact almost every single one of his operas has an array of beautiful, memorable melodies. Verdi was in some ways even more talented here, although I tend to think of his as more of an emotive melodist, not always producing 'hit tunes' but often creating wonderful melodies with a great emotional impact. Think 'Amami Alfredo'. Of course he could do memorable too with 'La donna è mobile' and the drinking song from 'La Traviata' being instantly recognisable. Bellini's long and beautiful melodic lines stand out too as being some of the most skillfully crafted, like those of Chopin, they just seem to flow perfectly naturally.

Mozart, Rachmaninoff, Schubert, Bizet, Vivaldi, Richard Strauss, Ravel, Debussy and Prokofiev also come to mind as other wonderful melodists. Some later composers, Prokofiev, Ravel, etc. are, in my opinion, not given enough credit as melodists, possibly because of the more unusual harmonies they use, and should be seen as equal to some of those more often mentioned. I especially love the finale of Prokofiev's 'Romeo and Juliet' for it's wonderful melody in the final few minutes.

As well as being a big fan of composers known for their melodic writing, I also tend to be quite melodic as a composer (just got a place at the Trinity Laban Conservatoire for composition in fact!) and thought I'd just give an example of the kind of melodies I like to write. One that I'm particularly pleased with is the love theme from my (currently unfinished) symphonic poem on the story of Romeo and Juliet. - (0:44-1:07)

__
https://soundcloud.com/m-burroughs%2Fromeo-and-juliet-1


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## Phil loves classical

Interesting tunes, and orchestration. Bizet was a great melodist agree. His Roma Symphony may be the most melodic symphony ever.


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## DaveM

I liked parts of it. Particularly with a subject such as Romeo and Juliet, I prefer a theme that is developed such as what Berlioz and Tchaikovsky did. I hear what appears to be a theme at 0:45 which is restated at 5:05, but don't hear much in the way of development between (maybe I'm missing it). In fact, I'm not sure what is going on in between. For one thing, I expected a love theme to have some softer passages. But, it's a good theme and I'd hoped to hear more of it, particularly softer at times with perhaps a clarinet or oboe.


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## Heck148

Dvorak = great melodist, up there with the best of them.


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## TurnaboutVox

Hmm. I like your 'Romeo and Juliet' and 'Ballet Suite' very much, Burroughs. Congratulations on gaining your place for composition at Trinity Laban Conservatoire. I think I hear quite a considerable influence from Ravel and Debussy in your compositional style. Do you know the orchestral work of the early English modernist Frank Bridge, by the way? I think you might like it if you don't know it already.

In my opinion Delius, Bridge and Benjamin Britten are very fine (and under-rated) melodists, with Bridge's later work and all of Britten's fitting into that group of composers who would fit the definition you gave of "not [being] given enough credit as melodists, possibly because of the more unusual harmonies they use." Maybe that's true of Delius too, actually.


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## hpowders

I didn't see Mahler on the list. I would have included him.

By the way, melodies don't have to be achingly beautiful in order to be considered magnificent and memorable.


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## Captainnumber36

Mozart, Beethoven, Chopin, Ravel, & Debussy come to mind for me.


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## Jacred

Schubert pops into my mind first, but I would add Bizet, Dvorak, Debussy, Ravel and Mozart.


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## hpowders

I would list Tchaikovsky as No. 1 greatest melodist.

My favorite of his is the incredibly moving oboe solo at the beginning of movement two, Symphony Number Four.


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## Bettina

Saint-Saëns wrote some gorgeous melodies, especially in Le Cygne and "Mon cœur s'ouvre à ta voix."


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## lextune

...Mozart, Schubert, Debussy....


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## Phil loves classical

Bettina said:


> Saint-Saëns wrote some gorgeous melodies, especially in Le Cygne and "Mon cœur s'ouvre à ta voix."


One of the few arias I like from Opera.


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## Phil loves classical

Glazunov was also a great melodist. The Seasons is beautiful. His Symphony 5 is very tuneful.


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## hpowders

hpowders said:


> I didn't see Mahler on the list. I would have included him.
> 
> By the way, melodies don't have to be achingly beautiful in order to be considered magnificent and memorable.


A case in point is the tenor horn solo just after the beginning of Mahler Symphony 7 and then continued with the oboe.. A Magnificent, memorable melody... but achingly beautiful? No.


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## SONNET CLV

hpowders said:


> I would list Tchaikovsky as No. 1 greatest melodist.


When I encountered the topic "The Greatest Melodists" I immediately thought of Tchaikovsky. This isn't to say that Bach, Mozart, Beethoven, Chopin, Brahms ... Whoever were lesser melodists. Such speculating is another so much waste of time.

But I thought of Tchaikovsky recalling something I once read in one of Jim Svejda's books. Something to the effect that, of all the great composers, Tchaikovsky alone seems to allow melody to be the meaning of his music. You wouldn't say something like that of Bach, or Bruckner, or Beethoven, or Liszt. But it does seem true of Tchaikovsky.

Were I to select my favorite Tchaikovsky melody, I would likely look at the Fifth Symphony. But there are so many that to choose just one confounds the very nature of the notion that Tchaikovsky was a great melodist! After all, he wrote not one great melody, but dozens.


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## hpowders

SONNET CLV said:


> When I encountered the topic "The Greatest Melodists" I immediately thought of Tchaikovsky. This isn't to say that Bach, Mozart, Beethoven, Chopin, Brahms ... Whoever were lesser melodists. Such speculating is another so much waste of time.
> 
> But I thought of Tchaikovsky recalling something I once read in one of Jim Svejda's books. Something to the effect that, of all the great composers, Tchaikovsky alone seems to allow melody to be the meaning of his music. You wouldn't say something like that of Bach, or Bruckner, or Beethoven, or Liszt. But it does seem true of Tchaikovsky.
> 
> Were I to select my favorite Tchaikovsky melody, I would likely look at the Fifth Symphony. But there are so many that to choose just one confounds the very nature of the notion that Tchaikovsky was a great melodist! After all, he wrote not one great melody, but dozens.


Yes, so many memorable melodies-not only the symphonies, but the First Piano Concerto and Violin Concerto. Also, the great andante cantabile movement from String Quartet 1.


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## Tchaikov6

Tchaikovsky by far, followed by Mozart, followed by Barber. Examples for each:

Tchaikovsky- Pretty much anything, especially Symphonies (2,4,6) Concertos (Violin concerto, Piano Concerto No. 1), Ballets (Swan Lake, Nutcracker, Sleeping Beauty), yes- pretty much anything. I find the melodies from _The Seasons_ quite catchy as well.

Mozart- Last couple symphonies, Piano Concertos 20, 21, 22, 23, 24, 9; Violin Concertos, String Quartets, yeah... again pretty much anything.

Barber- Essays for Orchestra, Violin Concerto, Piano Concerto, Adagio for Strings.

Those are my top three, but there are plenty more (Strauss, Scarlatti, Schubert, Mahler, Mendelssohn...)


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## bz3

To limit myself to 5: Tchaikovsky, Mozart, Bruckner, Chopin, and Brahms in no order. 

Brahms to me could create melody anywhere and from unexpected places which is probably part of why he's so revered as a craftsman. 

Chopin and Mozart were wholly unique. Thinking about them as melodists reminds me of a quote I read from someone about George Jones and Hank Williams - that everyone wanted to claim to strive for Hank Williams but ended up sounding like George Jones imitations (very cursory summary of something I read a while ago). Mozart and Chopin are the Hank Williams in this metaphor - many composers likely say they are striving for their aesthetic but it's so unique that what they are likely doing is something closer to Beethoven or Brahms (who would be the George Jones of the metaphor). The quote was praising George Jones as an artist's artist.

Tchaikovsky could create melody anywhere at any time. He almost makes it seem trite or frivolous, a criticism one usually associates with Mozart but I think applies better here. But if other composers could do it then they would. Rossini is similar, to Beethoven's chagrin.

Bruckner I think drew his melodies out so large and layered that I think it obscures his talent but they are muscular melodies - quite different from the rest of my choices. Maybe it's a personal choice but I almost always have a Bruckner melody bouncing around my brain ever since I got into him.


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## Phil loves classical

hpowders said:


> Yes, so many memorable melodies-not only the symphonies, but the First Piano Concerto and Violin Concerto. Also, the great andante cantabile movement from String Quartet 1.


Can't remember who said this was the most beautiful in the world. It is certainly very unique. I get choked up myself.


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## Portamento

Schoenberg and Ferneyhough are my favorite melodists.


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## David OByrne

The Beatles .


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## brianvds

To all the worthy composers already mentioned, I'd add Borodin, who was a master of creating colorful, exotic sounding melodies.


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## ArtMusic

Handel was one of the greatest melody writer. His vocal pieces are wonderful.


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## jegreenwood

David OByrne said:


> The Beatles .


And Richard Rodgers


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## jegreenwood

Jacred said:


> Schubert pops into my mind first, but I would add Bizet, Dvorak, Debussy, Ravel and Mozart.


For me there is Schubert and then a number of others.


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## KenOC

jegreenwood said:


> And Richard Rodgers


Good call! Under the Southern Cross...


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## Pat Fairlea

brianvds said:


> To all the worthy composers already mentioned, I'd add Borodin, who was a master of creating colorful, exotic sounding melodies.


I second your Borodin and raise you one Edvard Greig. All those Lyric Pieces?


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## hpowders

hpowders said:


> I would list Tchaikovsky as No. 1 greatest melodist.
> 
> My favorite of his is the incredibly moving oboe solo at the beginning of movement two, Symphony Number Four.


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## Pugg

jegreenwood said:


> And Richard Rodgers


Do not forget: Oscar Hammerstein.


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## NorthernHarrier

Pugg said:


> Do not forget: Oscar Hammerstein.


If we're going that route, honorable mention should go to Ennio Morricone and Michel Legrand.


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## Op.123

DaveM said:


> I liked parts of it. Particularly with a subject such as Romeo and Juliet, I prefer a theme that is developed such as what Berlioz and Tchaikovsky did. I hear what appears to be a theme at 0:45 which is restated at 5:05, but don't hear much in the way of development between (maybe I'm missing it). In fact, I'm not sure what is going on in between. For one thing, I expected a love theme to have some softer passages. But, it's a good theme and I'd hoped to hear more of it, particularly softer at times with perhaps a clarinet or oboe.


It's not supposed to tell the story in full, but instead I picked 4 scenes to focus on - the balcony scene, the dueling scene, the consummation of their marriage, and the final scene. There is an introduction from 0:00 - 1:07, the balcony scene is then roughly 1:08 - 3:00 with the love theme restated at 2:12 and 2:45. The dueling scene is roughly between 3:00 and 4:50, with the tragedy motif being introduced here, first at 4:19 and the again at 4:33. The second 'love scene' starts at 5:12 and is not yet finished. The love theme is restated at 5:12, first quietly in the flutes and then in the strings, at 5:48 a slightly varied version of the love theme is played by the oboes and clarinets, beneath the rising sequence in the strings.


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## Op.123

TurnaboutVox said:


> Hmm. I like your 'Romeo and Juliet' and 'Ballet Suite' very much, Burroughs. Congratulations on gaining your place for composition at Trinity Laban Conservatoire. I think I hear quite a considerable influence from Ravel and Debussy in your compositional style. Do you know the orchestral work of the early English modernist Frank Bridge, by the way? I think you might like it if you don't know it already.
> 
> In my opinion Delius, Bridge and Benjamin Britten are very fine (and under-rated) melodists, with Bridge's later work and all of Britten's fitting into that group of composers who would fit the definition you gave of "not [being] given enough credit as melodists, possibly because of the more unusual harmonies they use." Maybe that's true of Delius too, actually.


Thank you! 

I have not listened to much Bridge, do you reccommend anything in particular?


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## DaveM

Burroughs said:


> It's not supposed to tell the story in full, but instead I picked 4 scenes to focus on - the balcony scene, the dueling scene, the consummation of their marriage, and the final scene. There is an introduction from 0:00 - 1:07, the balcony scene is then roughly 1:08 - 3:00 with the love theme restated at 2:12 and 2:45. The dueling scene is roughly between 3:00 and 4:50, with the tragedy motif being introduced here, first at 4:19 and the again at 4:33. The second 'love scene' starts at 5:12 and is not yet finished. The love theme is restated at 5:12, first quietly in the flutes and then in the strings, at 5:48 a slightly varied version of the love theme is played by the oboes and clarinets, beneath the rising sequence in the strings.


Thanks for the overview. I listened to it again and understood what was going on a little more.


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## Schumanniac

Schubert and Tchaikovsky are the masters supreme in this regard. Instead of mentioning the other usual suspects like Brahms and Mozart i'll try to remedy the neglect of the overlooked 

Grieg - Andante tranquillo of the cello sonata, the sweeping folk melody of the first movement in the piano concerto, the Death of Aase and the list goes on. The very charateristic of his music is the use of inspired melodies, and while he may be overall a lesser composer comparably, his gift of melody is something unusual.

Gabriel Faure - How can we talk melodists and forget him? Listen to the andante of the piano trio or the 2nd cello sonata. Primarily considered a composer of the vocal his chamber music seems forgotten, least on these forums. The melody and harmony that signifies those vocal works are even greater in the chamber music to me. Simple, using as little as possible, he none the less created captivating music of great depth, containing instant gratification and a deep abyss to explore over many listens. I rate him the finest of french composers, hes a master.


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## Magnum Miserium

Tchaikovsky as melodist and otherwise seems to me a magnificent demigod who isn't quite a god - he can do the ravishing, the charming, the bathetic, even the demonic, utterly unsurpassable in all of the above, but he doesn't do high tragedy, or for that matter high comedy. So the top three - at least in the common practice period - are Mozart, Schubert, and Verdi.


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## EdwardBast

Beethoven, Prokofiev and Shostakovich are high on my list.


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## Meyerbeer Smith

Nobody's mentioned *Offenbach*?

*Berlioz*! Big Hector B himself.

*Johann Strauss.* One word: _Fledermaus_.

*Massenet.* I listened to all but two of his operas at the end of 2015 / early 2016. A first-rate man with a tune; each opera has at least one (usually half a dozen) great melodies. Deserves to be wider known!

*Mussorgsky.* _Pictures at an Exhibition_. _Boris Godunov_ - the Walls of Kazan, the whole Forest of Kromy scene, "Skorbit dusha", "Dostig ya vishey vlasti", the Fountain Duet. Ahahahaha, the Flea! Dawn over the Moskva River. And is there a way of getting _Night on the Bald Mountain_ out of my head?

*Glinka.* What about _Ruslan_ and _A Life for the Tsar_?

*Moniuszko* - the Polish composer of _Straszny dwór_, one of the most tuneful operas I know.

*Meyerbeer*, of course.

*Sir Arthur Sullivan.* There's a reason why Gilbert and Sullivan are (were?) so popular.

And the elegant, tuneful *Auber*.


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## Orfeo

Phil loves classical said:


> Glazunov was also a great melodist. The Seasons is beautiful. His Symphony 5 is very tuneful.


I agree, and an underrated one at that, criminally so (his piano and ballet music in particular will attest to that, no doubt in my mind). Here is what violinist Nicola Benedetti thinks of *Glazunov* and his Violin Concerto in particular:
"Glazunov was a complete natural at writing haunting melodies. This Violin Concerto is unbelievably lyrical." Check out the webpage:
-->http://www.classicfm.com/artists/nicola-benedetti/videos/glazunov-violin-concerto-masterclass/

I would also mention *Bax*, *Myaskovsky* (believe it or not), *Atterberg* (sometimes deemed as Sweden's most melodic composer), *Barber*, *Ravel*,* Mompou*, *William Grant Still*,* Melartin *(examine his piano works or his Fourth Symphony for that matter).

I am rather shocked no one has yet to mention *Nikolai Rimsky-Korsakov* (and not just in his orchestral showpieces, but examine closely his operas like Mlada, the Snow Maiden, the Golden Cockerel, Sadko). *Rachmaninoff* is also worth mentioning (as are *Felix Blumenfeld *&* Lyapunov*, even* Rebikov*).


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## Magnum Miserium

Magnum Miserium said:


> Tchaikovsky as melodist and otherwise seems to me a magnificent demigod who isn't quite a god - he can do the ravishing, the charming, the bathetic, even the demonic, utterly unsurpassable in all of the above, but he doesn't do high tragedy, or for that matter high comedy. So the top three - at least in the common practice period - are Mozart, Schubert, and Verdi.


And then there's the other part of me, that thinks Modernism is basically a diminishment of Romanticism; that Tchaikovsky is, if not as great as Verdi, yet greater than Stravinsky; and that, for example, Tchaikovsky's "Sleeping Beauty" is essentially high comedy after all, less in degree than Mozart's "Jupiter" symphony but of the same kind.


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## DaveM

Sometimes during performances of Tchaikovsky's Sleeping Beauty comedy, I find myself laughing uncontrollably. In fact, I am at this very moment.


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## Woodduck

If "great melody" doesn't have to mean merely self-sufficient, extended, periodic, song-like "tunes" that you're likely to go around humming or whistling, but also implies variety, range and depth of expression, as well as the potential of a melodic idea to grow and mutate into new and striking forms on a larger scale, then the field of great melodists enlarges, and Bach, Beethoven and Wagner are as deserving of mention as Schubert, Tchaikovsky and Verdi.


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## AfterHours

Woodduck said:


> If "great melody" doesn't have to mean merely self-sufficient, extended, periodic, song-like "tunes" that you're likely to go around humming or whistling, but also implies variety, range and depth of expression, as well as the potential of a melodic idea to grow and mutate into new and striking forms on a larger scale, then the field of great melodists enlarges, and Bach, Beethoven and Wagner are as deserving of mention as Schubert, Tchaikovsky and Verdi.


Definitely agree with this view.


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## AfterHours

I think Mozart would be my top choice, as he meets all demands, every criterion I've seen on this thread, even within the same piece.


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## hpowders

I have to say, even though I voted for Tchaikovsky as greatest melodist, his string quartets are a bit disappointing, melody-wise.

He so totally milks the fine melody in the second movement of his String Quartet No. 1, the "Andante Cantabile" that the melody becomes dull after a while. It's like he had nothing else to say in this movement except repeat the melody, ad nauseam.


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## Bettina

hpowders said:


> I have to say, even though I voted for Tchaikovsky as greatest melodist, his string quartets are a bit disappointing, melody-wise.
> 
> He so totally milks the fine melody in the second movement of his String Quartet No. 1, the "Andante Cantabile" that the melody becomes dull after a while. It's like he had nothing else to say in this movement except repeat the melody, ad nauseam.


Yes, I've noticed that Tchaikovsky sometimes starts a piece with an amazing melody and then it seems to fizzle out or become repetitive. I think it's precisely because his melodies are so stunningly beautiful...any further change/development/repetition ends up sounding anticlimactic. For example, take the beginning of his Piano Concerto No. 1. It begins with an unbelievably gorgeous, epic melody - just about anything is bound to be a letdown after that gripping beginning. I almost wish that he had saved his best stuff for the climax of the piece instead of presenting everything at the outset.


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## mathisdermaler

I think Brahms. He's the ultimate artisan when it comes to crafting a simple melody that is profoundly beautiful and emotional. The theme of his third symphony is my favorite example (at 1:30)






His requiem and fourth symphony also.


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## CypressWillow

Chopin. His melodic originality never fails to stun me.


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## Art Rock

Bach, Mozart, Schubert, Brahms, Grieg, Tchaikovsky, Mahler, Puccini.


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## Orfeo

Orfeo said:


> I agree, and an underrated one at that, criminally so (his piano and ballet music in particular will attest to that, no doubt in my mind). Here is what violinist Nicola Benedetti thinks of *Glazunov* and his Violin Concerto in particular:
> "Glazunov was a complete natural at writing haunting melodies. This Violin Concerto is unbelievably lyrical." Check out the webpage:
> -->http://www.classicfm.com/artists/nicola-benedetti/videos/glazunov-violin-concerto-masterclass/
> 
> I would also mention *Bax*, *Myaskovsky* (believe it or not), *Atterberg* (sometimes deemed as Sweden's most melodic composer), *Barber*, *Ravel*,* Mompou*, *William Grant Still*,* Melartin *(examine his piano works or his Fourth Symphony for that matter).
> 
> I am rather shocked no one has yet to mention *Nikolai Rimsky-Korsakov* (and not just in his orchestral showpieces, but examine closely his operas like Mlada, the Snow Maiden, the Golden Cockerel, Sadko). *Rachmaninoff* is also worth mentioning (as are *Felix Blumenfeld *&* Lyapunov*, even* Rebikov*).


And also *Franz Lehar*.


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## Ekim the Insubordinate

Some great mentions here, but one of my favorites is Dvorak - somebody already beat me to it, though.

One other that I will throw into the ring that I don't think I have seen - Grieg. He has some fantastic, and some quite memorable, melodies. His Peer Gynt suite alone has a couple in there that most probably know, even if they don't know they know. But some of his lesser known works also pack some real melodic punch.


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## Ekim the Insubordinate

Sorry - I didn't look at the subsequent pages. I see that others have mentioned Grieg.


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## Bettina

Ekim the Insubordinate said:


> Some great mentions here, but one of my favorites is Dvorak - somebody already beat me to it, though.
> 
> One other that I will throw into the ring that I don't think I have seen - Grieg. He has some fantastic, and some quite memorable, melodies. His Peer Gynt suite alone has a couple in there that most probably know, even if they don't know they know. But some of his lesser known works also pack some real melodic punch.


Grieg's works certainly do have some great melodies. The problem that I have, when accessing Grieg as a melodist, is that I'm often not sure which melodies he composed himself, and which ones were borrowed from (or heavily inspired by) folk songs. (There's probably books/articles that address this topic, but that kind of research isn't a priority of mine right now.) Therefore, I'm never sure how much credit I should give Grieg for the beautiful melodies in his works...but maybe I'm thinking about this the wrong way, and perhaps I should give him credit for incorporating and harmonizing folk songs in such an effective way.


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## Woodduck

Bettina said:


> Grieg's works certainly do have some great melodies. The problem that I have, when accessing Grieg as a melodist, is that I'm often not sure which melodies he composed himself, and which ones were borrowed from (or heavily inspired by) folk songs. (There's probably books/articles that address this topic, but that kind of research isn't a priority of mine right now.) Therefore, I'm never sure how much credit I should give Grieg for the beautiful melodies in his works...but maybe I'm thinking about this the wrong way, and perhaps I should give him credit for incorporating and harmonizing folk songs in such an effective way.


I believe most of Grieg's melodies are original. He has several sets of folk song arrangements, but tells us that in their titles.


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## TurnaboutVox

Burroughs said:


> Thank you!
> 
> I have not listened to much Bridge, do you reccommend anything in particular?


Sorry for the delay in replying, Burroughs, I managed to find a place to holiday in that had no landline, no mobile signal and no internet access.

I wondered if you might find any of the following Frank Bridge works to be of interest to you. Some of his earlier works show the influence of Tchaikovsky, Dvorak, Fauré and Delius but by the time of The Sea it is clear that he is aware of and interested in the contemporary work of Debussy, Ravel and Stravinsky. After World War I Bridge's work increasingly demonstrates his contact with the second Viennese School, especially Zemlinsky and Berg.

*The Sea, Suite for Orchestra*, H.100 (1910-1911)





*Summer, Symphonic Poem for orchestra*, H.116 (1914-1915)




*
Enter Spring, Rhapsody for orchestra*, H.174 (1926-1927)





*Oration, Concerto Elegiaco for cello and orchestra*, H.180 (1929-1930)





*Rebus, Overture for orchestra*, H.191 (1940)


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## beetzart

I agree that Tchaikovsky is one of the finest melodists ever, although JS Bach has plenty to off on this front. Just go through his cantatas to find some very heartbreaking tunes nearly every step of the way.


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## Tchaikov6

beetzart said:


> I agree that Tchaikovsky is one of the finest melodists ever, although JS Bach has plenty to off on this front. Just go through his cantatas to find some very heartbreaking tunes nearly every step of the way.


Christmas Oratorio is packed with memorable melodies and themes.


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## Ethereality

brianvds said:


> To all the worthy composers already mentioned, I'd add Borodin, who was a master of creating colorful, exotic sounding melodies.


Strange suggestion. _Dance of the Maidens_ is what I'd call a perfect piece of music, but the melody is very imperfect, even at its most beautiful ie. @ 1:57 




When Mendelssohn wrote a good melody on the other hand, you knew it was untouchable:

_Midsummer Night's Dream - Overture:_
*@ 2:15, 7:18*






_Spring Song:_


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## Clairvoyance Enough

It's a shame that Wagner synthesizes the best qualities of all the usual answers, but isn't actually listed as an answer nearly as often in these topics. You want the yearning, melancholy character of Tchaikovsky? Listen to Siegfried's theme of longing, the opening horns of Tannhauser, the love theme for Siegmund and Sieglinde.

Or how about Tchaikovsky's capacity for ditties that you can whistle? Pull the Tannhauser overture back up and wait about 6 minutes. Listen to the very first scene of Meistersinger, or how about the first act of Rheingold which is a melodic wonder of the world; every other word the rhinemaidens say is an ear worm.

Or maybe you want impressionistic melodies. Listen to the waves in, again, Rheingold, the storm at the start of Flying Dutchman, the fire and bird song in Siegfried, the immense sound of the sunlight when Brunnhilde awakens, the flight of a swan in Parsifal: 




Or maybe melody can mean getting profundity out of short motifs that don't seem like much on the surface, like Beethoven. Obviously the entire Ring does that constantly, but how about this: 




I get that Wagner's format is not accessible for a lot of people, but it's worth penetrating to anyone that cares about melody. You can't list off 8 names and not include him. It's like leaving Bach out of great contrapuntists. Yeah yeah subjectivity and all that - I'm right!


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## hammeredklavier

Ethereality said:


> When Mendelssohn wrote a good melody on the other hand, you knew it was untouchable:
> 
> _Midsummer Night's Dream - Overture:_
> *@ 2:15, 7:18*
> 
> 
> 
> 
> 
> 
> _Spring Song:_


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## Larkenfield

Notice the simplicity of this beautiful melody being shifted to the left hand... sounds like he's in love with Clara...


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## Larkenfield

Spiritually elevated and gorgeous in melody… a study in creative expression...


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## Ethereality

hammeredklavier said:


> Mendelssohn: Songs Without Words


Yes you can tell by these he has a good melodic voice. Though I enjoy the first one I linked because it's so _qualitative_ (short and beautiful.) These are features I tend to like in music for some reason. A piece never has to draw out if it achieved 10 seconds of absolute beauty, that's enough imagination to keep me going for a long time. It can/should still be developed though.

Other melodies I think are qualitative (short and beautiful) instead of quantitative and drawn-out:

This was Tchaikovsky's best moment *0:00 - 0:25*





Or maybe *this* was Tchaikovsky's best melodic moment 

and *0:47 - 1:02*





This Mendelssohn one though. Insanely romantic 




I have a bunch of others I'm trying to find.


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## DeepR

Scriabin was also a wonderful melodist. Those who know the first half of his work well enough, will probably agree with me. I have whistled some of his themes and melodies many times, they are endlessly enjoyable and it's one of the reasons he's one of my favorite composers.


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## hammeredklavier

DeepR said:


> Scriabin was also a wonderful melodist. Those who know the first half of his work well enough, will probably agree with me. I have whistled some of his themes and melodies many times, they are endlessly enjoyable and it's one of the reasons he's one of my favorite composers.


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## Eva Yojimbo

I think Mozart and Schubert stand out as being the ultimate 1-2 in this category, but I give the edge to Mozart because I find myself humming him more than any other composer. I think Tchaikovsky, despite my general apathy to him, is probably third, but very close with Handel, whom I vastly prefer and might give the 3rd slot just because I've listened to him (and enjoyed him) much more. It seems Verdi, Puccini, Rossini, Bellini, and Donizetti should be up there as well, if only because they wrote so well for the voice and in a way that emphasized melody. Not sure what order I'd put them in... I think Bellini was probably innately the best melodist, but I think the others at their best wrote more memorable ones. Of those, I'm tempted to go with the order of: Verdi, Rossini, Bellini, Puccini, Donizetti.


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## Ethereality

The first part of this in particular, I was always enamored by how clever it was G D D E D C C E F A C A A G G


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## EdwardBast

Ah yes, melodic art once more reduced to tune smithery.


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## flamencosketches

Eva Yojimbo said:


> I think Mozart and Schubert stand out as being the ultimate 1-2 in this category, but I give the edge to Mozart because I find myself humming him more than any other composer. I think Tchaikovsky, despite my general apathy to him, is probably third, but very close with Handel, whom I vastly prefer and might give the 3rd slot just because I've listened to him (and enjoyed him) much more. It seems Verdi, Puccini, Rossini, Bellini, and Donizetti should be up there as well, if only because they wrote so well for the voice and in a way that emphasized melody. Not sure what order I'd put them in... I think Bellini was probably innately the best melodist, but I think the others at their best wrote more memorable ones. Of those, I'm tempted to go with the order of: Verdi, Rossini, Bellini, Puccini, Donizetti.


+1 for Schubert, Mozart, and Tchaikovsky. Not a fan of the latter either but think of how many legendary melodies he has written that have permeated into greater pop culture beyond classical music.

Wagner deserves a mention in this category as well, for the same reason as Tchaikovsky.


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## Ethereality

EdwardBast said:


> Ah yes, melodic art once more reduced to tune smithery.


Yes I dislike most popular 'tunes' as it were, they tend to be too simplistic, but the craftiness of this first part is notable.


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## zelenka

I guess the greatest melodist of all was Brahms


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## Botschaft

zelenka said:


> I guess the greatest melodist of all was Brahms


Correct! :clap:


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## flamencosketches

Really...? I never saw Brahms as much of a melodist.


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## Botschaft

flamencosketches said:


> Really...? I never saw Brahms as much of a melodist.


Well, then think again.


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## Larkenfield

Another melodic gem by Scriabin, written when he was a mere 16:


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## flamencosketches

Scriabin is definitely underrated as a melodist. Partially obscured by his more opaque later works like the great Vers la flamme that don't showcase lyrical melodies. But if you look at his early works he was up there with Chopin as a great melodist for the piano.


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## perempe

I could have written down the last movement of Franck's violin sonata after the first listen. is it just me?


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## Botschaft

J. S. Bach, the second greatest melodist.


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## Sid James

Jean Wiener's definition of a melody makes sense to me, "it is tuneful, simple, symmetrical, logical, constant, accessible and such that it tends to impress itself on the memory."

By that definition, I think that Tchaikovsky, Dvorak, Grieg, Vivaldi, Saint-Saens and Rachmaninov where great melodists. The Austro-German tradition focussed on counterpoint and thematic development, however I wouldn't deny that great melodists came out of it since their tunes periodically pop into my head and begs me to put on the CD. Mozart, Bach, even Beethoven and Brahms in certain moods or moments come to mind - their concertos in particular. 

Schubert stands out as a special case. In his late works tunes that in other hands could be mundane are developed into the most profound statements, imparting a sense of fragility that has little precedent before Tchaikovsky's Pathetique or Mahler. In some cases melodies from his songs (eg. Death and the Maiden) provide basis for large scale works of ambition and wide emotional scope. His music demonstrates how the possibilities of a good tune shouldn't be underestimated.

With regards to the 20th century things are again different, with melody becoming more fragmented compared to before. Still, there are tunes in even large scale works by Stravinsky, Bartok, Britten, Shostakovich and Prokofiev that I can't get out of my head. That's not even mentioning other more obvious ones like Gershwin and Copland.


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## paulbest

There is only 1 answer to this Q. 
Sergi Prokofiev. No one will ever surpass him. He stands alone in melodies.


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## Larkenfield

paulbest said:


> There is only 1 answer to this Q.
> Sergi Prokofiev. No one will ever surpass him. He stands alone in melodies.


 Really? Name one!


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## paulbest

Larkenfield said:


> Really? Name one!


Which work of Prokofiev does not boast lush gorgeous melodies,,,except his 1st sym ( I HATE) and his 4th, both versions are duds. Not sure why he scratched that sym from his scores and put it to the flames where it belongs. Prok's 4th is trash. Both versions, trash. 
Prokofiev is forever the King of melodies. No one is 2nd to Prokofiev. He stands alone.


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## Enthusiast

Melody on its own - no matter how lovely - is not enough in most classical music. I guess all those mentioned have produced great melodies in some of their works but their doing so has not been a defining feature of their work. And where their melodies work it is at least partly because of how they used them. It seems to me that Schubert, alone, could produce stand alone melodies that even if reduced to a ring tone would stand as something lovely and somehow meaningful. But Schubert, also, is far more than melody and, even though he is known to many as a composer who was not strong on musical development, it is how he used his melodic gift that matters.


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## jdec

paulbest said:


> Which work of Prokofiev does not boast lush gorgeous melodies,,,except his 1st sym ( I HATE) and his 4th, both versions are duds. Not sure why he scratched that sym from his scores and put it to the flames where it belongs. Prok's 4th is trash. Both versions, trash.
> Prokofiev is forever the King of melodies. No one is 2nd to Prokofiev. He stands alone.


The Maestro has spoken.


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## EdwardBast

Op.123 said:


> I posted a thread on this topic a few years ago, but my views have changed a lot since then and I would be interested to hear any new views anyone might have.
> 
> To me, melody is one of the most important aspects of music, and I generally have a preference for more melodic music, *not to say I don't enjoy good music that is not particularly melodic, however.*


I'm not sure what you mean. Can you list a few specific examples of works that are good but not particularly melodic?


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## jdec

EdwardBast said:


> I'm not sure what you mean. Can you list a few specific examples of works that are good but not particularly melodic?


Beethoven's symphony 7, 2nd mov. quickly came to my mind. The main melodic line/theme is not that, well, "melodic".


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## Agamenon

Puccini and Bellini ?. I am not fan of italian opera, but easily italians composers are among the greatest melodists.


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## EdwardBast

jdec said:


> Beethoven's symphony 7, 2nd mov. quickly came to my mind. The main melodic line/theme is not that, well, "melodic".


If a movement by Haydn used only simple triads, would that make it "less harmonic" than one by Brahms that used 7th chords? No, of course not. If a piece pounded out the same rhythm measure after measure would that make it "less rhythmic" than one that uses continually changing rhythms? No, of course not. The same goes for "melodic." You need to figure out what you are really trying to say because more or less "melodic" just doesn't do it. It makes no sense.


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## Larkenfield

...............


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## Xisten267

EdwardBast said:


> If a movement by Haydn used only simple triads, would that make it "less harmonic" than one by Brahms that used 7th chords? No, of course not. If a piece pounded out the same rhythm measure after measure would that make it "less rhythmic" than one that uses continually changing rhythms? No, of course not. The same goes for "melodic." You need to figure out what you are really trying to say because more or less "melodic" just doesn't do it. It makes no sense.


Just typed "'more melodic'" on google. It gave me 546000 results. It seems that the use of the term makes sense to a lot of people.


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## DaveM

Larkenfield said:


> Really? Name one!


One of his (Prokofiev's) great melodies burned into my memory at age 3.


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## brahmsgirl

As it comes to melody, for me there is only one king..


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## arnerich

Hard to choose the greatest but Borodin was an exceptional melodist.


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## jdec

EdwardBast said:


> If a movement by Haydn used only simple triads, would that make it "less harmonic" than one by Brahms that used 7th chords? No, of course not. If a piece pounded out the same rhythm measure after measure would that make it "less rhythmic" than one that uses continually changing rhythms? No, of course not. The same goes for "melodic." You need to figure out what you are really trying to say *because more or less "melodic" just doesn't do it. It makes no sense*.


Lol, what are you talking about?! ...see what L. Bernstein says in that regard (5:25):






Bernstein refers to the melody of the 2nd movement in Beethoven's 7th as "one of the most unremarkable ever written".

He says it starts with "_no melody_", then "_some melody_", and then "more melodic". See?


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## Rubens

Fritz Kreisler.


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## Phil loves classical

Rameau is an amazing melodist in my book. Is it just me or does this piece sound a lot like the Mozart piano concerto 20 3rd movement?


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## Larkenfield

What a magician! Another take on the Rameau:





k


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## Borodin




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## hammeredklavier




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## Animal the Drummer

Haven't read through the whole thread, but I'd nominate Handel and Schubert as two of the greatest tunesmiths.


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## Amadea

Mozart is the greatest melodist in my opinion, not only for the quality but also the invention, the number of melodies (change my mind) followed by Tchaikovsky, Schubert and Chopin, Brahms, Dvorak, Mendelssohn. I do not consider Beethoven that great in terms of melody. Also, Liszt is underrated as a melodist.


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## Brahmsian Colors

in no particular order: Dvorak, Grieg, Mozart, Borodin, Brahms, Debussy, Ravel, Tchaikovsky


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## Littlephrase

Mozart and Schubert are the melodists I hold in the highest regard.


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## Cristian Lee

Kurt Atterberg.


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## Fabulin

Vivaldi, Mozart, Beethoven, Schubert, Mendelssohn, Tchaikovsky, Khachaturian, Williams

the peloton


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## Pat Fairlea

Pat Fairlea said:


> I second your Borodin and raise you one Edvard Greig. All those Lyric Pieces?


And furthermore, Chabrier.


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## hammeredklavier

hammeredklavier said:


> (Video unavailable)


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