# A Beginner's Guide to Classical Music



## pianozach

*









A Beginner's Guide to Classical Music*

Often people unfamiliar with Classical music will ask advice on how to approach it. Where do you start?

🎼

Frankly, many already are familiar with a lot of classical music.

Cartoons from the 1940s and 1950s are loaded with it.

And anyone who's a fan of theatrical films will have heard a great deal of it, even though they may not have realized it: For instance, *2001: A Space Odyssey* used a great many classical pieces for its score. From the impressive opening of *Richard Strauss' Also Spracht Zarasthustra*, to *Johann Strauss*' _*The Blue Danube*_, the use of already composed works helped give the film the impact that made it so very successful.

Stanley Kubrick's *A Clockwork Orange* used Beethoven's 9th Symphony.

*Apocalypse Now* used Wagner's Ride of the Valkyries from his massive operatic suite Die Walk?re.

Even *Ferris Bueller's Day Off* used music from Boccerini's String Quintet in E.

So . . . I compiled a collection of some of the most compelling and accessible classical works for novice listeners.

Originally it was to be a *Top Ten*, which quickly grew into a *Top 20*, then a *Top 25*, and so on.

One of the problems with getting folks to come over to "the classical side" will be familiar to Prog Rock lovers . . . the _*length and complexity*_ tends to just chase folks away.

CAUTION: This list is NOT really a "ranking", although works I feel are better are more likely to appear in a higher position. The list is more of an "ordering" to introduce the uninitiated to Classical Music, in a sequence that in my opinion is more likely to entice one "into the fold".

But the 1st piece is

*The Planets*
*Gustav Holst*, _an 8 movement symphonic work that clocks in at well over a half hour._
1916

This piece is #2 on the Parker Symphony Orchestra's List of *10 BADASS PIECES OF CLASSICAL MUSIC*. Here's _THAT_ full list.

*Orff - Carmina Burana / "O Fortuna" (#18)
Holst - The Planets, Mars (#1)
Verdi - Requiem "Dies Irae" (#79)
Wagner - Ride of the Valkyries (#31)
Vivaldi - The Four Seasons: Summer Mvt. 3 Presto (#6)
Bizet - Carmen Overture / Les Toreadors (#62)
Mussorgsky - Night on Bald Mountain (#19)
Verdi - Il Trovatore / "Anvil Chorus"
Khachaturian - Sabre Dance
Strauss - Also Sprach Zarathustra, Prelude (#24)*

. . . and their _*"Honorable Mentions"*_:

Tchaikovsky - 1812 Overture (#5)
Shostakovich - Symphony No 5, Mvt 4 (#153)
Bruckner - Symphony No 1, Mvt 3
Grieg - In The Hall Of The Mountain King (#11)
Dvorak - Symphony No 9, Mvt 4 (#2)
Mozart - Requiem in D minor, Dies Irae (#35)
Bizet - L'Arlésienne Suite No 2, Mvt 4 (Farandole)
Saint-Saëns - Symphony No 3, Mvt 3 and 4 (#408)
Beethoven - Symphony No 9, Mvt 4 (#39)
Glinka - Overture from Ruslan and Ludmilla (#231)
Holst - The Planets, Jupiter (#1)
Mozart - Symphony No 25, Mvt 1
Bach - Toccata and Fugue in D minor (#90)
Smyth - The Wreckers (Overture)



Ah, but *The Planets* is a great look at orchestration and variety. And several film composers have used Holst's techniques to great success. John Williams has paid great tribute with his scores to Star Wars and others (he's pretty damned prolific).

Of course, the best way to experience Classical music is in a live setting. Unlike rock music, which sometimes suffers in concert, Classical music is exacting . . . it's important to the players and conductor that it be perfect. You won't find fall-down drunk singers or guitarists on acid here.

Here's a great and spirited live version by the *National Youth Orchestra of Great Britain*.

This version also has a new movement, to include _*Pluto*_, discovered after the suite was written.

Mars, the Bringer of War 0:00
Venus, the Bringer of Peace 7:15
Mercury, the Winged Messenger 15:09
Jupiter, the Bringer of Jollity 18:58
Saturn, the Bringer of Old Age 26:42
Uranus, the Magician 35:32
Neptune, the Mystic 41:20
Pluto, the Renewer 49:17

*Proms 2016 - Gustav Holst - The Planets*






.

This extensive work has popped up in popular music as well, especially the *1st movement*.

*Sinfonia*, a large group of electric guitarists covered it, as did *King Crimson* (retitled _*"The Devil's Triangle"*_), and eventually, *Emerson, Lake and Powell*.

*Jimmy Page* adapted part of *'Mars'* in the song _*'Friends'*_ on *Led Zeppelin III*.

*Yes* quoted a few sections of _*Jupiter*_ in the song _*"The Prophet"*_ from their 1970 album "Time and a Word".

*Isao Tomita* did an electronic version many years ago, and *Jeff Wayne and Rick Wakeman* teamed up as well in 2005 with an album *Beyond the Planets*.

Many artists, such as *Frank Zappa*, have "quoted" licks from the suite in instrumental sections of songs.

*John Williams* used the melodies and instrumentation of *Mars* as the inspiration for his soundtrack for the Star Wars films (specifically *"The Imperial March"*)

*Hans Zimmer* closely used the melodies, instrumentation and orchestration of Mars as the inspiration for his soundtrack for the movie *Gladiator* to the extent that a lawsuit for copyright infringement was filed by the Holst foundation.



In presenting this in serial form on a blog, there will be a continual problem with videos becoming "inactive". Due to the settings of Talk Classical, I cannot easily go back later and find an active link an simply insert it, as the editing feature becomes inert after a very short period of time. I'm not complaining, mind you, that's just the way it is.

Generally, the specific video I choose will be live, with decent sound and video. I'll usually give a title and artists (the players, conductor, name of the orchestra, etc), so if the link goes dead, one can generally search for it, or a replacement, fairly easily.

I think that being able to watch the performance adds to the enjoyment somehow. So most of these videos are live, even though there are often "better" (subjectively) recordings. "Better" sometimes just means that the studio recording has better production value, and no audience coughing during the quiet sections.

I welcome comments and suggestions. In general, given that this is a blog format, that is likely to happen anyway. Suggestions for entry-level Classical works will be met with bemusement, as it's very likely I'll already have that work on my list. But possibly not. As I mentioned, the list was started quite some time ago, and grew from humble beginnings to a completed list of 200 finished blurbs of specific works, to a projected list of over 600.

I've actually been compiling this on a different vblog, a band fanpage, but as the band and its fans age and leave (in some cases they "transition"), the membership has dropped drastically, and has been in danger of simply "closing shop" several times. The Admin there has moved to a smaller server after "dumping" a good portion of its archives, and is in the process of doing that again.

So, it's already put together for people to follow along and listen as I drop a post.


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## ORigel

You should include a smattering of piano, modernist, and chamber music, too-- some people may like that more than the orchestral music that draws most people in. 

Piano: 
Dvorak: Complete Humoresques
Chopin: Ballade No. 4
Brahms: Hungarian Dances
Beethoven: Moonlight, Hammerklavier movement 1

Modern: 
Bartok: Concerto for Orchestra
Stravinsky: Rite of Spring, Ebony Concerto
Ravel: Piano Concerto for the Left Hand

Chamber:
Mozart: Clarinet Quintet
Brahms: String Sextet no. 1 movement 2
Ravel: String Quartet
Schubert: String Quartet no. 14, Trout Quintet
Dvorak: Dumky Trio


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## Brahmsianhorn

Initial works I recommend:

Mozart, Piano concerto No. 20
Beethoven, Symphony No. 5
Bach, Cello suite No. 2
Brahms, Violin concerto
Tchaikovsky, 1812 Overture
Schubert, Piano sonata No. 21
Debussy, String Quartet
Handel, Messiah
Puccini, La boheme

.


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## Art Rock

For a general introduction I don't think very long works like the Messiah or an opera would work. What might be best is works that 
[1] have some melodies that the newcomer already knows, but serve to show how much more there is to a work than that melody;
[2] are not too long (ideally not much beyond half an hour to keep their attention)

Some candidates (incidentally, these were among the ones that helped me get into classical music):

- Beethoven's 5th symphony
- Vivaldi's Four seasons (just one of them for starters)
- Mozart's piano concerto 20
- Grieg's first Peer Gynt suite 
- Bach's first cello suite
- Tchaikovsky's first piano concerto


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## Ethereality

A beginners guide to Classical should open with a 400-page thesis on the merits of subjectivity vs objectivity. With breaks of course, like frequent trending videos such as this:






Remember, great music is often about the beard. Whatever you define music to be, the beard seems to have the final say.


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## Ned Low

Mozart,Dvorak and Tchaikovsky are great composers to begin with. Not only do they have mesmerising melodies but their compositions are not complicated as the likes of Mahler though my exposure to classical music was initially Beethoven and then Schubert.


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## larold

Or just read or review Martin Bookspan's 1968 book "101 Masterpieces of Music and Their Composers"









You can buy it for as little as a half dollar here

https://www.amazon.com/101-masterpi...martin+bookspan&qid=1615027619&s=books&sr=1-1


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## HenryPenfold




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## Chilham

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


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## mbhaub

larold said:


> Or just read or review Martin Bookspan's 1968 book "101 Masterpieces of Music and Their Composers"
> 
> View attachment 151920
> 
> 
> You can buy it for as little as a half dollar here
> 
> https://www.amazon.com/101-masterpi...martin+bookspan&qid=1615027619&s=books&sr=1-1


That is a terrific book. How good is it? Well, many of the recordings the author recommended way back when it came out are still among the most highly recommended. That says something. Bookspan knew his music and was no snob.


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## joen_cph

I'd take stuff that is catchy but not so well known, thereby less burdened by any prejudices regarding 'classical music', and spanning from medieval times until contemporary. Say like Respighi's War Dance from the Belkis Suite, medieval Carmina Burana and Ventadorn original stuff, a Bruckner Scherzo (9th?), Schubert's Moments Musicaux, a V-Williams pastoral work, and so on.

But another key question would be the existing taste of the new, interested person. If the person likes smurf songs, Xenakis probably isn't the way to go. If the person likes jazz, there's a lot of say 20th century music to bring up. If it's heavy metal, some Shosty might be relevant, for example.

And then I'd bring in some lasting, basic repertoire stuff. Bach's Brandenburgs, Mozart piano concertos, Beethoven symphonies and piano sonatas, etc.


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## pianozach

ORigel said:


> You should include a smattering of piano, modernist, and chamber music, too-- some people may like that more than the orchestral music that draws most people in.
> 
> Piano:
> Dvorak: Complete Humoresques
> Chopin: Ballade No. 4
> Brahms: Hungarian Dances
> Beethoven: Moonlight, Hammerklavier movement 1
> 
> Modern:
> Bartok: Concerto for Orchestra
> Stravinsky: Rite of Spring, Ebony Concerto
> Ravel: Piano Concerto for the Left Hand
> 
> Chamber:
> Mozart: Clarinet Quintet
> Brahms: String Sextet no. 1 movement 2
> Ravel: String Quartet
> Schubert: String Quartet no. 14, Trout Quintet
> Dvorak: Dumky Trio


Mostly excellent suggestions.

For the most part I've attempted to stay away from collections, at least near the top of the list. Enticing someone into loving classical means fighting a century of pop music conditioning, where people tend to lose focus after 3 minutes.

Of course, first off, I've broken my first rule by including The Planets Suite, and it won't be long before I'll have to mention Beethoven's 3rd Symphony (or 9th), or The Nutcracker, or WTC.

But I'll be spreading the love around; and most of your suggestions ARE on the list, though not necessarily near the beginning.

I love me some Brahms and Schubert as much as the next guy, but their complexity may chase folks away. You mentioned Brahms twice, and he's got many spots on the list, just not near the top. I suppose it's daunting that there is so much great music, and to create a diverse list is a challenge. But in the *Top 100 Brahms*' *Piano Trio No. 1 (Eroica) *is the only work from him I've included, although there's some other great chamber works that are easily more accessible. Expand that to my *Top 200*, and *Brahms* does much better: *Symphony No. 4, Academic Festival Overture, Symphony No. 3*, and *Piano Concerto No. 1*. Like I said, the competition is fierce. *Top 300? Four Songs for 2 horns, harp, and Women's Choir, Clarinet Quintet in B minor, Piano Concerto No. 2*, and *Symphony No. 1*.

And after that Brahms is still well represented:

*Double Concerto for Violin, Cello and Orchestra
German Requiem
"Brahm's Lullaby"
Symphony No. 2
Tragic Overture
String Quartet No. 1
Piano Quartet in C minor
Waldesnacht
Waltz in A flat Major
*

But I'll tack the *Sextet* on the back of the list (it just keeps growing). Occasionally I'll discover that I've made duplicate entries, and that was actually the case with *Brahm's 2nd symphony*, so I slid the *Ebony Concerto* in the duplicate's place. Woo-hoo!

And *Dvorak* gets plenty of love, with the *Dumky* listed at #149

I'm unfamiliar with *Stravinsky's Ebony Concerto*, but I've got it playing right now and loving it. It seems like a great suggestion. Somewhat modern, incorporating some big band sensibilities, phenomenal orchestration technique. I'll find room for it, as my list is quite modern-phobic at first. The noise-makers of the 20th Century tend to drive people away until their ear is ready for it. I daresay that Beethoven would have enjoyed some Stravinsky far more than Mozart would have. I don't know, if Mozart were brought back from the dead, would have be a Kanye fan? Would he love Gentle Giant? As for his *Clarinet Quintet*; as great as it is, almost EVERYTHING *Mozart* composed is great. I'm betting that Mozart is the MOST represented composer on the list so far.

Here's the Mozart I've included in my *Top 100* (and the only composer with TWO works in my *Top 10*):

*Jupiter Symphony
Overture, Marriage of Figaro

Symphony No. 40
Requiem in D minor
Piano Concerto No. 20
"Elvira Madigan" Piano Concerto (No. 21)
Symphony No. 35
Symphony No. 36
Overture, Magic Flute*

And, after that, in the *Top 200*

*"Michael Haydn" Symphony
Symphony No. 38
Symphony No. 39
Horn Concerto No. 3
Don Giovani
The Marriage of Figaro
The Magic Flute
Concerto for Flute and Harp
Clarinet Concerto in A Major
"Alla Turca" Piano Sonata (No. 12)*

. . . And as I'm digging this information out, I've just discovered that *Mozart's Piano Concerto No. 21* was listed *twice*, at #60, _and_ at #170. I've rolled out this list elsewhere, and it was a year between the two listings, yet I chose the same video clip with *Yeol Eum Son* for both entries!

Which means I have room for the *Clarinet Quintet*.

What can I say? Mozart's a monster. Imagine if he'd lived as long as Haydn; Would we be talking about his Symphony No. 150? Piano Concerto No. 99?


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## pianozach

Art Rock said:


> For a general introduction I don't think very long works like the Messiah or an opera would work. What might be best is works that
> [1] have some melodies that the newcomer already knows, but serve to show how much more there is to a work than that melody;
> [2] are not too long (ideally not much beyond half an hour to keep their attention)
> 
> Some candidates (incidentally, these were among the ones that helped me get into classical music):
> 
> - Beethoven's 5th symphony
> - Vivaldi's Four seasons (just one of them for starters)
> - Mozart's piano concerto 20
> - Grieg's first Peer Gynt suite
> - Bach's first cello suite
> - Tchaikovsky's first piano concerto


Excellent suggestions. On the list in prominent positions. I like the way you're thinking.


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## pianozach

joen_cph said:


> I'd take stuff that is catchy but not so well known, thereby less burdened by any prejudices regarding 'classical music', and spanning from medieval times until contemporary. Say like Respighi's War Dance from the Belkis Suite, medieval Carmina Burana and Ventadorn original stuff, a Bruckner Scherzo (9th?), Schubert's Moments Musicaux, a V-Williams pastoral work, and so on.
> 
> But another key question would be the existing taste of the new, interested person. If the person likes smurf songs, Xenakis probably isn't the way to go. If the person likes jazz, there's a lot of say 20th century music to bring up. If it's heavy metal, some Shosty might be relevant, for example.
> 
> And then I'd bring in some lasting, basic repertoire stuff. Bach's Brandenburgs, Mozart piano concertos, Beethoven symphonies and piano sonatas, etc.


Yeah, I'm going with the _*"One Size Fits All"*_ approach, which allows for a wide breadth of diversity for the list, although it naturally will be biased towards my own tastes and experiences.

I've got a few by *Respighi* on the list, but failed to include _*War Dance*_ fr. *Belkis Suite*. I'll find a place for it.


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## pianozach

After only one entry I'm surprised that no one yet mentioned *Mussorgsky's "Pictures at an Exhibition".*

Mr. M would've been a rock & roller had he lived in this era, and Pictures is, perhaps, the closest thing in the classical world to rock, and since _most_ people are fully acquainted with rock, it makes sense to recommend it as a starting point.

But as it is, it's relegated to spot #13 (so . . .still in the Top 20), as there are some other heavyweights that pushed him out of the Top 10. Given the volume of really accessible _*"Great"*_ classical works, that's actually pretty damned good.


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## joen_cph

If so, consider the Geoffrey Simon Belkis recording, also on you-t. The whole suite is catchy, btw.


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## pianozach

*#2*
*Symphony No.9 in E minor "From the New World", Op 95. 
Dvořák 
1893
*
Specifically the _*4th movement*_, which may be the most recognizable of the four. *Keith Emerson* used sections of it for the introduction for his cover of *Bernstein's "America"* in his pre-ELP days with *The Nice*. He also interpolated more of it during the piece.

*Chris Squire* of *Yes* also covered the _*2nd movement*_ on *Ultimate Yes: 35th Anniversary Collection*

*Antonín Dvořák*'s popular *"New World" Symphony* is, indeed, "inspired" by the negro spirituals and indigenous music of North America, although, in his own words, is composed of *"original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour."* Also of inspiration were the _*"wide open spaces"*_ of Iowa, which he visited in 1893.

The work, as is typical of Symphonies, is in four movements, which are labeled by their tempo markings or dance style, often with some sort of expressive phrase:

I. Adagio - Allegro molto
II. Largo
III. Scherzo (molto vivace)
IV. Allegro con fuoco

If you're familiar with Italian (or perhaps some Spanish or Latin), these may make perfect sense. So, a basic glossary of terminology is appropriate:

Andante - walking speed
Allegro - "cheerful"
Presto - quickly
Vivace - lively
Largo - broadly
Lento - slowly

Dance style names, like _*Allemande*_ or _*Sarabande*_, would be 'intuitive', as they were very popular common dances that were almost always at commonly expected tempi.

If one sees a _*"con fuoco"*_, you'll know the composer wants played with fury, or in a fiery or impetuous manner.

I highly recommend the video from *New York Philharmonic*, in the gala performance for the start of their 175th season, but as happens in *Youtube* Land, the video has 'vanished', and it's now only available as short single movement videos, which is somewhat inconvenient.

*Dvořák's "New World" Symphony 
*
*Gimnazija Kranj Symphony Orchestra* under the baton of maestro *Nejc Bečan*


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## pianozach

If you enjoyed *Antonín Dvořák*'s *9th Symphony*, you may be interested in _"skipping ahead"_. He wasn't just a _"one hit wonder"_.

My list includes, of course, Dvorak's *Slavonic Dance No. 7, Op. 46*, the *Cello Concerto* in B minor, and the *String Quartet No.12 in F (American Quartet)*.

There's also his *7th* and *8th Symphonies* (all of his symphonies are worth a list, his *Carnival Overture* (Op 92), and his *"Dumky" Piano Trio No. 4 in E minor* Op. 90 ("Dumky" is a Slavic slang for a collection of brooding, introspective "little" epic ballads, specifically a song or lament of captive people, with cheerful sections interspersed within).

Oh, and *"My Homeland"*, Op. 62. And his *Wind Serenade*.

Oh, and *The Noon Witch (Polednice)*, Op. 108. Nice and compact symphonic poem. With _tubular bells!_



But it is remarkable that the first actual Symphony on my list is from Dvořák.

Of course, we've had the *Best Symphonies* discussion before, with the focus on the *Best Beethoven Symphony*.

Of course, Beethoven towers large over symphonic works. Only 9 symphonies, and most of them GREAT. People love the *5th*, the *9th* (Choral), the *6th* (Pastoral), and the *3rd* (Eroica). And the *7th* gets a great deal of respect as well, probably because it's sort of an 'underdog' when pitted against Beethoven's others.

Many lists often name Beethoven's *3rd Symphony* as the *Greatest of All Time*.

*Classic fM Digital Radio* (a "Pop" Classical Radio station) has their own list of the *10 Greatest Symphonies of all time*, and lists Dvorak's 9th first, somewhat validating its position so high on this list, although the indulge in a bit of "spreading the love around", including only ONE Beethoven Symphony.

Dvořak - Symphony No. 9 ('From The New World')
Mozart - Symphony No. 41 ("Jupiter")
Berlioz - Symphonie Fantastique
Mahler - Symphony No. 2 ('Resurrection')
Brahms - Symphony No. 4
Gorecki - Symphony No. 3 ('Symphony of Sorrowful Songs')
Shostakovich - Symphony No. 5
Beethoven - Symphony No. 9 ('Choral')
Tchaikovsky - Symphony No. 6 ('Pathetique')
Rachmaninov - Symphony No. 2

Other lists include 
Beethoven's 5th, 3rd, 7th, 
Mozart's 40th, 
Tchaikovsky's 5th and 4th, 
Mahler's 5th, 8th, and 1st, 
Brahms' 1st and 4th, 
Schubert's 8th and 9th, and 
Sibelius' 2nd, 
Bruckner's 8th, 
Shostakovich's 11th and 9th, 
Copland's 3rd, and 
Prokofiev's 10th

If you enjoyed the "Symphony" format, you could check out any of these, and be certain that these are the best of the genre.


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## pianozach

1. Holst - The Planets, Op. 32. 1918
2. Dvorak - Symphony No.9 in E minor "From the New World", Op 95. 1893

*3 
Symphony No. 3 "Eroica"
Ludwig van Beethoven 
1803*

That's right . . . the *Best symphony of ALL TIME*. Well, according to _some_. Why is that? Opinion. But if you're making a Top Ten List of Best Symphonies of All Time, you are likely to include it (unless you're Classic fM).

And I've placed *Dvorak's 9th* above it.

But I've said it before, and I'll say it again . . .

.

There is no "best" classical work.

There are plenty of great works all. But there is no "greatest".

You cannot compare *The Planets* to Mozart's *Requiem*.

You cannot compare Beethoven's *3rd Symphony* to Bach's *Toccata and Fugue in D Minor*.

You cannot compare the *Enigma Variations* to Handel's *Water Music*.

You cannot compare the *Revolutionary Etude* to *Scheherazade*.

You cannot compare the *1812 Overture* to *Rhapsody in Blue*.

And you cannot compare *Night On Bald Mountain* to *Ave Maria*.

.

. . . And it only points out the extreme difficulty in making a *"Best of"*, "*Greatest of all time"*, or, in this case, a *"Beginner's Guide"*. I've put the *"Greatest Symphony of All Time"* _behind_ *Dvorak's 9th Symphony*. I've placed *Beethoven's 5th Symphony* down at #16, after *Peer Gynt, Pictures at an Exhibition*, and *Rhapsody in Blue*.

And Beethoven's *9th Symphony*, a brilliant and influential groundbreaking work down in 39th place, after *Bolero*, *Also Sprach Zarathustra*, and the *Ride of the Valkyries*.

There's a reason for this, of course. If you're just getting your feet wet for the first time, you may not want to jump into the Deep End right away.



It has been over 200 years since *Beethoven's 3rd Symphony* was written and is testament to his absolute genius.

There is just so much to it, there is so much happening.

This symphony is about humans - our struggles, challenges and victories. You come away having experienced the power and joy of being alive.

The Eroica, written in 1803, was originally destined to be called _"The Bonaparte"_, a celebration of Napoleon and all he stood for. Beethoven changed his mind when he heard that Napoleon had declared himself emperor. Beethoven denounced him as a tyrant and scrubbed out his name so hard there is a hole in the original manuscript.

The way Beethoven works out all the motifs, melodies and themes in such detail, while at the same time maintaining a completely organic development of the emotional message, is extraordinary.

This is where it starts to get interesting. And by 'get interesting', I mean _*'the rulebook gets incinerated in a political and revolutionary rage by a deaf genius'*_. The third symphony is the one that, everyone generally agrees, changed everything and kick-started the Romantic period in music.

So . . . here's a live version (the BEST way to experience classical music), conducted by a modern genius, *Leonard Bernstein* leading the Wiener Philharmoniker.

1ST MOVEMENT: *Allegro con brio*
2ND MOVEMENT: *Marcia funebre: Adagio assai*
3RD MOVEMENT: *Scherzo: Allegro vivace*
4TH MOVEMENT: *Allegro molto-Poco andante-Presto

BEETHOVEN - Symphony no. 3 in E flat Major, Op. 55 - Leonard Bernstein *


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## Bulldog

pianozach:

Congratulations on a finding a valuable niche here on TC. The thread should be a treasure-trove for helping those relatively new to classical music - great job!!


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## Kjetil Heggelund

Maybe it's an idea to keep the length of the music down so we don't overwhelm the people new to classical music. It's too easy to be eager about all the music we love. The last 2 years I've taught music history in high school so I have some ideas on the topic. I thought it was very hard to pick the right pieces to use for learning more about listening skills and music theory. Next year we'll have a new curriculum, so I have to plan it all even better. Then I'll have to include world and folk music! Like if classical music isn't vast enough. After my 1st year I made a little poll based on a playlist of 33 pieces. The class favorite composers were Bach, Haydn, Beethoven, Schumann and Grieg.


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## Strange Magic

From the OP: "Often people unfamiliar with Classical music will ask advice on how to approach it. Where do you start?"

I am curious as to how widespread this phenomenon is--the unsolicited(?) asking of advice about CM? Any testimony from other members? Also it would be useful to know something of the pre-existing musical tastes of the seeking individual so that one could be aware of any patterns that might suggest better what pieces to select. And surely the age--very important--of the seeker. Addressing a general audience of people who show up to hear a speaker explain CM to them will require a whole different approach from the tailored personal approach. Ditto for a college class taken to fulfill a requirement. In Geology teaching, there are "Rocks for Jocks" courses for such. Never having taught music or music appreciation, I could only offer in retrospect what I heard in my childhood and adolescence, and, from that, speculate now on what a suitable general-purpose syllabus might consist of. But I certainly like the idea of using already-existing cultural usages and references as a starting-point. _Judge Judy_ on the Tube surely pays out massive royalties to Beethoven for her use of the opening notes of his Fifth Symphony for her show.


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## Chilham

Strange Magic said:


> ... I am curious as to how widespread this phenomenon is--the unsolicited(?) asking of advice about CM? Any testimony from other members?...


It's why I came here nine months ago.


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## pianozach

Strange Magic said:


> From the OP: "Often people unfamiliar with Classical music will ask advice on how to approach it. Where do you start?"
> 
> 1. This phenomenon is not "widespread", at least not in terms of being asked whether I'd prefer "Paper or Plastic?" at the grocery store. But it happens frequently enough to inspire me to create this list.
> 
> 2. I am curious as to how widespread this phenomenon is--the unsolicited(?) asking of advice about CM? Any testimony from other members? Also it would be useful to know something of the pre-existing musical tastes of the seeking individual so that one could be aware of any patterns that might suggest better what pieces to select. And surely the age--very important--of the seeker. Addressing a general audience of people who show up to hear a speaker explain CM to them will require a whole different approach from the tailored personal approach. Ditto for a college class taken to fulfill a requirement. In Geology teaching, there are "Rocks for Jocks" courses for such. Never having taught music or music appreciation, I could only offer in retrospect what I heard in my childhood and adolescence, and, from that, speculate now on what a suitable general-purpose syllabus might consist of. But I certainly like the idea of using already-existing cultural usages and references as a starting-point. _Judge Judy_ on the Tube surely pays out massive royalties to Beethoven for her use of the opening notes of his Fifth Symphony for her show.


Well, I'm taking a *one-size-fits-all* approach. I'm afraid that making different lists for different potential demographics may simply be one subcategory too far.

For instance, further on down my list there's some more modern atonal and electronic works, and they most certainly won't be to everyone's taste. I cannot make a list for kids, a list for teens, a list for Metalheads, a list for jazz-lovers, etc.

There are some longstanding members here that really prefer edgier works such as these, but providing an on-ramp using more accessible works tends to garner more fans.

THAT is why *Classic fM* radio plays so much John Williams, shorter works, and old chestnuts (I just went to their current playlist and there's the Gymnopedie No.3, Beethoven's 1st Symphony, William Tell Overture, some James Horner, etc. They DO play rare works and experimental stuff, but those are somewhat infrequent and certainly spread out over the day). They play these because people enjoy them. They shy away from John Cage and Stockhausen during the day because they don't want people closing the browser page, or changing the dial.

When they stick to *shorter pieces*, and someone in their audience doesn't like it, they know it won't be long before something else comes up.

3. There are a few new members that are looking precisely for something like this, and there may be more in the future. If they comment, then they'll see the thread pop up in the "New Posts" with a little green dot on it, making it easier to spot.

4. I am so damned sure that I'll get some things wrong, or leave details out. I have no doubt there will be corrections offered by the esteemed membership here 

There will also be educated and experienced folks that will roll their eyes at the inclusion of one entry or another. You just can't please 'em all.

5. *Beethoven's Symphony No. 5* is #16 on my list. It really IS an iconic work, whether you are tired of it or not. Perfect entry-level Classical.

6. *Carnival of the Animals* DID make the list, but it's far down. It's fun, but really is geared for children. Same with Tubby the Tuba, although it's not in my Top 500. Or Top 600. Yeah, I've got The Nutcracker on the list somewhere. I think.


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## pianozach

Kjetil Heggelund said:


> Maybe it's an idea to keep the length of the music down so we don't overwhelm the people new to classical music. It's too easy to be eager about all the music we love. The last 2 years I've taught music history in high school so I have some ideas on the topic. I thought it was very hard to pick the right pieces to use for learning more about listening skills and music theory. Next year we'll have a new curriculum, so I have to plan it all even better. Then I'll have to include world and folk music! Like if classical music isn't vast enough. After my 1st year I made a little poll based on a playlist of 33 pieces. The class favorite composers were Bach, Haydn, Beethoven, Schumann and Grieg.


I'm in agreement here, although some of Classical Music's greatest achievements are the expansive epic works we all know and love.

I've tried to strike a balance.

But what do you do with *WTC*, or *The Four Seasons*? Or Chopin's Preludes? The Sonata and Symphony forms generally dictate multi-movement pieces. Sure Beethoven's 1st movement of the *9th Symphony* could be listened to as a stand-alone piece, but we know he quotes it in the 4th movement, which ties ALL of the movements together.

You're going to love #4!


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## fbjim

just as a suggestion - one of the things which intimidated me from moving from popular music to classical was that popular music is frequently an album-based form, while classical very much isn't. i really think one of the best ways to not intimidate people is to focus on specific recordings, rather than just suggesting specific works (it's easy to find "greatest classical works" lists but shockingly hard to find any good "classic recordings" lists which don't focus on a specific composer or work).

anyway, some really standard but great works (mostly off the top of my head, so composers I don't listen to much, notably Brahms and Mozart aren't represented) in a recording-based form. Sticking mostly with performers who perform what you might call the "20th century standard" style of performing since that's what people tend to like as a baseline before branching out. (i might also add "when in doubt, go with Szell/Cleveland when looking for a "standard" version of a work)

I believe all these are on Spotify. also i don't listen to Baroque music much (and I think the otherwise standard Gould "Goldbergs" album might not be the most accessible thing for beginners) so suggestions there would be welcome

*

Classical/early Romantic:

Maurizio Pollini - The Late Beethoven Sonatas
Maurizio Pollini - Beethoven Piano Sonatas No. 13/14/15
Leonard Bernstein - Haydn Symphony No. 82 "The Bear" / Haydn Symphony No. 83 "The Hen"
Charles Munch - Schubert Symphonies No. 8 "Unfinished" / No. 9 "The Great"
Carlos Kleiber - Beethoven Symphonies No. 5/7
Gunter Wand - Beethoven Symphony No. 9 (the Wand box set is cheap and extremely good if someone wants a "standard" and consistently played Beethoven symphony box to start with too)

Romantic:

Colin Davis - Hector Berlioz - Symphonie Fantastique (the royal concertgebouw version)
Szymanowski/Myrthes - Cesar Franck - Sonata for Violin and Piano
Paul Paray - Camille Saint-Saens - Symphony No. 3 "Organ"
Jean Martinon - Claude Debussy - La Mer
Pierre Monteux - Maurice Ravel - Daphnis et Chloe
Leonard Bernstein - Anton Dvorak - Symphony No. 9 "From The New World"

Post-Romantic: 
Adrian Boult - Gustav Holst - The Planets (any version but the Vienna one)
Leonard Bernstein - Igor Stravinsky - The Rite of Spring
George Szell - Bela Bartok - Concerto for Orchestra
Leonard Bernstein - Aaron Copland - Appalachian Spring/Rodeo
Arthur Fiedler/Earl Wild - George Gershwin - Rhapsody in Blue/Concerto in F/An American in Paris
*


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## Chilham

I think pianozach has got this.


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## Brahmsianhorn

Agreed with the above regarding the appeal of album recommendations. 

A shortlist:

Vivaldi, Four Seasons - Marriner

Beethoven, Symphony No. 9/Egmont overture - Fricsay

Mozart, Piano concertos Nos. 20, 23, 24, 27 - Curzon

Bach, Cello suites - Fournier

Tchaikovsky, 1812 overture - Dorati

Beethoven, Piano sonatas Nos. 8/14/23 - Rubinstein 

Brahms, Violin concerto - Perlman/Giulini

Monteverdi, Vespers of 1610 - Gardiner

Debussy/Ravel, String Quartets - Melos Quartet

Chopin, “Selections from the Chopin collection” - Rubinstein

Stravinsky, Rite of spring/Petrushka - Dorati/Detroit SO

Rachmaninoff, Piano concertos Nos. 2 & 3 - Janis/Dorati

Mozart, Requiem - Marriner

Gershwin, Rhapsody in blue/An American in Paris - Bernstein/NYPO

Puccini, Tosca - Callas/De Sabata 

Schumann, Dichterliebe/Schubert, Lieder - Wunderlich

Wagner, Overtures & Preludes - Karajan (EMI)

.


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## Chilham

Shoot me now!

If anyone manages to find a heartbeat in any of the recommendations in post 26 or 28, be sure to let the beginners know.


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## Coach G

pianozach said:


> After only one entry I'm surprised that no one yet mentioned *Mussorgsky's "Pictures at an Exhibition".*
> 
> Mr. M would've been a rock & roller had he lived in this era, and Pictures is, perhaps, the closest thing in the classical world to rock, and since _most_ people are fully acquainted with rock, it makes sense to recommend it as a starting point.
> 
> But as it is, it's relegated to spot #13 (so . . .still in the Top 20), as there are some other heavyweights that pushed him out of the Top 10. Given the volume of really accessible _*"Great"*_ classical works, that's actually pretty damned good.


_Pictures_ by Mussorgsky and Ravel was only my second entry into my music collection which I bought on LP when I was about 14 back in about 1982. My first classical recordings was Tchaikovsky's _1812_ (big surprise!) in an album that also included Tchaikovsky's _March Slav_ and _Romeo and Juliet Overture-Fantasy_; a CBS reissue of Leonard Bernstein with the NYPO. Pictures followed, also by Bernstein/NYPO, though I actually purchased it for _Night on Bald Mountain_.

Apart from Bernstein's I now have many other renditions of Pictures by Mussorgsky and Ravel including Ormandy/Philadelphia, Toscanini/NBC, and Karajan/Berlin. I've also got the Mussorgsky/Stokowski transcription by Jose Serebier on NAXOS; which lacks Ravel's orchestral color and smoothness, but attempts to be more urgent and raw. Stokowski said he wated to take the "French" out of what Ravel did to _Pictures_. I even like Isao Tomita's electronic _Pictures_ which I've only heard on YouTube. I still have Vladimir Horowitz on CD playing the original piano score which is fine, but at one time I had Stanislav Richter on cassette in a live recording from Bulgaria where he really bangs it out.


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## pianozach

*#4
The Firebird
Igor Stravinsky
1910*

This ballet has historic significance not only as Stravinsky's breakthrough piece, but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce the acclaimed ballets *Petrushka* (1911) and *The Rite of Spring* (1913).

It was somewhat surprisingly very well received at the time, with one reviewer writing _*"The old-gold vermiculation of the fantastic back-cloth seems to have been invented to a formula identical with that of the shimmering web of the orchestra"*_.

Stravinsky used several ideas from works by *Rimsky-Korsakov* in his score.

Stravinsky was only 28 years old when he composed this innovative work, and was his first ballet score.

*"Music is given to us with the sole purpose of establishing an order in things, including, and particularly, the coordination between man and time."*-Igor Stravinsky

Here is Stravinsky conducting *The Firebird* in 1959. Perhaps not the best-sounding version, but hey, he is the _*"original artist"*_.

*Stravinsky* Conducts *The Firebird Suite*, Japan 1959






:angel:

Progressive Rock band *Yes* has regularly used the ballet's Finale as their _"walk-on"_ music for concerts since 1971.


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## pianozach

*#5
1812 Festival Overture, Op. 49
Pyotr Ilyich Tchaikovsky
1882*

When I was growing up, this was perhaps my all-time favorite Classical work. The rousing brass fanfares, the volley of cannon fire, the ringing chimes . . . Way to go, Tchaikovsy!

Not that most people really care, but it's actual title is *The Year 1812 Solemn Overture, festival overture in E♭ major, Op. 49*, and was written to commemorate the successful Russian defense _*against*_ *Napoleon's* invading Grande Armée in 1812 at the Battle of Borodino, during the French invasion of Russia.

In this respect it shares a link with *Beethoven's Eroica Symphony*, which was originally dedicated to Napoleon, a dedication he withdrew after Napoleon proclaimed himself Emperor.

So, why is it played every 4th of July in the USA? You can trace that back to *Arthur Fielder* leading the *Boston Pops* through the piece in 1974, during a televised 4 July concert, which elevated the 1812 Overture to full-on national anthem status.

Of course, my favorite version is the one I grew up with, with *Antal Dorati* conducting the Minneapolis Symphony Orchestra in 1958. They found the "perfect" cannon shot (using a cannon at Westpoint), and overdubbed it onto the studio recording. Same with the bells. But, again, Classical works seem to be so much more enjoyable in a live context, and there are several on YouTube from which to choose. 









There's a sumptuous version by the *Hong Kong Festival Orchestra* with a supplemental vocal chorus of 100 voices. Instead of cannons they use what they refer to as "live explosions using concussion technology". Ah, the Chinese and explosives go back for centuries. 





There's another by the *Het Koninklijk Concertgebouw Orkest* that uses an rack with a score of actual bells, and rifle-firing soldiers in period costumes. 





Other versions use recorded bells, timpani or large bass drums, military brass bands in the balconies. One actually has rows of cannons lined up OUTSIDE the concert hall firing in perfect synchronization. 





And then there's the 2013 version at the Hollywood Bowl with synchronized fireworks. 




As they're all live, they all have varying sound qualities, and it's certainly difficult to choose.

But here's the *Banda Simfonica d'Algemes* performing outdoors, with explosives from a balcony in the square, and real tower bells operated by bell ringers pulling the ropes to make them swing. There's a high number of very young musicians in the orchestra, and is not the original orchestration, as you can tell by the inclusion of saxophones.






.

The impact of the 1812 Overture cannot be diminished. It's been used in film, television, and advertising.

And in popular music . . . . Here's the Swingle Singers


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## pianozach

*#6
The Four Seasons
Antonio Vivaldi
1723*

*The Four Seasons* is an extended work of four three movement violin concerti, and as many here have suggested, I decided to choose just _one_ of the suites, *Summer*, although I highly recommend the whole damn thing. Still, in choosing just one of the Seasons, it's still a 3-movement piece lasting 10 minutes. In my opinion, the *Summer concerto* is likely the _least_ popular of the four. It seems that the other three are better known. I just think that Summer is the most 'sophisticated' of the bunch. It has short little introspective sections, some wild variations in dynamics

AND . . . They were written around 1716-1717 and published in 1725 in Amsterdam, together with eight _additional_ concerti, as *Il cimento dell'armonia e dell'inventione* (The Contest Between Harmony and Invention).

So . . . one could make a case for *Vivaldi*'s *Four Seasons* being the best musical piece of all time. And _*"best"*_ is a very subjective term. But The Four Seasons is a great example of what it is, a group of four Baroque violin concerti. And it's a beautiful piece that has stood for centuries, beloved and revered by millions. Sure, it's not as complex as Bach, but so what?

Anyway, it's certainly a tough call to single out the best of the bunch as far as accessibility.

But I went with the 2nd concerto, *Summer*, or more precisely . . .

*Concerto No. 2 in G minor, Op. 8, RV 315, "Summer" (L'estate)
*I. Allegro non molto 
II. Adagio e piano - Presto e forte 
III. Presto

It has an unusually slow start, and creeps up on you. Before you know it the oppressive summer heat has turned into a tempest (in a Heavy Metal kind of way), then, just as suddenly, switches back.

Here's *Julia Fischer* and *Symphonieorchester des Bayerischen Rundfunks* (Bavarian Radio Symphony Chamber Orchestra)

_Note that with the exception of the cellists and continuo (keyboard) player [in the back], they are all standing.
_





:clap:​
This video is nice because *Ms. Fischer* gives you an encore of *Niccolò Paganini*'s *Caprice No. 2* (from *24 Caprices for Solo Violin*, written between 1802 and 1817) at the end. These are designed as études, with each Caprice exploring different skills; the 2nd Caprice focuses on detache with many string crossings across non-adjacent strings - watch for it! Oh, and *Paganini* was the most celebrated violinist of his time.

:clap:​
So, naturally, *Summer* is just a portion of an intensely wonderful epic work, but it's best to just get your feet wet first, and see how it goes. I've got the entire 42 minute Suite on the list a bit later (at #29).


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## pianozach

*#7
Brandenburg Concerto No. 6 in B flat, BWV 1051
("Concerto #6 due Viole da Braccio, due Viole da Gamba, Violoncello, Violone e Cembalo")
Johann Sebastian Bach
1721*

It's an excellent example of *Bach*'s mastery of polyphony. The entire collection is widely regarded as some of the best orchestral compositions of the Baroque era.

The six _*"Brandenburg Concertos"*_, no two of which sound alike, encompass an impressive range of style and topic, and manifest in combination the courtly elegance of the French suite, the exuberance of the Italian solo concerto and the gravity of German counterpoint. Subtle and brilliant at the same time, they are a microcosm of *Baroque music*, with an astonishingly vast sample of that era's emotional universe.

There is an interesting story behind the music's survival: The manuscript was nearly lost in *World War II*, when being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, and the librarian escaped the train, and the bombardment, in a nearby forest, with the scores hidden under his coat.

Anyway, _ALL_ of these concertos are great, each in their own way. Personally, if I were to pick just ONE movement, it would be tough, but I'd go with the *3rd movement* of the *2nd Concerto*, with its piccolo trumpet solo bits (in this video the trumpet part is evidently played by George Washington) . . .

*Brandenburg Concerto 2, 3rd movement*, Mozart Orchestra Bologna






.

. . . followed very closely by the _*1st movement*_ of the *4th Concerto*, dominated by a pair of recorders.

*Brandenburg Concerto no. 4, 





*., APOLLO'S FIRE - The Cleveland Baroque Orchestra

.

An awful lot of folks tend to give *Bach's 5th Brandenburg* a lot of praise, so here's the _*1st movement*_ of that one.

*Brandenburg Concerto, No. 5, 1st mvt*., Apollo's Fire Baroque Orchestra, with Jeannette Sorrell, Music Director, on harpsichord.






.

But when we're talking about 15-20 minutes of an entire piece, the *6th* (probably the one written first, by the way) is remarkable for several reasons.

For starters there are no violins, just two violas, two violas da gamba, a cello, and the violone, which is near the cello range but from the gamba family. And a harpsichord.

16 minutes of joy.

*Bach: Brandenburg Concerto No. 6* in B flat major, BWV 1051 (Freiburger Barockorchester)

00:13 *I. Allegro*
05:40 *II. Adagio ma non tanto*
10:07 *III. Allegro*






.

I especially love when *Bach* is played on period instruments. Really puts it over the top for me.

*Bach* was able to create great variety in the confines of "acceptable" music [of the day] with the now-almost-obsolete instruments available to him.

I'm a avid fan of Bach's works, and used to compete with the keyboard works (inventions, preludes & fugues, etc.). His music is unequaled in our history - *NO ONE* writes like he did . . .


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## pianozach

*#8 
Symphony 41 in C "Jupiter", K. 551. 
Wolfgang Amadeus Mozart 
1788*

The name of the symphony, as the story goes, is that impresario Johann Peter Salomon called it *Jupiter* because the opening chords of trumpet and drum flourishes, which reminded him of the god Jupiter and his thunderbolts.

The Jupiter is the third of a trio of symphonies Mozart wrote.

It's the final movement that stands out as one of the most interesting symphonic movements written by any composer. It begins with a very simple four note theme that could have been taken from a church work. What follows is a strict sonata form, but with so much use of fugal imitation that early 19th century German musicians referred to the entire work as the "symphony with the fugal finale." The movement has also been described as Mozart's most "learned" piece of music, in that it could easily serve as a textbook of fugal devices. In the final coda, all five major thematic elements are played simultaneously, yet the overall effect is not a lesson in counterpoint, but a fitting conclusion to a dramatic symphonic movement.

So here's Russian-Finnish *Dima Slobodeniouk* conducting the *Sinfonica de Galicia* from Spain. Neither the conductor nor the symphony is very well known, but this live version has both production quality, musicality, and clarity.

I. Allegro vivace (0:17 )
II. Andante cantabile (12:10 )
III. Menuetto. Allegretto (22:31 )
IV. Molto allegro (27:48 )

*W.A. Mozart: Symphony nº 41 "Jupiter" - Dima Slobodeniouk - Sinfónica de Galicia*


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## pianozach

*#9
In the Steppes of Central Asia
Alexander Borodin 
1880. *

When Alexander II of Russia held his Silver Jubilee, in 1880, among other things he commissioned *Borodin* to compose a symphonic poem. It was intended to be the soundtrack to a tableau vivant - a slightly curious and now largely forgotten art form in which actors pose, motionless, in a set, often lit to resemble a painting.

The music, as well as being crammed full of great tunes, is beautifully comprehensible: the listener can easily hear the Russian troops and Central Asians travelling across the steppe. Both have their own melodies, which briefly meet, working perfectly over each other, before the Asian music wafts off into the distance and the Russian theme is left alone.

The composer provided the following description in a note to the score:

*"In the desert of Central Asia the melody of a peaceful Russian song is heard at first. The approaching tramp of horses and camels is heard, together with the doleful sounds of an oriental melody. A native caravan guarded by Russian soldiers crosses the boundless steppe. It completes its long journey trustingly and without fear under the protection of the victors' awesome military strength. The caravan moves further and further away. The peaceful melodies of both vanquished and vanquisher merge into a single common harmony, whose echoes long resound in the steppe before eventually dying away in the distance"*

Alexander Borodin: In the Steppes of Central Asia
Main Line Symphony Orchestra, Don Liuzzi


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## pianozach

*#10
Overture from The Marriage of Figaro
Wolfgang Amadeus Mozart
1786*

Mozart composed this 4 act comic opera *The Marriage of Figaro* (Le nozze di Figaro) in 1786.

Mozart famously composed the overture just a few hours before the opera's premiere. You'll recognize it.

So here's two versions from which you can choose.

First, the brilliant *Leonard Bernstein* conducting the extraordinary *New York Philharmonic Orchestra.

*And then the well-known and well respected *James Levine* leading a staged production of the Overture.

*MOZART Le nozze di Figaro (Overture) LEONARD BERNSTEIN*






*Le Nozze di Figaro: Overture -- James Levine
*


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## Brahmsianhorn

Chilham said:


> Shoot me now!
> 
> If anyone manages to find a heartbeat in any of the recommendations in post 26 or 28, be sure to let the beginners know.


What are your recommendations?


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## Chilham

Brahmsianhorn said:


> What are your recommendations?


I'll share when pianozach's done.


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## pianozach

Chilham said:


> I'll share when pianozach's done.


LOL.

I may never be "done".

But I'd like to reiterate the gist of all this. I'm not 'ranking' these works: If I've got *Holst*'s *Planets* at *#1* and *Mozart*'s *Overture* from *The Marriage of Figaro* at *#10*, there is _NO WAY_ I am inferring that one is "better" or more "popular" than the other.

But if someone wants to delve into *"Classical Music"* for the first time, from what ever diverse background they are from, I think that my list, at least up to #25, are a great primer.

*1-10*
Holst - The Planets, Op. 32. 1918
Dvorak - Symphony No.9 in E minor "From the New World", Op 95. 1893
Beethoven - Symphony No. 3 "Eroica"
Stravinsky - The Firebird. 1910
Tchaikovsky - 1812 Festival Overture, Op. 49. 1882

Vivaldi - Summer, The Four Seasons. 1723
JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051. 1721.
WA Mozart - Symphony 41 in C "Jupiter", K. 551. 1788
Borodin - In the Steppes of Central Asia. 1880. 
WA Mozart - Overture from The Marriage of Figaro. 1786

What . . . what do all of these have in common, other than there's someone around here that thinks these are all old and moldy, overplayed, or overrated?

They're all hummmmmable. :clap:

:tiphat:

It's time to break it up a little. Here's some Paganini played while hula-hooping.

"Paganini 24 Hula Hoop (with Hilary Hahn)"








I find this especially amusing as I know someone that used to play trombone while hula hooping, which is more impressive as the slide is larger than a bow.


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## Roger Knox

*pianozach*, This is a great project -- obviously a lot of thought has gone into it. Congratulations!


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## Art Rock

Impressive indeed. Once it is finished, it could be worthwhile to post this collection of recommendations as a blog entry or a separate post (stickied and closed by a mod) so newbies can be referred to it without being distracted by the comments in this thread.


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## pianozach

Roger Knox said:


> *pianozach*, This is a great project -- obviously a lot of thought has gone into it. Congratulations!


Thank you!



Art Rock said:


> Impressive indeed. Once it is finished, it could be worthwhile to post this collection of recommendations as a blog entry or a separate post (stickied and closed by a mod) so newbies can be referred to it without being distracted by the comments in this thread.


I think the comments make it a bit more personal. I am far from being the last word on this, I simply have an opinion and am not afraid of posting it.


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## pianozach

*Immersion Level: Norwegian Ninja

#11
Part 1 of 3

Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55
Edvard Grieg
1876*

A complicated history for a *"work"*.

*Peer Gynt, Op. 23* is the incidental music to Henrik Ibsen's 1867 play of the same name, written by the Norwegian composer *Grieg* in 1875. It premiered along with the play on 24 February 1876 in Christiania (now Oslo).

Later, in 1888 and 1891, Grieg extracted eight movements from the original 26 to make two four-movement suites: *Suite No. 1, Op. 46* in 1888, and *Suite No. 2, Op. 55* in 1891. The score for the original work wasn't even published until 1908.

Suite 1 has two very popular and accessible movements, the 1st and 4th:

1. Morning Mood (Morgenstemning)
2. The Death of Åse (Åses død)
3. Anitra's Dance (Anitras dans)
4. In the Hall of the Mountain King (I Dovregubbens hall)

*In the Hall of the Mountain King* is astonishingly popular, with Pop and Rock covers being recorded as early as 1941, when *Alvino Rey* and His Orchestra recorded a jazz version.

*Nero & the Gladiators* reached No. 48 on the British charts in 1961

*Big Brother and the Holding Company* played it live in 1967, as did *The Who*, also in 1967.

*Electric Light Orchestra* recorded their cover in 1973.

So . . . here's *Suite No. 1*. *Otto Tausk* is conducting the *Limburgs Symfonie Orkest*

Grieg Peer Gynt Suite no.1 - Live - HD - Limburgs Symfonie Orkest olv. Otto Tausk


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## pianozach

*#11
Part 2 of 3

Extra Credit*

So . . if you liked THAT, then here's the less-well-known *Suite No. 2*. Here's four different videos, one for each of the four movements:

I. The Abduction of the Bride. Ingrid's Lament (Bruderovet. Ingrids klage) 
II. Arabian Dance (Arabisk dans) 
III. Peer Gynt's Homecoming (Stormy Evening on the Sea) (Peer Gynts hjemfart (Stormfull aften på havet)) 
IV. Solveig's Song (Solveigs sang)

The *Abduction and Lament* is an exciting and peppy version by a student orchestra.
The *Arabian Dance* is a live outdoor version by the Codarts Symphony Orchestra in The Netherlands
The *Homecoming/Stormy Evening* is performed by the Portland Youth Symphony Orchestra

*Jugend-Sinfonieorchester Aargau Edvard Grieg (1843-1907): Peer Gynt, Suite 2 (1891)
*







Edvard Grieg - *Arabian Dance* (from "Peer Gynt") [*Codarts Symphony Orchestra*]






:devil:

PYSO - *Peer Gynt's Homecoming* - Peer Gynt Suite No. 2 Mvt. III - Edvard Grieg








IV. *Solveig's Song* (Norwegian: Solveigs sang), is sung by Solveig, (Peer's mother) in the fourth act of Edvard Grieg's original Peer Gynt. The solo part is often played on a violin, but the vocal version is also popular.

_The winter may pass and the spring disappear 
The spring disappear
The summer too will vanish and then the year
And then the year

But this I know for certain: you'll come back again
You'll come back again
And even as I promised you'll find me waiting then
You'll find me waiting then

Oh-oh-oh ....

God help you when wand'ring your way all alone
Your way all alone
God grant to you his strength as you'll kneel at his throne
As you'll kneel at his throne

If you are in heaven now waiting for me
In heaven for me
And we shall meet again love and never parted be 
And never parted be!_
_​
*Sarah Brightman* (Phantom of the Opera) has performed this live, but as with many of her recordings I find her to be just a bit too "perfect", and often lacking in both soul AND heart. There's no depth, no pathos, no connection . . . just technique. And she sings it in English, of all things.

For my money, of the versions available online, I'll take *Sissel Kyrkjebø*'s version from 1993. Is she perfect? Of course not. But I'd rather hear an extraordinary actress sell a song than an extraordinary singer phone one in.

*This may be the best five minutes of your day*

*Sissel Kyrkjebø - Solveigs sang *- 1993


----------



## pianozach

*#11
Part 3 of 3

Honor Roll*

Now . . . funny thing, but Grieg originally created a 5th movement for the 2nd suite, intended to open the suite: *V. Dance of the Mountain King's Daughter*. But he "withdrew" it, allegedly because of unreasonable time constraints put upon him by the Swedish theatre managers. He supposedly "trimmed" the remaining movements as well.

I like this movement quite a bit. It starts out in an unassuming way, and creeps up on you in some sort of pagan way. I can't fathom why such a short little movement would need to be cut, but, hey, that's show biz I guess.

Here's *Esa-Pekka Salonen* conducting the *Oslo Philharmonic Orchestra*

*Peer Gynt, Op. 23: Act II, 8, Dance of the Mountain King's Daughter*






:angel:

Of course, the original score from 1875 contains 26 movements in 5 acts, and includes several songs and choral pieces. Here's a link to the original complete work - this fairly new recording runs 1 hour 46 minutes, even though, by all accounts, Grieg originally composed only 90 minutes of orchestral music for the play. This is because he added more music for revivals in 1885 and 1902.

*"Peer Gynt" Complete Incidental Music - Edvard Grieg*
*The London Symphony Orchestra* and the *Oslo Philharmonic Chorus* conducted by *Per Dreier*


----------



## pianozach

*#12
Polonaise In A Flat Major, Op.53 "Heroic"
Frederic Chopin
1842*

OK, well, *Chopin* was ALL about the piano, and wrote many noteworthy ballades, etudes, impromptus, mazurkas, nocturnes, preludes, rhondos, scherzos, sonatas, variations, waltzes, and yes, polonaises.

But the *Heroic Polonaise (Polonaise héroïque) *is one of *Chopin*'s most admired compositions and has long been a favorite of the classical piano repertoire. It requires exceptional skills and virtuosity.

Just a short note on it's title of *"Heroic"*: *George Sand*, Chopin's longtime lover and companion, had a few words to say about this piece in one of her letters to him,

_*"The inspiration! 
The strength! 
The vigour! 
There is no doubt that such a spirit must be present in the French Revolution. 
From now on this polonaise should be a symbol, a symbol of heroicness!"*_​
And, unfortunately for us, *Chopin* died in 1849, long before recorded music was introduced, so here's the 83 year old piano legend *Vladimir Horowitz* playing it.

*Vladimir Horowitz plays Chopin Polonaise in A flat Major, Op.53 "Heroic" Polonaise
*


----------



## pianozach

*#13 
Pictures at an Exhibition (Ravel orchestration). 
Modest Mussorgsky
1922*

So *Pictures at an Exhibition* started off as a solo piano suite of 10 pieces (plus a recurring, varied "Promenade"), which *Mussorgsky* wrote in 1874. The piano suite is probably his most famous composition.

It was written as a tribute to Russian artist *Viktor Hartmann*, who died in 1873, and the movements are each based on a particular painting by him that hung in a memorial exhibition of his artwork.

The *Maurice Ravel* version, the most popular version of the suite is an example of brilliant orchestration.

However, many here might actually be more familiar with the *Emerson, Lake & Palmer* 1971 version, or even the 1975 electronic version by *Isao Tomita* (although he'd scored a version for real instruments in 1966 as well).

So here's the *Ravel* version. For those who read music to some degree or another, the score is provided so you can follow the orchestration. Some of us find this sort of thing really neat to see.

0:56 Promenade I 
2:37 Gnomo
5:35 Promenade II
6:31 The Old Castle
11:04 Promenade III
11:35 Tuileries
12:37 Bydlo
15:35 Promenade IV
16:19 Bellt of the chicks in their shells
17:39 Samuel Goldberg and Sachmuyle
20:08 The market place in Limoges
21:36 Catacombs
23:40 Con mortuis in lingua mortua
25:39 The hut on fowl's legs (The Hut of Baba Yaga)
29:07 The great gate of Kiev

I think this is the *Bavarian Radio Symphony Orchestra* conducted by *Mariss Jansons*.

*Mussorgsky: Pictures at an Exhibition Orchestra with Full Score*








By contrast, here's the *ELP* version, live.

Obviously, they took some gratuitous liberties with it, leaving out some sections, and interpolating their own stuff in it. While it introduced Classical music to many, many classical music elitists regarded it as an assault on the piece. But it's noteworthy that this was the gateway through which many rock 'n' rollers "discovered" Classical Music.

It wasn't the first time that *Emerson, Lake, & Palmer* had brought Classical Music to a Progressive Rock audience. This was their third album (they also did a 'rocked up' version of some of *Tchaikovsky*'s *The Nutcracker* on this album, which they titled *"Nutrocker"*.)

ELP's self titled first album opened with an arrangement for rock band of *Béla Bartók*'s 1911 piano piece *Allegro Barbaro*, which they retitled _*"The Barbarian"*_. The track _*"Knife-Edge"*_ is based on the first movement of *Leoš Janáček's Sinfonietta* (1926) AND includes an extended quotation from the *Allemande* of *Johann Sebastian Bach*'s first *French Suite in D minor, BWV 812*.

*ELP*'s second album, *Tarkus*, contains themes from *"Toccata and Fugue"* and *"Prelude and Fugue VI*, BWV851", again by *Johann Sebastian Bach*.

But this was already typical of keyboardist *Emerson*, whose previous group, *The Nice*, delved heavily into the Classic Music bin for inspiration. Over several albums that band used music from *Leonard Bernstein's America, Sibelius's Karelia, Bach's Brandenburg Concerto Nos. 3 and 6*, and *Tchaikovsky's Symphony No. 6, 3rd Movement*.

As for *Pictures at an Exhibition*, though, you can make up your own mind.

*Pictures at an Exhibition, Emerson, Lake & Palmer*

*Emerson, Lake & Palmer - Pictures at an Exhibition (Full) Live 1970 - Remastered*






:devil:

And, as long as I'm here, *Isao Tomita* made his own version with synthesizers in 1975. I tend to think of this as being a novelty, a musician capitalizing on the newly invented synthesizer to orchestrate the work, just as *Wendy Carlos* did with *Bach* back in 1968 (The Grammy-winning *"Switched-On Bach"*), with less sophisticated equipment.

Re-orchestrating the *Pictures* isn't really as weird as one make imagine, as the *Ravel* version is actually not the original version either. *Mussorgsky*'s work was originally scored for solo piano.






:angel:

Original version, performed by *Khatia Buniatishvili*.


----------



## Art Rock

Personally I prefer the rock version by Mekong Delta over ELP. And it uses the original tracks throughout.


----------



## pianozach

Art Rock said:


> Personally I prefer the rock version by Mekong Delta over ELP. And it uses the original tracks throughout.


Well I like it because it's pretty much a note-for-note version played on rock instruments.

On the other hand, I'm not really all that impressed because it's just a note-for-note version played on rock instruments.

I did the same with a movement of a Bach suite a while back:

__
https://soundcloud.com/pianozach%2Ftocatta-in-d-minor-ii-thema


----------



## pianozach

Time for another *Intermission*.

*Chopin*, as famous as he is for piano compositions, wrote only two Piano Concertos.

*Piano Concerto No. 2* is great, but the _*2nd movement*_ is very accessible and sublime. It's under nine minutes in length. Here's *Ingrid Filter* with *Kazimierz Kord* conducting the *Warsaw Philharmonic*.

It's quite magical.






Looking over the list for my *Chopin* entries . . . . in the top 100 I've got

#12 *Polonaise Op. 53*,
#27 *Prelude in Db "Raindrop"*,
#98 *Nocturne in Eb, Op. 9 No. 2, 
*#99 *Revolutionary Etude*,

and even further down the list

*Ballade #4*, 
*Grand Valse Brillante in Eb, Op. 18*, and 
*Piano Concerto No. 2*


----------



## pianozach

*#14
Rhapsody in Blue
George Gershwin
1924*

One of the most popular works by an American "Art" composer.

I'll wager that almost everyone is familiar with it, but in case you aren't . . . . it's a one movement piano concerto . . . hence the *"Rhapsody"* title indicating it's one extended movement instead of separate movements.

And as the *"in Blue"* part of the title indicates, there are several jazz influences on the piece, including ragtime, blues, and big band.

And there are actually a few different versions of it: There's the original 1924 version developed for piano and expanded jazz band, and an updated 1926 version for an even larger jazz band (called the "theater orchestra" or "pit orchestra" setting), and a 1942 symphony orchestra setting. There's also a two piano version as well.

The influence of the piece cannot be overstated.

Here's a live version from 1976, with *Leonard Bernstein* conducting.

I suppose that because conducting the work wasn't enough of a challenge, he _also_ plays the very difficult piano part as well.

*George Gershwin - Rhapsody in Blue - Leonard Bernstein, New York Philharmonic (1976)*








There are many, many versions available to watch, and a multitude of audio only versions.

But just to show how difficult this piece is, here's a "score" version (using the easier-to-read 2 piano version).

I've actually attempted the main piano part . . . . for me it's about 50% easy, 30% advanced, and 20% are-you-freaking-kidding-me?

This one features *György Cziffra* at the piano, with *György Léhel* conducting the *Budapest Symphony Orchestra*.

*George Gershwin - Rhapsody in Blue
NB: This link CAN be watched, but because of "settings" chosen by the poster, it is possible you may have to view it by clicking through to Youtube. You can watch on Youtube.*








Surprisingly, there IS a 1924 recording of the original 1924 version, with *George Gershwin* himself at the piano, with the *Paul Whiteman Jazz Band* that premiered the piece with him, and was originally released on two sides of a 12" 78 rpm record.

It's roughly half the time length of later versions, but that's partly due to the tempos being leaned on to get the work to fit on the 78 rpm format.

Oh, by the way, while *Gershwin* composed the entire thing, the orchestration was handed off to *Ferde Grofé*, Whiteman's arranger. Of note in this arrangement is that the banjo is used to cover for the lack of strings.

*Paul Whiteman And His Orchestra 'Rhapsody In Blue' Original 1924 Acoustic 78 rpm*








The *Rhapsody*, with its composer as soloist, was premiered in front of a packed house in February 1924 that included such musical luminaries as the composer Sergei Rachmaninoff, the violinist Fritz Kreisler and the conductor Leopold Stokowski.

Legend has it that Gershwin completely forgot that Whiteman had commissioned a work from him for a concert in New York. According to the tale, George's brother Ira, on January 3 or 4, read in a newspaper that Whiteman would soon lead his musicians in a concert of works by Victor Herbert, Irving Berlin, and _George Gershwin_, the Gershwin piece to be a _jazz concerto_.

When Ira asked his brother about the new piece, George expressed astonishment. He remembered talking with Whiteman about a concerto, but he had not understood that it was expected by Whiteman for performance at that concert. Gershwin had only _five weeks_ left before the premiere.

He began composing the new concerto immediately. Because he needed to travel to Boston for the opening of his newest musical, the main theme of *Rhapsody in Blue* was actually written on the train from New York. The composer later claimed, _*"It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer (I frequently hear music in the very heart of noise) that I suddenly heard-and even saw on paper-the complete construction of the Rhapsody from beginning to end. …I heard it as a sort of musical kaleidoscope of America-of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had the definite plot of the piece."*_

Gershwin worked quickly, sketching out the ensemble parts of the piece at the piano, then handing over the score to Ferde Grofé, Whiteman's arranger, who orchestrated it. Thanks to their team effort, the band's parts were ready in time, but the solo piano part was not yet on paper. It existed only in the composer's mind, and at the first performance Gershwin played it from memory. Regardless, the concert on February 12 was a triumph. An American classic was born.



Now I'll bet you can't wait until I get to something with the *Cleveland Symphony* under *George Szell*: Yeah, the guy was a dictator, but he made them sound good.

He's a-comin'. *#16*.

*Huge*.


----------



## Pat Fairlea

Lots of good ideas here (though I would always nominate the original 'Pictures' over any arrangement). Two pieces for CM newbies: Rimsky-Korsakov's Russian Easter Festival, and Ravel's Piano Concerto in G. If neither of those pieces stirs your being, CM's not for you.


----------



## pianozach

Pat Fairlea said:


> Lots of good ideas here (though I would always nominate the original 'Pictures' over any arrangement). Two pieces for CM newbies: Rimsky-Korsakov's Russian Easter Festival, and Ravel's Piano Concerto in G. If neither of those pieces stirs your being, CM's not for you.


Excellent suggestions. *Ravel's Piano Concerto in G *is already on the list, but *Rimsky-Korsakov's Russian Easter Festival, Op. 36* was not.

But now it is.

But I did have Rimsky-Korsakov's *Russian Fantasia, Op. 33*. Not twin pieces, but related.


----------



## Chilham

I was asked a few pages back for, "Which versions", I'd recommend to a beginner. For the most part, whilst I have versions that I enjoy, I'll refrain from making specific recommendations. Let me explain.

As a 'long-time beginner last year - I'd been listening to popular classics and attending opera for corporate hospitality and a few special occasions for 30-years - I went in search of a more informed understanding and deeper appreciation of classical music. Talk classical was one of the sites I regularly found myself coming to from Google searches. I created lists of music that I felt I needed to know and started to acquire versions and listen. Of course, our excellent list curated by Science featured prominently.

In researching Bach's Mass in B Minor, I came across some advice on Quora. In response to someone asking which is the best version, one contributor wrote:

_"A wonderful question which, I'd argue, admits of no single answer. To oversimplify matters, let's begin by pointing out that performance styles have changed in the past century. There is a now-old saw that holds that when the recording era began Bach was performed slowly and Wagner fast, and that now it's the other way around.
For some listeners, Bach's mass should be a grand massif of terrible beauty. Others, generally the advocates of Historically Informed Performance (Gardiner, Hogwood, Herreweghe, Pinnock, et al.) have called our attention to how much Bach's music dances, how full of light and energy it is. I think, for this reason, one might wish to sample a handful of recordings. I'll call attention to such a handful here.

*Karl Richter, 1962*
Anyone who knows Richter's style will know its hallmarks: it's slow, thick, self-consciously grand. But the thing is, that tends to work for him, especially on massed choral pieces. Curtis Lindsay wrote a terrific answer recently about Richter's handling of the early cantata Christ lag in Todesbanden (BWV4). The grand effects of the B Minor Mass are similarly amenable to precisely the kind of treatment Curtis describes in his answer. This is a glorious recording after its own fashion, presenting a towering, majestic, decidedly non-HIP Bach. And you see that name, Fischer-Dieskau? That's Dietrich Fischer-Dieskau, the most recorded artist of the twentieth century, easily one of the very greatest baritones ever to live, whom no less a singer than Elizabeth Schwarzkopf called a "born god," and who is the greatest male singer of German Lieder I've ever heard. He is devastating here, as on so many recordings of this period. His name alone would be enough to make this recording a must - and that despite the fact that, unlike, e.g., the St. Matthew Passion, the Mass in B Minor makes massive use of the chorus, and limits the role of the soloists (this is one of many salient differences between Bach's strategy in setting the mass and setting the passions). Anyway, this is a heavy, dripping, poignant account.

*Otto Klemperer, 1967*
Dame Janet Baker, Nicolai Gedda, Franz Crass - these are divinities, and Klemperer was a master. This recording is the Mass as celestial funeral procession, though - somehow more ethereal than Richter's version, angelic as that is, and quicker, too, but still overpowering in its slowness.

*Eugene Jochum, 1980*
This is Jochum's third recording of the Mass, and the first I ever owned. This is the last "slow" version I would recommend. I find it remarkable for the depth of the choral singing. When the lower male voices reenter in the Kyrie, I get goosebumps every time, as though the good Lord had just entered the building. This is longer than Klemperer's overall, but feels shorter; and where Klemperer feels like an inescapable cloud, this feels like a spiritual bulldozer. Again, the singers are divine.

*Frans Brüggen, 2010*
Skip ahead a generation. John Eliot Gardiner and others have begun to rethink Baroque performance in general, reintroducing period instruments and, in general, speeding things up. This version of the Mass is a quarter-hour shorter, or more, than any of those above. Its instrumentation is light; its chorus remains ethereal, but now it swims in colour and light, not the smoky darkness of a church. Here the empyrean is a dynamic, kinetic place. I listen to Richter, Klemperer, and Jochum when I want the sense of the sacred to pummel me and fill me, atheist or not, with some kind of holy dread. I listen to this when I want to feel buoyed up, when I want to feel the Mass as a joyous triumph rather than the ineluctable movement of sacred history expressed in marmoreal massed chorus and lead-footed gravity.

*Philippe Herreweghe, 2012*
One of the towering figures in HIP delivers his third and greatest rendition of the Mass with the Collegium Vocale Gent. He's a wee bit more formal than Brüggen to my ears, but no less swift, and utterly beautiful. This is the Mass as thing of light, a Lutheran Paradiso. Beautifully sung and played.

My suggestion is to pick one of the first three and one of the last two. The Mass is worth hearing in older and newer presentations, which highlight different aspects of it, different ways of hearing it. I have all five and several others - including *Gardiner's 1985* rather transitional Archiv recording of it - and regret spending money on none of them. But then, I think this is one of the summits of all art, in any medium or form, and have listened to it with awe for half my life now."_

Whether you agree with these suggestions or not, I've found this to have been, unquestionably, the best advice I received as a, "Beginner". Don't simply look for the 'classic standard', the Szell with the Cleveland or Karajan with his Berliners, Richter playing Rachmaninov, listen to different versions and decide for yourself which one ticks the box for you. I listened to all six suggestions and one jumped up and slapped me around the ears. It was the Herreweghe. In time, I'll maybe want to listen to more and perhaps different versions but for now, I don't have the time for more than one version of all but a very select group of works. There's too much else I want to get to first.

I have found that my ear generally prefers Herreweghe, Harnoncourt, Chailly, Hogwood, and Pinnock, to Szell, Solti, Karajan, Bernstein, and Wand. That's a broad generalisation, as I love Karajan's Mahler 9 for example. Whether it's because I'm a beginner, I don't know and who's to say? It may, of course, change over time.

I keep an iTunes folder named, "Classical Bin 101" where I put versions that I purchased on recommendations, mostly from this site, then discovered versions I prefer more. Just one example to illustrate, there's a thread here that makes recommendations for Bruckner's 8th. Of the latest list of eleven recommended and thirty-one further listening, only one conductor is alive today, and he's 92! This despite suggestions being made within the thread for the likes of Thielemann, Nelsons, and my personal favourite for Bruckner's 8th, Simone Young.

Now I am not saying that Young is better than Furtwangler, or Wand. But recommend a bunch of guys without a heartbeat to beginners, excluding more modern interpretations, and you risk taking the freshness out of the journey they're starting. Give them options and let them decide.


----------



## pianozach

Chilham said:


> I was asked a few pages back for, "Which versions", I'd recommend to a beginner. For the most part, whilst I have versions that I enjoy, I'll refrain from making specific recommendations. Let me explain.
> 
> As a 'long-time beginner last year - I'd been listening to popular classics and attending opera for corporate hospitality and a few special occasions for 30-years - I went in search of a more informed understanding and deeper appreciation of classical music. Talk classical was one of the sites I regularly found myself coming to from Google searches. I created lists of music that I felt I needed to know and started to acquire versions and listen. Of course, our excellent list curated by Science featured prominently.
> 
> In researching Bach's Mass in B Minor, I came across some advice on Quora. In response to someone asking which is the best version, one contributor wrote:
> 
> _"A wonderful question which, I'd argue, admits of no single answer. To oversimplify matters, let's begin by pointing out that performance styles have changed in the past century. There is a now-old saw that holds that when the recording era began Bach was performed slowly and Wagner fast, and that now it's the other way around.
> For some listeners, Bach's mass should be a grand massif of terrible beauty. Others, generally the advocates of Historically Informed Performance (Gardiner, Hogwood, Herreweghe, Pinnock, et al.) have called our attention to how much Bach's music dances, how full of light and energy it is. I think, for this reason, one might wish to sample a handful of recordings. I'll call attention to such a handful here.
> 
> *Karl Richter, 1962*
> Anyone who knows Richter's style will know its hallmarks: it's slow, thick, self-consciously grand. But the thing is, that tends to work for him, especially on massed choral pieces. Curtis Lindsay wrote a terrific answer recently about Richter's handling of the early cantata Christ lag in Todesbanden (BWV4). The grand effects of the B Minor Mass are similarly amenable to precisely the kind of treatment Curtis describes in his answer. This is a glorious recording after its own fashion, presenting a towering, majestic, decidedly non-HIP Bach. And you see that name, Fischer-Dieskau? That's Dietrich Fischer-Dieskau, the most recorded artist of the twentieth century, easily one of the very greatest baritones ever to live, whom no less a singer than Elizabeth Schwarzkopf called a "born god," and who is the greatest male singer of German Lieder I've ever heard. He is devastating here, as on so many recordings of this period. His name alone would be enough to make this recording a must - and that despite the fact that, unlike, e.g., the St. Matthew Passion, the Mass in B Minor makes massive use of the chorus, and limits the role of the soloists (this is one of many salient differences between Bach's strategy in setting the mass and setting the passions). Anyway, this is a heavy, dripping, poignant account.
> 
> *Otto Klemperer, 1967*
> Dame Janet Baker, Nicolai Gedda, Franz Crass - these are divinities, and Klemperer was a master. This recording is the Mass as celestial funeral procession, though - somehow more ethereal than Richter's version, angelic as that is, and quicker, too, but still overpowering in its slowness.
> 
> *Eugene Jochum, 1980*
> This is Jochum's third recording of the Mass, and the first I ever owned. This is the last "slow" version I would recommend. I find it remarkable for the depth of the choral singing. When the lower male voices reenter in the Kyrie, I get goosebumps every time, as though the good Lord had just entered the building. This is longer than Klemperer's overall, but feels shorter; and where Klemperer feels like an inescapable cloud, this feels like a spiritual bulldozer. Again, the singers are divine.
> 
> *Frans Brüggen, 2010*
> Skip ahead a generation. John Eliot Gardiner and others have begun to rethink Baroque performance in general, reintroducing period instruments and, in general, speeding things up. This version of the Mass is a quarter-hour shorter, or more, than any of those above. Its instrumentation is light; its chorus remains ethereal, but now it swims in colour and light, not the smoky darkness of a church. Here the empyrean is a dynamic, kinetic place. I listen to Richter, Klemperer, and Jochum when I want the sense of the sacred to pummel me and fill me, atheist or not, with some kind of holy dread. I listen to this when I want to feel buoyed up, when I want to feel the Mass as a joyous triumph rather than the ineluctable movement of sacred history expressed in marmoreal massed chorus and lead-footed gravity.
> 
> *Philippe Herreweghe, 2012*
> One of the towering figures in HIP delivers his third and greatest rendition of the Mass with the Collegium Vocale Gent. He's a wee bit more formal than Brüggen to my ears, but no less swift, and utterly beautiful. This is the Mass as thing of light, a Lutheran Paradiso. Beautifully sung and played.
> 
> My suggestion is to pick one of the first three and one of the last two. The Mass is worth hearing in older and newer presentations, which highlight different aspects of it, different ways of hearing it. I have all five and several others - including *Gardiner's 1985* rather transitional Archiv recording of it - and regret spending money on none of them. But then, I think this is one of the summits of all art, in any medium or form, and have listened to it with awe for half my life now."_
> 
> Whether you agree with these suggestions or not, I've found this to have been, unquestionably, the best advice I received as a, "Beginner". Don't simply look for the 'classic standard', the Szell with the Cleveland or Karajan with his Berliners, Richter playing Rachmaninov, listen to different versions and decide for yourself which one ticks the box for you. I listened to all six suggestions and one jumped up and slapped me around the ears. It was the Herreweghe. In time, I'll maybe want to listen to more and perhaps different versions but for now, I don't have the time for more than one version of all but a very select group of works. There's too much else I want to get to first.
> 
> I have found that my ear generally prefers Herreweghe, Harnoncourt, Chailly, Hogwood, and Pinnock, to Szell, Solti, Karajan, Bernstein, and Wand. That's a broad generalisation, as I love Karajan's Mahler 9 for example. Whether it's because I'm a beginner, I don't know and who's to say? It may, of course, change over time.
> 
> I keep an iTunes folder named, "Classical Bin 101" where I put versions that I purchased on recommendations, mostly from this site, then discovered versions I prefer more. Just one example to illustrate, there's a thread here that makes recommendations for Bruckner's 8th. Of the latest list of eleven recommended and thirty-one further listening, only one conductor is alive today, and he's 92! This despite suggestions being made within the thread for the likes of Thielemann, Nelsons, and my personal favourite for Bruckner's 8th, Simone Young.
> 
> Now I am not saying that Young is better than Furtwangler, or Wand. But recommend a bunch of guys without a heartbeat to beginners, excluding more modern interpretations, and you risk taking the freshness out of the journey they're starting. Give them options and let them decide.


Perfect.

I've got the Bach Mass in B minor at #182 on my list. While it is a monster of an epic, and a monument to the art of Baroque, it's probably not as immediately accessible as some shorter and simpler works.

Choosing a piece, and then choosing a version is a more advanced way to explore Classical Music, and my examples are chosen for "bait" value. First, I'll look for a "Live" version, as I think that being able to see the players and/or conductor, as well as the audience reaction (if there is one) is a "selling point", although there are plenty of instances where I WILL present more than one version of a piece (although it's more likely it's because there are different _arrangements_). Second, I'll weed out videos whose sound quality is poor (although there are exceptions here as well, as witnessed, for instance, by my inclusion of a rather ancient audio-only version of *Rhapsody in Blue*). Third, I may be biased towards a video with higher visual standards - it may be a version that's a multi-camera shoot, or simply because it's video is high definition. But, all in all, I'll try to choose a version that does the music justice.

So . . . there's likely a hundred different versions of *The Planets* available, and if you started a thread here asking for the BEST version, my bet is that you'd have a list of as many versions as there are answers. If you ask for rationales for everyone's suggestions, you'd find that people value different aspects of the presentations that are chosen. As you point out, some like it fast (perhaps for the excitement), and others like it slow (to savor the sonorities and solemnity or whatever).

I'm thinking that if someone really enjoys a piece they may reach, on their own, a more intermediate learning level, and seek out OTHER versions. So your point is certainly valid, just beyond the "beginner" stage though. But even THAT isn't necessarily true for everyone discovering Classical Music: While the *Mass in B minor* may have been a major step in YOUR discovery of Classical Music, it may chase someone else away. There are no absolutes.

And you certainly seem to know your *Mass in B minor* far more intimately than I. If I had to choose my favorite works by Bach, I'd likely be biased towards the keyboard works. Off the top of my head, though . . .

_Brandenburg Concertos
WTC
Partitas
English Suites
Cello Suites
_
However, I'll share what one person commented about my list somewhere's around the time I got to a milestone on my list, a smaller work by Bach (one of the P&F from WTC2):

*"Over the years of having various classical cds or box sets, Iv found liberties taken to sample segments of parts of pieces, whether, symphony, or concertos, etc. one example is the Sanctus, from Bach's mass in b minor. Extrodinary bit of music. From an introduction to the complete works of Bach. Millennium edition. Would never had otherwise sought out or discovered this otherwise. But it led me to discover the whole mass. I'm enjoying your list as well, and it's having that same effect. Thanks!"*

This listener shares your joy of the mass, and by hearing only one movement, was inspired to seek out the rest of this monumental work (100-110 minutes long on average?).

As far as _*my*_ choices for a version, I'd actually chosen _*two*_ (well, three, kind of).

The first is an audio-only version: The *2015* recording by *John Eliot Gardiner* (2015) with *English Baroque Soloists* and the *Monteverdi Choir*.






I do give a "shout-out" to the version from *Phillippe Herreweghe* and *Collegium Vocale Gent* (2011) for an alternate audio-only version (I do believe he's recorded the Mass more than once). *Herreweghe*'s approach has an absolute commitment to the quality of sound, above all the purity of sound. He doesn't do monumental nor dramatic, instead focusing on the gentle lyricism. It's almost a "romantic" interpretation.






But the sound quality on both of these is excellent.

The second is a live performance by the *Choir of the English Concert* and *The English Concert* conducted by *Harry Bicket* at *PROMS 2012*


----------



## Chilham

pianozach said:


> ... I'm thinking that if someone really enjoys a piece they may reach, on their own, a more intermediate learning level, and seek out OTHER versions. So your point is certainly valid, just beyond the "beginner" stage though. But even THAT isn't necessarily true for everyone discovering Classical Music: While the *Mass in B minor* may have been a major step in YOUR discovery of Classical Music, it may chase someone else away. There are no absolutes....


I agree. I was ready having been a 'casual' listener for many years. I'm still inclined to let beginners trust their own ears.



pianozach said:


> ... And you certainly seem to know your *Mass in B minor* far more intimately than I....


I spent most of February listening to JS Bach. I selected 34 pieces and listened in detail. Loved the Orchestral Suites, Cello Suites, and the Flute Concertos were a revelation. I even enjoyed the Cantatas.

You're doing a great job here.


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## pianozach

*#15
The Rite of Spring
Igor Stravinsky
1913*

*The Rite of Spring* is a ballet and orchestral concert work by Russian composer *Igor Stravinsky*. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich. When first performed at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation. Many have called the first-night reaction _*"a riot"*_.






​
The score contains many unique features, especially for its time - it experiments with tonality, metre, rhythm, stress and dissonance.

*Stravinsky* himself described *The Rite of Spring* as _*"a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring"*_.

There are a few different Youtube videos of this roughly 35 minute ballet. One, with the *Cleveland Orchestra* conducted by *Pina Bausch* is an _*"Age-restricted video"*_, probably because it contains a bit of partial nudity, and a lot of simulated dance sex. It's pretty visceral . . .

. . . and probably more in tune with the theme of the piece.

This video is missing the last 7 minutes - it is what it is - Youtube, you know:






Here's one that's considerably more tame. This production was presented in 2013, in celebration of the work's centenary.

BTW - the link takes you to where the actual performance begins; however *if you're fluent in French*, you may want to take the cursor back to the beginning of the video for the introduction. Additionally, the credits at the beginning are given in both French AND German.

Additionally, it is noteworthy that this special presentation claims to be presenting *Nijinsky*'s original choreography. If I'm not mistaken, they've used the original costumes as well (well, not THE original costumes; I mean the created NEW costumes using the original designs)






Première Partie:
1. L'adoration de la terre 4:35
2. Dances des adolescentes 7:42
3. Jeu du rapt 11:01
4. Rondes printanieres 12:17
5. Jeux des cités rivales 16:07
6. Cortège du sage 17:15
7. Danse de la terre 18:54

Deuxième Partie:
1. Le sacrifice 20:03
2. Cercles mystérieux des adolescentes 24:18
3. Glorification de l'élue 27:39
4. Evocation des ancêtres 29:08
5. Action rituelle des ancêtres 29:58
6. Danse sacrale 33:33


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## pianozach

*#16 
Symphony No.5 in C minor, Op. 67. 
Ludwig van Beethoven
1808*

This the 4th symphony in 16 entries. And the 2nd symphony from *Beethoven*. Of course, Beethoven stands like a demigod over classical music. Like the *"Eroica" Symphony*, this one, too, has a nickname, although certainly not as well known. It first became popular under the name _*"Schicksals-Sinfonie"*_ _(Symphony of Destiny)_, although since World War II, it's sometimes been referred to as the *"Victory"* Symphony . . . and here's where you get your *"Fun Fact"*:

"V" is the Roman numeral character for the number five; the phrase "V for Victory" became well known as a campaign of the Allies of World War II. That Beethoven's Victory Symphony happened to be his Fifth (or vice versa) is coincidence. Some thirty years after this piece was written, the rhythm of the opening phrase - "dit-dit-dit-dah" - was used for the letter *"V"* in *Morse code*, though this is probably also coincidental.

And that phrase, one of the most recognizable in music history, is often interpreted as the musical manifestation of *"fate knocking at the door"*, hence, it's sometimes referred to as the *"Fate motif"*.

So here's *George Szell* conducting the *Chicago Symphony Orchestra* in 1961:

*Beethoven: Symphony No.5 / Szell Chicago Symphony Orchestra (1961 Movie Live)*








But I also highly recommend the version by the *Orchestre Revolutionaire et Romantique* conducted by *John Eliot Gardinerin* 2016. It's quite an exciting and emotional performance, and there's a couple of other things that make it a wonderful experience . . . one is that the violinists and violists are all standing, as are the brass players . . . another is that the orchestra is tuned slightly lower . . . which would probably be closer to the pitch used in Beethoven's time. But the pitch is just the teaser . . . you simply _HAVE_ to check out all the vintage instruments used - clarinets, oboes, horns, trombones - all of which give the work a deep organic quality.

*Beethoven Symphony No 5 C minor John Eliot Gardiner Orchestre Revolutionnaire et Romantique 2016*






On a minor note, there's a random Easter Egg in *A Clockwork Orange*, which certainly features Beethoven heavily; the doorbell for "Home" where the rape and final scenes take place has that _*"dit-dit-dit-dah"*_ ring from the opening notes of the *Fifth Symphony*.

There's also the #1 hit by *Walter Murphy and the Big Apple Band*, *A Fifth of Beethoven*, a disco instrumental released in 1976 based on the _*first movement*_ of the *Fifth Symphony*.


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## pianozach

*#17
Cello Suite No. 1 in G major, BWV 1007
Johann Sebastian Bach*
most likely composed between *1717-20*

The first of six *Cello Suites for unaccompanied cello* are some of the most frequently performed and recognizable solo compositions ever written for cello. They're remarkable in that they achieve the effect of implied three- to four-voice contrapuntal and polyphonic music in a single musical line. While they are a set of six suites of six movements each, to listen to them all in one sitting might take anywhere from 2h 20m to 2h 45 minutes.

The suites are in six movements each.

The *Prelude* of *Suite No. 1 *is probably the most recognizable movement from the set. It consists mainly of arpeggiated chords.

Of note is that the new-fangled violoncello (or "cello") [which is positioned between the knees of the performer] was probably _NOT_ the cello Bach intended the suites for . . . It's just as likely it was for the _*violoncello da spalla*_, held more like a modern guitar, often played seated using a shoulder/neck strap.

Here's just the *Prelude* played by *Sigiswald Kuijken* on the now-obsolete violoncello da spalla.

*Sigiswald Kuijken - Suite nr 1 BWV 1007 prelude*






As you can probably hear, the "da spalla" has a completely different tone and timbre than today's commonly used cello.



Here's the *complete suite* played live in 2015 by today's master of the cello, *Yo-Yo Ma*.

The movements:

*0:13 Prelude
2:42 Allemande
7:02 Courante
9:47 Sarabande
12:33 Menuet I & II
16:04 Gigue*

*Yo-Yo Ma Bach Cello Suite No.1 in G Major*








If you love this particular suite, there are some audio-only YouTube versions that are well worth checking out by other cello virtuosos:

*Mstislav Leopoldovich* 



 ,

*Pablo Casals* 



 ,

*Pierre Fournier* 



 ,

*Jean-Guihen Queyras* 



 , and

*Janos Starker* 






*Andrés Segovia* plays a transcription of this piece on guitar that is worth of the time you spend to listen.

Here's two versions of his transcription; one a studio recording from his younger days, and a live version in his senior years.


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## pianozach

*#18
O Fortuna from Carmina Burana
Carl Orff 
1937*

Talk about dropping a [classical] beat . . .

This may actually be the most prequently performed and recorded choral work of the 21st Century.

The collection of original texts was first published in Germany in 1847, but it wasn't until 1934 that *Orff* came across the texts; a selection had been translated into English and formed part of a publication called *Wine, Women And Song*.

With the help of Michael Hofmann, a law student and Latin scholar, Orff chose 24 songs and set them to music in what he termed a "scenic cantata".

It was first heard on June 8, 1937, in Frankfurt, under its full title *Carmina Burana: Cantiones Profanae Cantoribus Et Choris Cantandae Comitantibus Instrumentis Atque Imaginibus Magicis (Songs Of Beuren: Secular Songs For Singers And Choruses To Be Sung Together With Instruments And Magic Images)*.

So, you may not recognize the name, but you will certainly recognize it.

This piece is #1 on the Parker Symphony Orchestra's List of *10 BADASS PIECES OF CLASSICAL MUSIC*. it's a little over 8 minutes long.

*O Fortuna - Carl Orff Carmina Burana*






:devil:

And here's a shorter edit (under 4 minutes) of the piece from *Andre Rieu*.

*André Rieu - O Fortuna (Carl Orff - Carmina Burana)
*


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## pianozach

When creating a list of *A Beginner's Guide to Classical Music* I encountered a few problems.

The first was differentiating *Greatest Classical Music* from classical music I considered to be works that would encourage those unfamiliar with it to appreciate, even fall in love with it. Works considered to be *"Great"*, or or merely wildly influential aren't necessarily works that can be appreciated, or even enjoyed, by those unfamiliar with classical forms.

The first of these problems concern the *length* of many classical works. Many of the greatest classical works are the symphonies and operas of the great composers, which can run anywhere from 20 to 120 minutes (yes there are exceptions). Often it's just one movement of a larger work that is really worthy, creating the age-old problem of the appropriateness of slicing up works to make them appetizing to the masses.

This is a problem in popular music as well, especially *progressive rock*, where the musicians may write/record epic pieces, or suites that are intended as a large-scale work. Does one consider *"Soon"* from *"The Gates of Delirium*" to be a separate work, or is it inherently tied to its epic?

Even the band *Chicago* balked at letting their producer slice up their suites to get them radio air time.

*Opera* has an additional roadblock in that it's almost always in a foreign language. And it's long.

And that brings me to the issue of

*Film Scores & Film Soundtracks*.

Music in a film is often rooted in a classical music tradition, at least traditionally from 1935 up until the mid 1950s; a symphony orchestra playing music as background. Many, many film scores are considered to be great classical music in their own right.

Does one simply "disqualify" the music from *Raiders of the Lost Ark, The Adventures of Robin Hood, Psycho, Doctor Zhivago, Gone With the Wind*, or *Ben Hur* because it was composed for film?

And film scores come in all shapes and sizes. Films like *2001: A Space Odyssey* can credit their popularity in part due to the using of the great music of *Richard Strauss, Johann Strauss*, and *Gyorgy Ligeti*. Or *Fantasia*, which is simply animation set to classics. Or how about *Walter Carlos*' synthesizer score for *A Clockwork Orange*, with it's use of *Beethoven's 9th Symphony* as a plot point?

In fact, many films mix new music with old. And even old time musical films have background music. And what of scores for film *"musicals"*? Film musicals themselves fall into many different sorts of categories, from adaptations of stage musicals such as *South Pacific, Fiddler on the Roof, The Sound Of Music, Mary Poppins, Porgy and Bess, Camelot, Oklahoma!* or *Sweeney Todd*, or were musicals written specifically for the screen, such as *The Wizard of Oz, State Fair,* or *The Nightmare Before Christmas*.

What of the many Disney animated musicals: *The Hunchback of Notre Dame, Jungle Book, The Little Mermaid, Snow White and the Seven Dwarfs?* Yeah, they're technically _*"musicals"*_, but the scores are firmly rooted in a classical tradition.

Many other musicals are based on record albums (*The Wall, Tommy, Quadrophenia*), or the music of a musician/band (*Mama Mia, Sgt. Pepper's Lonely Hearts Club Band, The Jazz Singer, Lady Sings the Blues*). How then does one categorize *Guardians of the Galaxy*, which is basically a collection of great rock and pop oldies? Or *A Hard Day's Night*? Or *Woodstock*? How about *Coal Miner's Daughter*? *Easy Rider*?

And films are mostly all unique. Take the great score by *Thomas Newman* from *Wall-E* for example - it incorporates songs from *Hello, Dolly!*, a song from *Louis Armstrong*, and a *Peter Gabriel* song that plays over the ending credits.

Many film scores also incorporate ethnic or folk instrumentations, and jazz. Where do you draw a line? Or should you?

When jazz veteran *Dave Grusin* creates a score, is that fair game? How about the score for *The Graduate*, where Grusin is credited with "Additional Music" on the soundtrack album, because Paul Simon's "Mrs. Robinson" became a smash hit?

Where does one even start with the score from *Apocalyse Now*? Between *Wagner's Ride of the Valkyries* and *The Doors' The End* there is no middle ground . . . oh, wait, there is . . . The backing music was scored by *Carmine and Francis Coppola*, although *Isao Tomita* was originally scheduled to provide an original score.

Should I disqualify the score from *Star Wars* because of the *Cantina Band*? The *American Film Institute* lists is as it's #1 on its *100 Years of Film Scores*. Notable in its top 25 is *Jaws, The Magnificent Seven, King Kong, The Pink Panther, Vertigo, High Noon*, and *Chinatown*.

Other lists include other memorable scores: *Ranker* lists *The Good, The Bad & The Ugly, Back to the Future, Rocky, Superman, The Lion King, Harry Potter and the Sorcerer's Stone, Titanic*, and *The Last of the Mohicans* in its Top 25. *Discovermusic* includes *Conan The Barbarian, Terminator 2: Judgement Day, Blade Runner, Chariots of Fire, The Pink Panther, Lord of the Rings*, and *Casablanca* in its Top 25.

*The Observer* has its own take on the 25 best movie scores: It awards its #1 spot to *The Wizard of Oz*, and its #4 spot to *Ravi Shankar*'s score for *Pather Panchali*. It also includes *Vangelis' Blade Runner*, and the compilation of early rock 'n' roll songs for *American Graffiti*.

When a composer writes his music for film, does that lessen its importance or impact? When does the music stop being "classical? When *Vangelis* or *Carlos* or *Wakeman* chooses to synthesize a score? When it's more than 50% songs by the *Sherman Brothers*?

▁ ▂ ▃ ▄ ▅ ▆ █

Should one whittle it down to *Original Film Scores* to un-muddy the waters.....perhaps to make the waters as clear as an azure sky of deepest summer.

▁ ▂ ▃ ▄ ▅ ▆ █

Well, that would still leave *Purple Rain, Let It Be* and *State Fair*, but exclude *Kismet, Barry Lyndon* and *2001*.

Not that there's a good answer, mind you . . . .


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## pianozach

*#19
Night On Bald Mountain (Rimsky-Korsokov arrangement).
Modest Mussorgsky
1886*

Many are familiar with the version from *Disney's Fantasia*, which is actually a different version, for which *Leopold Stokowsky* was specially commissioned, although he based his version on the *Rimsky-Korsokov* arrangement.

Night on Bald Mountain is actually a series of compositions written in 1867, but was never performed during the composer's lifetime, in spite of many efforts.

A Night On The Bare Mountain is based on Russian folklore and literary works in which St John sees a witches' Sabbath on the Bald Mountain near Kiev. It's a wild and terrifying party with lots of dancing but when the church bell chimes 6am and the sun comes up the witches vanish.

But perhaps we should reflect on Mussorgsky's own description, as told in a letter to Vladimir Nikolsky, a professor of Russian history and language.

_*So far as my memory doesn't deceive me, the witches used to gather on this mountain, ... gossip, play tricks and await their chief-Satan.

On his arrival they, i.e. the witches, formed a circle round the throne on which he sat, in the form of a kid, and sang his praise.

When Satan was worked up into a sufficient passion by the witches' praises, he gave the command for the sabbath, in which he chose for himself the witches who caught his fancy. So this is what I've done. At the head of my score I've put its content:

1. Assembly of the witches, their talk and gossip; 
2. Satan's journey; 
3. Obscene praises of Satan; and 
4. Sabbath

... The form and character of the composition are Russian and original ... I wrote St. John's Eve quickly, straight away in full score, I wrote it in about twelve days, glory to God ... While at work on St. John's Eve I didn't sleep at night and actually finished the work on the eve of St. John's Day, it seethed within me so, and I simply didn't know what was happening within me ... I see in my wicked prank an independent Russian product, free from German profundity and routine, and, like Savishna, grown on our native fields and nurtured on Russian bread.*_​
It remained unperformed until Nikolay Rimsky-Korsakov published an arrangement of the work, described as a "fantasy for orchestra."

Here's the version from *Fantasia*.

*Night On Bald Mountain - Fantasia (1941) (Theatrical Cut)
*







*Mussorgsky : Night on Bald Mountain (arr. Rimsky Korsakov)
*


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## Chilham

pianozach said:


> *#16
> Symphony No.5 in C minor, Op. 67.
> Ludwig van Beethoven
> 1808*
> 
> .......


One of the things that I found valuable early in my CM journey, was to listen to rehearsals. It's a great way to learn what to listen out for. As an example, here's Harnoncourt and the Chamber Orchestra of Europe rehearsing Beethoven's 5th. There is a shorter version somewhere on Youtube but I can't find it.


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## pianozach

*INTERMISSION*:

*The Metronome*

A device that produces an audible click or other sound at a regular interval that can be set by the user, typically in beats per minute (BPM). Generally drives beginning musicians stark, raving mad.

*#16
Symphony No.5 in C minor, Op. 67
Beethoven 
1808*

No one complained that both video versions I posted treat the *Symphony* like a runaway locomotive though, making it reminiscent of *Bugs Bunny* in _*"What's Opera, Doc"*_?

The whole idea of *Beethoven's Fifth* in the modern era seems to have been to cram it on one side of an LP.

But it brings up a great side topic - The Question of *Tempo*

The metronome was an invention of Beethoven's day; he didn't have access to it when he was writing his early symphonies. But later, he came into contact with it and loved the device.

*"He immediately buys one and sits down and starts going back over all his old scores and putting in metronome markings. And he picked a tempo for the Fifth Symphony that even today sounds really, astonishingly fast."

* [*The First Four Notes: Beethoven's Fifth And The Human Imagination* by *Matthew Guerrieri*, 2012]

The setting he chose was 108 beats per minute - so fast, so hard to play, Guerrieri says, that people have been theorizing for centuries about if and why *Beethoven* might have mis-marked his own symphony. A broken metronome? Advancing deafness? Nobody knows.

You might well wonder that it makes it sound like the metronome was some radical, completely new sort of device requiring some kind of knowledge to operate: Isn't a metronome really just a simple, mechanical *conductor*, and would have been thought of as such by composers of the day? Meaning, though he "didn't have access to it", we always have access to something akin to it, in our heads, that thought-tapping to keep an even tempo, no? Am I missing something?

Oh, yes the tempos were pretty damned brisk, and so much so that many modern scholars have theorized that Beethoven's metronome was not working properly.

But the introduction of the metronome *was* actually controversial:

Here's a *FUN FACT* associated with his markings: When the *Kolisch Quartet* performed *Beethoven's Op. 95 quartet* in Paris according to the indicated metronome markings a fistfight ensued.

A couple of years ago the *Eybler Quartet* from Canada released their recording of three of Beethoven's string quartets (and performed them live as well) played at Beethoven's metronome markings (some movements faster, some slower than the accepted norm). The reactions have been quite mixed.

But *Beethoven* loved the metronome, and wrote, in 1817: *"I have long been thinking of abandoning these nonsensical terms allegro, andante, adagio, presto, and Malzel's metronome gives us the best opportunity to do so. I give you my word here and now that I will never use them again in any of my new compositions."*

And well, yes, they had tempo markings.

Before the metronome it was customary to describe the tempo of a piece by one or more words (usually in Italian).

You see, it was difficult to specify the tempo and mood of a composition; even though attempts were made using pendulums or the human pulse. And conventions that governed musical composition were so strong that composers didn't need to indicate tempo: For example, the first movement of *Bach*'s *Brandenburg Concerto No. 3* has no tempo or mood indication whatsoever. Often in Baroque and Renaissance music the musical form or genre implied a rough tempo: *Minuets* were stately, slower than a *Viennese waltz*.

So tempos were _*"understood"*_ to be approximate speeds based on commonly accepted tempo markings:

*Andante* would be at "a walking pace"
*Allegro* is fast, quick, and bright
*Allegretto* is moderately fast
and so on . .

These were quite helpful, especially when a piece (based on the observations and experience or the musician) might be assumed to be played at a considerably faster or slower pace. Musicians instinctively _*knew*_ how fast or slow Adagio or Presto would be.

Certainly some composers of the late romantic era are reported to have been free with tempi, and regarded the metronome markings mostly as a recommendation or a "starting tempo".

Many folks, amateurs and experts alike, will often complain about the tempos in a piece when critiquing them. But recordings and performances we grew up with and the interpretive choices the artists made have become an integral part of our outlook on any of the masterworks.

But to answer the question: Yes! *The metronome actually was "some radical, completely new sort of device".
*




Some folks contend that we're used to hearing Beethoven's symphonies at a slower tempo than he intended them simply because no orchestra could manage it so they had to slow it down.

So, here is Beethoven's *"Moonlight" Sonata 3rd movement* played in the original "intended" tempo. Simply amazing.

Surprisingly to some, this is almost how fast it is usually performed. (BTW, I've attempted this piece, and although it's a bit tough, I can manage to play all of it; the real problem is that it's such a marathon to perform . . . it's exhausting to keep up this level of virtuosity for six minutes - and, surprisingly, I was actually attempting it very close to this tempo).

*Beethoven "Moonlight" Sonata, III "Presto Agitato" Valentina Lisitsa*






:angel:

So . . . I think all the controversy around *Beethoven*'s metronome being broken is hogwash. Beethoven was a revolutionary in many ways, and was a pretty meticulous composer. I doubt that he would have been so very mistaken about something as basic as his own tempos of his own works.

Yeah, sure, the symphonies _*are*_ very difficult at those tempos . . . .

*Beethoven's Fifth at 160 BPM*






That's some crazy virtuosic performances there. Seeing someone physically play like that boggles the mind. The finger strength alone, not to mention the dexterity. Good Gawd.


----------



## science

I've thought about doing something like this for a long time, but pianozach has already put more work into it than I probably ever will. Were I to do it, I would:

- A very basic introductory chapter on the main eras of classical music and their most famous composers

- A chapter about how and where to listen to classical music

- A chapter introducing some of the common attitudes about classical music, perhaps along the lines of "The Twelve People Who Want to Talk about Classical Music with You." I.e. something like (very highly subject to revision): 

the "Only high art music from Monteverdi to Mahler is true art" guy
the "Why do we even bother listening to dead composers" guy
the "Unless it's truly HIPPI it's garbage and honestly Gardiner isn't truly HIPPI" guy
the "Chopin is light music" guy
the "classical music is racist and the Nazis liked it" guy
the "classical music demonstrates the inarguable superiority of the Aryan race and Yuja Wang is the only woman I'll ever truly love" guy 
the "the only truly great performance of this work was recorded on a wax cylinder in 1922 and nobody else knows it because they don't pay attention to the actual music" guy 
the "my speakers cost twenty-three gajillion dollars because I am a true audiophile" guy 
the Beethoven guy / the Bach guy 
the guy who is too good for the canon 
the guy who needs you to know how much he knows about everything
the actual musician who has to tolerate all those guys 

- A chapter on the instruments, including their historical development

- A chapter about the works that are so famous that it's not cool to like them

- A chapter about the most common genres and structures (i.e. motet, symphony, concerto, sonata form, theme and variation, counterpoint, etc.) and their historical development

- Something like one hundred famous works analyzed somewhat deeply to put all the preceding stuff together

- Then finally something like the TC project list as a guide for their own exploration

Or something like that....

PZ is doing better than I would ever do, but maybe he can take some inspiration from these ideas.


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## pianozach

I like it.

It seems a bit more advanced, and the rolling-out of works to listen to might be difficult to integrate with, say, introductions to Classical instruments. And when I say "advanced", I understand you _do_ mean for beginners . . . I seem to be aiming a bit lower - like remedial.

I'm probably not even the best qualified here to be doing what I'm doing, and I'm certainly not prepared to give a rundown of instruments, except for humor purposes.

But the "*Instruments*" idea would be a great thread, where people who actually PLAY those instruments could give short dissertations on them.

Your suggestion for a very basic introductory chapter on the *main eras of classical music* *and their most famous composers* _could_ certainly be inserted here, and I encourage you to contribute that entry here.  One entry for each period perhaps?

I once directed an amateur production of *Little Mary Sunshine*, a parody operetta by *Rick Besoyan* in the style of *Gilbert & Sullivan*.

There was a great deal of dancing needed, and I was finding it difficult to find a choreographer willing to do so much work on a volunteer basis. I eventually split it up between three different choreographers, which gave each of them far less to worry about. I choreographed one number, a simple waltz.


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## pianozach

*#20 
Prelude and Fugue 14 in F# minor; Well-Tempered Clavier Book 2
Johann Sebastian Bach
1744*

Alrighty then, *The Well-Tempered Clavier*, BWV 846 through 893, is a collection of two sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard by *Johann Sebastian Bach*.

Each set has 24 pairs of preludes and fugues in every major and minor key, in ascending order. The first set dates around 1722, the second from 1742.

In Bach's time "*Clavier*" (keyboard) was a generic name indicating a variety of keyboard instruments, most _typically_ a harpsichord or clavichord - but not excluding an organ either.

The collection is generally regarded as being among the most important works in the history of classical music.

*NERD ALERT*: So, I guess it's important to note the significance of the phrase "Well-Tempered". Bach's title suggests that he had written for a (12-note) well-tempered tuning system in which all keys sounded in tune, as opposed to a "meantone" temperament where some keys sound out of tune. Of course, "Well-Tempered" doesn't necessarily mean "equal temperament" either, as it's also possible it referred to a form of well temperament.

*NERD ALERT, part 2*: I'll also have to explain what a *fugue* is as well: It's a contrapuntal composition (a piece of music with two or more independent melodic lines) in which a short melody or phrase (the *"subject"*) is introduced by one part (or one "voice") and successively taken up by others and developed by interweaving the parts. The subject will likely be repeated in other keys, and in more complex fugues possibly inverted (upside down).

So, again here's a large-scale work that would take well over four hours to listen to. I'm actually quite familiar with a dozen or more of the Prelude & Fugues, and have performed perhaps a half dozen of them from Book I.

But to pick just _*one*_? I actually pulled up more than a dozen websites and blogs where pretentious and elite folk debate which of the Preludes & Fugues is the greatest, favorite, and most difficult.

Very likely the best known of the lot is the Book 1 *Prelude #1 in C Major*: It's the basis for *Charles Gounoud*'s *Ave Maria* (the _other_ "Ave Maria").

I also love the *2nd Prelude and Fugue in C minor*. . . . and the *3rd* . . and several other . . . .

So sorry, but this pick is somewhat arbitrary. But it's likely one of the P&Fs you _haven't_ heard.

Anyway, here's Pianist Angela Hewit performing the *Prelude and Fugue #14 in F# minor*,

*Bach - WTC II (Angela Hewitt) - Prelude & Fugue No. 14 in F-Sharp Minor BWV 883
*








and

*Glenn Gould* perform the *Fugue #14 in F# minor* on harpsichord. Gould is considered to be a genius virtuoso, and perhaps the only virtuoso who hums and scats while he plays.

*Glenn Gould - Bach, Prelude & Fugue XIV in F-sharp minor: Fuga (OFFICIAL)
*


----------



## pianozach

Well-Tempered Clavier 
Encore edition

With 48 Preludes and Fugues to choose from, I cannot simply "drop" one and skeedaddle. Bach's fugal works are a testament to Bach's musical genius, and to listen to "just one" does a disservice.

*Prelude and Fugue in C-sharp minor, WTC 1
Sviatoslav Richter*

This five-voice fugue is one of Bach's longest and most densely-crafted fugues. It is remarkable that the complex fugue has the shortest theme in the whole collection. The five notes also contain one of the tensest intervals - a diminished 4th.

The five voices are heard at the beginning of the fugue in ascending order, starting with the bass.








*Prelude and Fugue in G minor, BWV 861
András Schiff
1986
*
A rather short P&F.






:angel:

*Prelude and Fugue in F minor, BWV 881
András Schiff*

This one's from Book 2 of the WTC. As soon as the Prelude starts you'll realize you've heard this on the radio. This would be a live version from Schiff, from later in his career.






. . . And here's Welsh singer *Jem*, with _*"They"*_ from her 2004 debut album, *Finally Woken*, which includes a sample of the *Swingle Singers*' 1963 adaptation of the *F minor Prelude*.


----------



## pianozach

*#21
The Sunken [Submerged] Cathedral (La Cathedrale engloutie)
Claude Debussy
1910
*
. . . And . . . in a complete contrast to Bach's keyboard works, and diversion with Beethoven's Piano Sonata tempo, here's something completely different: *Debussey's 10th prelude* in his first of two volumes of twelve piano preludes each.

Again, it's part of a larger collection (think "album") of wonderful preludes.

The first book of *12 Préludes for solo piano* features novel effects and ingenious textural interplay, with the individual titles being given at the end of each piece. The second book of *Préludes* continues the exploration of the modern piano already familiar from Book 1, most notably in *'Brouillards' ('Mists')*, which takes us to the brink of polytonality.

But not quite. Debussey was firmly rooted in "Impressionism", a subgenre of Modernism, a label he despised:

*" . . . "imbeciles call [what I am trying to write in Images] 'impressionism', a term employed with the utmost inaccuracy. . . "*

Impressionism, if you had to give it a time frame, would probably fall within 1890-1930, overlapping Romanticism by quite a bit, not to mention several other sub-genres. The music of Impressionism generally focuses on mood and atmosphere, "conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture" [Michael Kennedy].

And "Impressionism" is a philosophical and aesthetic term borrowed from late 19th-century French painting after *Monet*'s *Impression, Sunrise*.

*Hélène Grimaud - Debussy: La cathédrale engloutie*








*BONUS ROUND*:

Also included in the the set is *The Girl with the Flaxen Hair* (_*"La Fille aux cheveux de lin"*_), the 8th piece in Debussey's first book of Preludes.

Canadian pianist *Marnie Laird*


----------



## pianozach

*#22
Prelude No. 5 in G minor, from Ten Preludes, Op. 23 
Sergei Rachmaninoff 
1901, premiered in 1903*

The 5th in a set of 10 preludes. Probably the most recognizable of the bunch. Like *Bach's Preludes and Fugues* and *Chopin's Preludes*, it's part of a full suite of 24 preludes in all the major and minor keys (together with the *Prelude in C# minor*, Op. 3 No. 2 and the *13 Preludes*, Op. 32).

*Rachmaninoff* premiered the piece himself.

Here's Russian concert pianist and composer *Evgeny Kissin* playing it as an encore in 2000 at London's Royal Albert Hall.

*Rachmaninov: Prelude in G minor - Evgeny Kissin at the Proms*








That's some crazy virtuosic performance there. Seeing someone physically play like can be mind bogglling. The finger strength alone, not to mention the dexterity. And this was his ENCORE piece.

Frankly, I decided early on that being able to watch the performance adds to the enjoyment somehow. So most of these videos are live, even though there are often "better" (subjectively) recordings. "Better" sometimes just means that the studio recording has better production value, and no audience coughing during the quiet sections. This video exemplifies that.


----------



## pianozach

*#23
Consolation No. 3, S. 172 ( Lento placido)
Franz Liszt 
1850*

From the second set of *Consolations* (essentially nocturnes)

*Liszt Consolation D flat major No.3 (S.172) Valentina Lisitsa
*November 2012; medieval church in Blumenstein, Switzerland








*BONUS LISZT*:

*Hungarian Rhapsody No. 2*

The piano went outside and smoked a cigarette after this.


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## pianozach

*#24 
Sunrise, from Also Sprach Zarathustra ("Thus Spoke Zarathustra")
Richard Strauss
1896*

. . . And you knew it was coming . . . .






That was the *Vienna Philharmonic* and conducted by *Herbert von Karajan*



Most folks know it as the theme from Stanley Kubrick's 1968 film *2001: A Space Odyssey*, but (predictably) it's actually only the beginning of a larger work: A nine section orchestral "tone poem".

I turn to *Leonard Bernstein* to present the entire piece: Do not be misled by this episode of *Young People's Concerts* - Bernstein brilliantly explains the entire piece, although in doing so, you do not hear the piece in it's uninterrupted 30 glory.

But if you have the time it takes to watch a TV show, this is far more interesting musically than an episode of *Law & Order*. If you can _find_ the whole episode.

I immediately learned something new about the excerpt used in 2001 by watching Bernstein conduct . . . the timpani hits are _NOT_ in 2/4 ("*Boom*-Bom, *Boom*-Bom, *Boom*-Bom, *Boom*-bom, *Boom*-Bom, *Boom*-Bom, *Boom*"), they're triplets ("_*Boom*_-bom-boom, *bom*-boom-bom, *Boom*-bom-boom, *bom*-boom-bom, *boom*").

*Leonard Bernstein: Young People's Concerts Vol. 2 | Thus Spake Richard Strauss
* - excerpts:










.

*Strauss* was inspired by *Friedrich Nietzsche*'s iconoclastic philosophical treatise of the same title (1883-85). Zarathustra, of course, refers to Zoroaster, the Persian prophet and religious poet of antiquity (traditionally, 6th century BC), on whom Nietzsche based the principal character of his book.



Here's the piece without Bernstein's interruptions. I wanted to use a version with noted conductor *Gustavo Dudamel* conducting the *Vienna Philharmonic Orchestra* in Vienna in 2014. The sound reproduction is considerably better. BUT, that version, with 2 million views is also "gone" from Youtube.

So instead, here is *Antoni Wit*

*Strauss - Also sprach Zarathustra*






"Einleitung, oder Sonnenaufgang" (Introduction, or Sunrise)
"Von den Hinterweltlern" (Of the Backworldsmen)[5]
"Von der großen Sehnsucht" (Of the Great Longing)
"Von den Freuden und Leidenschaften" (Of Joys and Passions)
"Das Grablied" (The Song of the Grave)
"Von der Wissenschaft" (Of Science and Learning)
"Der Genesende" (The Convalescent)
"Das Tanzlied" (The Dance Song)
"Nachtwandlerlied" (Song of the Night Wanderer)


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## pianozach

*Bonus Round*

*Deodato*'s version of "*Also sprach Zarathustra"* won the 1973 Grammy Award for Best Pop Instrumental Performance.

It is arguably the world's most renowned Latin jazz opus ever. It was also used in the 1979 film *Being There* starring Peter Sellers, as his character leaves home for the very first time.






.

Eumir Deodato - piano, electric piano
Ron Carter - electric bass, double bass
Stanley Clarke - electric bass
Billy Cobham - drums
John Tropea - electric guitar
Jay Berliner - guitar
Airto Moreira - percussion
Ray Barretto - congas

:tiphat:

American band *Phish* has performed this song over 200 times since its live debut July 16, 1993


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## pianozach

RE: *Also Sprach Zarathustra ("Thus Spoke Zarathustra")
*
This title had always been translated from German to English as *Thus Spake Zarathustra* until it appeared with "_*Spoke*_" in the credits of *2001: A Space Odyssey*.

But I'm told that it's not an issue as either way it means pretty much the same thing.


----------



## pianozach

Up to #25, and I'm going with a rather controversial choice. Some hate it, other love it.

The composer came to hate it, as it was not really representative of his work, and, indeed, overshadowed his great catalog of music.

*#25
Bolero
Maurice Ravel
1928*

It was originally conceived as a *ballet*, although it's rarely performed that way.

The work has been featured in many films since its creation, but it was an integral part of the plot in Blake Edwards's film *10* (1979), starring Dudley Moore and Bo Derek.

And, surprisingly, Ravel was inspired by the mechanized aspects of industry; a factory, to be precise.

The first recording of the piece was made in Paris on 8 January 1930, and Ravel attended. The next day Ravel conducted the Lamoureux Orchestra in his own recording.

It's the orchestra that makes it work. It's the colors in the orchestra. He keeps adding instruments, he keeps changing the orchestration. But he doesn't change the tune, he doesn't change the harmony, he doesn't change the rhythm. Nothing changes except the orchestration -- and the volume.

*Bolero* is _*a set of 18 variations on an original two-part theme*_-or perhaps, more properly speaking, *18 orchestrations* of those themes, for the themes themselves do not change, though the instruments do. In fact, there is little else to listen for other than the mesmerizing effects created by the constant shifts among solo instruments and increasingly inventive combinations.

Anyway, here's my favorite version, from the 1976 film *Allegro Non Troppo*. I think that they dropped one of the repetitions, as it's a bit short time-wise, but doesn't seem to be rushed.

The film is a parody of Walt Disney's 1940 feature film, *Fantasia*.

*Bolero from Allegro Non Troppo - Bruno Bozzetto (1977)
*






:devil:

*Brahms' 4th Symphony* is #109 on my list.

So much great music, so it may seem like that's far back on the list, but as you can see by just the first 25, the competition for a high slot is quite tight.

But Brahms, arguably one of the giants of Classical Music, makes his first appearance on my list at #58, with his *Piano Trio No. 1 ("Eroica Trio")*, still somewhat beaten out by other works.

Why so far back? Well, here's the first 25:

Holst - *The Planets*, Op. 32. 1918
Dvorak - *Symphony No.9* in E minor *"From the New World"*, Op 95. 1893
Beethoven - *Symphony No. 3** "Eroica"*
Stravinsky - *The Firebird*. 1910 
Tchaikovsky - *1812 Festival Overture*, Op. 49. 1882

Vivaldi - *Summer, The Four Seasons*. 1723
JS Bach - *Brandenburg Concerto #6*, In B Flat, BWV 1051. 1721.
WA Mozart - *Symphony 41* in C "*Jupiter*", K. 551. 1788
Borodin - *In the Steppes of Central Asia*. 1880. 
WA Mozart - *Overture* from *The Marriage of Figaro*. 1786

Grieg - *Peer Gynt*: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23). 1876 
Frederic Chopin - *Polonaise Op. 53
*Mussorgsky - *Pictures at an Exhibition* (Ravel orchestration). 1922
Gershwin - *Rhapsody in Blue* 
Stravinsky - *The Rite of Spring*

Beethoven - *Symphony No.5* in C minor, Op. 67. 1808 
JS Bach - *Cello Suite No. 1 *in G major, BWV 1007
Carl Orff - *O Fortuna *from *Carmina Burana*
Mussorgsky - *Night On Bald Mountain* (Rimsky-Korsokov arrangement). 1886 
Johann Sebastian Bach - *Well-Tempered Clavier 2*, _*Prelude F Sharp minor*_

Claude Debussy - *The Sunken Cathedral*
Sergei Rachmaninoff - *Prelude Op. 23 No. 5
*Franz Liszt - *Consolation No. 3*
Richard Strauss - *Also Sprach Zarathustra*
Ravel - *Bolero* 

While there's certainly room to quibble about some of these, one cannot deny that these are all arguably great works.

And when I peruse the next 50, I'm astonished at what _*didn't*_ make the Top 50: *Chopin's Raindrop Prelude, Beethoven's Moonlight Sonata* and *Pastoral Symphony (6th)* and *9th Symphony, Strauss' Blue Danube*.

*So much great music, so little time.
*


----------



## Chilham

Much as Alwyn's Lyra Angelica gain some popularity after Michele Kwan ice skated to it in Nagano in 1998, Bolero holds a place in the hearts of a generation of Brits. It was used for Torvill and Dean's 1984 gold medal winning ice dance performance in Sarajevo.


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## Enthusiast

I'm just looking at the list and thinking my daughter would have given up convinced that classical music isn't for her almost immediately. She followed a very different path in which chamber by Debussy and Ravel played a role along with some 20th century piano concertos (Ravel, Bartok and Prokofiev) and then some Brahms chamber music. She tried lots of other things but those were her early loves. She still dislikes symphonies and Baroque music and only likes a few of Beethoven's pieces - the Kreutzer Sonata and a couple of other. 

I'm not suggesting that others should follow her path. My point is that everyone's different and probably has to follow their own paths. My earlier attempts to introduce her to classical music - using lists like the one we are compiling here - probably set her back years!


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## Chilham

You're right in that everyone is different. I read last month of someone who first came to classical via Phillip Glass' Mishima String Quartet. For me it was years of listening to, "Popular Classics", and the occasional opera for corporate hospitality, then got serious about it. I'm on week 28 of a self-guided, 104-week journey through classical music. I'm doing it chronologically. I started with a month of Early Music, travelled through Baroque and Renaissance, and am currently in a month of Mozart. Along the way, unlike your daughter, I've discovered that I love Baroque opera!

There's no one size fits all but it doesn't mean shouldn't try. I think pianozach's doing a great job.


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## pianozach

Chilham said:


> Much as Alwyn's Lyra Angelica gain some popularity after Michele Kwan ice skated to it in Nagano in 1998, Bolero holds a place in the hearts of a generation of Brits. It was used for Torvill and Dean's 1984 gold medal winning ice dance performance in Sarajevo.


Perhaps Bolero does work better as accompaniment to something visual. It WAS originally composed as ballet music, so it's no wonder that it works so well in both the setting as in *Allegro non troppo*, and as the music for *Torville & Dean's 1984 Olympics* ice skating routine. Obviously, it worked well in *10* as well.

In THAT spirit, here's some other visual representations by artists that were inspired by *Bolero*:

Here's one that uses *animated musical notes*






.

And something a bit more artistic from Russian film director *Vitaliy Shushko*


----------



## pianozach

Enthusiast said:


> I'm just looking at the list and thinking my daughter would have given up convinced that classical music isn't for her almost immediately. She followed a very different path in which chamber by Debussy and Ravel played a role along with some 20th century piano concertos (Ravel, Bartok and Prokofiev) and then some Brahms chamber music. She tried lots of other things but those were her early loves. She still dislikes symphonies and Baroque music and only likes a few of Beethoven's pieces - the Kreutzer Sonata and a couple of other.
> 
> I'm not suggesting that others should follow her path. My point is that everyone's different and probably has to follow their own paths. My earlier attempts to introduce her to classical music - using lists like the one we are compiling here - probably set her back years!


I understand this completely. I've briefly addressed this challenge already . . . .



pianozach said:


> Yeah, I'm going with the _*"One Size Fits All"*_ approach, which allows for a wide breadth of diversity for the list . . .


. . . but it's certainly not a universal glove . . . Everyone brings their own experiences and likes and dislikes to something like this.

I'm hoping that this works also as a springboard for people . . . While no one will love (or even like) every piece on my list, there will be works that inspire listeners to explore on their own.

A listener may be knocked out by *The Rite of Spring*, and go to *Youtube* to find other *Stravinsky* works. (I've surprised myself by having two works from *Stravinsky* in this Top 25.)

But to others, *Stravinsky* may be terrifying.






.

That said, your impressions of what would and wouldn't have attracted your daughter to Classical Music may or may not be biased. You know what she DOES like, but perhaps she isn't enamoured to symphonic works because she hasn't seen THIS list . . . . :lol: THIS might be the introduction that opens up a whole new world to her.

Yeah, I know; maybe _not_. I think it would be worth a try again though.

Anyway, I fully agree that "everyone's different and probably has to follow their own paths". Some people are simply turned off by lists. Others hate orchestras, some can't stand the sound of opera singing. There are probably folks that hate pieces for solo piano and piano concertos.

Then there's your daughter, who likes chamber works from late Romantics and Impressionists AND 20th Century piano concertos. That's great!

I find it interesting that she doesn't like symphonies, but DOES like piano concertos, which are quite symphonic. But she likes the more "recent" ones. I'll be the first to admit that I'm not as familiar with the "Ravel, Bartok and Prokofiev" concertos as I am with those of earlier composers. I should do some exploring of my own. Oh, wait, I do that. Frankly, as a pianist, it's probably surprising that I'm not generally attracted to piano concertos, save those of Mozart.

....

As I take a look at MY list, it most certainly is weighted towards the '*symphonic*', and there's not a great many '*chamber*' works. There's a sprinkling of solo piano works, and only one piece that could be considered a Piano Concerto, *Rhapsody in Blue*, although it's only a one movement work (although I think the original request WAS for a piano jazz concerto, that is, an expected 3-movement work - but Gershwin forgot he'd promised to compose it until reminded by seeing an advertisement for the premiere of the work he'd not even started yet).

The next 25 on my list includes a few more piano works, but only one chamber work, one of Beethoven's string quartets. After that, the list becomes considerably more diverse.

Naturally, these 25 works are all considered to be excellent pieces (with the exception of *Bolero* perhaps ).

Again, this isn't a ranking of "favorite" works, or "best" works; it's a pathway.

Stray from the path if you like, skip over parts of it.

I've found that in making the list I've "rediscovered" many works (and discovered many as well), and revisiting these old friends has been a joy. Many of us tend to discount these old chestnuts and warhorses, they've been "overplayed" to death, and we forget WHY others love them still.


----------



## arpeggio

*What, No Band Music*

As usual there ain't no band works.

As a resident band junkie I am going to make a few suggestions.

Mendelssohn: _Overture for Band_. Yes, he composed this when he was only fifteen. Whenever I run into a pseudo intellectual who thinks Mendelssohn was a second rate composer, I listen to this work to remind myself that these critics are clueless.

Holst: _Suites for Military Band_

Vaughn Williams: _Folksong Suite_ and _Toccata Marziale_

Morton Gould: _Jericho _

H. Owen Reed: _La Fiesta Mexicana_

Mennin: Canzona

Dello Joio: _Variants on a Medieval Tune _

Percy Granger: _Children's March_

Persichetti: _Psalm_


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## pianozach

I'm reminded of just how badly Classical Music can be played. No inference or reference intended to the previous post regarding band music.


----------



## Art Rock

pianozach said:


> The next 25 on my list includes a few more piano works, but only one chamber work, one of Beethoven's string quartets.


In general, I agree with most of your choices, in the sense that many of these were among my first efforts around 1985 to get to know classical music - and successfully, since CM has been a main component of my listening diet ever since.

I do wonder whether a Beethoven string quartet is the best choice for a first encounter with chamber music. Personally I would have picked Dvorak's American string quartet.


----------



## pianozach

arpeggio said:


> As usual there ain't no band works.
> 
> As a resident band junkie I am going to make a few suggestions.
> 
> *Mendelssohn: Overture for Band.* Yes, he composed this when he was only fifteen. Whenever I run into a pseudo intellectual who thinks Mendelssohn was a second rate composer, I listen to this work to remind myself that these critics are clueless.
> 
> *Holst: Suites for Military Band
> 
> Vaughn Williams: Folksong Suite* and _*Toccata Marziale*_*
> 
> Morton Gould: Jericho
> 
> H. Owen Reed: La Fiesta Mexicana
> 
> Mennin: Canzona
> 
> Dello Joio: Variants on a Medieval Tune
> 
> Percy Granger: Children's March
> 
> Persichetti: Psalm*


I suppose that this may be a reasonable objection, and I am not acquainted with *Works for Band*.

My impression is that when Classical Music is having dinner, Band Music has to sit at the "Kid's Table", so your suggestions are welcome.

Why do you suppose *Band Music* is always predictably neglected? Is it because they're stringless? The close association with marching bands, and the music of *John Phillip Sousa*? I mean, really, there are thousands of works that have no strings, such as woodwind chamber groups. Is it that brass players are looked down upon by players of "better" instruments?

As you point out, there are plenty of well-known composers that have composed works for band, so this is new territory for me. Obviously, this is an oversight you've noticed previously. Why IS band music chronically overlooked?


----------



## pianozach

pianozach said:


> I'm reminded of just how badly Classical Music can be played. No inference or reference intended to the previous post regarding band music.


There's a couple of clips in this videos of someone at the organ strangling *Mendelssohn*'s *Wedding March*. In the first one I'm guessing it's a pianist at the organ. People tend to assume that if you play the piano, you can play the organ. *They are different instruments, people*. Volume is NOT determined by how forcefully you depress a key as it is on a piano, it depends on both your volume pedal and the stops you have assigned to a manual (keyboard).

I'm reminded of my first wedding, when I chose the *Promenade* from _*Pictures at an Exhibition*_ for the Processional. I wanted to actually record myself playing the pieces to play at the wedding, but was told that their in-house pianist could "play anything", *and* that they would charge me extra for *NOT* using her. I'm still puzzled by that.

The time signature changes challenged her greatly, and as it went on it affected her ability to read the block chords as well.

She also messed up the Recessional as well, a published piano transcription of *George Martin*'s _*Pepperland*_ from the *Yellow Submarine* soundtrack.

I'm thinking that she had such a high opinion of her own skills that she thought she'd skip the rehearsal part and go directly to the sight-reading during the wedding.


----------



## pianozach

Art Rock said:


> In general, I agree with most of your choices, in the sense that many of these were among my first efforts around 1985 to get to know classical music - and successfully, since CM has been a main component of my listening diet ever since.
> 
> I do wonder whether a Beethoven string quartet is the best choice for a first encounter with chamber music. Personally I would have picked Dvorak's American string quartet.


*THE FOLLOWING POST IS RATED "R" for the inclusion of a racist epithet, although it's included only as an historical point of reference.
*.

Also so people wouldn't have to _guess_ as to the offensive word used



*I'm starting to love this thread.*

_Personally I would have picked Dvorak's American string quartet _

Ah, but it's *Beethoven's String Quartet in F Major Op.59, no.1* (1807), the first of his "Middle Period" quartets, which require a more advanced technical skill than his earlier quartets. And while *Haydn* is generally tagged the *"Father of the String Quartet"*, Beethoven shaped it into something unsurpassed in virtuosity, invention, and expressiveness. The definition could well read, *"Beethoven's quartets are widely regarded as the supreme form of chamber music."*

So . . . while this might be a great topic in its own thread, I'm thinking it would be a great *Celebrity Death Match*

*Dvorak: String Quartet No.12 in F, "American Quartet"* vs. *Beethoven: String Quartet in F Major Op.59, no.1
*

Beethoven quartet: #50 on my list
Dvořák quartet: #120 on my list

*Beethoven* expanded the technical side of the string quartet, partly by writing the parts for virtuosos of their instruments. At 40+ minutes it was probably the longest SQ yet written. His quartet has a nickname; *"Rasumovsky"*.

On the plus side: *Dvořák*'s 1893 quartet also has a nickname; the _*"American"*_; I like works with nicknames. The quartet itself is quite popular. He drew on American folk songs, Native American music and African-American spirituals for inspiration.

On the _*downside*_; in early years the piece was known (apparently with *Dvorak*'s blessing) as the [deeply offensive] _"N*****" quartet_. The name was still widely accepted into the 1920's, about the time that *Minstrel shows* took a dive in popularity. Eventually it was renamed the _*"American"*_ quartet, a rather misleading label, as Dvořák was specifically writing a mostly _*African-American and Native American-inspired*_ piece.

I'm not saying I disagree with changing the original hurtful and hateful nickname [You should see some of the original lyrics to some of Stephen Foster's folk songs: OMG]. But only in America could you delete the N-word from the title of piece and still manage to give black people a raw deal in the process by whitewashing the inspiration of the work. The context is lost. And Program Notes for this piece generally ignore the ethnic inspirations, and instead give that accolade of inspiration to the simple farmers of Iowa.

But musically I cannot find a way to fairly pit the two quartets against each other. I like them both for different reasons. And it's unfair to compare music from 1807 to that of 1893 . . . almost a century apart.

But I DO see value in your viewpoint . . . The _[cough]_ *American quartet* is, on the surface, a subjectively more _*accessible*_ quartet.

*Alban Berg Quartett*






.
*Cleveland Quartet*


----------



## arpeggio

pianozach said:


> Why IS band music chronically overlooked?


I do not know.

I think one of the reasons is because 90% of the great concert band works were composed since the end of World War Two.

Another reason, and this is still a guess, band music is dominated by marches which is a very functional form of music. Beethoven composed some marches and they were not that good. Even Sousa composed some outstanding concert works but they are overshadowed by his marches


----------



## pianozach

*#26
Pepperland
George Martin
1968*

Yes, *that* *George Martin*. This is from the 1968 film *Yellow Submarine* (and the 1969 album of the same name), of which Side 2 was instrumental "*soundtrack*" music from the film.

This is a highly personal choice, and I've loved this ever since it was released in '69. *Martin* was a humble master of _*orchestration*_, and this short little piece proves it. It's like a short tour of the orchestra, unlike the in-depth cruise that Ravel took with Bolero. The rest of the soundtrack is quite diverse, as he sprinkles in some psychedelia and Indian influences as needed to suit the film. As the film is animated, there are some rather whimsical portions as well.

The "soundtrack" album is one of those oddities in the Beatles catalog . . . it's part compilation, part soundtrack, and part leftovers and two new Beatles songs. Of the six Beatles songs on Side One of the LP release, only two were truly "new", while another couple were "unreleased" tracks from George Harrison that didn't make the cut on earlier albums. The other two songs had been recycled from earlier releases, although one of those had only been released as a single. And, oddly enough, one of the actual new tracks, *Hey Bulldog*, was cut from the film, while another song, *Baby, You're a Rich Man*, was recorded for the film but was unused.

To make the "*Yellow Submarine soundtrack*" even more of a ******* child, in 1999 the *Yellow Submarine Songtrack* was released, which eliminated Martin's soundtrack music, and replaced with _almost_ all of the Beatles songs used in the film.

*Pepperland (Remastered 2009)
*







Several years later Martin made a couple of Suites out of the soundtrack music, as many soundtrack composers do. One is about 10 minutes, while the other is pretty much a 6 minute edit of the same suite. It doesn't really do justice to the content, but the _*quality*_ of the recording is superb.

We'd just been discussing Band Music and Marches, and Martin ends the Suite by re-imagining the song Yellow Submarine into an orchestral march at the end of the suite.








However, the original 17 minute "Side Two" is quite remarkable.


----------



## pianozach

*#27
Prelude in Db "Raindrop Prelude"
Frederick Chopin
1838*
Officially, *Prelude, Op. 28, No.15*, from the *24 Preludes, Op. 28*.

Probably the longest of the 24 Preludes, (one in each key), it gets its nickname from the repeated Ab, which sounds like raindrop. And the middle of the piece, which is in a minor key, does remind the listener of a storm.

Here's Marjan Kiepura performing the Prelude. He prefaces with a brief 90 second introduction.

*Chopin Prelude Op. 28, No. 15 "Raindrop" performed by Marjan Kiepura*






.

*FUN FACT*: The middle section of this, in C# minor, was part of my first band's set list (I think we called ourselves Flaming Pie). We played it as a shuffle, then at the end it became an improv thing, finally moving back to the actual written version (although still not in straight 8s).

.

Most of the preludes are quite short, and I'm quite fond of them.

The E minor prelude is lovely, as are several of the others, although it seems that most live performances are played almost inaudibly quiet. Including this version.






.

Probably the 2nd most famous since the 1970s is the *C minor Prelude*, which was a major source for the *Barry Manilow* hit *"Could It Be Magic"* in 1975.

*Chopin Prelude 20 ( Op.28 No 20 ) - Piano- Chopin's Prelude No. 20 in C Minor*






.

And *Manilow*, performing his song live on *The Midnight Special* . . .

*Barry Manilow Could It Be Magic Live Midnight Special 1975*






.


----------



## pianozach

*#28
Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", Op. 27, No. 2 ("Moonlight Sonata")
Ludwig van Beethoven
1801*

Popular then, and even more popular now.

Most people, though, are familiar only with the first (of three) movements of the sonata (*I. Adagio sostenuto*). And it's a common misconception that the *"Moonlight Sonata"* refers to only the slow first movement. Beethoven broke the conventions of the time of sonatas being 3-mvt. works arranged in a fast-slow-fast order. Here he uses the first movement as a sort of prelude to what follows, a trajectory to a stormy *3rd movement*.

The shorter middle movement is, however, quite conventional, a cheerful short scherzo and trio written in the parallel major key.

The ferocious last movement (*"Presto agitato"*) is actually the most important of the three movements, and is a technical nightmare to play. I know. I've played it. It's mostly a lengthy collection of fast arpeggios (broken chords), which may not be all that difficult individually, until you've got six or seven minutes of constant work playing them. It's exhausting.

So . . . here's famed Chilean pianist *Claudio Arrau*, one of the greatest pianists of the 20th century. I love his unbridled and fiery interpretation of the last movement.

Describing his work in a 1975 interview, *Mr. Arrau* said: *"I try to play the way a cat jumps. It must be completely natural. I have promised myself that whenever I feel a kind of routine creeping into my playing, I will stop. Now when I play I am almost in ecstasy, a creative ecstasy, which I wouldn't miss for anything. This is what I live for."*

*Claudio Arrau - Beethoven - Piano Sonata No 14 in C-sharp minor, Op 27, No 2
*





.

*"TO PLAY A WRONG NOTE IS INSIGNIFICANT; 
TO PLAY WITHOUT PASSION IS INEXCUSABLE."

- BEETHOVEN*​
.

. . . And, in popular culture, the first movement inspired this song from the musical *You're A Good Man, Charlie Brown*. Eventually the song from the musical found its way into animators' hands, and here you go . . .

*"Schroeder" from "You're a Good Man, Charlie Brown!"*






:lol:

The first movement has been used (and misused) in dozens of films for decades. Here's a few of them:

Concerto (2008)
Ray (2004)
Confessions of a Dangerous Mind (2002)
The Pianist (2002)
Crimson Tide (1995)
Interview with the Vampire: The Vampire Chronicles (1994)
Misery (1990)
Psycho II (1983)
Dr. Phibes Rises Again (1972)
Love Story (1970)
Destination Murder (1950)
The Picture of Dorian Gray (1945)
House of Dracula (1945)
Moonlight Sonata (1937)
Dracula (1931)

In fact, the use of the *Moonlight Sonata* in the film *Misery* may be one of the most brutal uses of classical music in a movie.

*WARNING*: This scene actually made some people throw up in the movie theater.

*WARNING #2*: THIS is why you should always - _ALWAYS_ - remember to turn the penguin statues back around the right way..._

*Misery (1990) Hobbling*






.

. . . and if you think THAT's pretty violent, this part was even MORE disturbing in the novel... She cuts one foot off with an ax and then blowtorches the amputation to cauterize it.

So . . . *Beethoven* was really a great composer, and an awful lot of his works have been recycled over the years.

Here's one more _*metal*_ take on the *3rd movement* of the *Moonlight Sonata*, performed by guitarist "*Tina S*."

*Ludwig van Beethoven - Moonlight Sonata ( 3rd Movement ) Tina S Cover
*


----------



## science

IMO, the Moonlight Sonata is actually a brutal litmus test of what kind of classical listener one is. 

-- Complete noob: "Oh, it's so pretty, I love it! I could go to sleep listening to it." 

-- Pretentious snob who doesn't actually know very much: "I've heard it so much, I'm sick of it. Why did Lord Beethoven even write that swill?" 

-- More experienced listener: "The way the three movements relate to each other is really interesting." 

I propose no value judgements as to whether it's better to be one or another of these people, since we're all at various places in our lives, and of course I understand we all have to play our own games to try to gain the respect of our peers.


----------



## BrahmsWasAGreatMelodist

i love the moonlight sonata! i could go to sleep listening to it.


----------



## Conrad2

BrahmsWasAGreatMelodist said:


> i love the moonlight sonata! i could go to sleep listening to it.


Try the 3rd movement. It's verry *relaxing*. Good for sweet dreams.


----------



## pianozach

science said:


> IMO, the Moonlight Sonata is actually a brutal litmus test of what kind of classical listener one is.
> 
> -- Complete noob: "Oh, it's so pretty, I love it! I could go to sleep listening to it."
> 
> -- Pretentious snob who doesn't actually know very much: "I've heard it so much, I'm sick of it. Why did Lord Beethoven even write that swill?"
> 
> -- More experienced listener: "The way the three movements relate to each other is really interesting."
> 
> I propose no value judgements as to whether it's better to be one or another of these people, since we're all at various places in our lives, and of course I understand we all have to play our own games to try to gain the respect of our peers.


There are also the posers that PRETEND they're familiar with it, but aren't, yet share their opinions about it anyway being vague and using words that sound like they're smart.

*"I love how it's so groundbreaking in its complex simplicity, while still being rooted in the grand traditions of the sonata form. Beethoven's use of form and line is breathtaking, sweeping the listener away on a personal tour inside his soul, sometimes serene, sometimes tortured. The grand take-away is that of the listener being simultaneously shown how insignificant and isolated one is in relation to the universe, while being supremely connected to everyone and everything. In Beethoven's hands notes become more than simple pitches; they are stepping stones to a higher enlightenment."*

Didja like that? I just made it up. Cracking myself up here. :lol:


----------



## pianozach

*#29
The Four Seasons (Le quattro stagioni)
Antonio Vivaldi
1721-1725*

As The *Four Seasons* is an extended work of four three movement violin concertos, I decided to choose just one of the suites, Summer, as my #6 on the list, although I highly recommend the whole damn thing. And here's the *Four Seasons*. Again.

So . . . one could make a case for *Vivaldi*'s *Four Seasons* being the best musical piece of all time. And "best" is a very subjective term. But *The Four Seasons* is a great example of what it is, a group of four Baroque violin concerti. And it's a beautiful epic work that has stood for centuries, beloved and revered by millions. Sure, it's not as complex as *Bach*, but so what?

Anyway, it's certainly a tough call to single out the best of the bunch as far as accessibility.

So, although it's already listed as #6 on the list, it gets to appear AGAIN because the WHOLE set is really ONE big epic.

So, let's see . . . format-wise . . . each concerto is ordered fast-slow-fast, very typical of the day.

They're arranged

*Concerto No. 1 in E major, Op. 8, RV 269, "Spring" (La primavera)
Concerto No. 2 in G minor, Op. 8, RV 315, "Summer" (L'estate)
Concerto No. 3 in F major, Op. 8, RV 293, "Autumn" (L'autunno)
Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno)
*
And you can really sense Vivaldi's sense of the programmatic . . . Spring has birds celebrating, Summer has cuckoos, then a summer storm, Winter is cold and icy.

But, in all likelihood, you probably knew all that already.

So here's something you did may not have known: *Vivaldi* published the concerti with accompanying _*sonnets*_ that elucidated what it was in the spirit of each season that his music was intended to evoke, truly making these some of the earliest examples of programmatic (Or "Program") music: That is, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of the Spring concerto, where the goatherd sleeps, his barking dog can be heard in the viola section.

So . . . here they are, in English, although they were originally in Italian:

*Concerto No. 1 in E major, Op. 8, RV 269, "Spring" (La primavera)
**Allegro (in E major)
*_Springtime is upon us. 
The birds celebrate her return with festive song, 
and murmuring streams are 
softly caressed by the breezes. 
Thunderstorms, those heralds of Spring, roar, 
casting their dark mantle over heaven, 
Then they die away to silence, 
and the birds take up their charming songs once more. 
_
*Largo e pianissimo sempre (in C♯ minor)
*_On the flower-strewn meadow, with leafy branches 
rustling overhead, the goat-herd sleeps, 
his faithful dog beside him. 
_
*Allegro pastorale (in E major)
*_Led by the festive sound of rustic bagpipes, 
nymphs and shepherds lightly dance 
beneath the brilliant canopy of spring. 
_

*Concerto No. 2 in G minor, Op. 8, RV 315, "Summer" (L'estate)
**Allegro non molto (in G minor)
*_Under a hard season, fired up by the sun 
Languishes man, languishes the flock and burns the pine 
We hear the cuckoo's voice; 
then sweet songs of the turtledove and finch are heard. 
Soft breezes stir the air, but threatening 
the North Wind sweeps them suddenly aside. 
The shepherd trembles, 
fearing violent storms and his fate. 
_
*Adagio e piano - Presto e forte (in G minor)
*_The fear of lightning and fierce thunder 
Robs his tired limbs of rest 
As gnats and flies buzz furiously around.
_
*Presto (in G minor)
*_Alas, his fears were justified 
The Heavens thunder and roar and with hail 
Cut the head off the wheat and damages the grain.
_

*Concerto No. 3 in F major, Op. 8, RV 293, "Autumn" (L'autunno)
**Allegro (in F major)
*_Celebrates the peasant, with songs and dances, 
The pleasure of a bountiful harvest. 
And fired up by Bacchus' liquor, 
many end their revelry in sleep. 
_
*Adagio molto (in D minor)*
_Everyone is made to forget their cares and to sing and dance 
By the air which is tempered with pleasure 
And (by) the season that invites so many, many 
Out of their sweetest slumber to fine enjoyment 
_
*Allegro (in F major)
*_The hunters emerge at the new dawn, 
And with horns and dogs and guns depart upon their hunting 
The beast flees and they follow its trail; 
Terrified and tired of the great noise 
Of guns and dogs, the beast, wounded, threatens 
Languidly to flee, but harried, dies.
_

*Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno)
**Allegro non molto (in F minor)
*_To tremble from cold in the icy snow, 
In the harsh breath of a horrid wind; 
To run, stamping one's feet every moment, 
Our teeth chattering in the extreme cold 
_
*Largo (in E♭ major)
*_Before the fire to pass peaceful, 
Contented days while the rain outside pours down. _

*Allegro (in F minor)*
_We tread the icy path slowly and cautiously, 
for fear of tripping and falling. 
Then turn abruptly, slip, crash on the ground and, 
rising, hasten on across the ice lest it cracks up. 
We feel the chill north winds course through the home 
despite the locked and bolted doors... 
this is winter, which nonetheless 
brings its own delights. 
_

For those of us familiar with *The Four Seasons*, listening anew with the sonnets in mind can make this extraordiinary work 'fresh' again.

*Antonio Vivaldi - Four Seasons
Budapest Strings
Bela Banfalvi, Conductor
*
SPRING 0:00
SUMMER 10:31
AUTUMN 20:59
WINTER 32:48_

*By the way . . . the part from 0:00 to 42:00 is the best.
*

*Four Seasons ~ Vivaldi*


----------



## pianozach

*#30
Overture to "The Barber of Seville" 
Gioachino Rossini
1816*

*The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione)* is an opera buffa (comic opera), and after 200 years STILL remains a popular work. The *Largo al factotum* *aria* is still a hit in opera circles. It's a prime example of patter singing-where a comic character sings at a very, very fast tempo with just one syllable to each note. The rhythm patterns are difficult and the lyrics are often tongue-twisters.

*'Una voce poco fa'* is also a sheer delight.

While the opera itself was purportedly written in just over 3 weeks, the stunning *Overture* is actually recycled from two earlier *Rossini* operas, and since it contains none of the thematic material in *Il barbiere di Siviglia* itself, it is actually a stand-alone work. That's because the _*original overture*_ to *The Barber of Seville* was lost-and *Rossini* replaced it with one using music he'd written for earlier operas.

So here's my favorite version of the *Overture*, the Rabbit of Seville from 1950. There are some minor edits, but the _*music*_ is mostly faithful to the original.

This one is often difficult to find online, as it's most certainly protected under copyright. Here's an adulterated version.

*Bugs Bunny The Rabbit Of Seville
*






:lol:

For those of you unamused by animated versions, here's a _"serious"_ version.

This is from From the *Schwetzinger Festspiele 1988*. The Conductor is *Gabriele Ferro*


----------



## pianozach

*Bonus Round:
The Barber of Seville
*
*Largo al factotum* aria








*Una voce poco fa*


----------



## pianozach

*Pit Stop*

*The Fugue*

I'm a big fan of the fugue, and no one composes fugues as *Bach* did; the absolute master of that musical form, and not widely used since Bach's time.

But it does pop up from time to time: *Beethoven* composed a grand fugue as the 4th movement of one of his very late string quartets: So Grand (and I don't mean that in a good way, either) that his publisher convinced him to withdraw it and release it as a stand alone work.

Here's something you likely haven't heard before: *Gentle Giant* does a fugue! A hard form to write. Seems legit though, it develops and modulates! Who ever wrote this understands theory. The melody seems lifted from somewhere.

It's remarkably well done. *Bach* would find fault, but he was a perfectionist: There's a section at 1: 20 that's not really in the fugue genre (Bach did have short non-fugues links, but they were generally short, not 16 bars long), but is certainly Bach-like, and the ending has a pop lick at the end, but otherwise it's almost faultless.

Extra points for using an extra long subject, which is more difficult to work into a fugue.








Here's another fugue by a rock musician, in this case *Keith Emerson* when he was with *The Nice*. It's the "*4th Bridge - High Level Fugue*" from their *Five Bridges* suite. Emerson infuses his links with blues chords and honky-tonk licks. It's also fairly short, but Emerson seamlessly incorporates jazz stylings and harmonies.

Here it is played live by *Rachel Flowers* . . . not actually a "performance", but a live playing at NAMM 2018 testing out the new Kurzweil Forte.








Emerson returned to the fugue on *ELP*s LP *Trilogy*

This one is actually a *Prelude & Fugue*. The fugue is pretty sophisticated, but he loses track right at the end, instead opting for a pop stylings ending . . . which works musically. It was used as a link between the two parts of their epic *The Endless Enigma*.


----------



## pianozach

The "*Top 25*", and the first 5 "Honorable Mentions"

Holst - The Planets, Op. 32. 1918
Dvorak - Symphony No.9 in E minor "From the New World", Op 95. 1893
Beethoven - Symphony No. 3 "Eroica"
Stravinsky - The Firebird. 1910 
Tchaikovsky - 1812 Festival Overture, Op. 49. 1882

Vivaldi - Summer, The Four Seasons. 1723
JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051. 1721.
WA Mozart - Symphony 41 in C "Jupiter", K. 551. 1788
Borodin - In the Steppes of Central Asia. 1880. 
WA Mozart - Overture from The Marriage of Figaro. 1786

Grieg - Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23). 1876 
Frederic Chopin - Polonaise Op. 53
Mussorgsky - Pictures at an Exhibition (Ravel orchestration). 1922
Gershwin - Rhapsody in Blue 
Stravinsky - The Rite of Spring

Beethoven - Symphony No.5 in C minor, Op. 67. 1808 
JS Bach - Cello Suite No. 1 in G major, BWV 1007
Carl Orff - O Fortuna from Carmina Burana
Mussorgsky - Night On Bald Mountain (Rimsky-Korsakov arrangement). 1886 
Johann Sebastian Bach - Well-Tempered Clavier 2, Prelude F Sharp minor

Claude Debussy - The Sunken Cathedral
Sergei Rachmaninoff - Prelude Op. 23 No. 5
Franz Liszt - Consolation No. 3
Richard Strauss - Also Sprach Zarathustra
Ravel - Bolero

*Honorable Mentions*:

George Martin - Pepperland
Chopin - Prelude in Db "Raindrop"
Beethoven - Piano Sonata No. 14 in C♯ minor ("Moonlight Sonata") 
Antonio Vivaldi - The Four Seasons
Rossini - Overture to "The Barber of Seville"

Again, not a "contest" or "ranking" list. But really, a grand collection of works, all in all.

Everything over 25 on the list is an honorable mention. That's why you will not find *Wellington's Victory* on the list.

:devil:



Actually, it might be fun to make a *Top 5 Fails in Classical Music*. Like so:

Beethoven: Wellington's Victory
Benjamin Britten: Jubilate 
Wagner: Rienzi
Verdi: Alzira
Shostakovich: Song of the Forest

I'm sure this could become a *Worst 20* list with your help.


----------



## Art Rock

Wagner's Rienzi is not at the level of his ten famous operas, but far from a failure IMO. I like it better than Die Feen and Das Liebesverbot (imo his worst), but even these two I would not classify as fails.


----------



## pianozach

Art Rock said:


> Wagner's Rienzi is not at the level of his ten famous operas, but far from a failure IMO. I like it better than Die Feen and Das Liebesverbot (imo his worst), but even these two I would not classify as fails.


Gotcha. Sometimes "Fail" is merely comparing one's works with one's other works. For instance, there are many undervalued Beatles songs because such a great many of their songs are simply wondrous. But some of the *Beatles*' throwaways have become gold in the hands of other artists. Some of their neglected songs might have been Top Ten Hits had they been released by some unknown band.

For them an album that only sold 1,000,000 copies is a failure compared to the sales of some of their other albums.

So *Rienzi*, or *Das Liebesverbot* (OMG a comic opera from *Wagner*?) are only a failure when compared to some of his other works then? Rienzi generally panned by everyone. Das Liebesverbot is just ignored, I think.


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## pianozach

*#31
Ride of the Valkyries 
Richard Wagner 
1854 (premiered 1870)*

OK, talk about an edit of a larger work. Much larger. So-o-o-o-o large . . . . .

The *"Ride of the Valkyries" (German: Walkürenritt or Ritt der Walküren)* refers to the beginning of Act 3 of *Die Walkure*, the _*second*_ of the _*four*_ operas constituting *Richard Wagner*'s *Der Ring des Nibelungen*.

And it often refers to the purely instrumental version, which is the three minute version most of us familiar with the work know. The _*"Ride"*_, in its operatic context runs around eight minutes.

And those who have heard this are familiar with its use in the 1979 film *Apocalypse Now*, where the *1/9 Air Cavalry squadron* plays it on helicopter-mounted loudspeakers during their assault on a North Vietnamese-controlled village as psychological warfare and to motivate their own troops.

But it originally opens the 3rd act of _*Die Walkure*_, beginning in the prelude to the third act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where four of the eight Valkyrie sisters of Brunnhilde have gathered in preparation for the transportation of fallen heroes to Valhalla. As they are joined by the other four, the familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry.

Anyway, either way, this piece is a great way to give yourself chills.

Here's the popular version (No! not Elmer Fudd singing _"Kill the Wabbit Kill the Wabbit . . . "!_) . . . the one from *Apocalypse Now*.

*Ride of the Valkyries - Apocalypse Now (3/8) Movie CLIP (1979) HD
*





:devil:

And here it is, more or less, in its original setting, presented by the *Royal Danish Opera*.

Their interpretation with alcohol fuelled Valkyries is wonderfully decadent. The world that they live in is decadent and destined to be destroyed in Gotterdammerung. Even if there is redemption through Brunhilde's sacrifice in the end, all the characters have a dark underside. The production values of this version are excellent; note when the entire set rotates to reveal even more Valkyries on the roof.

In this sense they function more as angels celebrating the impending slaughter of soldiers, because they can then be with them in Valhalla, so to speak.

Musically the scene is a masterpiece and requires great discipline from everyone. Wagner composed it to give the impression the Valkyries are singing over each other sometimes with overlapping entries and that continues through the act.

*Enjoy* . . . most of us rarely get to hear (and see) things like this . . . .

*Wagner : The Ride of the Valkyries - Copenhagen Ring
*







And here's one more version for you *metalheads* that _*"love the smell of napalm in the morning"*_ . . . *Eric Calderone* _slashes_ the Valkyries.

*Ride of the Valkyries Meets Metal | from Wagner's Die Walküre
*


----------



## pianozach

*Ride of the Valkyries 
Richard Wagner 
*
So . . .

. . . just one more short video to show the lasting impact of *The Ride of the Valkyries* . . .

Here's a short clip from the 1938 film *The Young In Heart*, starring Janet Gaynor, Douglas Fairbanks, Jr., Paulette Goddard, Roland Young, and Billie Burke, and featuring a score by *Franz Waxman*.

But it's also notable for featuring *"The Flying Wombat"*, a one-only prototype *Phantom Corsair*, hawked as the first *"Car of the Future"*. In the film, the car horn plays a rather distinctive tune . . . .

*1938 PHANTOM CORSAIR The 1st "Car of the Future"!!!
*


----------



## pianozach

*#32
Symphony No.40 in G minor
Wolfgang Amadeus Mozart
1788*

You knew it had to be coming sooner or later. Who doesn't love *Mozart's 40th*? (And . . . funny how it sounds like future *Beethoven* . . . not like *Introitus*, from *Mozart's Requiem*, which is basically *Bach*, and coming up at *#35* on this list.)

*Symphony #40*, generally considered a masterpiece, was written towards the end of *Mozart*'s life, and is one of only two written in a minor key. It is in four movements:

*I. Molto allegro
II. Andante
III. Menuetto & Trio. Allegretto
IV. Allegro assai*

This symphony is quite original, and has had lasting influence on future composers. Few works from then 18th century are as intense, chromatic, and unconventional.

The first movement *Molto Allegro* makes much of plaintive sighs, though gentle graceful melodies also appear and even occasional bursts of jubilation (yeah, I stole that sentence from somewhere . . . ). The second movement _*Andante*_ is softly elegant, as if of a quiet moonlit evening. Here, Mozart entirely sets aside the shadows of minor keys in favor of brighter major keys.

The third movement _*Minuet and Trio*_ offers darkness as well as light, the dark passages strongly assertive and the light ones sweeter. For the _*Allegro assai finale*_, Mozart returns to a general focus upon more serious moods, often given an urgent and fretful turn. In the middle of the movement, different sections of the orchestra simultaneously concern themselves with different melodic ideas, all blended into an intricate mix.

As soon as you start listening, you'll have that glimmer of recognition . . . _*"Oh, year, I've heard this . . . "*_

Here's *Leonard Bernstein* conducting the *Boston Symphony Orchestra*

*MOZART Symphony No 40 in G minor KV550 LEONARD BERNSTEIN*


----------



## pianozach

*#33
"Spring" - The Four Seasons
Antonio Vivaldi
1725*

_*It's ba-a-a-ack!
*_
The *Spring* part of the *Four Seasons* may very well be my favorite. (Summer already made the list, way up at #6):

_Springtime is upon us. 
The birds celebrate her return with festive song, 
and murmuring streams are 
softly caressed by the breezes. 
Thunderstorms, those heralds of Spring, roar, 
casting their dark mantle over heaven, 
Then they die away to silence, 
and the birds take up their charming songs once more.

*Largo* 
On the flower-strewn meadow, with leafy branches 
rustling overhead, the goat-herd sleeps, 
his faithful dog beside him.

*Allegro* 
Led by the festive sound of rustic bagpipes, 
nymphs and shepherds lightly dance 
beneath the brilliant canopy of spring._

*Vivaldi - Spring from The Four Seasons | Netherlands Bach Society
*


----------



## Chopin Fangirl

I love Ballade 4!! Also Barcarolle (my favorite is the performance by Zimerman)!


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## pianozach

Chopin Fangirl said:


> I love Ballade 4!! Also Barcarolle (my favorite is the performance by Zimerman)!


There's a lot to love.

*Ballade No. 4 in F minor, Op. 52 
Frédéric Chopin
1842
*
It's the longest of the four ballades *Chopin* wrote. The work was dedicated to *Baroness Rothschild*, and is notable for its contrapuntal nature. It's a wonderful soulful piece, and unusual in the way it really pours it on in the coda.

*Krystian Zimerman - Chopin - Ballade No. 4 in F minor, Op. 52*








*Barcarolle in F-Sharp Major, Op. 60
Frédéric Chopin
1845
*
Working through debilitating illness and the grinding conclusion of his unhappy relationship with the writer *George Sand*, *Chopin* published his *Barcarolle, Op. 60* in the Summer of 1845, a masterpiece of his final years.

*Krystian Zimerman - Chopin: Barcarolle in F-Sharp Major, Op. 60
*


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## pianozach

*#34a
Symphony No. 6 in F major, Op. 68 ("Pastoral Symphony")
Ludwig van Beethoven
1808*

Ah, yes. Here it is.

*Beethoven* wrote 9 symphonies, of which four (the 3rd, 5th, 6th, and 9th) are considered to be some of the finest symphonies ever written.

The *Sixth Symphony* is one of Beethoven's few works containing explicitly _*programmatic content*_ (a piece designed according to some preconceived narrative, or designed to evoke a specific idea and atmosphere). In this case it's Beethoven's hymn to nature, and his unabated love of the great outdoors.

It's in five movements, rather than the typical four, each with a programmatic title at the beginning of each movement.

*I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande 
. . . . . Awakening of cheerful feelings on arrival in the countryside

II. Szene am Bach
. . . . . Scene by the brook

III. Lustiges Zusammensein der Landleute
. . . . . Merry gathering of country folk

IV. Gewitter, Sturm
. . . . . Thunder, Storm

V. Hirtengesang. Frohe und dankbare Gef?hle nach dem Sturm
. . . . . Shepherd's song. Cheerful and thankful feelings after the storm*

Of course, as noteworthy as the symphony is, it's no wonder that it was used in the 1940 film *Fantasia*, although it was necessarily trimmed.

Edits from the first movement were featured in the death scene in the 1973 science fiction film *Soylent Green*.

So here's two different live versions,

1. . . . the first conducted by my "go-to" musical genius *Leonard Bernstein*.

But I'm also including a far newer video with

2. *Christian Thielemann* conducting the *Wiener Philharmoniker* in Vienna, as it's in HD, and is shot using several cameras.

*BEETHOVEN Symphony No 6 Pastoral in F Op 68 LEONARD BERNSTEIN*






.

*Beethoven - Symphony No 6 in F major, Op 68 - Thielemann*


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## pianozach

*34b
Symphony No. 6 in F major, Op. 68 ("Pastoral Symphony")
Ludwig van Beethoven
1808
*
3. And, of course, the trimmed animated version from *Fantasia*, in *5 parts.*

Posting videos to this version is again somewhat problematic, as folks continue to upload the film version with audio, and before long, *Disney* takes 'em down.

But if it's still here (or you find it on your own, if it's been removed), it's a rewarding visual feast inspired by one of the world's greatest Symphonies.


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## pianozach

*34c
Symphony No. 6 in F major, Op. 68 ("Pastoral Symphony")
Ludwig van Beethoven
1808
*


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## Clloydster

This is amazing - this is exactly what I have been looking for! I actually have several of the symphonic entries on you list, but I look forward to exploring the others! And thanks for performance recommendations as well! Can't wait to dig in.


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## pianozach

Clloydster said:


> This is amazing - this is exactly what I have been looking for! I actually have several of the symphonic entries on you list, but I look forward to exploring the others! And thanks for performance recommendations as well! Can't wait to dig in.


 Excellent!

That is great!


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## pianozach

*#35
Requiem in D minor
Wolfgang Amadeus Mozart
1792*

Again, here we are with a epic eight movement work that runs almost an hour.

And, in this case, Mozart didn't even write the whole thing, as it was unfinished at the time of his death.

So, the most popular movement of this larger work is the *Lacrimosa*, itself just the last of six sections of the 3rd movement:

*Requiem aeternam dona ets, Domine, 
et lux perpetua luceat ets.*

_Grant them eternal rest, O Lord,
and may perpetual light shine on them. 
_

*Requiem Mass in D minor - Lacrimosa*






:angel:

Then again, the *Dies Irae*, which occurs directly before the *Confutatis*, was recently included in one of the *X-Men* films, and may be the most well known opening of any of the movements.

It's Judgment Day, a massive storm hits: the terrible voices of the choir show God's divine wrath coming to man, then some attempts to soften this anger, then again cries of terror… Everything trembles in angst, fever and impatience. 

_*Confutatis maledictis
Flammis acribus addictis,
Voca me cum benedictis. 
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.*

While the wicked are condemned, 
doomed to flames of woe unending, 
Call me with Thy saints surrounded. 
Low I kneel [Suppliant and prostrate], 
with heart submission; 
see, like ashes, my contrition; 
help me in my final condition.
_

*Mozart's Requiem in D Minor - Sequentia: Dies Irae
*







The *Lacrimosa* follows another somewhat recognizable section, the *Confutatis*. Here's a live version of both the *Confutatis and Lacrimosa*, played on period instruments by the *English Baroque Soloists and the Monteverdi Choir* under the direction of *John Eliot Gardiner* in Barcelona December 1991.

The *Lacrimosa* section may be one of the most uniquely saddest and tearful pieces of music written in human history.

*Mozart Requiem Mass in D Minor VI - Confutatis and Lacrimosa
*






​
Ah, so, well, there's the _*"Best Of"*_ *Requiem*, although those familiar with the *Requiem* may think the beautiful wistful ending should be on the short list.

And if you enjoyed those excerpts you may want to fasten your seatbelt and prepare yourself for the entire work.

But there are a few things that should be noted about the piece on the whole. For one, Mozart excluded what he considered to be "joyful" instruments, specifically flutes and oboes. Instead the work sports the most upfront trombone solo, and now-vintage basset horns. There are no flashy effects nor virtuoso solos.

Here's what *Mozart* writes to his father *Leopold*, four years before writing his *Requiem*:

_*"As death . . . is the true goal of our life, I have made myself so thoroughly acquainted with this good and faithful friend of man, that not only has its image no longer anything alarming to me, but rather something most peaceful and consolatory."*_

We can find this calm towards death throughout the *Requiem*, a mass for the dead that swings between terrible accents and soft melodies, both soothing and melancholic. We are in 1791, and Mozart has been seriously ill for over a year. Since he believes he has been poisoned with *Aqua Tofana* (a very slow poison) and thus sensing his end, he probably decides to write his own *Requiem* - a tribute by Mozart himself, his last confession.

*But . . . 
in 1791, the year of his death, 
he also wrote 
the wonderful and initiatory opera bouffe 
The Magic Flute, 
a certifiably joyful and bright work.*​
But here's a clean, expressive, definitive, and glorious full length live version.

I. Introitus
. . . . . . 01:00 a. Requiem aeternam
II. Kyrie 
. . . . . . 05:56 a. Kyrie eleison
III. Sequentia
. . . . . . 08:19 a. Dies Irae
. . . . . . 10:17 b. Tuba Mirum
. . . . . . 14:05 c. Rex Tremendae
. . . . . . 16:01 d. Recordare
. . . . . . 21:20 e. Confutatis
. . . . . . 23:56 f. Lacrimosa
IV. Offertorium
. . . . . . 27:48 a. Domine Jesu Christe
. . . . . . 31:10 b. Hostias
V. Sanctus
. . . . . . 34:50 a. Sanctus
. . . . . . . . . . . b. Hosanna
VI. Benedictus
. . . . . . 36:36 a. Benedictus
. . . . . . . . . . . b. Hosanna
VII. Agnus Dei
. . . . . . 42:12 a. Agnus Dei
VIII. Communio 
. . . . . . 46:21 a. Lux Aeterna_
. . . . . . . . . . . b. Cum sanctis tuis

*Mozart Requiem Karl Bohm*






:devil:

And, again, I'm somewhat torn with presenting "_*selections*_" of a larger work, when a *complete* work, whether it's a symphony, a sonata, or a mass, ought to be evaluated on its whole -the composer's intended purpose - and not on the individual _"parts." _

I calm my fears by realizing that it really doesn't matter. An edit of a larger work may stand on its own, and the larger work is not diminished by listening to excerpts from it. While there are plenty of examples of this in Classical music (e.g. _*The Queen of the Night Aria*_ from *The Magic Flute*, _*Mars, the Bringer of War*_ from *The Planets*, _*Prelude and Fugue in D minor*_ from *The Well Tempered Clavier*), there are also examples in *Progressive Rock* that can serve to understand the concept:

_*Soon*_ from *The Gates of Delirium*
*Leaves of Green* from *The Ancient* from *Tales From Topographic Oceans*
_*Color My World*_ and _*Make Me Smile*_ from *Ballet for a Girl in Buchannon*
*Pinball Wizard* from *Tommy* 
*Comfortably Numb* from *The Wall*

It's no longer the 1750s, or the 1880s. As human beings we do not have the lack of distractions afforded us even a hundred years ago, when entertainment wasn't available at the touch of a button. But even in the 1970s, only 40 or 50 years ago, I somehow enjoyed the luxury of listening to long, massive, expansive, and epic works of music.

If I skip the *2nd* and _*3rd movements*_ of *Beethoven's Sonata in C# minor*, *Mr. B *has still brought me inestimable joy with just a single movement.


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## Clloydster

I have created a playlist to listen to these on my iPod. I'm up to Mozart's 41st Symphony - but I have already heard that one. I really enjoyed Holst's Planets - can't believe I've never heard it before. 

I'll have to add Mozart's Requiem - I remember something vaguely about it from watching Amadeus way back when. I'm also involved with the Weekly String Quartet thread, and this week I'll likely be busy with Tchaikovsky's String Quartet No. 1.


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## pianozach

Clloydster said:


> I have created a playlist to listen to these on my iPod. I'm up to Mozart's 41st Symphony - but I have already heard that one. I really enjoyed Holst's Planets - can't believe I've never heard it before.
> 
> I'll have to add Mozart's Requiem - I remember something vaguely about it from watching Amadeus way back when. I'm also involved with the Weekly String Quartet thread, and this week I'll likely be busy with Tchaikovsky's String Quartet No. 1.


The String Quartet thread is great.

My list is actually quite lacking in chamber music, including string quartets. There's some other 'lacks' as well . . . Vocal works works are scarce so far.

As I compiled the list, I was certain that I was neglecting "newer" works as well, only to find that I have included six works written in the 1900s in my Top 20 (although the newest of these is still 83 years old). 8 works in the Top 22; 9 in the Top 25. That's actually a fair representation, considering there are _*centuries*_ of music to ponder over.


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## pianozach

*#36
The Blue Danube, Op. 314
Johann Strauss II
1866-1867*

1867. Austria had just lost the war with Prussia, and America's civil war had just ended.

I used to play this on the piano when I was a kid, before it had a second life by being used prominently in *Stanley Kubrick*'s 1968 film *2001: A Space Odyssey*.

Here's Pop Classical sensation * André Rieu* and his *Johann Strauss Orchestra* live at Empress Sisi's castle; Schonbrunn Palace Vienna

I know that some fans of Classical music find that Rieu just an opportunist, the Kenny G of Classical. And strangely enough, some view Johann Strauss with similar disdain.

And, just for the record, he and his orchestra have turned classical and waltz music into a worldwide concert touring act, as successful as some of the biggest global pop and rock music acts, as can be seen in the following video. Rieu plays a 1667 *Stradivarius* violin. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his solid musical credentials.

But that's an even better reason to match *Rieu* and *Strauss* together . . . *The Blue Danube* is populist Classical, and *Rieu* is dead serious about the extraordinary joy he displays when performing it. It's just so damn happy!

Here's something else I actually like about *Rieu* . . . he's actually a good violinist, and an above average conductor. But more than that, he is personally invested in choosing music that resonates with audiences . . . people LOVE the pagentry, the over-the-top showmanship, the tugging at the heartstrings.

For those well acquainted with the common Classical "Classics", I suggest watching and listening to this without pretense. *Rieu* is sincere in his love for *Strauss*, and this video of this performance is just such innocent joy.

*The Beautiful Blue Danube - André Rieu*






.

So . . . it's odd how *Kubrick* chose to use this waltz for his film . . . but the original concept was far more "normal". Hollywood composer *Alex North* was contracted to provide the score . . . after having worked previously with *Kubrick* on *Spartacus* and *Dr. Strangelove*. However, during postproduction, Kubrick chose to abandon North's music in favor of the now-familiar classical pieces he had earlier chosen as _*"guide pieces"*_ for the soundtrack. North did not know of the abandonment of his score until after he saw the film's premiere screening.

Here's how it worked in the film . . .

*Kubrick's 2001: A Space Odyssey (widescreen)
*





.

And . . . here's something a little more artistic, with a ballet choreographed to the music. The dancing starts about 1:30 into the video.

*Wiener Philharmoniker, Riccardo Muti - Blue Danube Waltz*


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## pianozach

*#37
Capriccio Italien, Op. 45
Pyotr Ilyich Tchaikovsky
1880*

Technically it's a *"fantasy for orchestra"*, and was originally called *Italian Fantasia*. Tchaikovsky started sketching out the work will vacationing in Rome during Carnival, incorporating folk music and street songs. The opening trumpet fanfare was heard each morning from a barracks next to the composer's hotel. Technically, what makes this whimsical pop classical piece so impressive is Tchaikovsky's astonishing orchestration skills. Frankly, he's showing off.

So, understand, Tchaikovsky, although he travelled regularly, is from Russia, where the winters are long, cold, harsh and miserable, and Italy must have seemed a paradise: Sunny, warm, beautiful, and welcoming. And all expenses paid for three months by his patroness Nadezhda von Meck.

Here's the *Moscow City Symphony "Russian Philharmonic" *conducted by *Michail Jurowski*.

*P.Tchaikovsky. Italian Capriccio*






So, I nicked the following paragraph from "God Knows Where" on the internet . . . some blog somewhere most likely, judging from the grammatical mistakes, incorrect word usage, and sloppy punctuation. But I'll share it anyway, as it exemplifies just how deeply this somewhat superficial work can affect people. Even bad Tchaikovsky is good:

Tchaikovsky is a genius at orchestration. He arranged brass and string voice as muted for constructing musical spatiality as if sounds coming from a distant italian seaside town. Though with many pauses between the italian melodies, he still managed to make it more coherent and dramatic than capriccio espagnol or other orchestral pieces containing folksongs. Tchaikovsky didn't want to show you a symphonic picture of italian town but he wanted to show you what he feeled when he was in Italy. His melancholy, his joyness with italian festivity and folkmusic ...... everything that is personal but also in every moment influenced by tht outside world. You will see a tormented soul living in this melancholic world, not bombastic folkmusic with chauvinistic imagination.


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## pianozach

*#38
The Sorcerer's Apprentice: "Scherzo after a ballad by Goethe"
Paul Dukas
1897*

OK, here we go with another programmatic _*"symphonic poem"*_, this one based on Johann Wolfgang von Goethe's 1797 poem. Of course, it's current widespread popularity can be directly traced back to Disney's 1940 film *Fantasia*. That's not to say it wasn't a popular concert piece prior to that; it's simply that *Fantasia* gave it a much larger audience.

This piece is even more programmatic than others, closely following the events in the poem.

I find it interesting that amongst the instruments for which he scored it, the *contrabass sarrusophone* is included, although a plain old bassoon is regularly substituted. The sarrusophone is rarely called for in orchestral music, and was invented mostly to be played in wind ensembles to replace bassoons and oboes, which are quieter instruments.

From left to right: A subcontrabass sarrusophone, a contrabass sarrusophone, and a bassoon. For the uninitiated, contrabass instruments are one octave lower than the regular ones. Sub-contrabass are two octaves lower. No one even writes music for these things anymore, making it one of the most pointless instruments in the world.









.

But for a while it _WAS_ a thing. Here's a WWII era college band sarrusophone section - soprano to contrabass:









.

But I digress. *Stokowski*'s version for the soundtrack of *Fantasia* remains one of the most famous. Although too early for high fidelity, the performance was recorded using multi-tracks and was the _*first*_ use of *stereophonic sound in a film*. It is the only part of the film for which Stokowski conducted a studio orchestra, rather than the Philadelphia Orchestra.

The popularity of this version led to its encore inclusion in *Fantasia 2000*, and was used a basis for Disney's 2010 live action film *The Sorcerer's Apprentice*, starring Nicholas Cage, with a soundtrack scored by Yes guitarist *Trevor Rabin*.

A sequel, *Sorcerer's Apprentice 2: Chernabog's Revenge*, was planned (even before the first one premiered), but appears to have been shelved because the first film didn't make _*enough*_ of a profit .

Anyway, for your enjoyment, here's *Mickey Mouse* as *The Sorcerer's Apprentice*. Unless, of course, Disney has yanked it. And you'll have to go to the Disney website.

*Sorcerer's Apprentice - Fantasia
*


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## pianozach

*"Leopold!"*


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## pianozach

*The Sorcerer's Apprentice*

*"It's a very old story, one that goes back almost 2,000 years, a legend about a sorcerer who had an apprentice [who] started practicing some of the boss's best magic tricks before learning how to control them."* - *Deems Taylor* in *Fantasia*

https://germanics.washington.edu/research/translations/sorcerers-apprentice

*"The Sorcerer's Apprentice"*









"The Sorcerer's Apprentice" by Johann Wolfgang von Goethe, translated by Laila Collins 
Adviser: Jason Groves

"For my first honours project at UW, I wanted to do something related to translation, for I wanted to work as a translator after graduation. I especially wanted to challenge myself, and so I chose to translate Goethe's Der Zauberlehrling, which is about a wizard's apprentice who learns the hard way that magic is not to be trifled with. It is a ballad written in fourteen stanzas with an unusual rhyme scheme, and I knew it would be difficult to achieve a rhyming version in English that also retained Goethe's economy of language. But I loved the poem; to quote Frank McCourt, it "was like having jewels in my mouth" to recite the words either silently or aloud. As a die-hard fan of the medieval period, I also loved the poem's medieval subject matter, magic. I view Der Zauberlehrling as the amalgamation of a beloved subject matter, medievalism, and a beloved literary figure - hence, as both irresistible and intensely interesting.

Der Zauberlehrling was published in 1797, only fifteen years after Anna Göldi entered history as the last person in Europe to be executed for witchcraft. Noteworthy is the juxtaposition of a public trial and execution on the basis of witchcraft, and the lingering Classicism of that time; clearly German and, in a larger sense, European culture were in a state of transition, and correspondingly awash in conflicting ideas, both medieval and modern. Within my translation I wanted a backbone of modern language draped in both medieval language and Shakespearean language, with the latter serving as a bridge between the translation's medieval and modern elements. The finished result is, or I hope it is, a lively modern interpretation with manifest medieval spice.

My translation of this poem is not without flaws. Nonetheless, I am proud of it. It represents many hours of work - nearly the same amount of effort I would have put into another class! I fretted over word choice and agonized over rhyme, and worried that I wasn't paying proper homage to Goethe, who I consider to be Germany's answer to the Bard. In the end, I realized that the final translation per se wasn't important; it was the journey to that point that mattered."

Laila Collins, 2016

Adviser: Jason Groves

*The Sorcerer's Apprentice
Johann Wolfgang von Goethe
1797*

*Gone's for once the old magician
With his countenance forbidding; 
I 'm now master, 
I 'm tactician,
All his ghosts must do my bidding. 
Know his incantation,
Spell and gestures too; 
By my mind's creation
Wonders shall I do.
Flood impassive
With persistence 
From a distance 
Want I rushing 
And at last abundant, massive
Here into my basin gushing

Come, old broom! 
For work get ready, 
Dress yourself, put on your tatters 
You 're, I know, a servant steady
And proficient in such matters.
On two legs stand gravely,
Have a head, besides,
With your pail now bravely
Off, and do take strides!
Flood impassive
With persistence
From a distance
Want I rushing
And at last abundant, massive
Here into my basin gushing

Like a whirlwind he is going
To the stream, and then in
Like an engine he is throwing
Water for my use; with flurry
Do I watch the steady;
Not a drop is spilled,
Basin, bowls already
Are with water filled.
Fool unwitty,
Stop your going!
Overflowing
Are the dishes.
I forgot the charm; what pity!
Now my words are empty

For the magic charm undoing 
What I did, 
I have forgotten.
Be a broom! 
Be not renewing
Now your efforts, spell-begotten! 
Still his work abhorrent
Does the wretch resume; 
Where I look a torrent
Threatens me with doom.
No, no longer
Shall I suffer 
You to offer
Bold defiance.
I have brains, 
I am the stronger 
And I shall enforce compliance

You, hell's miscreate abortion,
Is this house doomed to perdition?
Signs I see in every portion
Of impending demolition.
Servant, cursed and senseless,
Do obey my will!
Be a broom defenseless,
Be a stick! 
Stand still!
Not impurely
Shall you ravage.
Wait! you savage, 
I'll beset you, 
With my hatchet opportunely 
Shall I split your wood, I bet

There he comes again with water! - 
How my soul for murder itclies!
First I stun and then I slaughter, 
That is good for beasts and witches. 
Well! he 's gone! - and broken
Is the stick in two.
He 's not worth a token; 
Now I hope, I do!
Woe! It is so.
Both the broken 
Parts betoken 
One infernal
Servant's doubling. 
Woe! It is so.
Now do help me, powers eternal!

Both are running, both are plodding 
And with still increased persistence
Hall and work-shop they are flooding.
Master, come to my assistance! - 
Wrong I was in calling 
Spirits, I avow, 
For I find them galling,
Cannot rule them now.
"Be obedient
Broom, be hiding 
And subsiding!
None should ever 
But the master, when expedient, 
Call you as a ghostly lever!"*


----------



## pianozach

One thing to get out of this thread is that there's a lot of great music in *Fantasia*. Some object to Stokowski's orchestral arrangement of Bach's Toccata and Fugue in D minor (BWV 565), but I like the variety. The film is a masterpiece.

In the context of pieces that might appear on *"The Beginner's Guide to Classical Music"*, here's what appears in *Fantasia*:
•	*Toccata and Fugue in D Minor* by Johann Sebastian Bach
•	*Nutcracker* Suite (excerpts) by Pyotr Ilyich Tchaikovsky
•	*The Sorcerer's Apprentice* by Paul Dukas
•	*Rite of Spring* by Igor Stravinsky
•	*The Pastoral Symphony* by Ludwig van Beethoven
•	*Dance of the Hours* by Amilcare Ponchielli
•	*Night on Bald Mountain* by Modest Mussorgsky
•	*Ave Maria* by Franz Schubert



Disney's choices were top notch.

Of note is that another segment, *Debussy*'s *Clair de lune*, was developed as part of the film's original program. After being completely animated, it was cut out of the final film to shorten its lengthy running time.

And *Clair de lune* (the _*3rd movement*_ of the four movement *Suite Bergamasque*) lives on, recently being used in the films:

*Ocean's Eleven* (2001), 
*Man on Fire* (2004) (starring Denzel Washington, Christopher Walken, and Dakota Fanning), 
*Atonement* (2007), 
*The Twilight Saga: Eclipse*, and 
the opening scene of *The Purge* (2013).

And that's not the only films you might hear this: 
*Giant* (James Dean's final motion picture) 
*The Game* 
*Frankie & Johnny*, 
*The Darjeeling Limited*, 
*Seven Years in Tibet*, 
*Portrait of Jennie* (1948--Jennifer Jones and Joseph Cotton)
*The Blue Lagoon*

And the list of films and TV shows in which it appears is seemingly endless. It's use in film dates back to 1934, on the soundtrack for *Bolero* (starring Carole Lombard and George Raft).



Anyway, these works from *Fantasia* are all somewhere on my list, including _*Clair de lune*_, which is at #187 as part of the larger work, *Suite Bergamasque*,. My purely subjective rankings are as follows:

#89 - Toccata and Fugue in D Minor by Johann Sebastian Bach
#136 - Nutcracker Suite (excerpts) by Pyotr Ilyich Tchaikovsky
#38 - The Sorcerer's Apprentice by Paul Dukas
#15 - Rite of Spring by Igor Stravinsky
#34 - The Pastoral Symphony by Ludwig van Beethoven
#286 - Dance of the Hours by Amilcare Ponchielli
#19 - Night on Bald Mountain by Modest Mussorgsky
#40 - Ave Maria by Franz Schubert

As far as Stokowski's *Prelude and Fugue*, it just goes to show that a good composition lends itself to reinvention.


----------



## pianozach

*#39
Beethoven's Ninth
Symphony No. 9 in D minor, Op. 125 ("Choral Symphony")
Ludwig van Beethoven
1824*

You knew *it* was coming . . . *It* was remarkable in its day not only for its grandness of scale but especially for its final movement, which includes a full chorus and vocal soloists who sing a setting of Friedrich Schiller's poem *"An die Freude" ("Ode to Joy")*. The work was Beethoven's final complete symphony, and it represents an important stylistic bridge between the Classical and Romantic periods of Western music history.

*Symphony No. 9* broke many patterns of the Classical style of Western music to foreshadow the monolithic works of Gustav Mahler, Richard Wagner, and other composers of the later Romantic era. Its orchestra was unusually large, and its length-more than an hour-was extraordinary.

The inclusion of a chorus, moreover, in a genre that was understood to be exclusively instrumental, was thoroughly unorthodox.



So, it's *great*. Beethoven wove the themes of _*the Enlightenment*_ into his work, notably *Schiller*'s *Ode to Joy*.

Nicholas Cook puts it well: *"Of all the works in the mainstream repertory of Western music, the Ninth Symphony seems the most like a construction of mirrors, reflecting and refracting the values, hopes, and fears of those who seek to understand and explain it … From its first performance up to the present day, the Ninth Symphony has inspired diametrically opposed interpretations"*.

*Symphony No. 9* has also been used to mark monumental public events, among the most moving of which took place on Christmas Day 1989 in Berlin. There, in the first concert since the demolition of the Berlin Wall just a few weeks earlier, American conductor Leonard Bernstein led a group of musicians from both the eastern and western sides of the city in a performance of Beethoven's Symphony No. 9 with a small but significant alteration: in the "Ode to Joy" the word Freude ("Joy") was replaced with Freiheit ("freedom").

03:50 I. Allegro ma non troppo, un poco maestoso 
22:49 II. Molto vivace 
36:31 III. Adagio molto e cantabile 
57:16 IV. Finale: Presto - Allegro assai

*The Berlin Celebration Concert - Beethoven, Symphony No 9 Bernstein 1989*


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## pianozach

*#40
Ave Maria
Franz Schubert
1825*

Technically, it's actually *"Ellens dritter Gesang"* ("Ellens Gesang III" (*Hymn to the Virgin*), D. 839, Op. 52, No. 6, 1825), in English: *"Ellen's Third Song"*.

The piece was composed as a setting of a song (verse XXIX from Canto Three) from *Walter Scott*'s popular epic poem *The Lady of the Lake*, in a German translation by Adam Storck (1780-1822), and thus forms part of Schubert's *Liederzyklus vom Fraulein vom See*.

Again, *Walt Disney* used Schubert's song in the final part of his 1940 film *Fantasia*, where he linked it to Modest Mussorgsky's Night on Bald Mountain in one of his most famous pastiches, although only the 3rd of three verses made it into the film.

But that's not the first time *Ave Maria* appeared on film. In the 1935 film *Bride of Frankenstein*, a hermit plays the piece on solo violin, which soothes the Creature.

So, as popular as it is, there are several versions on YouTube by a very diverse collection of singers, and musicians, on a variety of instruments:

Andrea Bocelli
Andy Williams
Celine Dion
Kenny G
Placido Domingo, 
Jackie Evancho
Mario Lanza
Aaron Neville
Yehudi Menuhin
Johnny Mathis
Josh Grobin
and dozens of others.

So who kicks it the best? I think that is quite a subjective thing. Here's a *sampling* of the best [as there's a limit of 4 video links per post, the rest of the "sampling" will be in the following post].

Listen to whichever you think _*might*_ be best, _*then*_ listen to a couple of _others_.

But here's *Andrea Bocelli*

*ANDREA BOCELLI (HQ) AVE MARIA (SCHUBERT)
*





:angel:

*Luciano Pavarotti

Luciano Pavarotti - Ave Maria 1978
*





:angel:

*Celtic Woman

Celtic Woman - Ave Maria*






:angel:

*Mirusia with Andre Rieu

Ave Maria - André Rieu & Mirusia*


----------



## pianozach

*Ave Maria
Franz Schubert
1825
*

1940s screen sensation *Deanna Durbin

Schubert - Ave Maria - Deanna Durbin*






:angel:

*Jessye Norman

Jessye Norman - Ave Maria (Schubert)*






:angel:

And here's a few others . . . first, a young amateur high school soprano with a very pure and angelic voice, *Margaret Windler*. She sings it a bit too fast, probably because it's too difficult for her to perform well at a slower tempo . . . but it really doesn't matter, because the piece works this way. And she sounds quite good. I think she's a tad nervous here and there during the song. Maggie is currently majored in vocal performance at Tulane University, and is quite an astonishingly good singer these days (This is from twelve years ago: 



.). I'm betting she could nail Ave Maria these days.

*Ave Maria Schubert*






:angel:

And child prodigy *Jackie Evancho*, at 18 years old,in 2016. There were some sound problems and she loses her focus right at the beginning, breathing when she normally wouldn't, but otherwise her voice is perfect. The keyboard, though, sounds cheap, without any expression or dynamics. A shame.

*Jackie Evancho - Ave Maria (Schubert) at Festa Italiana 2016*


----------



## pianozach

*Ave Maria
Franz Schubert
1825
*

And one more, performed by *Boy Soloist Daniel Perret of the Zurich Boys Choir* which plays over the main menu of the 2006 stealth video game *Hitman: Blood Money*.

Think of any movie.
Think of any action packed, gun fight, explosions everywhere scene.
Mute the audio.
Play this.

*Ave Maria - Hitman: Blood Money + mp3*

:devil:

Do you have a definitive version of *Schubert's Ave Maria*? Do tell.


----------



## pianozach

So, let's see . . . *The Top 40*

_*. . . And it only took two months to get through the first 40 . . . :lol:*_

.

1-20

Holst - *The Planets*, Op. 32. 1918
Dvorak - *Symphony* No.9 in E minor "From the *New World*", Op 95. 1893
Beethoven - *Symphony No. 3* "*Eroica*"
Stravinsky - *The Firebird*. 1910 
Tchaikovsky - *1812 Festival Overture*, Op. 49. 1882

Vivaldi - *Summer, The Four Seasons*. 1723
JS Bach - *Brandenburg Concerto #6,* In B Flat, BWV 1051. 1721.
WA Mozart - *Symphony 41* in C "*Jupiter*", K. 551. 1788
Borodin - *In the Steppes of Central Asia*. 1880. 
WA Mozart - *Overture* from *The Marriage of Figaro*. 1786

Grieg - *Peer Gynt*: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23). 1876 
Frederic Chopin - *Polonaise in Ab major*, Op. 53, 1842
Mussorgsky - *Pictures at an Exhibition* (Ravel orchestration). 1922
Gershwin - *Rhapsody in Blue* 
Stravinsky - *The Rite of Spring*

Beethoven - *Symphony No.5 *in C minor, Op. 67. 1808 
JS Bach - *Cello Suite No. 1* in G major, BWV 1007
Carl Orff - *O Fortuna* from *Carmina Burana*
Mussorgsky - *Night On Bald Mountain* (Rimsky-Korsokov arrangement). 1886 
Johann Sebastian Bach - *Well-Tempered Clavier 2, Prelude F Sharp minor*

21-30

Claude Debussy - *The Sunken Cathedral*
Sergei Rachmaninoff - *Prelude No. 5 in G minor* (Alla marcia) Op. 23 No. 5
Franz Liszt - *Consolation No. 3*
Richard Strauss - *Also Sprach Zarathustra*
Ravel - *Bolero*

George Martin - *Pepperland* from *Yellow Submarine*
Chopin - *Prelude in Db "Raindrop"
*Beethoven - Piano Sonata No. 14 in C♯ minor ("*Moonlight Sonata*") 
Antonio Vivaldi - *The Four Seasons*
Rossini - *Overture* to "*The Barber of Seville"*

31-40

Wagner - _*Ride of the Valkyries*_ from Die Walküre from *Der Ring des Nibelungen*.
Mozart - *Symphony No.40* in G minor
Vivaldi - *The Four Seasons "Spring"
*Beethoven's *Symphony No. 6 "Pastoral" *
Mozart - *Requiem in D minor*

Johann Strauss II - *The Blue Danube*, Op.314 
Tchaikovsky - *Capriccio Italien*
Paul Dukas - *The Sorcerer's Apprentice* 
Beethoven - *Symphony No. 9, "Choral"
*Schubert - *Ave Maria
*



*BONUS ROUND*

*Schubert's Ave Maria* isn't the most popular *Ave Maria* out there, but it's certainly close.

That distinction probably goes to the *Bach/Gounod* version, which consists of a melody by the French Romantic composer *Charles Gounod* that he superimposed over an only very slightly altered version of the *Prelude No. 1 in C major*, BWV 846, from Book I of J. S. Bach's *The Well-Tempered Clavier*, published in 1722.

Here's the original Clavier version from 1722, with harpsichordist *Siebe Henstra*:






There are many, many different arrangements for this, for violin, cello, choir, and likely others.

Here's a lovely version by *Jessye Norman

*




And . . .

A lovely version for solo voice and audience by Bobby McFerrin


----------



## pianozach

*#41
The Pines of Rome (Pini di Roma)
Ottorino Respighi 
1924
*
*Pines of Rome (Italian: Pini di Roma) *is a tone poem for orchestra in four movements by *Ottorino Respighi*, premiered in 1924 in Rome. It is the Italian composer's tribute to scenes around his country's capital, some contemporary and some recalling the glory of the Roman Empire. It is Respighi's most frequently performed work.

It is structured in four movements played without pause so that the music flows uninterrupted from beginning to end. The first movement, _*"The Pines of Villa Borghese,"*_ features rambunctious tunes that depict children at play in the pine groves. For contrast, the second movement _*"Pines near a Catacomb,"*_ sets hymnlike phrases against a dark tapestry of mostly string tones. A lighter mood returns for the third movement, _*"The Pines of the Janiculum,"*_ in which Respighi imagines a moonlit scene with nightingales singing. Respighi asked that a specific recording of a nightingale be played at the end of the movement. The final movement, *"The Pines of the Appian Way,"* closes the piece with a depiction of the Roman army marching into the city accompanied by trumpet fanfares and a pounding timpani beat.

.

Here it is.

*Respighi - Pines of Rome with standing ovation!!!*






.

And, again, Disney featured the Classical Work of the Day in their film *Fantasia 2000*.

Quite the spectacle. This is performed by *James Levine* and the *[COLOR="#0000CD"Chicago Symphony Orchestra[/COLOR]*.

*Fantasia 2000 Pines of Rome*






. . . or if it's been pulled from YouTube, here's another link . . . .

*Pini di Roma - Ottorino Respighi*


----------



## pianozach

pianozach said:


> *#41
> The Pines of Rome (Pini di Roma)
> Ottorino Respighi
> 1924
> *
> *Pines of Rome (Italian: Pini di Roma) *is a tone poem for orchestra in four movements . . . .


My first exposure to this piece was when _*movements I*_ and *III* appeared, in faithful versions, on *Mannheim Steamroller*'s half-compilation 1989 album *Yellowstone: The Music of Nature*. They opened the album with those two tracks.

For the new classical tracks on the album, which included pieces from *Claude Debussy, Antonio Vivaldi, Ottorino Respighi*, and *Ferde Grofé*, Mannheim Steamroller head honcho cobbled together an orchestra using members of the Chicago and "other fine American Orchestras", the London Symphony Orchestra and the Cambridge Singers

Chip Davis visited *Yellowstone National Park* in the fall of 1988 after devastating fires had ravaged its beauty. Having drawn so much inspiration for his music from nature over the years, Chip was moved to do something to honor the beauty of the Park and raise money to support its preservation for future generations.

A portion of the proceeds from every sale of this CD is donated to the Yellowstone National Park fire recovery program - more than $500,000 has been donated so far. :angel:


----------



## Art Rock

I have always loved the two main Respighi Roman tone poems, from the moment I first heard them around 1990, and I never lost that feeling. Every time they sound fresh to me.


----------



## pianozach

*Respighi BONUS ROUND*

From an amateur point of view, *Respighi* is a brilliant orchestrator, and seems to have been rather picky about recordings of his works conveying all the colors and dynamics of a live performance.

So, down the rabbit hole I went, because I'm actually rather unfamiliar with the composer and the rest of his works. From Wikipedia and other websites:

(9 July 1879 - 18 April 1936)

Italian composer, violinist, teacher, and musicologist who was one of the leading Italian composers of the early 20th century. His compositions range over operas, ballets, orchestral suites, choral songs, and chamber music . . .

Among his best known and most performed works are his three Roman tone poems, which brought him international fame: *Fountains of Rome* (1916), *Pines of Rome* (1924), and *Roman Festivals* (1928).

So, sometime today I'll listen to *Feste romane, P.157 (Roman Festivals)*, the third part of his Roman trilogy of symphonic poems, from 1928.

*I. "Circus Games" ("Circenses")
II. Jubilee ("Giubileo")
III. "Harvest of October" ("L'Ottobrata")
IV. "Epiphany" ("La Befana")*

For the Roman Festivals, Respighi made an alteration to the typical orchestral instrumentation. He includes 3 soprano *Buccine* in B-flat (they have a specialty), but even Respighi noted that the Buccine may be replaced by trumpets, a substitution which most modern orchestras make. A bucina is an ancient Roman brass instrument.









Here's the *Gyeonggi Philharmonic Orchestra* (South Korea), led by *Massimo Zanetti*.


----------



## pianozach

*#42
Symphony No. 7 in A major, Op. 92
Ludwig van Beethoven
1812*

Perhaps Beethoven's most underrated symphony AND overrated symphony.

Fpr those of you just following along, I'll bet you haven't listened to *Beethoven's 7th* in a long time. You've all but forgotten how much you love the *second movement*.

I'll tell you one thing about this . . . it's not overplayed. You're not already tired of hearing it.

But don't just take MY word for it.



Manxfeeder said:


> Beethoven's 7th was one of my first loves, so even Kertesz with Dvorak can't topple it.





Judith said:


> Definitely Beethoven. My favourite symphony. Love the second movement!


00:00-14:17 1. Poco sostenuto - Vivace
14:44-24:09 2. Allegretto
24:31-33:52 3. Scherzo. Presto
34:07-40:50 4. Allegro con brio

*Beethoven: Symphony No. 7 - Royal Concertgebouw Orchestra & Iván Fischer
*


----------



## pianozach

*#43
Piano Concerto No. 4 in G Major: Op.50
Beethoven 
1806*

Solo piano with a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

It is admirable, singular, artistic and complex.

The beginning is one of the most memorable of any concerto. Rather than allowing the orchestra to have its extended say during a lengthy ritornello, Beethoven establishes the presence of the soloist at once-not with brilliant self-assertion as he would in the Emperor Concerto, but with gentle insinuation, a quiet phrase ending on a half cadence-and the orchestra must respond in some way. That response is also quiet but startling, because it seems to come in an entirely unexpected key, though it turns out simply to be a momentarily bright harmonization of the first melody note. This produces a moment of rich poetry that echoes in the mind through the rest of the movement.

Here's the legendary *Arthur Rubinstein* at the piano, and the legendary *Antal Dorati* conducting the *London Philharmonic Orchestra* in 1967.

*Arthur Rubinstein - Beethoven - Piano Concerto No 4 - Dorati*


----------



## pianozach

Ain't that a great concerto, and performance? 

Good example too, of how Beethoven can be pastoral and erratic in the same breath.


----------



## pianozach

*#44
Spem in Alium (40-voice motet)
Thomas Tallis (1505?-1585) 
1570*

_And now for something completely different.
_

:angel:

For the most part, I've been neglecting vocal works in my 'little' *"Best of"* list.

There's probably a few reasons for that, the largest being that vocal music is just not as inclusive as instrumental music. Outstanding classical vocal music is quite likely to be in a foreign language. And, for some folks, opera singers are a turn-off. But this, being Renaissance Choral music, is quite a different genre.

*Thomas Tallis* is regarded as one of England's finest-ever composers. And this is a mesmerizing Renaissance composition from *1570*; it's for *eight choirs of five voices each* (soprano, alto, tenor, baritone, and bass). AND . . . as it requires forty competent singers who can meet the motet's demands, it is rarely performed. But it's considered one of the greatest choral works ever composed.

Legend has it that this work was the result of a challenge by one of the composer's supporters, the Catholic Thomas Howard, fourth Duke of Norfolk (executed not long after as the result of trumped-up charges accusing Norfolk of colluding with Mary Queen of Scots). The work challenged was *Striggio*'s 40-part *Ecce beatum lautam*; the challenge was for an Englishman to produce a work that would excel this piece produced by an Italian. Tallis answered the challenge, perhaps to defend England's "creative honour"; or to prove himself as an old man still capable of creating great work; or to produce - like many composers - a masterwork which history would remember him by. Anyway, Tallis set to work answering Howard's challenge. And answer it he did: Apparently after its first performance at the palace of Nonsuch (or the Long Hall), owned by Henry Fitzalan, 12th Earl of Arundel, *Spem in alium* moved Thomas Howard enough to remove a heavy gold chain from around his neck, placing it around Tallis' own, thanking the older Thomas for the glorious piece he had crafted.

Whether Tallis was a subversive Catholic, following one faith professionally but the other one in private, or merely demonstrating a love of the old liturgy he knew as a child, we may never know for certain, but it is clear that *Thomas Tallis*' music stands up not just for its creative merit, but as a reflection of one man's response to the tumultuous - and often treacherous - politics of Tudor England.

*Spem in alium* is Latin for *"Hope in any other"*.

Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator caeli et terrae
respice humilitatem nostram.

_(I have never put my hope in any other
but in You, O God of Israel
who can show both anger and graciousness,
and who absolves all the sins
of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness.)_​
So . . . here's an audio-only version of the work, by *Tallis Scholars*. There _ARE_ live versions available online, but they seem to all fall short of this recorded version. But that's OK; this is sort of a "close your eyes" and "let it transport you" sort of piece anyway.

:angel:

*Spem In Alium (Thomas Tallis) - Tallis Scholars*






:angel:

Works like this *Tallis* Motet are rare gems still extant from centuries ago, and don't get a lot of front page news . . . so it's difficult to fine online videos that are actually representative of the composer's intent.

So . . . note that it's actually for *eight choirs* of *five voices each* (8 x 5 = 40 voices . . . although each choir often sings their part as one).

Here's _another_ version of the 40-voice motet *Spem in alium*. Immediately you'll notice the size of this choir . . . but as it's so very, very contrapuntal, this actually makes it easier for each "voice" to stay on track.

Often there will be "arrangements" of these pieces that ignore the original directions of the composer. This version is sung _HIGHER_ than written, and you can hear the sopranos having mini-strokes while attempting the high notes.

This is _not_ a standard choir, but a *master class collection* of professionals and amateurs. But you can still hear what an extraordinary piece this is.

*Tallis - Spem in alium (a 40) - Harry Christophers - Live Concert - HD*






:angel:

I imagine this is what *Tallis* thought a choir of angels sounded like.


----------



## pianozach

*#45
Piano Sonata No.21 in C Major Op.53 (The Waldstein)
Beethoven
1804*

Glad you enjoyed his 4th Piano Concerto. Here's the *Waldstein* piano sonata, _also_ known as *L'Aurora (The Dawn)*, for the sonority of the opening chords of the _*third movement*_, thought to conjure an image of daybreak, and for its overall lightness and serenity. The movements of the sonata _can_ be interpreted as different moments of a day. The first movement is a pleasant yet noisy and roaring day. The second movement can be interpreted as a calm night while the third movement is the ardent dawn of a new day.

This sonata was dedicated by Beethoven to count *Ferdinand von Waldstein* (hence the nickname), his first protector in Bonn, the one who arranged for Beethoven to study with Haydn in Vienna.

It is considered one of Beethoven's greatest and most technically challenging piano sonatas.

3 Movements:

*I. Allegro con brio
II. Introduzione. Adagio molto - attacca
III. Rondo. Allegretto moderato - Prestissimo*

Here's my favorite video from all the Youtube vids available by *Su Yeon Kim*. She brings a brilliance lacking in all the rest, including the one featuring the very famous (but 74 year old) *Claudio Arrau*, one of my faves.

*Su Yeon Kim plays Beethoven Piano Sonata op.53 (Waldstein)
*


----------



## pianozach

*#46
Slavonic Dance No. 7, Op. 46 ["Allegro non Troppo"]
Antonin Dvořák 
1878*

So, here's another oddball work.

*Dvorak's Slavonic Dances* was originally a collection of eight pieces written for piano four hands. They were inspired by *Johannes Brahms's Hungarian Dances*, and were orchestrated at the request of Dvorak's publisher soon after composition.

*Here's your listening "map":
*
You can hear two themes in the first section - the first is slower and deliberate, the second is faster.

The middle section grows out of the faster theme from the first section. The dance slows a bit, then the trumpets take over and play it again.

The final section returns to the opening music - slow and deliberate, then switches to the faster theme and builds to a dynamic ending moving from theme to theme.

*A. Dvorak: Slavonic dances No.7, Skocna, c moll, Sawallisch*






.

Now, Dvořák wrote 16 Slavonic Dances (two sets of eight each, Op. 46 and Op.72), and I'm sure we could have a month long discussion as to which is the best. In fact, that discussion has already happened. Here. On Talk Classical.

Favourite Dvorak Slavonic Dances

Just kidding. As usual the discussion was about which VERSION of the Slavonic Dances is the best.

But I'd have to say that the *Slavonic Dance in e minor, No. 8, Op. 46* (from the first set) seems to be a fan favorite.

*BONUS SLAVONIC DANCE*

*Dvořák: Slavonic Dance, Op. 46/8 / Rattle · Berliner Philharmoniker*


----------



## pianozach

*#47
Missa L'Homme arme super voces musicales
Josquin des Prez 
Exact date unknown, but probably between 1489 and 1495*

The *Missa L'homme arme super voces musicales* is the first of two settings of the Ordinary of the Mass by *Josquin des Prez* using the famous L'homme arme tune as their cantus firmus source material. It's set for four voices in five sections:

Kyrie
Gloria
Credo
Sanctus and Benedictus
Agnus Dei (in three sections: I, II, III)

*Josquin des Prés - Missa L'Homme Armé + Presentation (Century's recording : The Tallis Scholars)
*






*NOTE*: This video link also includes *Missa L'homme armé senti toni* after the 40 minute *Missa L'Homme arme super voces musicales*. Collectively the two masses are known as *Missa L'Homme Armé*

It's like having your *bonus* work already included.

*Missa L'homme armé super voces musicales* 
Kyrie (00:00)
Gloria (04:59)
Credo (12:05)
Sanctus and Benedictus (20:29)
Agnus Dei (29:57)

*Missa L'homme armé senti toni*
Kyrie (40:32)
Gloria (44:10)
Credo (50:51)
Sanctus and Benedictus (1:00:25)
Agnus Dei (1:05:28)


----------



## pianozach

*#48
Missa Aeterna Christi munera
Giovanni Pierluigi da Palestrina (1525? - 1594)
1590*

And . . . another sacred a cappella work in Latin, published 1590, and is based on Gregorian chant

It's in 5 sections:

*I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Agnus Dei*

If I haven't mentioned it before, *Palestrina* composed sacred music during the Renaissance, and is pretty influential in the development of counterpoint and polyphony.

So influential that when he died he was buried beneath the floor of the basilica at St. Peter's in the Vatican.

This work is sublimely beautiful. I imagine that this is what Palestrina thought Heaven sounded like. Really, this is the best of Renaissance church music.

*PALESTRINA - Missa Aeterna Christi Munera - Sacred Music - Great Italian Painters - Sacred Paintings*

This is the *Oxford Camerata* with *Jeremy Summerly*, Conductor 
Recorded in Dorchester Abbey,Oxon on 24th & 25th September 1991






.

.

.

*BONUS WORK*.

The last section of the Mass is the Agnus Dei, which translates to English as "Lamb of God", and is based on John 1:29, in which St. John the Baptist, upon seeing Jesus, proclaims *"Behold, the Lamb of God, who takes away the sin of the world!"*

Composers have continued the tradition of composing their own Masses in every musical period since, and it has inspired some incredibly gorgeous music.

In 1967, *Samuel Barber* set the Latin words of the liturgical *Agnus Dei*, a part of the Mass, for mixed chorus with optional organ or piano accompaniment.

*Barber's Agnus Dei* is a choral composition in one movement, and is basically his own arrangement of his 1936 *Adagio for Strings*.

Here's the * The Dale Warland Singers*


----------



## DaveM

pianozach said:


> *#45
> Piano Sonata No.21 in C Major Op.53 (The Waldstein)
> Beethoven
> 1804*
> 
> Glad you enjoyed his 4th Piano Concerto. Here's the *Waldstein* piano sonata, _also_ known as *L'Aurora (The Dawn)*, for the sonority of the opening chords of the _*third movement*_, thought to conjure an image of daybreak, and for its overall lightness and serenity. The movements of the sonata _can_ be interpreted as different moments of a day. The first movement is a pleasant yet noisy and roaring day. The second movement can be interpreted as a calm night while the third movement is the ardent dawn of a new day.
> 
> This sonata was dedicated by Beethoven to count *Ferdinand von Waldstein* (hence the nickname), his first protector in Bonn, the one who arranged for Beethoven to study with Haydn in Vienna.
> 
> It is considered one of Beethoven's greatest and most technically challenging piano sonatas.
> 
> 3 Movements:
> 
> *I. Allegro con brio
> II. Introduzione. Adagio molto - attacca
> III. Rondo. Allegretto moderato - Prestissimo*
> 
> Here's my favorite video from all the Youtube vids available by *Su Yeon Kim*. She brings a brilliance lacking in all the rest, including the one featuring the very famous (but 74 year old) *Claudio Arrau*, one of my faves.
> 
> *Su Yeon Kim plays Beethoven Piano Sonata op.53 (Waldstein)
> *


The piano is beautifully recorded. The opening of the 2nd movement is a good example of why the modern grand sound is superior to the pianos of Beethoven's day.


----------



## pianozach

*#49 
Miserere (Miserere mei, Deus)
Gregorio Allegri
1638*

The Miserere is written for *two* choirs, one of five and one of four voices, and is an example of Renaissance polyphony.

The work itself is a setting of Psalm 51: _Miserere mei, Deus, secundum magnam misercordiuam tuam_

It was composed during the reign of *Pope Urban VIII* for use in the Sistine Chapel during matins (a service of morning prayer), as part of the exclusive *Tenebrae* service (a church service observed during the final part of Holy Week commemorating the sufferings and death of Christ) on *Holy Wednesday* and _*Good Friday*_ of *Holy Week*.

The story, though, is that this uncommonly beautiful collection of pieces of music is no longer in the form that *Allegri* wrote it. That's because the Pope, in order to preserve the sense of mystery around the music, forbade anyone from transcribing it, on pain of excommunication.

What the Pope hadn't planned for was Leopold *Mozart*'s trip to Rome in 1770; and, more specifically, the attendance of his 14-year-old son, Wolfgang Amadeus. The Mozarts popped into the Wednesday service at the Vatican, at which the *Miserere* was being performed. A couple of hours later, back at home, the young Wolfgang proceeded to transcribe the entire piece from memory. He went back on Friday to make a couple of corrections - and the Vatican's secret was out.

But wait, there's more: In 1831, *Felix Mendelssohn* decided to make his own transcription - and the version he heard happened to be sung higher than originally intended.

This wouldn't have been of much consequence had it not been for an innocent mistake made 50 years later. When the first edition of Grove's Dictionary of Music and Musicians was being put together in 1880, a small section of Mendelssohn's higher transcription was accidentally inserted into a passage of the Miserere being used to illustrate an article. This mistake was then reproduced in various editions over the next century, eventually becoming the accepted version. And the result is the most famous and probably the most moving passage of the piece - a beautiful top C sung by a treble soloist, pretty much the highest note found in the entire choral repertoire.

*Miserere mei, Deus (Allegri) | Nordstrand Church Choir | Aksel Rykkvin (12y treble) | NRK*


----------



## pianozach

*#50* coming up.

Howsabout a little *Fanfare*?


----------



## pianozach

*#50
String Quartet No. 7 in F Major Op.59, no.1
Ludwig van Beethoven
1807*

In his quartets Beethoven breaks new ground, one quartet at a time, as he moves forward in his innovativeness. Taken all together they are a treasure and a lesson in how far a mind and heart can go.



This work is the first of three quartets commissioned by prince Andrey *Razumovsky* (remember this name: There will be a test on it later), then the Russian ambassador to Vienna, and is generally regarded as the greatest of the trio, as well as one of the composer's finest chamber works.

This quartet is the first of Beethoven's middle period quartets and departs in style from his earlier Op. 18 quartets. The most apparent difference is that this quartet is *over forty minutes long* in a typical performance, whereas most of Beethoven's earlier quartets lasted twenty-five to thirty minutes. Furthermore, this quartet notoriously requires a greatly expanded technical repertoire.

It consists of four movements:

*I. Allegro 
I. Allegretto vivace e sempre scherzando 
III. Adagio molto e mesto - attacca
IV. "Theme Russe": Allegro *

_*"attacca" is used as a direction in music at the end of a movement to begin the next without pause. Literally translates as "attack at once"._

The *first movement* is in an expansive sonata form, including a fugato _(having the style of a fugue, but not in strict or complete fugal form)_ in the development and lasting nearly twelve minutes even though it forgoes the then-customary repeat of the exposition. The opening cello melody is *tonally ambiguous* _(Oooooo . . . . )_, with the first cadence establishing the key of F major only occurring several bars into the movement.

[NERD ALERT] There are many awesome things to notice in this wonderful movement, but _*one*_ great stroke of genius should not go unremarked here. At length the wide-ranging development reaches the home dominant, the violin tracing serene triplets as it soars over the rising harmonies of the middle parts and the C pedal of the cello _(bars 236-240)_. We reach the tonic, but with the '*wrong*' theme. The mystification that follows is both poetic and structurally necessary, and creates the need for the superb gesture with which the recapitulation actually begins _(bars 250-254)_.

_Another_ feature of the first movement is the delayed emotional recapitulation. As became one of Beethoven's many tools for emotional manipulation, delaying the grandiosity of the recapitulation for several bars after the establishment of the tonic key allowed Beethoven to heighten expectation of a definitive statement.

While both the majestic slow *third movement* and the *fourth* are also in sonata form, the *second movement scherzo* is formally one of the most unusual movements of Beethoven's middle period, easily classifiable as being also in sonata form.

The *final movement* is built around a popular Russian theme, likely an attempt to ingratiate the work to its Russian commissioner. Beethoven connects the third and fourth movements without pause _(*attacca)_ and binds them by a segue: a little musical bridge that gently lifts us like the rising sun and the first restless twittering of birds. A new day sings a fresh, lilting theme that Beethoven labels "Russian", an unidentified trinket sewn into the musical fabric ostensibly paying tribute to the wealthy Russian Ambassador Count Razumovksy _(Oh, HIM again?)_ who commissioned the quartets for his private musical salon.

On the last leaf of the sketches for the _*Adagio*_, Beethoven wrote, *"A weeping willow or acacia tree on my brother's grave"* _("Einen Trauerweiden- oder Akazien-Baum aufs Grab meines Bruders")_. Both of his brothers were alive when this work was written so these words are interpreted as having a *masonic* significance, for the acacia is widely considered the symbolic plant of Freemasonry.

Here's the *American String Quartet* filmed live in The Jerome L. Greene Performance Space in New York for WQXR's Beethoven String Quartet Marathon on November 18, 2012.

*Beethoven String Quartet No. 7 in F Major, Op. 59, No. 1 - American String Quartet (Live)
*


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## pianozach

Well, there ya go. The first 50. Wow.

Holst - *The Planets*, Op. 32. 1918
Dvorak - *"New World" Symphony* No.9 in E minor "From the New World", Op 95. 1893
Beethoven - *Symphony* No. 3 *"Eroica"*
Stravinsky - *The Firebird*. 1910 
Tchaikovsky - *1812* Festival *Overture*, Op. 49. 1882

Vivaldi - Summer, *The Four Seasons*. 1723
JS Bach - *Brandenburg Concerto #6*, In B Flat, BWV 1051. 1721.
WA Mozart - *Symphony 41* in C "*Jupiter*", K. 551. 1788
Borodin - *In the Steppes of Central Asia*. 1880. 
WA Mozart - *Overture* from *The Marriage of Figaro*. 1786

Grieg - *Peer Gynt*: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23). 1876 
Frederic Chopin - *Polonaise Op. 53*
Mussorgsky - *Pictures at an Exhibition* (Ravel orchestration). 1922
Gershwin - *Rhapsody in Blue* 
Stravinsky - *The Rite of Spring*

Beethoven - *Symphony No.5* in C minor, Op. 67. 1808 
JS Bach - *Cello Suite No. 1* in G major, BWV 1007
Carl Orff - *O Fortuna* from Carmina Burana
Mussorgsky - *Night On Bald Mountain* (Rimsky-Korsokov arrangement). 1886 
Johann Sebastian Bach - *Well-Tempered Clavier* 2, Prelude F Sharp minor

Claude Debussy - *The Sunken Cathedral*
Sergei Rachmaninoff - *Prelude Op. 23 No. 5*
Franz Liszt - *Consolation No. 3*
Richard Strauss - *Also Sprach Zarathustra*
Ravel - *Bolero*

George Martin - *Pepperland*
Chopin - *Prelude in Db "Raindrop"*
Beethoven - *Piano Sonata* No. 14 in C♯ minor ("*Moonlight Sonata*") 
Antonio Vivaldi - *The Four Seasons*
Rossini - *Overture* to *"The Barber of Seville"*

Wagner - *Ride of the Valkyries* 
Mozart - *Symphony No.40 *in G minor
Vivaldi - *The Four Seasons* "*Spring*"
Beethoven's "*Pastoral" Symphony No. 6* 
Mozart - *Requiem* in D minor

Johann Strauss II - *The Blue Danube*, Op.314 
Tchaikovsky - *Capriccio Italien*
Paul Dukas - *The Sorcerer's Apprentice* 
Beethoven - "*Choral" Symphony No. 9*
Schubert - *Ave Maria*

Ottorino Respighi - *The Pines of Rome* 
Beethoven's *Symphony No. 7* 
Beethoven's *Piano Concerto No. 4* in G Major: Op.50
Tallis - *Spem in Alium* (40-voice motet) 1570
Beethoven's *Piano Sonata No.21* in C Major Op.53 (The Waldstein)

Dvorak - *Slavonic Dance No. 7*, Op. 46
Josquin des Prez - *Missa L'Homme armé* super voces musicales
Palestrina - *Missa Aeterna Christi munera*
Allegri - *Miserere*
Beethoven's *String Quartet in F Major* Op.59, no.1


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## Art Rock

It's an interesting list - more than that, it's a fascinating project.

If I may be critical... nine out of fifty are by Beethoven (compared to two for Bach and three for Mozart, if we look at the traditional big 3), while a major composer like Brahms has not been introduced yet. There is also hardly any 'modern' classical music in it (a quick glance suggests that the Bolero is the most recent work). There are plenty of well-known later works that are suitable for many as an introduction to CM (Barber's Adagio for strings or Knoxville, Gorecki's third, Part's Spiegel im Spiegel).


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## Chilham

Art Rock said:


> It's an interesting list - more than that, it's a fascinating project.
> 
> If I may be critical... nine out of fifty are by Beethoven (compared to two for Bach and three for Mozart, if we look at the traditional big 3), while a major composer like Brahms has not been introduced yet. There is also hardly any 'modern' classical music in it (a quick glance suggests that the Bolero is the most recent work). There are plenty of well-known later works that are suitable for many as an introduction to CM (Barber's Adagio for strings or Knoxville, Gorecki's third, Part's Spiegel im Spiegel).


It's a good point. Some beginners, arriving from an appreciation of other genres, might find works like Glass' SQ3 "Mishima" to be a good stepping-stone to the classical and romantic era.


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## Nereffid

Thinking back to when I started listening to classical, this would have been a great list for me - a lot of what's on it is what I was listening to first. The significant next steps for me were Mahler's 1st symphony and Glass's "Glassworks".


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## pianozach

Art Rock said:


> It's an interesting list - more than that, it's a fascinating project.
> 
> If I may be critical... nine out of fifty are by Beethoven (compared to two for Bach and three for Mozart, if we look at the traditional big 3), while a major composer like Brahms has not been introduced yet. There is also hardly any 'modern' classical music in it (a quick glance suggests that the Bolero is the most recent work). There are plenty of well-known later works that are suitable for many as an introduction to CM (Barber's Adagio for strings or Knoxville, Gorecki's third, Part's Spiegel im Spiegel).


I was about to tally up the composers, but you beat me to it.

The only defense I can muster up is that I've been aiming for accessability, and *Beethoven* is quite the giant of Classical Music.



Chilham said:


> It's a good point. Some beginners, arriving from an appreciation of other genres, might find works like Glass' SQ3 "Mishima" to be a good stepping-stone to the classical and romantic era.


*Barber's Adagio for strings or 
Barber's Knoxville, 
Gorecki's third, 
Part's Spiegel im Spiegel
Glass' SQ3 "Mishima" 
Glass's "Glassworks"
Mahler's 1st symphony
Gorecki's Third
*
Excellent suggestions.

To have included any of these in the list from 1-50 would mean displacing some other piece on the list. There's only a few personally biased choices on my list, the most obvious being the inclusion of *Martin*'s *Pepperland*, although my other biased choices, the *1812 Overture, The Planets*, & *Bolero*, could have been entries on anyone else's list as well.



Nereffid said:


> Thinking back to when I started listening to classical, this would have been a great list for me - a lot of what's on it is what I was listening to first. The significant next steps for me were Mahler's 1st symphony and Glass's "Glassworks".


So, yes, I've all but ignored *Sam Barber*. He gets a mention for *Vanessa*, and has entries in the 300s for his *Piano Concerto, Knoxville*, and *Adagio for Strings*.

I plead ignorance as to *Arvo Part*. A composer that's rarely on my mind. And I don't know about actually placing *Spiegel im Spiegel* into the queue . . . as pretty as it is, my impression is that it might actually bore some listeners to tears.

I've got *Glass's "Glassworks" *up at #157, and a mention of the soundtrack for *The Hours* when I finally start addressing film scores. I think I've got *Symphony No. 8* buried on the list somewhere, and mere mentions of *1000 Airplanes on the Roof* and *Akhnaten*. And *Etude No. 14* is on the list at #213. *Glass' SQ3 "Mishima"* didn't make the list, but I'll put it into the queue.

*Gorecki*'s *Symphony No. 3: Symphony of Sorrowful Songs* is on the list, although not until #401.

*Mahler*, on the other hand, gets into the Top 100, at #82, with his *Symphony No. 2 ("Resurrection")*. *Symphony No. 1 *comes in at #139. He steps in again at #143 with his *4th Symphony*, and at #197 with *Das Lied von der Erde*. *Symphonies 6 & 5 *make the Top 300, and *No. 9 *makes the Top 600 (It may be _*the fourth greatest symphony of all time*_ (BBC magazine poll, 2016), but is it _accessible_? For me, it's tough to make the case for inclusion . . . after all, *Wagner's Ring Cycle* may well be the best work ever written for opera, but I'd never place it at #1 on a list of this sort). I may have mentioned *Todtenfeier* somewhere on the list as well.

And yes, *Brahms*. A freakin' musical genius, with a catalog of music, generally _*complex*_ music, that I'd wager is difficult for "*Beginners*" to fathom. Just too much musical genius. *If music were physics*, and you were going to introduce someone to the concepts for the first time, you might not start with *String Theory* right away.

I haven't neglected *Brahms*; he's just a composer saved for later:

#58 *Piano Trio No. 1 ("Eroica")
*#101 *Symphony No. 4
*#116 *Academic Festival Overture*
#131 *Symphony No. 3
*#168 *Piano Concerto No. 1
*
further down the list is Brahms'

*Piano Concerto No. 4 
String Quartet in C minor
String Quartet in A minor
Piano Quintet in F minor
Trio for Violin, Horn, and Piano 
Four Songs for 2 horns, harp and women's choir
Clarinet Quintet in B minor
Piano Concerto No. 2
Symphony No. 1
Double Concerto for Violin, Cello and Orchestra
German Requiem*

And somewhere in the 400s, Brahms' *Lullaby*

*Symphony No. 2, SQ#1, Piano Quartet in C minor, Waldesnacht, Waltz in Ab*, and *Tragic Overture* are in the 500s.

Even later I've found room for *String Sextet no. 1, 2nd mvt.*

So, yes, this list is skewed heavily towards the *"Golden Age" of Classical Music*: The century from 1780 to 1880 still provides us with *nearly all* of our concert and opera repertory. Its major figures form a pantheon: *Mozart* and *Beethoven, Berlioz* and *Donizetti, Verdi* and *Wagner, Brahms* and *Chopin*. They are not just part of our musical culture; they form its very foundation.

I'm betting that if I Googled up Lists of music in any _*"Introduction to Classical Music"*_, their lists would be quite different. I'd also bet those lists will be pretty much 19th Century -centric as well. There will likely be an absence of any music after 1960, unless the list includes film scores. Granted, any other list will have entries worthy of the list that are absent on mine, and vice versa.

You know what else is missing from my list? *Glass Harmonica* music.

*Lists*. Whatcha gonna do?


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## Art Rock

pianozach said:


> I plead ignorance as to *Arvo Part*. A composer that's rarely on my mind. And I don't know about actually placing *Spiegel im Spiegel* into the queue . . . as pretty as it is, my impression is that it might actually bore some listeners to tears.


Some might. On the other hand, this version by Jürgen Kruse (Piano) and Benjamin Hudson (viola) has almost 7 million views on YT, and over 3000 comments, mostly seemingly from people who have little experience with classical music, and absolutely love this work.


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## Art Rock

For Brahms, I'm surprised that my first pick as an introduction to beginners, the violin concerto, is not even on your list. The Hungarian dances would be even "easier" but are less representative of his oeuvre. I would not have picked his string quartets or his double concerto at all - even for experienced Brahms listeners they may be challenging.

BTW, just trying to make suggestions here, you're doing an excellent job with this thread.


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## pianozach

Art Rock said:


> For Brahms, I'm surprised that my first pick as an introduction to beginners, the violin concerto, is not even on your list. The Hungarian dances would be even "easier" but are less representative of his oeuvre. I would not have picked his string quartets or his double concerto at all - even for experienced Brahms listeners they may be challenging.
> 
> BTW, just trying to make suggestions here, you're doing an excellent job with this thread.


Thank you! Yeah, I'm far from being the final word on any of this. I've gone to dozens of other lists for inspiration, in fact, I'll often use several lists, using an averaging algorithm to determine a consensus of all the lists I've found. I've also used lists that are composer or subgenre specific ("best string quartets", "best operas", etc.) and consensussed them together as well. I've even used lists from TALK CLASSICAL - actually an excellent resource.

As far as the inclusion of "modern" works, with the exception of Martin's *Pepperland* (composed 1969, I think), the most recent works are actually *BOLERO* (1928), followed by *THE PINES OF ROME* and *RHAPSODY IN BLUE* (both 1924).

Even the very modern-sounding (to MY ears anyway) *THE RITE OF SPRING* is over a century old now, and I don't think I have any of *Stravinsky*'s post-1930s works on the list. And he went pretty dodecaphonish in the mid-1950s, and, frankly, Schoenberg was probably better at it. And I'm still not much of a fan of 12-tone music . . . looks great on paper, which pleases my mind, but listening to it just pisses off my heart AND soul.

And I welcome suggestions and comments. I prefer a more multi-sided discussion.

The *next 50* are ALSO relatively sparse on anything composed in the last 100 years. Let's see, there's a couple from *Copland* (no surprise _there_ - you can probably guess which ones). But I do have *Steve Reich*'s - *Music for 18 Musicians* (1978) being a token nod to Modern Classical. Also have entries for Stockhausen (1956), Legeti (1965), and Penderecki (1961).

And I'll freely admit that all of my "Modern" entries in the Top 100 are "safe" choices. Usually famous and celebrated works. And no 4'33". Famous for being famous. But let's be honest: It's a punchline, a one trick pony. But not really _*musically*_ "significant". In fact, I've not included a single work from *John Cage*. I'm sure that there will be some Cage fans that will take issue, but if it weren't for 4'33", would we even be aware Cage even existed at all? :devil:

And I've not really gotten to any opera yet. Nor any film scores (now _THERE's_ a can of worms . . . ). Choral works? Barely . . . and the ones that made the cut mostly pretty ancient.

I may have a little subsection to cover the best works of the *21st Century* . . . there actually ARE some works that have gotten some critical acclaim: *Become Ocean* (Adams, 2013), Kaija Saariaho - *Laterna Magica* (2009), Hans Abrahamsen - *Let Me Tell You* (2013), and *Part's 4th*. Oh, and Missy Mazzoli - *Vespers for violin*. Rebecca Saunders - *Skin* (2016). And George Benjamin - *Written on Skin* (2012)

Tough calls all.


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## pianozach

Ready? OK, let's go!

*#51
String Quartet No. 8 in E minor, Op. 59, No. 2
"Razumovsky" String Quartets
Ludwig van Beethoven
1806*

All three quartets were published as a set in 1808 in Vienna, and were commissioned in 1802 by the Russian ambassador in Vienna, *Count Andreas Razumovsky*, to write three new quartets.

Beethoven surprised his Russian patron by presenting him with lengthy compositions that express intense, shifting emotions. The technical demands and complexity of the three quartets contributed to their poor reception, although today they are among Beethoven's most popular works.

_*"They are not for you, but for a later age,"*_ Beethoven told his critics at the time.

And frankly, the music was quite unlike other string quartets of the age, with unpredictable changes of emotion and texture, loud passages end abruptly and are superseded by cheeky, quiet music that seems to bear no relation to the previous music.

In honor of his Russian patron Beethoven uses a characteristically Russian theme in the first two quartets in honor of the prince who gave him the commission (The first of the three quartets was *#50* on this list).

In *Op. 59 No. 2*, the _*"Theme russe"*_ is in the B section of the third movement. This theme is based on a Russian folk song _*("Glory to the Sun")*_ which was later also utilized by 
*Modest Mussorgsky* in the coronation scene of his opera *Boris Godunov*, 
by *Sergei Rachmaninoff* in the sixth movement of his *6 Morceaux for Piano Duet, Op.11 "Glory" ("Slava")*, 
and by *Igor Stravinsky* in his ballet *The Firebird*.

However, that folk song, in *Beethoven*'s hands, is piledriven mercilessly, and harmonized opposite of what might be expected.

It's in four movements

*I. Allegro, 
II. Molto adagio (Si tratta questo pezzo con molto di sentimento)
III. Allegretto, Maggiore - Theme russe
IV. Finale. Presto*

Here's the *Cecilia String Quartet* performing live in 2012.

Sorry about the sound dropout in the last movement. If you'd prefer an unmarred performance, try the second video instead. Some may also find the audio of the instruments to be too _"dry"_.

*Beethoven String Quartet No. 8 in E minor, Op. 59, No. 2 - Cecilia String Quartet*






.

Here's a brighter and faster version by the *Dover Quartet*, from 2013. My problem with this performance is not with the musicianship, but the sound recording . . . you may have to turn up your volume a bit to hear the subtleties, especially in the quiet sections. And I think that the video mix spends far too much time on the 1st violinist, as the work is, indeed, a team effort. And then, of course, there's the guy that coughs loudly a third of the way through . . .

But this quartet was the winner at the 11th Banff International String Quartet Competition held at The Banff Centre.

*BISQC 2013 - The Dover Quartet - Beethoven Quartet in E minor*






:devil:

*BONUS QUARTET*

There are THREE string quartets in this triptych - It would be remiss to NOT include the third composed in 1808), especially since every video of this one seems to always include the phrase *"celebrated third movement"*.

Here's a 6 minute preview






The *String Quartet No. 9 in C major, Op. 59, No. 3* is the shortest of the three "Rasumovski" string quartets. It has features of its own: the pizzicati of the second movement, the fugato in the last one.

Beethoven really gives the viola a chance to shine. He certainly knew how to use that instrument's throaty, raspy sound to good effect.

I find it interesting just how much the 1st mvt. could pass for a work by Mozart. I think it's a deliberate "shout out", or tribute, to a previous master.

The quartet's _third movement_ is a light _*menuetto*_ which provides the motif that is subsequently turned upside down for the last movement, a *fugal allegro molto* that begins with the viola and adds the second violin, cello and first violin in that order. The movement is in alla breve time and is almost a _"perpetuum mobile"_ in quavers.

About halfway into the movement, a contrasting theme is introduced. The movement concludes with an enormous *Mannheim crescendo*, peaking at an implicit *fff*.

Here's the *Alban Berg Quartet*, performing the quartet live in 2017

*I Introduzione. Andante con moto, Allegro vivace - 0:00
II Andante con moto quasi Allegretto - 11:36
III Menuetto grazioso - 22:18
IV Allegro molto - 27:18
*

*Beethoven String Quartet No 9 Op 59 No 3 in C major Alban Berg Quartet*


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## pianozach

*#52
The Vespers (Vespers of the Blessed Virgin)
Claudio Monteverdi
1610 (with a verified performance in 1620)*

Damn; this lengthy piece is so old no one even bothers to use Monteverdi's first name anymore, as if they could remember it in the first place.

This is a towering masterpiece of the very early Baroque - at once intimate and grand, prayerful and dramatic, exalted and sensual (Monteverdi is often thought of as a composer that linked the late Renaissance to the early Baroque.)

Monteverdi's rarely performed 1610 *Vespers of the Blessed Virgin* ("Vespro della Beata Vergine") offers up a dizzying array of textures and sonorities in brilliant instrumental writing, opulent choruses, and moving solo arias and duets.

It contains an entire mass, music for Vespers, and some motets.

For those who don't attend Vespers every day, the essential musical items are:

*Opening call & response
5 psalms
Hymn
Magnificat
*

Vespers are part of the daily Offices, or Canonical Hours, of the church, music for the Offices including psalms (with antiphons), hymns, and canticles, as well as chanted lessons (with responsories).

*Psalms* and _*Magnificat*_ are framed by short plainsong antiphons specific to the feast/season but it was common practice in early 17th century Northern Italy to replace their repeat with other suitable musical items, essentially turning services into concerts.

*NERD ALERT*: The Mass is in the "old style", while the set of Vespers demonstrates his mastery of the new style (in its use of the figured bass line, voices and instruments in combination, dance forms, virtuoso solo singing, and operatic declamation) alongside elements of the old (cantus firmus technique, divided choirs, and a strict a cappella polyphony).

Actually, *The Vespers* were written as a kind of demonstration piece: an example of what can be done setting texts in different styles, particularly the new theatrical style (the foundation of opera) of which *Monteverdi* was a great pioneer. Instead of hearing the flowing, closely knit counterpoint expected from a composer like Palestrina of the preceding generation, you hear something that's half opera and half dance.

And *Monteverdi* went full out with this collection. He presents sacred text in an operatic style, using daring stereophonic and echo effects and includes a suite of instrumental dances, concerti sections for both voices and orchestra, and a love song.

Here's *Sir John Eliot Gardiner* at the Versailles Chapelle Royale with the *Monteverdi Choir* which he had founded in 1964), the *English Baroque Soloists* and the *Pages du Centre de musique Baroque de Versailles*, at the Palace of Versailles in 2014, mostly because of the baroque instruments. The Youtube police may remove it for copyright issues, but it always pops back up again.

*1610 - Vesperae Virginis - Monteverdi*






.

If that link goes dead, here's the *University of North Texas Baroque Orchestra & Collegium Singers* Conducted by *Richard Sparks*. Not as well known as Sir Gardiner, but whatcha gonna do?






*Domine ad adiuvandum
Dixit Dominus
***** sum sed formosa
Laudate, pueri, Dominum
Pulchra es, amica mea
Laetatus sum
Duo Seraphim clamabant
Nisi Dominus aedificaverit domum
Audi, coelum, verba mea
Lauda, Jerusalem, Dominum
Sonata sopra 'Sancta Maria' ora pro nobis
Ave maris stella, Magnificat
*


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## pianozach

*#53
Piano Concerto No. 20 in D minor, K. 466
Wolfgang Amadeus Mozart
1785*

Yeah, I know. Another piano concerto. This one's by *Mozart*.

Well, a young *Ludwig van Beethoven* admired it enough to keep it in his repertoire.

:devil:

Ah, but first, let's have a *PRE-BONUS Mozart Piano Concerto*, the *Coronation Concerto* (technically *"Piano Concerto No. 26, K. 537*.), written a few years _*after*_ (*1788*) today's entry Piano Concerto No. 20.

*No. 26* is somewhat unusual in that *Mozart* did not give tempo markings for the 2nd or 3rd movements. In fact, the manuscript seems incomplete - large stretches of the solo part simply have nothing at all for the left hand. These omissions were filled in, probably by the publisher, when it was first printed.

Another oddity regarding the *Coronation Concerto*, besides it pretty much having little to do with any coronation (it coincidentally was premiered about the time of the coronation of *Leopold II* as Holy Roman Emperor in October 1790 in Frankfurt am Main), is that it was once one of *Mozart*'s _*most celebrated keyboard concertos*_, especially during the 19th century, but is now considered NOT to be of the level of quality of the twelve previous Viennese piano concertos or the final concerto in B♭. . . *AND* . . . that _*still*_ doesn't keep it from continuing to be widely popular and frequently performed.

And THAT is probably because it's so easy a child could play it. *Aimi* is 11 years old.

*Mozart Piano Concerto 26. Aimi Kobayashi*






Frankly, I love Mozart's "simple" Piano Concertos. That may be because they are joyful, and honestly, not a drudgery to learn to play. I could likely sight read this one, partly because it's "predictable", and partly because it's so very straightforward. Although I've NOT played the Coronation Concerto myself, Aimi reminds me of me when playing the cadenza of the 1st mvt. . . . determination, focus, and joy.

This video is from 2006. Aimi Kobayashi (小林愛実 ) is now 25 years old.



But I digress; this entry is actually about *Piano Concerto No. 20 in D minor*. It's just so nice to be able to show the contrast between the very "fun" Mozart (No. 26), and the "Heavy" Mozart (No. 20).

This three movement concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings.

*I. Allegro
II. Romanze
III. Rondo, Allegro assai*

19th-century audiences and composers loved this concerto, which they regarded as _*"Beethovenish"*_. *Beethoven*, both smitten and influenced, played it publicly, with his own cadenzas in the first and last movements, where *Mozart* had improvised. *Mozart* never wrote out cadenzas for _this_ work, as he had for his nine prior concerti, for a simple and practical reason - preparations for the February 11, 1785 premiere were so rushed that the copyist was still working on the orchestral parts as the audience arrived, and so Mozart improvised on the spot.

The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with the composer as the soloist. One member of the audience was hugely impressed - the next day, *Joseph Haydn*, the most respected musician of the time, proclaimed *Mozart* to be the greatest composer he knew.

It is arguably the most historically popular _and_ influential among his keyboard concertos. The particular appeal of *Mozart's Concerto in D minor, K. 466*, is easy to hear - it is only one of two written in a *minor key*, and it is the most overtly dark, dramatic and impassioned.

And here's a slightly older *Mitsuko Uchida*, conducting the *Camerata Salzburg* from the Piano.

*Piano Concerto No. 20* *FUN FACT*: According to a letter from Mozart's father Leopold, when he first saw the orchestration for the 3rd Mvt. he wept.

*Mozart: Concerto for piano and Orchestra (d-minor) K.466, Uchida*

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*


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## pianozach

*#54
Symphony #6 in B minor, Op. 74 ("Pathetique Symphony")
Pyotr Ilyich Tchaikovsky 
1893*

Not *Tchaikovsky*'s first appearance on this list: His 6th Symphony is preceded by the *1812 Overture* (#5), and *Capriccio Italien* (#37). But those are mere wonderful trinkets compared to his very serious 6th Symphony

Well, let's start with this being *Tchaikovsky*'s last Symphony, and that he himself premiered it nine days before his death. He died in St. Petersburg, struck down by cholera that he caught from drinking contaminated water.

And _then_ we can point out that *Tchaikovsky* actually titled the Symphony _*"The Passionate Symphony"*_ (in Russian), but it was mis-translated into French as _*"Pathetique"*_, quite a different word with quite a different meaning.

But let's get to the important part: It's one of the greatest pieces ever written.

*Tchaikovsky* was pretty pleased with it, saying in letters how happy he was to have created such an earth-shatteringly bleak and devastating fourth movement which would strike existential terror into the souls of his audience. He described it in letters many times as *"the best thing I ever composed or shall compose"*.

But I'm getting ahead of myself. The Symphony starts out _*very*_ "Tchaikovsky-esque", in this case with the music emerging out of the murky depths of the lower strings and solo bassoon and then blossoming into beautiful rising motifs that struggle upwards with 'life and a thirst for activity'.

The *third movement* is a frenetic 'limping' waltz in 5/4, reminiscent of Tchaikovsky's ballet works (which themselves are significant works). This vibrant activity doesn't really go anywhere, musically speaking, but it ends with such unearned exuberance that audiences across the centuries have started clapping, fooled into thinking the symphony has reached a triumphant conclusion.

They couldn't be more wrong...

In the wake of the sparkling conclusion of the third movement, Tchaikovsky hits you with the real ending - the heartbreaking _*final movement*_. Actually, not only does the symphony begin in darkness, it ends up there as well.

So, this symphony could be described as a battle between a stubborn life-energy and an ultimately stronger force of oblivion that ends up in a terrifying exhaustion, but what makes the piece so powerful is that it's about all of us.

Here's the *Russian National Orchestra* (RNO) (Российский Национальный Оркестр) conducted by *Michail Pletnev* (Михаил Плетнев)

*Pletnev RNO Tchaikovsky Symphony No.6 2014*


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## pianozach

*#55 
Piano Sonata No. 8 in C minor, Op. 13 "Grande Sonata Pathetique"
Ludwig van Beethoven
1798*

Beethoven?! Again!? Yep. Beethoven's a giant, and one of the most influential composers EVER. Beethoven, coming in again at #55, takes up 10% of the list so far.

*#3 Symphony No. 3 "Eroica"
#16 Symphony No.5 
#28 "Moonlight" Sonata 
#34 Symphony No. 6
#39 Symphony No. 9
#42 Symphony No. 7 
#43 Piano Concerto No. 4 
#45 Piano Concerto No. 21 ("Waldstein") 
#50 String Quartet No. 7 
#51 String Quartet No. 8*

So, here's another "_*Pathetique*_" work, this one a *piano sonata* by *Beethoven*. Actually, it was called *"Pathetique Sonata"* by the publisher, although *Beethoven* liked the name, and gave his blessing.

This was the earliest of Beethoven's piano sonatas to reach warhorse status. The work is cast in three movements:

the first is marked *Grave - Allegro di molto e con brio*; 
the second, _*Adagio cantabile*_; 
and the finale, *Rondo (Allegro)*.

Beethoven opens this composition with a slow, meditative introduction, using this feature for the first time in a sonata. Seemingly posing a question, or struggling to overcome a dilemma, the music seeks resolution and relief, which appears in the exposition proper, when the movement, driven by tremolando octaves in the left hand, quickens, and theme transforms itself into deeply anxious utterance, introducing, once again, a questing, uncertain mood, without excluding forceful utterances, possibly indicating a desire to transcend the feeling of uncertainty. During the brief development section, a sense of dramatic tension predominates, but the general tone changes in the recapitulation, leading to a coda, which closes the movement.

The *second movement* begins with a soothing, languid, melancholy melody of an autumnal beauty. Dominating the entire movement, this initial theme eclipses both the subdued second theme and the moment of dramatic tension in the middle section of the movement.

The *Rondo finale* is really the second Rondo in the sonata, since the middle movement possesses the structural features of that form. This movement opens with a gracefully eloquent theme accompanied by arpeggiated figures played by the left hand. Although the mood seems bright, the music is tinged by melancholy, notwithstanding the playful second theme. Following repetition and thematic development, the first theme surfaces as simultaneously more agile and more delicate. A lengthy, brilliant coda completes the movement.

Here's a live recording from the University of Essex, Colchester (1972)

*Vladimir Ashkenazy* is an internationally recognized solo pianist, chamber music performer, and conductor. He is originally from Russia and has held Icelandic citizenship since 1972. He has lived in Switzerland since 1978.

His recordings have earned him six Grammy awards plus Iceland's Order of the Falcon.

*Ashkenazy: Beethoven - Sonata 8 Opus 13 (Pathéthique)*


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## pianozach

*#56
Mass for Four voices
Mass for Five voices
William Byrd
c. 1592-1595*

Now we're talking _*old*_. These were written during the reign of Queen Elizabeth I, which places this as being part of English *Renaissance* music from the Tudor period. With *Byrd*'s apparent birth in 1540 (or 1543, depending on whose reckoning you wish to put your money on . . . ), he would have grown up during the reign of *Henry VIII*.

So during this time Byrd published a four-part, three-part, and a five-part mass.

Both the *Mass for Four Voices* and the Mass for Five Voices (both of which consists of a *Kyrie, Gloria, Credo, Sanctus & Benedictus*, and _*Agnus Dei*_) are set for a four-part choir.

Historically, it should be noted that these were produced during the English Reformation, and harboring copies of a Catholic Mass could result in arrest and imprisonment. Likely they were intended for clandestine private (and _*illegal*_) masses [The _*"1558 Recusancy Acts"*_].

Indeed, the Catholic Masses of William Byrd are problematic entity in the context of Protestant England. These Masses put Byrd profoundly in the underground Catholic movement as a Catholic activist. Somehow he didn't end up executed (he evidently had an "in" with the Queen)



A special feature of the two masses is the final clause of the _*Agnus Dei*_. Although text-expression is not generally a feature of sixteenth-century Mass cycles, Byrd clearly regarded the ending of the Agnus Dei text _'Agnus Dei, qui tollis peccata mundi, dona nobis pacem'_ as an opportunity for an expressive treatment of the words. He almost certainly identified _'nobis'_ as the persecuted Tudor Catholic community, as he had done with many of the motet texts which he had set during the 1580s. The final prayer for peace at the end of the *Four-Part Mass* is one of the most admired passages in the whole of Byrd's output. It is built on a restless suspension figure, which generates a chain of overlapping entries, building to a climax before resolving onto a luminous final major chord.

This music is profoundly moving, regardless of your spiritual beliefs . . . You can hear the joy, the pathos, the reverence, and the peace throughout the works. Sometimes it will simply give you chills.

*Kyrie
Gloria
Credo
Sanctus & Benedictus
Agnus Dei*

Here is *The King Singers* version of *Mass for 4 Voices*

. . . and *The Tallis Scholars* version of *Mass for Five Voices*

*William Byrd: Mass for 4 Voices, The King's Singers
*

01 Kyrie - 0:00
02 Gloria - 1:55
03 Credo - 7:52
04 Sanctus/Benedictus - 15:50
05 Agnus Dei - 19:44






*William Byrd (1540/1543?-1623), Mass for Five Voices (complete). The Tallis Scholars*

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-- Kyrie 0:08
-- Gloria 1:33
-- Credo 6:29
-- Sanctus 15:09
-- Benedictus 17:32
-- Agnus Dei 18:54


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## pianozach

*#57
The Brandenburg Concertos 
("Six concertos for several instruments")
Johann Sebastian Bach
1708-1721*

For a gateway into the world of *Baroque* music you can do no better than *Bach*'s 6 *'Brandenburg' Concertos*, masterful examples of balance between assorted groups of soloists and a small orchestra, although they didn't acquire that name until 150 years later.

Each of the six concertos have their avid fans, from the galumphing first, the more stately second, the homely third, the lofty fourth and the galloping fifth right through to the joyous sixth.

It's also noteworthy that every one of the six concertos set a precedent in scoring, and every one remains without parallel.

In the case of the *Brandenburg Concerto No. 1* (in F major), the soloists are so numerous that the work is virtually symphonic. At various points in the composition, Bach crafted solo roles for one violin, three oboes, one bassoon, and two horns, nearly as many musicians as might constitute a small orchestra. It is also the only one of the set to have four movements (rather than three).

The *second concerto* (also in F Major) of the set has a perilously high trumpet solo as well as solos for recorder (or flute), oboe, and violin. The clarino ('natural' trumpet) part is still considered one of the most difficult in the entire repertoire, and was undoubtedly written _*for*_ a clarino specialist. The first movement of this concerto was chosen as the first musical piece to be played on the *Voyager Golden Record*, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes.

*Brandenburg Concerto No. 3* (in G Major) features three each of violins, violas, and cellos.

Soloists in the *fourth concerto* (also in G Major) include two Fiauti d'Echo (flutes) and a violin. It has been debated what instrument Bach had in mind for the "fiauti d'echo" parts. Nowadays these are usually played on alto recorders, although traverse flutes are sometimes used instead: it is also theorized Bach's original intent may have been the flageolet (an 'obsolete' instrument that is much like a hybrid of a flute, recorder, oboe, and ocarina, and perhaps the tin whistle or piccolo as well). In some performances, such as those conducted by Nikolaus Harnoncourt, the two recorders are positioned offstage, thus giving an "echo" effect.

In the *Concerto No. 5* in D major, it's a flute, a violin, and a harpsichord. Actually, the harpsichord has a knock-out part from Bach and, in the process, *invented the modern keyboard concerto*. The writing is so advanced and so intricate for its time that scholars assume the Fifth Concerto is actually the last Brandenburg Concerto Bach wrote.

*Brandenburg Concerto No. 6* in Bb Major, the only piece in the collection to include no violins whatsoever, spotlights the lower strings, supplemented, as always, by the harpsichord. The violas actually get the highest lines. Scholars now presume it's the first of the set written. It's got a simple part for the viola da gamba, a forerunner of the cello, which Bach probably put there for his employer, Prince Leopold, to play. The title on the autograph score indicates it's a concerto for "Viole da Braccio, due Viole da Gamba, Violoncello, Violone e Cembalo": The viole da braccio would indicate a "normal" viola, to distinguish it from the viola da gamba, already a "vintage" instrument in the 1720s.

*The 6th concerto* is also way up at *#7* on this list. While I was praising it, I also included videos for the 
3rd movement of the 2nd Concerto
the 1st movement of the 4th Concerto, and
the 1st movement of the 5th Concerto

So . . . . with each concerto lasting 15-20 minutes, you'll need around 90 minutes to listen to the whole set, and there are plenty of Youtube videos that have one group or another playing ALL of them in succession.

_*But what fun is that?*_ Well, I suppose that it imparts a certain amount of continuity, but, sadly, few people really have the time or inclination anymore to listen to THAT much music at a time.

So I'll break it down into six posts . . . Here's the first of the six . . . .

*#57a
Brandenburg Concerto No. 1 in F major No. 1 in F major, BWV 1046
Concerto No. 1 a 2 Corni di Caccia, 3 Hautb: e Bassono, Violino Piccolo concertato, 2 Violini, una Viola col Basso Continuo.*

*0:35 I. Allegro
4:40 II. Adagio
8:24 II. Allegro
12:31 IV Menuetto - Trio I - Polacca - Trio II*

Here's the *Freiburger Barockorchester* playing on period instruments. Pay no attention to the first 30 seconds, that's just a snippet of the 4th Concerto to "get you in the mood".

*Bach: Brandenburg Concerto No. 1 in F major, BWV 1046 (Freiburger Barockorchester)
*


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## pianozach

*#57b
Brandenburg Concerto No. 2 in F major , BWV 1047
Concerto No. 2 a 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violine, concertati, e 2 violini, 1 Viola e Violone in Ripieno col Violoncello e Basso per il Cembalo.*

The first movement served as a theme for PBS's *Great Performances* in the early-to-mid 1980s, while the third movement served as the theme for William F. Buckley, Jr.'s *Firing Line*; a revival featuring Margaret Hoover would also use the first movement.



> The *second concerto* (also in F Major) of the set has a perilously high trumpet solo as well as solos for recorder (or flute), oboe, and violin. The clarino ('natural' trumpet) part is still considered one of the most difficult in the entire repertoire, and was undoubtedly written for a clarino specialist. The first movement of this concerto was chosen as the first musical piece to be played on the *Voyager Golden Record*, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes.




_*Bach's Brandenburg Concerto No. 2*, is written for a rather unconventional solo quartet comprised of an unusual grouping, of flute, oboe, violin, and trumpet (the brilliant, high-flying NATURAL trumpet in F that is one of the most extraordinary sounds in baroque music).

The sonorities of the diverse instruments are constantly trading off in an exemplary example of orchestration. Bach also included some rather detailed dynamic markings in the score for the express purpose of making the different solo instruments audible. Bach was, indeed, a master at balancing the textures within his music, creating a new "whole" where a lesser composer might have relied on the differences of the instruments.

But then he creates a dynamic surprise in the *Andante* by giving the trumpet a "tacet", and basically reverting to a simple chamber music format for the flute, oboe, and violin (accompanied only by the continuo). I'd like to think that Bach anticipated that the trumpet player would need the rest after the rather exhausting 1st movement, and prior to the virtuoso playing needed for the 3rd movement. But, in any case, this was fairly standard practice in the Baroque era.

Remember what I just pointed out regarding all the instruments working as a team, creating a new and unique homogenous sound? The final *Allegro* becomes a tour de force for the trumpet.

It's also noteworthy that Bach was not writing for a 20th Century trumpet, but a far less versatile "natural trumpet in F" (SURPRISE: NO VALVES) which, surprisingly to us here in the 21st Century, could only play in major keys anyway (This may be another reason it isn't used in the Andante).

_



You might note that the trumpet soloist here is actually playing a "Baroque" valved trumpet.

*0:15 I. Allegro
5:12 II. Andante
8:52 III. Allegro assai*

*Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 (Freiburger Barockorchester)
*


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## pianozach

*#57c
Brandenburg Concerto No. 3 in G major , BWV 1048*
*Concerto No. 3 a tre Violini, tre Viole, e tre Violoncelli col Basso per il Cembalo*.
(three violins, three violas, three cellos, and basso continuo (including harpsichord))

I. [no tempo indication] (usually performed at Allegro or Allegro moderato)
II. Adagio in E minor
III. Allegro

The nine upper strings serve as both concertino (soloists) and ripieno (accompanists), fluidly transitioning between roles throughout the piece. This is an unusual instrumentation for the time, just three of each stringed instrument. This presents a minor conundrum as to whether or not this is actually a concerto at all; if all of the instruments are soloists, then, really, none of them are, yes? Or is it truly a *Concerto for 3 Violins, 3 Violas, and 3 Cellos*, that is, a *Concerto for Nine Solo Strings*?

The piece opens with a confident figure that is manipulated and passed around between the different instrumental sections, each of which works together as a group. The movement is in ritornello form, a common baroque structure in which a recurring musical passage (generally played by the entire ensemble) alternates with more independent episodes in which the musical material is developed and tossed back and forth between the performers.

But the *second movement* is a mystery: It consists of two lone chords, with a fermata (a "hold") over the second.

Did Bach intend for the performers simply to play these two chords and then move on to the third movement? Or did he intend for one or more of them to improvise a cadenza elaborating on the transition? Musicologists and performers have expressed varying opinions regarding this question. Was a little joke, or a brilliant stroke of genius? Or did he leave it out because he'd be playing the cadenza, and it was all in his head? (I'm leaning towards the latter . . . as a choir accompanist I've been handed "arrangements" for choir put together from a previous accompanist that didn't bother to write down the accompaniment because he would be accompanying, and didn't need it written down). It's also possible that Bach had left it to be written "later", and never got around to it. :lol:

In some performances an adagio from one of Bach's other works will be inserted.

In any event, the *third movement* bursts out of this second chord with a sudden rush of energy. In another exhibition of ritornello form, the three groups of instruments race through an exuberant _*Allegro*_ which brings the work to a joyous close.

So . . . Here's the *"Voices of Music"* live version. played on instruments from the time of the composers, using the original music and playing techniques.

NOTE: They play the *2nd movement* as written, hence, it's about eleven seconds long. Don't blink or you'll miss it.

*Bach: Brandenburg Concerto No. 3 in G Major, BWV 1048: Complete 4K UHD; Voices of Music*








To return to that enigmatic *Adagio* in the middle . . . Trevor Pinnock's 2007 recording with the European Brandenburg Ensemble features an improvisation by violinist *Kati Debretzeni*:


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## pianozach

*#57d
Brandenburg Concerto No. 4 in G major , BWV 1049
Concerto No. 4 a Violino Principale, due Flauti d'Echo, due Violini, una Viola e violone in Ripieno, Violoncello e Continuo.
(for solo violin and 2 recorders (or traverse flutes, or flageolet), accompanied by two violins, viola, cello, violone, and basso continuo (including harpsichord))*

I. [no tempo indication] (usually performed Allegro)
II. Andante
III. Presto

Which instruments are the real soloists?

Initially, the lead is taken by the two recorders, but later it appears that the violin is the soloist. After the next refrain, the two recorders take over again, but they are soon trumped by the violin, which steals the show in a whirlwind of dizzying notes. And so it continues.

The outside movements feature exceptionally virtuosic writing for the violin, with extended passagework spanning the entire range of the instrument. For his fourth concerto in the set of *Brandenburgs, Bach* is especially careful with the orchestration: this creates space for the recorder sound to breathe; in addition, his compositional style flows with sparkle and wit.

The *fourth Brandenburg concerto* is unusual in that Bach specifically calls for "echo flutes", or "fiauti d'echo". For many years musicologists have debated what an "echo flute" exactly is, and have also uncovered a great deal of historical detail, but the work is usually performed with two alto recorders.

Here it is performed on mostly period instruments (or replicas) by the *Voices of Music*

*Bach: Brandenburg Concerto No. 4 in G Major BWV 1049, complete; Voices of Music 4K UHD*


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## pianozach

*#57e
Brandenburg Concerto No. 5 in D major , BWV 1050
Concerto No. 5 a une traversiere, une Violina principale, une Violino e una Viola in Ripieno, Violoncello, Violone e Cembalo concertato.
(for harpsichord, violin and flute, accompanied by violin, viola, cello, violone, and harpsichord)*

*I. Allegro
II. Adagio; Affettuoso
III. Allegro*

Formally, and technically, the *fifth Brandenburg Concerto* is a CONCERTO GROSSO, with a concertino consisting of three instruments (harpsichord, violin and flute), although the harpsichord seems to take the leading role of the three.

Many regard this piece as the *first keyboard concerto* ever written. Indeed, it is noted for the harpsichord cadenza near the end of the First Movement.

Here's *APOLLO'S FIRE* | *The Cleveland Baroque Orchestra, Jeannette Sorrell*, Artistic Director with a spectacular live performance.

That's her giving the short and interesting spoken introduction, as well as playing the double manual harpsichord, with Olivier Brault on violin and Kathie Stewart on transverse flute

*BACH Brandenburg Concerto No. 5, Mvt 1 - Apollo's Fire - LIVE at Tanglewood*





.
.
.
.
.
.
There are many, many wonderful versions available that you can listen to, and since this may actually be the most popular of the bunch, here's pianist *Glen Gould* playing the "*harpsipiano*".

Gould gives some opening remarks regarding Bach in general that are noteworthy, then goes into a much slower version of the 1st movement . . . at first it may seem to be lacking the "punch" you get with a brisker tempo, but once you're a few minutes into it you start to notice the wonderful subtleties and nuances he brings to the work.

*Glenn Gould - Bach, Brandenburg Concerto No. 5 in D-major (OFFICIAL)
*


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## pianozach

Johann Sebastian Bach
Born March 21, 1685

BACH was born 336 years ago.

The last of the Brandenburg Concertos was completed in 1721, 300 years ago. The USA didn't even exist yet. New York City had a population of 5,000.

*#57f
Brandenburg Concerto No. 6 in Bb major, BWV 1051
Concerto No. 6 a due Viole da Braccio, due Viole da Gamba, Violoncello, Violone e Cembalo.
(for two viole da braccio, two viole da bamba, cello, violone, and harpsichord)*

*I. [no tempo marking, although usually played Allegro or Moderato]
II. Adagio ma non tanto
III. Allegro*

At last, the final concerto in the set of six, although it's considered to probably be the first written.

The absence of violins is unusual.

The _*"Viola da braccio"*_ is the 'normal' viola, while the *viola da gamba* is the already outdated-in-1721 oddball instrument here: Unlike the violin, viola, and cello, which are all part of the violin family, the viola da gamba is part of the viol family (along with the double bass or "upright" bass, the only member of the viol family still commonly used). The most notable differences are the presence of frets, and additional strings. Other differences that you might not notice are the tunings (a 4th, rather than a 5th apart, although the middle strings are only a 3rd apart) and the shape of the sound holes - violins have "f" holes, while the viols have "c" holes. The bow is held underhand ("German"), rather than overhand (or "French"). And there are two other differences: the viols have sloped shoulders and flat backs, while the violin family of instruments have rounded shoulders and curved backs.

Oh, and one *very* noticeable difference: The viols are played upright, instead of under the chin.

So why does this matter? Well, as the viols have more strings with closer tunings, they become somewhat easier to play, as one doesn't need to have the left hand cover as much ground up and down the fretboard.

So . . . back to the absence of violins . . . . _AND_ any wind instruments as well. For this final concerto Bach chose to limit the work's instrumentation to strings and continuo, meaning that the only non-bowed instrument heard is the harpsichord. Every other concerto in the set made extensive use of contrasting timbres, balancing the strings with the winds, often in unprecedented ways. This limitation of timbre is also extended to register; there are no violins - just two violas, two violas da gamba, a cello, and the _*violone*_, which is near the cello range and is from the gamba family. The overall effect of this decision is a spirit of repose and conclusion. There are no visceral contrasts in the music, though the final Allegro is faster than the other two movements; the concerto, whenever it was actually composed, makes a splendid way to end the overall set.

*Bach*'s writing for these instruments was unconventional for the time. In the early eighteenth century the lower members of the violin family were considered orchestral instruments with supporting roles. They were given comparatively easy parts to play, while the gamba and its relatives were regarded as chamber instruments and necessarily received more difficult lines. Bach chose to reverse the level of difficulty, giving the viola and cello the tough solo parts, while the gamba players were free to cruise along in the supporting roles. In the second-movement Adagio, they are completely silent.

The form of the three-movement work is also filled with reversals. The opening movement sounds initially like a freely composed fugal arrangement, free of the stark contrasts normally associated with concerto form. Its ritornello, normally a focused bit of recurring melody, rambles along without drawing much attention to itself, while the music that is supposed to be spun out of the ritornello is concise and sharp. Compounding the irregularities further, the second movement (lovely and fluid) ends in a different key from the one it starts in. The final movement assumes the character of a fugal gigue, but reveals itself to be a set of variations based on the initial ritornello, which is a much freer demonstration than the traditional spinning-out of the initial material.

Overall, these surprises result in what in many ways is the most various and striking among the *Brandenburg Concertos*. Its beauty is equal to its invention.

Here are _*"The Sebastians"*_ playing at St. Paul's German Lutheran Church in 2016.

You can clearly see the difference between the two "normal" violas on the left, the viola da gambas on the right (looking like cellos, but with the sloping shoulders), the cello in the middle, and the violone (looking much like a double bass) and harpsichord in the rear.

*Bach - Brandenburg Concerto no. 6, BWV 1051 - the Sebastians*






.

*Viol da gamba FUN FACT*: It is played between the legs (hence the name _*'viola da gamba'*_, literally _*'leg-viol'*_).


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## pianozach

*#58 
Piano Trio No. 1 in B Major
Johannes Brahms 
Original version 1854
Revised version 1889*

The original version was completed in 1854, when *Brahms* was only 20 years old.

Brahms produced a revised version of the work in summer 1889 that shows significant alterations, and it is this shorter version that usually performed these days.

This is as good a time as any to give a short definition of "Piano Trio". It is NOT a trio of pianos, rather, it refers to a "chamber" work using three musicians, one of which will be a pianist. The other two other instruments will usually be a violin and a cello, although it most certainly consist of other configurations. (In Jazz, a piano trio will _usually_ consist of piano, bass, and drums.)

This is Brahms' first appearance on this list, not because he is some sort of lesser composer, but because his music tends to be quite advanced, requiring a certain focus.

When talking about the GREAT composers of Classical Music, the Top 3 are generally considered to be Bach, Mozart, and Beethoven, but when you expand that to the TOP SIX, most lists generally add Tchaikovsky, Wagner, and Brahms.

Brahms holds a unique place in the Classical Music canon, being somewhat of a transition composer - he tended to work within what were, at the time, outdated forms and idioms, BUT added a new spiritual and lyrical dimension to them. The result is a legacy where he's snarkily regarded as "the most classical composer of the romantic period".

This Piano Trio is so well written and so . . . transcendent . . . that I actually have some difficulty in describing WHY this piece is so extraordinarily great. There are no grand flourishes, no fanfares, just these beautifully set melodies and passages that can transport you to a higher plane of existence.

*TRIO GAON - Brahms Trio no. 1, opus 8 in B Major (rev. 1889)
*


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## Art Rock

pianozach said:


> Piano Trio No. 1 in B Major Eroica Trio


I'm pretty sure the "Eroica Trio" is a copy/paste error.............


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## pianozach

Art Rock said:


> I'm pretty sure the "Eroica Trio" is a copy/paste error.............


Right you are. There is an Ensemble that goes by that name that had recorded the work at one time, but I changed my mind about which video, and, well, you know . . .

I'll fix . . . :lol:


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## pianozach

*#59
Death and the Maiden; String Quartet No. 14
Franz Schubert 
1824*

Musically, this is a masterwork among quartets.

And . . . surprisingly . . . this is one of only three quartets on this list so far (the first being Beethoven's String Quartet No. 7 In F, at #50, and his "Razumovsky" Quartet No. 8 in E minor at #51). Surprising because the String Quartet has come to symbolize the loftiest form of discourse in Classical instrumental music.

Also surprising is that this is only *Schubert*'s second appearance on this list. His *Ave Maria* is at #40 (and the Ave Maria was only one in a collection of six songs).

So many works, so few spots.

String Quartet No. 14 brings together two of Schubert's's extraordinary talents. Schubert had a natural instinct for melody and song. His 600 Lieder (songs) and his song cycles are among the most expressive works in all music, connecting with human emotions in a deeply profound way. It is impossible to separate Schubert's music from his own experience and this work captures his essence.

The quartet was written in 1824 when his health was a cause for concern. He wrote to a friend, 'Imagine a man whose health will never be right again, and who, in sheer despair over this, even makes things worse instead of better. Imagine a man, I say, whose most brilliant hopes have perished…'

This music, then, is a reflection of Schubert's state of mind. It's filled with that resignation he spoke off, as well as an all-pervading anguish and yearning. Not only was his body sick - so was his soul.

The _*second movement*_ is responsible for the nickname of this quartet, _*"Death and the Maiden"*_, since it is a set of variations on Schubert's song of the same name in which a terror-stricken maiden begs death to pass her by. But Death consoles her saying _*'I am not rough, you shall sleep gently in my arms'*_. It's impossible to listen to all four movements of the quartet without an awareness of death's shadow stalking Schubert and emerging in the most funereal passages.

Using the theme from his original song and building variations upon it, Schubert creates a pattern where the dark and powerful opening is met by the soft lyrical reply of the maiden. Or is it the defiance and terror of the maiden, met by the gentle subverting caress of death? It's a dialogue which continues throughout the quartet, and there's little escape from the fear and the fury in the overall sombre tone of the music.

For these reasons it has often been referred to as "one of the pillars of the chamber music repertoire".

*I. Allegro
II. Andante con moto
III. Scherzo. Allegro molto - Trio
IV. Presto*

Here's the *Alban Berg Quartett*

*Franz Schubert - String Quartet No.14 in D minor, D.810 (Alban Berg Quartett)
*


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## pianozach

I have to give a shout out to *Schubert*'s next string quartet here, the *String Quartet No. 15 in G major, Mvt I,* (the _*Allegro molto moderato*_).

I find this so oddly engaging that it's difficult to find the proper words to describe the _FEELING_ I get from it. It's also Schubert's last quartet.

Schubert transcends traditional harmonic structure, and focuses on lyricism instead.

*MUSIC NERD ALERT*: Analysis of this movement ahead . . . .

The first movement is based around a motive of chromatic descending fourths within alternating major and minor modes. The main lyrical theme of the movement which begins with a sixteenth note pickup to a dotted eighth note will be heard in many variations throughout the rest of the movements of the quartet. The first movement features extensive tremolo, which also leads into the repeat of the exposition. While many composers deconstruct a theme to smaller and smaller parts, Schubert is known for his lyricism and instead continually expands the theme.

This may include the use of a motive in triplets to connect the first and second main groups of this sonata form; the second group opens, exactly as happens in the later-written String Quintet and similar to the technique in some works by Beethoven - not in the dominant key but with a quiet theme in the mediant, Bb, with rhythm not quite the same as that of the lyrical theme that slowed matters down early on (bar fourteen, again), and adding to the texture with pizzicato accompaniment. There is a triplet-dominated, agitated transition and the same theme is heard, now in D, with triplet accompaniments; the triplets, not the theme, continue to the end of the exposition, and descend gradually from D down to G major for the repeat, or for the second ending and the beginning of the development, where continuity means the continued rustling of quiet strings, building for a bit by exchanging with more energetic passages, then bringing in faster versions of the dotted rhythms of the main themes. The climax of the development leads to a particularly quiet recapitulation, much varied at its opening from what we had heard originally. In the coda the opening of the quartet, both its rhythm and its major/minor exchanges, get a further chance to play themselves out.

There is a remarkably innovative harmonic passage in the first movement. Between mm. 414 and 429 Schubert prolongs G major with an equal subdivision of the octave using major thirds. Passing seventh chords in the bass provide a smooth linear progression connecting these major thirds, the result of which is a whole tone descent in the bass-voice, in this case the cello. The following major third prolongations occur: G(mm. 414-416) E-flat (mm. 417-418) B(mm. 419-420) G(mm. 421-422) E-flat(423-426). In measure 426 Schubert enharmonically reinterprets this dominant-seventh structure, resolving it as a German augmented 6th, thus proceeding bVI-V-I in mm. 427-429.[8]

These four players are not a professional quartet; they merely came together for this festival.

Yura Lee and David Bowlin, violins
Dimitri Murrath, viola
Julie Albers, cello

*Schubert: String Quartet No. 15 in G major, Mvt I - ChamberFest Cleveland (2014)*


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## pianozach

There's some extraordinary treats coming up . . . Coming up soon:

Mozart
Haydn
Bizet
And more Schubert
Monteverdi

But here's some diversions that will hold you over until then:

*When Worlds Collide*






*Tzvi Erez plays Solfeggietto in C Minor (2012) by CPE Bach
*






And, with orchestra continuo . . . .






I think I played this piece when I was her age.


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## pianozach

*#60 
Piano Concerto No. 21, Andante ("Elvira Madigan")
Wolfgang Amadeus Mozart
1785*

The second movement ANDANTE was featured in the 1967 Swedish film *Elvira Madigan*, about a tragic tightrope walker. As a result, the piece has become widely known as the Elvira Madigan concerto.

*Neil Diamond*'s 1972 song _*"Song Sung Blue"*_ was based on a theme from the andante movement of the concerto.

*I. Allegro maestoso
II. Andante* (In both the autograph score and in his personal catalog, Mozart notated the meter as *alla breve*.)
*III. Allegro vivace assai*

The *concerto* is scored for solo piano, flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani and strings, a fairly large orchestra at the time.

The *opening movement* begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief *Eingang* (a type of abbreviated cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key. A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost.

The famous *Andante*, in the subdominant key of F major, is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. Then it modulates to G minor, then B-flat major, then F minor, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The *final rondo movement* begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

*Piano Concerto No. 21* is among the most technically demanding of all Mozart's concerti. The composer's own father, Leopold Mozart, described it as "astonishingly difficult." The difficulty lies less in the intricacy of the notes on the page than in playing those many notes smoothly and elegantly. Mozart made the challenge look easy, as newspapers of his time attest, though his letters reveal the hard work behind those performances.

Here's *Yeol Eum Son* playing live in 2011.

*Mozart - Piano Concerto No.21, K.467 / Yeol Eum Son
*


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## pianozach

*#61
Missa in Angustiis (Mass for troubled times)
aka Mass No. 11 in D minor, or "Lord Nelson Mass"
Joseph Haydn
1798*

*Haydn* is unarguably one of the greats of Classical music, and many regard this as Haydn's greatest single composition.

Composed at a time when the world seemed to be in chaos: *Napoleon* was well on his way to conquering Austria, and had invaded Egypt to destroy Britain's trade routes. However, between the mass's completion and its performance debut Napoleon had been dealt a stunning defeat in the Battle of the Nile in Egypt by *Admiral Horatio Nelson*.

The mass has six movements:

*1. Kyrie, Allegro moderato 
2. Gloria, Allegro 
.....Qui tollis, Andante con moto
.....Quoniam tu solus sanctus, Allegro
3. Credo, Allegro con spirito
.....Et incarnatus est, Largo
.....Et resurrexit, Vivace
4. Sanctus, Adagio
.....Pleni sunt coeli, Allegro
5. Benedictus, Allegretto
.....Pleni sunt coeli, Allegro
6. Agnus Dei, Adagio
.....Dona nobis pacem, Vivace*

Notably absent is the woodwind section. Haydn's patron, *Prince Esterhazy*, had dismissed the wind players to fight in the war.

The mass is also notable for the *"fireworks"* demanded of the soprano soloist, in the tragic, war torn *Kyrie* through the *Gloria* and beyond. While most contemporary mass settings make a clear distinction between arias and choral sections, as in the manner of opera, the solos and ensemble passages in the Nelson Mass remain closely integrated with the chorus. The _*"Qui tollis"*_ section of the _*Gloria*_ starts surprisingly in B-flat Major, where the bass is accompanied by some lovely scoring for the strings and organ. The soprano returns us to D Major for *"Quoniam tu solus sanctus,"* and Part II ends with a choral fugue.

An extraordinary opening to the _*Credo*_ has the sopranos and tenors competing in canon with the altos and basses to the sound of fanfaring trumpets. _*"Et incarnatus"*_ begins with a gorgeous aria for the soprano soloist, before the emotional center of the piece is taken up by the chorus who lead to a glorious D Major finish once again in _*"Et resurrexit."*_

The Benedictus in Part V is a world away from the serene, prayerful setting that might be expected. This is typically presented as a quiet meditation, but Haydn's setting begins with a stormy orchestral introduction, moving through a series of exchanges between soloists and chorus, to culminate in a strikingly dissonant passage. The G Major Agnus Dei provides the chorus a little respite as the soloists take center stage, before "Dona nobis pacem" returns triumphantly to D Major in a joyous finale.

Personally, I had not particularly previously thought of Haydn as the sort that would crank out this sort of drama. But here it is. All 40 minutes.

*Haydn HobXXII 11 Lord Nelson Mass Nelson-Messe Missa in Angustiis Grete Pedersen*


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## pianozach

*#62
Carmen
Georges Bizet
1875*

Ah. *Opera*.

It's pretty tough . . . I'm here again at an epic work (well, at least by rock and pop standards) that takes considerable time and effort to truly enjoy.

*Carmen* is a four act Opera by French composer *Georges Bizet* with a libretto by Henri Meilhac and Ludovic Halevy, based on a novella by Prosper Merimee.

And the composer died suddenly after the 33rd performance, and never experienced the international acclaim that this work enjoyed.

Anyway, rather than present the entire opera, for the purposes of this thread, a couple of highlights will suffice.

*Bizet's Carmen* has everything you want from an opera: high drama, passionate characters, a love story. And what's more it's absolutely packed with great melodies - even if you don't know the opera, you'll definitely know some of the tunes.

The *Habanera* from Act 1, and the *Toreador Song* from the 2nd Act are among the best known of all operatic arias.

So, let's add a bit of context, shall we?

It is set in southern Spain and tells the story of the downfall of *Don Jose*, a naive soldier who is seduced by the wiles of the fiery gypsy *Carmen*. Jose abandons his childhood sweetheart and deserts from his military duties, yet still loses Carmen's love to the glamorous bullfighter *Escamillo*, after which Jose kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage (Don Jose threatens to kill her if she does not stay with him, fatally stabbing her after she states that she was born free and will die free), broke new ground in French opera and were highly controversial.

Initially, the opera was condemned by the earliest critics, who called it "vulgar", being unaccustomed to seeing the lives of the common folk, much less the world of gypsies (the Roma), smugglers, deserters, factory workers, and various ne'er-do-wells given centre stage. Women did NOT smoke cigarettes in public, nor were they -ahem- sexually "free". One critic noted that the audience in Paris was "shocked by the drastic realism of the action".

*Bizet* was actually convinced that he had written the greatest failure in the history of opera, in spite of his contemporary *Tchaikovsky*'s prediction that *Carmen* would end up being the most popular opera in the world, which, arguably, it has.

So, here's the highly recognizable *L'ouverture*, performed by the *Metropolitan Opera*, conducted by *James Levine

Carmen - Ouverture*






.

Carmen's *Habanera* (*"L'amour est un oiseau rebelle"* or _*"L'amour est enfant de Boheme"*_)

_Love is a rebellious bird
that nobody can tame,
and you call him quite in vain
if it suits him not to come.

Nothing helps, neither threat nor prayer.
One man talks well, the other's mum;
it's the other one that I prefer.
He's silent but I like his looks.

Love! Love! Love! Love!

Love is a gypsy's child,
it has never, ever, known a law;
love me not, then I love you;
if I love you, you'd best beware! etc.

The bird you thought you had caught
beat its wings and flew away ...
love stays away, you wait and wait;
when least expected, there it is!

All around you, swift, so swift,
it comes, it goes and then returns ...
you think you hold it fast, it flees
you think you're free, it holds you fast.

Love! Love! Love! Love!

Love is a gypsy's child,
it has never, ever, known a law;
love me not, then I love you;
if I love you, you'd best beware!_

You may have to turn the volume up on this video quite a bit . . . .

*Carmen - Habanera (Bizet; Anna Caterina Antonacci, The Royal Opera)*






.

And, of course, *The Toreador Song* (_"L'air du Toreador"_). That "part you recognize" happens 2:30 into this clip, but it's worth seeing the entrance of the "torero", and the adoration of his fans.

*Carmen ( Act 2) - Air du toréador*


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## pianozach

*#63
Symphony No. 8 in B minor, D 759 "Unfinished Symphony"
Franz Schubert
1822 - *
Two movements *premiered 1865* in Vienna

Unfinished? It was started in 1822 but left with only two movements-though he lived for another six years. A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives.

To this day, musicologists still disagree as to why *Schubert* failed to complete the symphony.

It has, however, been surmised that the most extended entr'acte from *Rosamunde* (also in B minor, in the same style of the first movement and with the same instrumentation as the symphony) was indeed that fourth movement, which Schubert recycled by inserting it into his *Rosamunde* incidental music composed in early 1823 just after the Wanderer Fantasy.

In any event, it's likely that you may already be familiar with the second theme of the First Movement, a sweet tune in 3/4 carried by the cellos.

*Schubert's Eighth Symphony* is sometimes called the first Romantic symphony due to its emphasis on the lyrical impulse within the dramatic structure of Classical sonata form. Furthermore, its orchestration is not solely tailored for functionality, but specific combinations of instrumental timbre that are prophetic of the later Romantic movement, with astonishing vertical spacing occurring for example at the beginning of the development.

The most recent masterpieces in the genre were *Beethoven's 7th and 8th Symphonies*, premiering in 1813 and 1814 in Vienna. By 1822, *Schubert* was ready to attempt in the symphony what he already done in his songs and had started to glimpse in his piano sonatas and chamber music. Instead of trying to take Beethoven on at his own game of dynamism, dialectic, and confrontation, Schubert found in the music he completed for this B minor symphony a way of shaping time and tonality that no other symphonic composer up to this point had managed.

*The following analysis is not mine, but lifted from one or more internet sources, but I'll be damned if I can remember from whence they originated. I also paraphrased the content here and there.*

In terms of the history of the symphony, this music is unprecedented. This B minor symphony has all the strangeness, surprise, and shock of an alien artifact.

Tom Service wrote extensively about Schubert's Unfinished Symphony here:

https://www.theguardian.com/music/t...ymphony-guide-schubert-unfinished-tom-service

His analysis, while rather technical and wordy, is really spot on in spite of all that.​
There are some great live performances of *Symphony No. 8* available on YouTube, but in terms of sound quality, I'll go with this fairly ancient video of *Georg Solti* conducting the *Chicago Symphony Orchestra*.

_*I. Allegro moderato
II. Andante con moto*_

*Schubert, Symphonie Nr 8 h Moll 'Unvollendete' Georg Solti, Chicago Symphony Orchestra*






Since the *Scherzo* was practically finished, and even the orchestration was started, it seems unfair to exclude the third movement.

Strangely enough, all of the first three movements are in "three", but that just adds to the charm I think.

Recent research tends to corroborate the hypothesis (first presented by Grove in 1881) that the B minor *entr'acte* from Schubert's incidental music to Wilhelmina von Chézy's play *Rosamunde* was originally conceived as the finale of the 'Unfinished' Symphony. Quite apart from being too big to serve well as an interlude, it employs the same orchestral forces as the symphony. As for the *Scherzo*, Schubert sketched it in piano score, and two pages of his orchestral version are extant. Of the Trio, he penned only one melody for the first section, so it is from here on that reconstruction becomes more speculative. It has been possible, for all the hazards, to compose a well-informed second section that is based (quite naturally) on the material of the first section. The result of Brian Newbould's scholarship at last offers listeners something like a 'real' symphonic experience.

And the majority of it is basically Schubert's work

*III. Scherzo/Trio; Allegro
IV. Allegro molto moderato*

*Schubert / Symphony No. 8 in B minor, D. 759: Mvts 3 & 4 completed (Mackerras)
*


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## pianozach

*Down the Rabbit Hole*

Those unfamiliar with Classical music would likely also be unfamiliar with conductors, and there certainly are some "greats" out there, including the very talented *Solti*, who is the conductor for the first two movements of Schubert's Unfinished Symphony above.

Unfortunately, as I'm trying to rely on live versions of these masterpieces, I'm neglecting some very talented conductors that did their best work long before video became a "thing".

My most wistful omission was for *#5*, the *1812 Overture*. The *Antal Dorati* monaural recording made in the 1956 is still my favorite version of this classic.






*Dorati* made his conducting debut in 1924.

He became especially well known for his recordings of *Tchaikovsky's* music. He was the first conductor to record all three of Tchaikovsky's ballets - *Swan Lake, The Sleeping Beauty* and *The Nutcracker* - complete. The albums were recorded in mono in 1954 and 1955, for Mercury Records, with the *Minneapolis Symphony Orchestra* (later renamed the Minnesota Orchestra), as part of their famous *"Living Presence"* series.

He also recorded all four of Tchaikovsky's orchestral suites with the New Philharmonia Orchestra, and he was the first conductor to make a recording of *Tchaikovsky's "1812" Overture* (featuring the Minneapolis Symphony Orchestra) with real cannons, brass band, and church bells, first in mono in 1954 and then in stereo in 1958. Both the mono and stereo "1812" versions sold over one million copies, and awarded a gold disc by the RIAA.

He actually lived long enough to make some digital recordings, but, alas, there is no video of him conducting the "1812" live.

He passed away in 1988.

There's another great recording or the 1812 made by the even more brilliant once-in-a-century talent *Leonard Bernstein*.






And I'd be remiss to not mention *Herbert Von Karajan* & Berlin Philharmonic Orchestra's version recorded in 1966.

And some experts think that *Seiji Ozawa's* recording is excellent as well. There IS video of him conducting it; however, his conducting style doesn't really do it for me . . . but, you know, I'm not an actual "expert". I just play one in this thread.


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## pianozach

*Interlude*

*Tarkus*
*Keith Emerson, Greg Lake*
*1971*

This orchestrated version is performed by the *Tokyo Philharmonic Orchestra* conducted by *Yutaka Sado*. The arrangement of this was done by the amazing composer *Takashi Yoshimatsu*

*Tarkus, Orchestrated*


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## pianozach

*#64
Madrigals, book 5, for 5 Voices
Claudio Giovanni Antonio Monteverdi
1605*

*Monteverdi* was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of *opera*, he is considered a crucial transitional figure between the *Renaissance* and the *Baroque* periods of music history.

So, *Monteverdi's Fourth Book of Madrigals* (1603) had already been criticized for their *"modernism"*.

*Monteverdi's Fifth Book of Madrigals* begins like the Fourth Book--the first half of the publication contains five-voice a cappella madrigals (with optional continuo) that use surprising dissonances to express the images and sentiments of their texts with extraordinary intensity. The second half, however, breaks new ground: the continuo (i.e., accompanying chord instrument like harpsichord or lute) part becomes independent (and indispensable), thus enabling Monteverdi to set extended passages for one or two voices.

One fine example is _*"T'amo, mia vita" ("I love you, my life")*_--a rapturous meditation by a young lover who has heard his beloved utter those words. Monteverdi sets the four words for solo soprano, repeating them between lines of the young man's reverie as if replayed over and over in his mind.

He presents his music through complex counterpoint and daring harmonies, although at times combining the expressive possibilities of the new music with traditional polyphony.

So . . . there are *19 Madrigals* in *Book 5*, most of which run between three to five minutes, although the last Madrigal is around nine minutes long, meaning that the full set runs roughly 80 minutes:

_**Cruda Amarilli, Che Col Nome Ancora 0:02
*O Mirtillo, Mirtillo, Anima Mea 3:21
*Era L' anima Mea 5:55
*Ecco, Silvio, Colei Ch'in Odio Hai Tanto 10:00
*Ma Se Con la Pieta Non E In Te Spenta 12:48
*Dorinda, Ah! Diro "mia" Se Mia Non Sei 16:11
*Ecco, Piegando Le Ginnocchia A Terra 18:24
*Ferir Quel Petto, Silvio? 20:46
*Ch'io T'ami, E T'ami Piu de la Mia Vita 24:46
*Deh! Bella E Cara E Si Soave Un Tempo 27:13
*Ma Tu, Piu Che Mai Dura 29:49
*Che Dar Piu Vi Poss'io? 33:28
*M'e Piu Dolce IL Penar Per Amarilli 37:01
*Ahi, Com'a Un Vago Sol Cortese Giro 40:33
*Troppo Ben Puo Questo Tiranno, Amore 45:24
*Amor, Se Giusto Sei 48:46
*"T'amo, Mia Vita", la Mia Cara Vita 51:59 
*E Cosi A Poco A Poco 54:32
*Questi Vaghi Concenti 57:50*_



And THIS is why I try to post LIVE versions . . . 80 minutes of madrigals is interminably long for those unfamiliar with music theory and music history . . .

These songs were groundbreaking at the time, yet a recording of them seems dull and dusty.

So, lookie HERE . . . here's just _*one*_ of them, the second in the book: _*O Mirtillo, Mirtill'Anima Mia*_, but performed live, and as a stand-alone 2:40 madrigal.

*Les Arts Florissants - Monteverdi Madrigals Book V
*






Not only can you HEAR the different voices, each with their own wonderful separate vocal line, but you can SEE it happening.

But *here's the whole thing*: *Marco Longhini* conducting the *Delitiae Musicae*

* Quinto Libro De' Madrigali. Claudio Monteverdi (1567-1643)

*


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## pianozach

*#65
The Goldberg Variations, BWV 988
Johann Sebastian Bach
1741*

*The Goldberg Variations*, is a musical composition for harpsichord by JS Bach, consisting of *an aria and a set of 30 diverse variations* (and a recap of the opening aria) for harpsichord with two manuals.

First published in 1741, the work is one of the most important examples of the variation form. It is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work.

Every third variation in the series is a canon, with each canon starting at a higher interval: Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second (the second entry begins the interval of a second above the first), variation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth. The final variation, instead of being the expected canon in the tenth, is a quodlibet based on multiple German folk songs.

So, here is maestro *Glenn Gould*'s 1955 recording of the *Goldberg Variations*, *played on a piano*. This quickly became one of the most revered piano recordings ever made and Gould became the most famous classical artist of the day. His exciting, unorthodox new way of playing Bach left listeners awestruck and critics around the world hailing him as a genius.

*J.S.Bach "The Goldberg Variations" [ Glenn Gould ] (1955)*






.

But I expect that there will be purists that feel that a piano is certainly NOT a *harpsicord*, and Bach didn't intend for it to be played on a *piano*.

Actually, pianos DID exist in Bach's day, although not nearly as versatile, durable, and nuanced as what we have today. And *Bach* would not have even *CARED* if it had been played on a piano, although it certainly makes it a bit trickier to play some of the double manual variations.

So, here is a much, much longer (1:34) version performed by Jesus (LOL, just kidding . . . ) harpsichordist *Jean Rondeau* in 2017 (Gould's recording is only 40 minutes long). He takes every repeat and provides embellishments that are tasteful, imaginative and consistent with Bach's score. The color and expression he produces is incredible. He plays creatively and imaginatively.

*Bach - Aria mit 30 Veränderungen Goldberg Variations BWV 988 - Rondeau | Netherlands Bach Society*


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## pianozach

*#66
Carnival Overture Op. 92
Antonin Dvořák
1891*

It is part of a *"Nature, Life and Love"* trilogy of overtures written by *Dvorak*, forming the second *"Life"* part. The other two parts of the trilogy are *In Nature's Realm*, Op. 91 ("Nature") and *Othello*, Op. 93 ("Love").

The overture is scored for two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, tambourine, harp and strings.

This work does indeed depict the high-spirited tumult of a festive carnival setting; barkers and vendors, and boisterous crowds.

*Dvořák* said that the *Carnival Overture* was meant to depict *"a lonely, contemplative wanderer reaching at twilight a city where a festival is in full swing. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of the people giving vent to their feelings in songs and dances."* Dvorak evoked this scene with brilliant music given in the most rousing sonorities of the orchestra. Into the basic sonata plan of the piece, he inserted, at the beginning of the development section, a haunting and wistful paragraph led by the English horn (one of Dvorak's favorite instruments) and flute to portray, he said, _*"a pair of straying lovers,"*_ the wanderer apparently having found a companion. Following this tender, contrasting episode, the festive music returns and mounts to a spirited coda to conclude this evergreen Overture.

Here's * Jiří Bělohlávek* conducting the * BBC Symphony Chorus and the BBC Symphony Orchestra* at Royal Albert Hall, 8 September 2012

* Dvořák - Overture Carnival (Last Night of the Proms 2012)
*


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## pianozach

*#67 
Messiah
George Frideric Handel
1741*

*The Messiah* is one of the best-known and most frequently performed choral works in Western music.

Yep, this is where the *Hallelujah Chorus* is from (it appears as the triumphant ending of Part II).

Handel wrote *Messiah* for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified.

The entire work resembles an opera in many ways, although there are no "characters".

Handel's music for Messiah is distinguished from most of his other oratorios by an orchestral restraint, especially his limited use of trumpets throughout the work

And it's long. Incredibly long. So-o-o-o-o long.

It's in three parts, each with four to five "scenes", each of which have several distinct parts. All in all, there are over 50 separate sections (depending on how they're numbered).

Given that it performed by at least half of America's largest orchestras every holiday season (even though it's not really a Christmas piece), it might be interesting to note that at the time a lot of people thought it was blasphemous. Many critics objected to the idea of mixing the sacred and secular worlds where the same theater might host religious subject matter one day and suggestive comedy the next.

But only the first third of the work was about the birth of Jesus. The second act covers the death of Jesus and the third focused on his resurrection. As such, the piece was originally conceived as a work for *Easter* and was premiered in the spring during the *Lent* season.

And there is no "definitive" version: It's been tinkered with and re-orchestrated endlessly, starting with the composer himself.

*Leonard Bernstein* once raised eyebrows by *reordering* sections of *Messiah* for a Carnegie Hall performance. Not many conductors would have the confidence to tinker with the original intentions of a composer like *Handel*, but in reality his original intentions are hard to guess.

*Handel* rewrote parts of the oratorio to better meet the abilities of soloists and the available instruments with each of the original 13 performances. Historically, Messiah has continued to change with the ensembles that perform it. *Mozart* re-orchestrated Messiah in 1789 and gave it a more modern sound by Classical orchestra standards. He humbly wrote than any alterations he made should not be seen as an effort at improvement.

And even though *Handel* was German, he relocated to England early on, so Messiah is actually *in English*.

So . . . here's that *"Hallelujah Chorus"* that's so famous.

*This* version is unique in that it combines the 300+ Mormon Tabernacle Choir with a 2000+ virtual choir of people around the world.

*World's Largest Virtual #Hallelujah Chorus

*





.

*However* . . . the _*entire*_ *"Messiah"* takes over 2 hours, with performances clocking in between 2:15 and 2:45.

Here's *King's College, Cambridge Choir* conducted by *Stephen Cleobury*. Yes, the video is lo-def (one of the comments: _"Too bad this was filmed with a potato"_), but the audio is excellent. The natural reverb is minimal, so you can actually hear the lyrics . . . but you can credit the soloists for refraining from chewing up the text - their technique is excellent. Also, they made a real effort to utilize period instruments as well. And they kept their performance down to 2:15.

*♫ Handel "MESSIAH" | King's College, Cambridge Choir | BEST RECORDING
*


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## pianozach

*#68
Symphony No. 35 in D major, K. 385, aka, the Haffner Symphony
Wolfgang Amadeus Mozart
1782*

*I. Allegro con spirito
II. Andante
III. Menuetto
IV. Presto*

The "*Haffner*" opens with a unison leap of joy, a two-octave-spanning smile that sets the spirited Allegro in motion. *Mozart* wrote to his father Leopold that it _*"must be played with great fire."*_ The movement is dominated by the character of the opening theme-a kind of writing influenced by his friend Haydn and sometimes called "monothematicism." Mozart even foregoes the conventional repeat of the exposition; the commentator Michael Steinberg surmises this is because the movement's *"striking tautness" *and thematic concentration make that gesture unnecessary.

The G major Andante entertains with urbane pleasures, as if in spirited acknowledgement of Mozart's new public in the big city. The Minuet by contrast evokes the festive, unforced mirth of Mozart's music for public celebrations from the earlier Salzburg years. Mozart wanted the finale to be played "as fast as possible." You can hear a premonition of the boisterous Figaro music to come in just a few years. Here the ambitious young Mozart seems to celebrate not only his Salzburg friends of old but the liberating prospects of his new life in Vienna, where he was just beginning to make his mark.

Oh, and it's called the *Haffner Symphony* because it was commissioned by the Haffners from Salzburg, for the occasion of the ennoblement of Sigmund Haffner the Younger.

Here's a feisty live version by the *Swedish Chamber Orchestra*, conducted by *Nathalie Stuzmann*

*Mozart - Symphony No. 35 Haffner (complete/full) / Nathalie Stutzmann*


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## pianozach

*#69
Dance of the Seven Veils, from the opera Salome, Op. 54
Richard Strauss
1905*

Ah, lucky #69.

Strauss's seductive heroine, *Salome*, performs a strip tease at this point in the opera, dancing for King Herod so he will grant her wishes. More risque productions involve the singer slowly removing each of her seven veils one by one, ending the song naked on stage. More conservative productions may have a dancer stand in. Others merely hint at nakedness.

The libretto is Hedwig Lachmann's German translation of the French play Salome by *Oscar Wilde*, edited by the composer.

*Salome's Dance of the Seven Veils; Nausicaa Policicchio*





.

Perhaps I'll post the whole opera somewhere down the line . . . there's nothing quite like a soprano singing an aria to a severed head.


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## pianozach

*#70
Piano Trio No. 2 in E minor, for violin, cello and piano, Op. 67
Dmitri Dmitriyevich Shostakovich 
1944*

*1944*. Well, for classical music, that's actually pretty recent.

*Shostakovich*, one of the major composers of the 20th century, was a Russian composer and pianist.

His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; Shostakovich was also heavily influenced by the neo-classical style pioneered by Igor *Stravinsky*, and (especially in his symphonies) by the late Romanticism of Gustav *Mahler*. He was also heavily influenced by the brutal communist regime running the *USSR* at the time: He was born in 1906 in St. Petersburg, one year after the Revolution of 1905 began there, spreading rapidly into the provinces.

In 1914, after the outbreak of World War I, the Imperial government renamed St. Petersburg Petrograd, and in 1917, during the February Revolution, Nicholas II abdicated, ending the Russian monarchy.

In the winter of 1917, the Bolsheviks, led by Vladimir *Lenin*, stormed the Winter Palace in an event known thereafter as the October Revolution, which led to the end of the post-Tsarist provisional government, the transfer of all political power to the Soviets, and the rise of the Communist Party.

On 26 January 1924, five days after Lenin's death, Petrograd was renamed Leningrad.

In 1927 the *Soviet Union* was established.

In 1934 began the *Great Purge* (aka the Great Terror), where Stalin executed 40,000 or more (some estimates are as high as 1.2 million) a large-scale purge of the Communist Party and government officials, repression of wealthy landlords and the Red Army leadership, with widespread police surveillance, suspicion of saboteurs, counter-revolutionaries, imprisonment, and arbitrary executions, lasting through 1938 (Nevertheless, the practice of mass arrest and exile continued until Stalin's death in 1953.).

And in 1939 Germany and the USSR invaded Poland, dividing up the spoils, and the following year the USSR occupied and illegally annexed Lithuania, Latvia, and Estonia, and started mass deportations shortly after that. They also annexed a portion of Romania.

Everything changed in 1941 when Hitler abruptly broke the non-aggression pact and invaded the USSR.

Even before the Stalinist anti-Semitic campaigns in the late 1940s and early 1950s, Shostakovich showed an interest in Jewish themes. He was intrigued by Jewish music's "ability to build a jolly melody on sad intonations". The Fourth movement of this Piano Trio in E minor is an excellent example of him deliberately including Jewish themes.

This is a wartime work (the death camps of Majdanek and Treblinka had recently been discovered in the wake of the Nazis' retreat from the eastern front), and its macabre aspects surely evoke the extremes of joy and bitterness that must have been juxtaposed in daily life at such a time.

*World War II* resulted in enormous destruction of infrastructure and populations throughout Eurasia, from the Atlantic to the Pacific oceans, with almost no country left unscathed. The Soviet Union was especially devastated due to the mass destruction of the industrial base that it had built up in the 1930s. The USSR also experienced a major famine in 1946-48 due to war devastation that cost an estimated 1 to 1.5 million lives as well as secondary population losses due to reduced fertility.

Anyway, enough history.



*The trio* consists of four movements, with a complete performance running 25 to 27 minutes.

_*I. Andante 
II. Allegro con brio 
III. Largo
IV. Allegretto *_

The opening *Andante* is highly dissonant, and begins with an extremely difficult passage in the cello, using all harmonics. The rest of the movement continues with canonic material, but then develops into a sonata form, requiring incredible amounts of technical prowess from all three instruments.

The 2nd movement, an *Allegro con brio*, is a frenzied dance that never really settles down.

The slow movement, *Largo*, the violin and cello trade off dark, slow, and somber melodic lines against a repeated background of piano chords. It fades into the last movement with hardly a break.

The final movement, *Allegretto*, is often considered a _*"Dance of Death" (danse macabre)*_ movement; staccato repeated notes begin, which introduces a Jewish-style melody, and revisits the thematic content of the previous three movements. It ends in a tortured and almost inaudible E major chord.

So, here's the thing . . . this 4th movement really brings out emotions and passions in people you'd not expect. For instance here's part of an analysis by *Mimi Lee*, from a review for *B3LLA* back in 2012:

_The fourth movement begins when you hear the violin begin "plucking" a sinister (and recognizable) theme, which seems to represent a shifty-eyed, and untrustworthy sheister of a character. Although Shostakovich was not Jewish, it is in this work (and only this movement really) that he first uses Jewish folk music as the subject.

Now, how he got his point across regarding what was happening to the people of Russia (perhaps especially those that were Jewish) thus far in his life without using their folk music is beyond us.

However, seeing what he does in this movement when he actually casts the oppressed subject as the main character, may help us understand why he didn't use it in every piece. Suffice it to say, it is painful to witness.

For example, in one particularly powerfully gruesome scene it sounds as though this 'Jewish melody' is literally ripping the hair out of it's scalp, while music symbolizing dictator communism pounds mercilessly away in the background, faceless, heartless and lethal.

It is this blood-splattered section in particular that makes this trio without a doubt the most intense piece of music in our repertoire and perhaps in all of the chamber music repertoire ever written.

As the music finally subsides, accepting it's fate, the last words of the piece are given to that sadistic, sheister character that has antagonized this entire finale. It is perhaps a depressing way to leave the audience, but by giving the last laugh to the oppressive powers, Shostakovich seems to send a clear message:

Nobody won that war. We now look back on it in history, but we can only do so because we are here and alive; and with regard to each and every innocent life that was lost, and those who had to bury their loved one's body, it was really Stalin, Hitler and evil who won.

Shostakovich seems to be reminding us of that here- and painfully so... perhaps in desperate hope that we living in the future will never allow ourselves to become so near-sighted that we hand 'ignorance' and 'fear' the reigns of our world ever again._​
The first performance in 1944 was for a long time the last; almost at once it was forbidden to perform the Trio. Even now, seventy years after its completion, the work evokes tragedy and sorrow through artistic means. Just before the recapitulation in the last movement, there is a hint of the opening fugato, and the final hushed coda combines the passacaglia chords in the piano with broken statements of the movement's main theme in the violin and cello-and the rest is silence.

*If you only have time for one movement, listen to the last. It starts at 18:07
*

*Dmitri Shostakovich Piano Trio No. 2 in E minor, Op. 67*


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## pianozach

*A Complete Introduction to Fugues
*
While it's a complex subject, this little video manages to pack a lot of material in a short time.

For those unfamiliar with the subject matter, it may require a second viewing.


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## pianozach

*#71
String Quartet in G, Op. 10
Claude Debussy
1893*

*Debussy* wrote only one string quartet.

The work is in four movements:

*I. Animé et très décidé
II. Assez vif et bien rythmé
III. Andantino, doucement expressif
IV. Très modéré - En animant peu à peu - Très mouvementé et avec passion*

In fact, this is Debussy's first important work. Additionally, it's the only work to which he attached a key designation or Opus number



Kai Christiansen said:


> _"Outwardly, the quartet assumes the mold of a traditional string quartet comprising four movements: a first movement sonata, a rhythmic scherzo, a slow, lyrical movement and an energetic finale. But within this unremarkable template, the music sounds completely new. Debussy expanded the sound of the string quartet with a variety of novel textures and tonal effects ranging from delicate subtlety to ravishing grandeur. With exotic scales, unconventional chords, progressions and key changes, the music features melodies and harmonies unique for their time. Especially striking is the quartet's rhythmic vitality, spontaneous agility and poetic subtlety. With swiftly changing tempi, a wealth of dazzling figurations, cross-rhythms and the special shimmering or hovering pulsations typical of his music, Debussy captures a nuanced experience of time. With the benefit of hindsight, it is easy to see many elements of Debussy's signature style within this early work.
> 
> "Debussy's quartet is equally fascinating for its cyclic design. Cesar Franck based several of his compositions on a cyclic principle where a signature musical theme recurs in every movement. Earlier, Hector Berlioz featured his idee fixe, a signal leitmotif in every movement of the Symphonie fantastique. Debussy applied the same concept: the opening theme of his quartet recurs in all four movements. But unlike earlier designs where the theme appears, essentially unchanged, within each movement as an isolated, nearly extraneous element, Debussy uses his theme to generate the majority of the quartet's intrinsic music. Using ingenious transformations of melody, harmony, texture and rhythm, Debussy creates a diversity of music that clearly derives from the initial theme. The first and second movements together contain at least seven variations. The last movement supplies its own new variations as well as a cyclic reprisal of the previous movements in reverse order, leading the quartet right back to the beginning. That such an apparently rigid thematic unity is unobtrusively disguised within a rich variety of music is testament to Debussy's fertile imagination and his remarkable skill as a composer.
> 
> "Initial reactions to his quartet ranged from praise, to bewilderment and scorn including such wonderfully revealing sneers as "orgies of modulation" and "rotten with talent". Debussy shortly set to work on another quartet, but abandoned the project, turning instead to the orchestra, a more potent vehicle for his visionary music. Debussy wrote very little additional chamber music, returning to the genre only at the end of his life to complete three of six planned sonatas. It is amazing to consider the many first rate composers who labored over numerous string quartets, destroyed early works or cautiously approached the genre for the first time as mature artists, while Debussy, merely thirty-one, wrote a single quartet, a brilliant work of stunning originality, now a masterwork secure in the chamber music repertory."
> 
> *© Kai Christiansen; earsense.org*_


*Kai Christiansen* is a musicologist, multi-instrumentalist, radio host, writer, lecturer and general chamber music fanatic. Kai has been a professional software engineer for over 25 years working as a web developer, programmer, teacher and writer for some of the most progressive companies including NeXT and Apple. *earsense* represents the fusion of two worlds-musicology and web technology-that combine to create a unique educational, reference, artistic and experiential resource. earsense is a music appreciation portal first launched in 1997. It continues to occupy the majority of Kai's technical and creative endeavors like tending a garden each day until it bears fruit and flowers, becoming a giant forest. Mr. Christiansen will no doubt spend the rest of his life gardening. https://www.earsense.org/about/ 
​
Choosing a video link was more difficult than usual.

I look for excellent sound quality, video technique and quality, but, in this case, I chose to take into account the actual *affect* of the players; that is, whether there is a sense of passion on their faces and in their body movements. Dead eyes on the players' faces can spoil it, as we all tend to listen with our eyes, perhaps even more so than with our ears. For some quartets, the playing is technically superb, but it is dry of emotion. Their faces show nothing.

I passed up one quartet's performance for this reason, even though they played STANDING UP, which is fairly unique.

So here's the *Quatuor Cavatine* 
11th Banff International String Quartet Competition

*01:06 Animé et très decide
08:00 Assez vif et bien rythmé
12:21 Andantino, doucement expressif
20:42 Très modéré -- Très mouvementé et avec passion*

*BISQC 2013 - Quatuor Cavatine - Claude Debussy Quartet in G minor*


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## pianozach

*#72
Appalachian Spring
Aaron Copland 
1944*

And just like *Shostakovich's Piano Trio*, *Appalachian Spring* by *Aaron Copland* was also produced in 1944.

So *Appalachian Spring* exists as both an orchestral suite (1945) *and* in its original incarnation as a ballet, commissioned in 1942.

The original scoring called for a chamber ensemble of thirteen instruments. The orchestral suite for symphony orchestra was made by the composer in the Spring of 1945. It is a condensed version of the ballet, retaining all essential features but omitting those sections in which the interest is primarily choreographic.

Copland was awarded the 1945 Pulitzer Prize for Music for his achievement.

The orchestral suite is divided into eight sections. Copland describes each scene thus:

*1. Very slowly. Introduction of the characters, one by one, in a suffused light.
2. Fast/Allegro. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
3. Moderate/Moderato. Duo for the Bride and her Intended - scene of tenderness and passion.
4. Quite fast. The Revivalist and his flock. Folksy feeling - suggestions of square dances and country fiddlers.
5. Still faster/Subito Allegro. Solo dance of the Bride - presentiment of motherhood. Extremes of joy and fear and wonder.
6. Very slowly (as at first). Transition scene to music reminiscent of the introduction.
7. Calm and flowing/Doppio Movimento. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title "The Gift to Be Simple." The melody borrowed and used almost literally is called "Simple Gifts."
8. Moderate. Coda/Moderato - Coda. The Bride takes her place among her neighbors. At the end the couple are left "quiet and strong in their new house." Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.*

But in a larger sense, *Appalachian Spring* captures the essence of an ideal America, one of open fields and endless possibilities.

*Aaron Copland: Appalachian Spring - orchestral suite (1945)
*


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## pianozach

*#73
Miroirs, No. 5 "La vallee des cloches" ("The Valley of Bells")
Maurice Ravel (1875 - 1937)
1904-1905*

So here's something a bit different. "*Mirrors*" is a 5 movement suite for solo piano, with each movement dedicated to a different member of the French avant-garde artist group *Les Apaches*. This movement, the last of of the five, was dedicated to Maurice Delage, a French composer/pianist.

Ravel also orchestrated the 3rd and 4th movements, and others have completed orchestrations of the others.

This movement evokes the sounds of various bells through its use of sonorous harmonies.

Here's a recording of *Maurice Ravel* himself playing *La vallee des cloches*.

And how is it we have such a 'clean' recording by a composer who died in 1937?

*Piano rolls!*

*Maurice Ravel plays La vallée des cloches from Miroirs*






.

In contrast, here's an orchestrated version of the same piece arranged by *Percy Grainger* (a typical Grainger ensemble with multiple pianos and percussion, plus strings) by *Yakov Kreizberg* conducting the *Netherlands Philharmonic Orchestra Amsterdam*.

All paintings (except the first) are made by French post-Impressionist artist *Paul Gauguin* (1848-1903).

*Maurice Ravel - La vallee des cloches (orchestral version)
*


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## pianozach

*#74 
String Quartet in F
Maurice Ravel
1903*

What - more *Ravel*?

Well, *Ravel* composed only one string quartet

*I. Allegro moderato - tres doux
II. Assez vif - tres rythme
III. Tres lent
IV. Vif et agite*

Ravel dedicated it to his teacher, *Gabriel Faure*.

And while it may seem tame, even quaint, back in 1905 it created quite the controversy for its disruptive nature and revolutionary impressionism. The quartet was rejected by both the Prix de Rome (four times) and the Conservatoire de Paris, a harsh condemnation from the ruling musical establishment. In fact, _the conservatory expelled him_. Even Faure thought it was _*"a failure"*_. It transcended the established rules of harmony and form, drawing on jazz and Asian Gamelan influences.

At least *Debussy* recognized the value of Ravel's palette, writing to him, _*"In the name of the gods of music and in my own, do not touch a single note you have written in your Quartet."*_

Here's the *Sacconi Quartet* performing live in 2015.

*If you have time for only one movement, I suggest the 4th, which starts at 24:38.* But, this quartet is best swallowed whole, as there is a great deal of unity within the movements to be enjoyed.

*Maurice Ravel: String Quartet in F major*


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## pianozach

*#75
1/3
Well-Tempered Clavier
JS Bach
1722*

*"Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like to be human. Bach tells you what it's like to be the universe."*
― *Douglas Adams*

The *Well-tempered Clavier* consists of two collections (Books I & II) of *Preludes and Fugues*, each book going through all _*"tones and semitones"*_, thus climbing the 12 semitones from C to B, and presenting a set of a prelude and a fugue for each tone in both major and minor key, making it 24 sets per book, and in total "the 48".

From all the works written in the Baroque era, no other work has been so well-cherished, frequently performed and thoroughly studied than this work of Bach's.

I've performed several of them from Book 1.

So, to listen to both books would take well over 4 hours. And it's worth it. But who has that kind of time these days?

So here I am again . . . selections, or the entire shebang?

Well, fine; Let's start with some of my favorites from *Book 1* (I've performed most of these):

*Prelude and Fugue #1 in C major*
The Prelude is perhaps the best known of the entire set, probably because it was later reworked by *Charles Gounod* into a rather popular *Ave Maria* in 1853.

*Tzvi Erez plays Bach: Prelude 1 in C Major BWV 846 from the Well-Tempered Clavier*






*Bach, Fugue in C major, WTC I, BWV 846*






.

*Prelude and Fugue #2 in C minor*

*J.S. Bach - Prelude & Fugue BWV 847 in c minor by Nathalie Matthys*






.


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## pianozach

*#75
2/3
Well-Tempered Clavier
JS Bach
1722*

*Prelude and Fugue #3 in C# major*

*Natalie Schwamova*

*J.S. Bach Prelude and Fugue No. 3 BWV 848*






.

*Prelude and Fugue #5 in D major*, 

*Kenneth Gilbert*, Harpsichord

*J. S. Bach - Prelude and Fugue n.5 in D Major BWV 850 (WTC I)*






.

*Prelude and Fugue #6 in D minor*

If you're a fan of *Emerson, Lake and Palmer*, you'll recognize this one, as Keith Emerson appropriated the beginning of the _*Prelude*_ for a bridge in *The Only Way* on Side Two of the LP *Tarkus*.

*Nakyung Rhim*

*J. Bach - Prelude and Fugue in D minor, BWV 851*






To be honest, I've almost always heard this Prelude played faster than this. Much faster. But all of these Preludes and Fugues seem to work regardless of the speed they're taken.

Here's the legendary pianist *Glenn Gould*'s interpretation. Fasten your seat belt.


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## pianozach

Here's Emerson using the *D minor Prelude* as a bridge in a larger piece they titled *The Only Way (Hymn)/Infinite Space*

The _*Prelude*_ starts at 2:23.

You might also recognize Bach's *Toccata and Fugue in F major, BWV 540*, which he uses to start the piece.


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## pianozach

*#75
3/3
Well-Tempered Clavier, Book I
JS Bach
1722*

*Prelude and Fugue #11 in F major*

*Bach - Prelude & Fugue in F Major, WTK I, BWV 856 - Diego Alonso, piano
*





.

*Prelude and Fugue #15 in G major*

*Bach Prelude and Fugue No. 15 in G Major, BWV 860*






,

*Prelude and Fugue #21 in Bb major*

*JS. Bach, Prelude and Fugue No. 21 in B flat major BWV 866 (WTC I).*


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## pianozach

*#76
Sonata No. 28 in A major, Op. 101
Ludwig van Beethoven 
1816*

This *sonata* marks the beginning of what is generally regarded as* Beethoven*'s final period, where the forms are more complex, ideas more wide-ranging, textures more polyphonic, and the treatment of the themes and motifs even more sophisticated than before. Op. 101 well exemplified this new style, and Beethoven exploits the newly expanded keyboard compass of the day.

This piano sonata consists of four movements:

*I. Etwas lebhaft, und mit der innigsten Empfindung* (Somewhat lively, and with innermost sensibility). _*Allegretto, ma non troppo*_
*II. Lebhaft, marschmäßig* (Lively, march-like). *Vivace alla marcia*
*III. Langsam und sehnsuchtsvoll* (Slow and longingly). *Adagio, ma non troppo, con affetto*
*IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit* (Swiftly, but not overly, and with determination). *Allegro*

Here's *Daniel Barenboim* at the piano. He's the current general music director of the Berlin State Opera and the Staatskapelle Berlin, Barenboim previously served as Music Director of the Chicago Symphony Orchestra, the Orchestre de Paris and La Scala in Milan.

*Beethoven Sonata N° 28 Daniel Barenboim*


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## pianozach

*#77
String Quintet in C major (D. 956, Op. posth. 163) 
Franz Schubert
1828*

This is *Schubert*'s final chamber work. It's basically a string quartet with an extra cello.

It has been praised as "sublime" and as possessing "bottomless pathos," and is generally regarded as Schubert's finest chamber work as well as *one of the greatest compositions in all chamber music*.

Sadly, this wasn't performed until 1850, as his publisher at the time did not take him seriously as a composer of chamber works (even though he'd already written 15 string quartets). At the time he was thought of more as a composer of vocal works and piano music.

The *2nd movement* has been used in several films and television shows.

Here are two performances.

The first is performed by *The Afiara Quartet* with *Joel Krosnick* in 2012. This is especially nice as the guest cellist Krosnick gives a wonderful introduction (lasting about 8 minutes) from a well educated perspective (the beginning of the piece is at 8:19_). His words may help increase your appreciation and understanding of this quintet, particularly the *second movement*._

*Schubert's String Quintet in C Major, performed by The Afiara Quartet with Joel Krosnick*






.

I also like this very high quality stereo performance by the *Emerson Quartet* with guest cellist *David Finckel* in 2018.

Sometimes it is difficult to choose. So you get two. Which quartet gives a better performance?

*Emerson Quartet & cellist David Finckel: Schubert's String Quintet in C, D. 956, Op.Posth 163
*


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## pianozach

*#78
Vltava from Ma vlast
Bedrich Smetana
1874*

*Bedrich Smetana* composed *Ma vlast ("My Homeland")*, a set of six symphonic poems, between 1874 and 1879.

The six pieces were conceived as individual works.

Except for *Vltava* (sometimes referred to as *The Moldau*), which seems to be the most popular of the six. It's seen a few recordings as a stand-alone work.

In this piece, *Smetana* uses tone painting to evoke the sounds of one of *Bohemia*'s great rivers. In his own words:

_"The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer's wedding is celebrated, the round dance of the mermaids in the night's moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John's Rapids; then it widens and flows toward Prague, past the Vysehrad, and then majestically vanishes into the distance, ending at the Labe (or Elbe)."_ _(*Smetena*, in a letter to *Franz Liszt*)_

The Cold and Warm Vltava, the sources of the Vltava River, are in the mountains of the Bohemian Forest.

*Vltava* contains Smetana's most famous tune, an adaptation of the melody *La Mantovana*, attributed to the Italian renaissance tenor, *Giuseppe Cenci*, which, in a borrowed Romanian form, was also the basis for the Israeli national anthem, *Hatikvah*. The tune also appears in an old Czech folk song, *Kocka leze dirou ("The Cat Crawls Through the Hole")*; *Hanns Eisler* used it for his *"Song of the Moldau"*; and *Stan Getz* performed it as _*"Dear old Stockholm"*_ (probably through another derivative of the original tune, *"Ack Varmeland du skona"*).

.

*Smetana: Vltava (The Moldau) - Stunning Performance*
*Gimnazija Kranj Symphony Orchestra*, conducted by *Nejc Bečan*. 2015.






.

Of course, the six pieces are also often presented as an entire collection, usually lasting around 90 minutes. If you liked Vltava, you'll likely enjoy the whole set as well.

*NDR Sinfonieorchester Hamburg,
Thomas Hengelbrock

Bedřich Smetana: Má vlast / My Country - Prague Spring 2015 Opening Concert
*


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## pianozach

*#79
Requiem (Messa da Requiem)
Giuseppi Verdi
1874*

Like *Smetana's Vitava*, *Verdi*'s *Requiem, a musical setting of the Catholic funeral mass for four soloists, double choir and orchestra,* was also composed in 1874.

Throughout the work, *Verdi* uses athletic rhythms, gorgeous melodies, and dramatic contrasts (much as he did in his operas) to express the powerful emotions in the text. The terrifying (and instantly recognizable) _*Dies irae*_ that introduces the traditional sequence of the Latin funeral rite is repeated throughout. Trumpets surround the stage to produce a call to judgement in the *Tuba mirum*, and the almost oppressive atmosphere of the *Rex tremendæ* creates a sense of unworthiness before the King of Tremendous Majesty. Still, the well-known tenor solo *Ingemisco* radiates hope for the sinner who asks for the Lord's mercy.

The _*Sanctus*_ (a complicated eight-part fugue scored for double chorus) begins with a brassy fanfare to announce him _"who comes in the name of the Lord"_. Finally the *Libera me*, the oldest music by Verdi in the Requiem, interrupts. Here the soprano cries out, begging, _"Deliver me, Lord, from eternal death ... when you will come to judge the world by fire."_

When the *Requiem* was composed, female singers were not permitted to perform in Catholic Church rituals (such as a requiem mass). However, from the beginning Verdi intended to use female singers in the work. In his open letter proposing the Requiem project (when it was still conceived as a multi-author Requiem for Rossini), Verdi wrote: _"If I were in the good graces of the Holy Father-Pope Pius IX-I would beg him to permit-if only for this one time-that women take part in the performance of this music; but since I am not, it will fall to someone else better suited to obtain this decree."_ In the event, when Verdi composed the Requiem alone, two of the four soloists were sopranos, and the chorus included female voices. This may have slowed the work's acceptance in Italy.

At the time of its premiere, the *Requiem* was criticized by some as being too operatic in style for the religious subject matter. According to Gundula Kreuzer, _"Most critics did perceive a schism between the religious text (with all its musical implications) and Verdi's setting."_ Some viewed it negatively as _"an opera in ecclesiastical robes,"_ or alternatively, as a religious work, but one in _"dubious musical costume."_ While the majority of critics agreed that the music was _"dramatic,"_ some felt that such treatment of the text was appropriate, or at least permissible. The critical consensus agreed that the work displayed _"fluent invention, beautiful sound effects and charming vocal writing."_ Critics were divided between praise and condemnation with respect to Verdi's willingness to break standard compositional rules for musical effect, such as his use of consecutive fifths.

1. *Introit and Kyrie* (chorus, soloists)
2. *Dies irae*
..._*Dies irae*_ (chorus)
...*Tuba mirum* (chorus)
...*Mors stupebit* (bass)
...*Liber scriptus* (mezzo-soprano, chorus - chorus only in original version)
...*Quid sum miser* (soprano, mezzo-soprano, tenor)
...*Rex tremendae* (soloists, chorus)
...*Recordare* (soprano, mezzo-soprano)
...*Ingemisco* (tenor)
...*Confutatis Maledictis* (bass, chorus)
...*Lacrymosa* (soloists, chorus)
3. *Offertory*
..._*Domine Jesu Christe*_ (soloists)
...*Hostias* (soloists)
4. *Sanctus* (double chorus)
5. *Agnus Dei* (soprano, mezzo-soprano, chorus)
6. *Lux æterna* (mezzo-soprano, tenor, bass)
7. *Libera me* (soprano, chorus)
...*Libera me*
...*Dies irae*
...*Requiem æternam*
...*Libera me*

*Marin Alsop* leads the *Orchestra of the Age of Enlightenment* and the *Proms Youth Choir*. Featuring soprano Tamara Wilson, mezzo-soprano Alisa Kolosolva, tenor Dimitri Pittas, and bass Morris Robinson. Recorded live at the Royal Albert Hall on September 9th 2016

The *Dies irae* starts about 8:20 and lasts a little over 20 minutes. So, sure, you can skip to it if you like.

*Proms 2016 - Verdi - Requiem [Marin Alsop, Orchestra of the Age of Enlightenment]
*


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## pianozach

*#80
Music for 18 Musicians
Steve Reich
1976*

*I do believe this is the first work on this list composed later than 1950*. I find it's pretty hard to assess recent music . . .

*Music for 18 Musicians* is a work of musical *minimalism* composed by *Steve Reich* during 1974-1976. Its world premiere was on April 24, 1976, at The Town Hall in New York City.

It's important to note that Reich scores this *"Music"* not for 18 instruments, but for 18 musicians. Many of the parts require doubling, where a musician is required to play more than one instrument during the performance.

Reviewing the 1978 LP in Christgau's Record Guide: *Rock Albums of the Seventies* (1981), Robert Christgau wrote of *Music for 18 Musicians*: *"In which pulsing modules of high-register acoustic sound-the ensemble comprises violin, cello, clarinet, piano, marimbas, xylophone, metallophone, and women's voices-evolve harmonically toward themselves. Very mathematical, yet also very, well, organic-the duration of particular note-pulses is determined by the natural breath rhythms of the musicians-this sounds great in the evening near the sea. I find it uplifting at best, calming at normal, and Muzaky at worst, but as a rock and roller I often get off on repetitions that drive other people crazy."*

In 2003, *David Bowie* included it in a list of 25 of his favorite albums, *"Confessions of a Vinyl Junkie"*, calling it *"Balinese gamelan music cross-dressing as minimalism."*

The piece is based on a cycle of eleven chords. A small piece of music is based on each chord, and the piece returns to the original cycle at the end. The sections are named *"Pulses"*, numbered *I-XI*. This was *Reich*'s first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of "psycho-acoustic" effects, which fascinated Reich, and he noted that he would like to "explore this idea further". A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. The player plays the pulsing note for as long as he can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held. The *metallophone* (an unplugged vibraphone), is used to cue the ensemble to change patterns or sections.

Some sections of the piece have a chiastic ABCDCBA structure (that is, sections repeated in reverse order), and *Reich* noted that this one work contained more harmonic movement in the first five minutes than any other work he had previously written.

*Steve Reich, "Music for 18 Musicians" - FULL PERFORMANCE with eighth blackbird*


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## pianozach

*#81
 Gesang der Jünglinge (Gesang der Jünglinge im Feuerofen -- Song of the Youths in the Furnace)
Karlheinz Stockhausen
1956*

Often referred to as the first masterpiece of *electronic music*, it's significant in that it seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. In this way, for the first time ever it successfully brought together the two opposing worlds of the purely electronically generated German *elektronische Musik* and the French *musique concrete*, which transforms recordings of acoustical events.

Needless to say, the derivations of all aspects of the piece are long and well detailed, and if you like this sort of stuff you can find it here: http://stockhausenspace.blogspot.com/2015/01/opus-8-gesang-der-junglinge.html . Oddly enough, it's all actually pretty fascinating.

The text of *Gesang der Junglinge* is from a Biblical story in The Book of Daniel where *Nebuchadnezzar* throws *Shadrach, Meshach, and Abednego* into a fiery furnace but miraculously they are unharmed and begin to sing praises to God. This text is presented in a carefully devised scale of seven degrees of altered comprehensibility.

This is also the music that inspired *Paul McCartney* to begin experimenting with tape loops, first used by the *Beatles* on _*Tomorrow Never Knows *_on their Revolver LP. Eventually John and George jumped onboard the electronic music craze, with *George Harrison* actually releasing an entire album of synthesized sounds, *Electronic Sound*, in May 1969.

Now, I'm well aware that this sort of music is not everyone's cup of tea, but it's here in all its unsettling glory. Enjoy. It's thirteen minutes long; well, actually, 13 minutes and 14 seconds long.

Then you can roll tape on *Revolution No. 9* if you like.

Oh, here's the technical crap on this:

There are three basic types of material used:

_*1) electronically generated sine tones, 
2) electronically generated pulses (clicks), and 
3) filtered white noise. *_
4) the recorded voice of a *boy soprano*, which incorporates: harmonic spectra of vowels,; fricatives and sibilants; and plosives.

Whether you enjoy it or not, it certainly ripped the envelope of acceptable music wide open.

*Karlheinz Stockhausen: Gesang der Jünglinge (1955/1956)*






.

And, of course, for comparison's sake, and as a measure of the work's influence on even popular musicians, here is The Beatles and their track Revolution No. 9, which can be found on their album The Beatles (aka The White Album).


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## pianozach

*#82 
Symphony No 2 in C minor"Resurrection"
Gustav Mahler
1895*

OK . . . let's revisit the word _*"epic"*_, shall we?

The *Resurrection Symphony* is an all-embracing work, the first of the Austrian composer's symphonies to make use of voices and words as well as the orchestra, and the piece that set *Mahler* decisively on the path toward the grandly scaled, high individualist and confessional style of symphony that was to become his legacy.

*Symphony No. 2* is the work with which *Mahler* answered the metaphysical challenge of *Beethoven's Ninth*. There are a lot of similarities; the turbulent beginning, the vast exploration of musical territory in the middle of the work and a triumphant conclusion. In the final movement, all 38 minutes of it, the ramparts are being climbed and the noise and confusion of battle surround you. Using off-stage instruments to explode the musical space was one of Mahler's favorite devices, and trumpets sound from different sides of the stage in this movement. He engulfs the listener in something beyond the reaches of the concert hall.

And Mahler was keen to emphasize life and death in all its terrifying, mortally buttock-clenching splendor.

Anyway, it's scored for a pretty large orchestra.

The following program was written by *Mahler* for a performance of his 2nd symphony that took place in Dresden 1901.

First Movement: *Allegro maestoso*
"We are standing near the grave of a well loved man. His whole life, his struggles, his sufferings and his accomplishments on earth pass before us. And now, in this solemn and deeply stirring moment, when the confusion and distractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills our heart, a voice that, blinded by the mirage of everyday life, we usually ignore: "What next?" it says. "What is life and what is death? Will we live on eternally? Is it all an empty dream or do our life and death have a meaning?" And we must answer this question, if we are to go on living. The next three movements are conceived as intermezzi.

Second Movement: *Andante*
"A blissful moment in the dear departed's life and a sad recollection of his youth and lost innocence."

Third Movement: *Scherzo*
A spirit of disbelief and negation has seized him. He is bewildered by the bustle of appearances and he loses his perception of childhood and the profound strength that love alone can give. He despairs both of himself and of God. The world and life begin to seem unreal. Utter disgust for every form of existence and evolution seizes him in an iron grasp, torments him until he utters a cry of despair.

Fourth Movement: Alto solo. *'Urlicht' (Primeval Light)* - from the Knaben Wunderhorn
The stirring words of simple faith sound in his ears: "I come from God and I will return to God!"

Fifth Movement: *Aufersteh'n*
Once more we must confront terrifying questions, and the atmosphere is the same as at the end of the third movement. The voice of the Caller is heard. The end of every living thing has come, the last judgment is at hand and the horror of the day of days has come upon us. The earth trembles, the graves burst open, the dead arise and march forth in endless procession. The great and the small of this earth, the kings and the beggars, the just and the godless all press forward. The cry for mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us, all consciousness dies as the Eternal Judge approaches. The last trump sounds; the trumpets of the Apocalypse ring out. In the eerie silence that follows, we can just barely make out a distant nightingale, a last tremulous echo of earthly life. The gentle sound of a chorus of saints and heavenly hosts is then heard: "Rise again, yes, rise again thou wilt!" Then God in all His glory comes into sight. A wondrous light strikes us to the heart. All is quiet and blissful. Lo and behold: there is no judgment, no sinners, no just men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence."​
Here's the legendary *Leonard Bernstein* conducting the *London Symphony Orchestra*. Notice that at no time do his hands leave his arms. Notice also that he does not have the music in front of him.

Oh, and if you want to dispense with waiting through the entrance and applause, it starts at 1:30.

* Mahler - Symphony No. 2 "Resurrection" (Bernstein, VPO) FULL VIDEO*


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## Clloydster

I'm nowhere near to being caught up with you, but am enjoying this immensely. I'm learning a lot, as well. Stravinsky was surprising to me in how much I enjoyed it - I had heard the Firebird and Rites of Spring before in the Fantasia movies, but they didn't make much of a lasting impression on me. But going and listening to them, I found they were great, while not fitting in with my normal preferred repertoire. With the rate you are adding, though, I wonder if I'll ever be caught up!


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## pianozach

Clloydster said:


> I'm nowhere near to being caught up with you, but am enjoying this immensely. I'm learning a lot, as well. Stravinsky was surprising to me in how much I enjoyed it - I had heard the Firebird and Rites of Spring before in the Fantasia movies, but they didn't make much of a lasting impression on me. But going and listening to them, I found they were great, while not fitting in with my normal preferred repertoire. With the rate you are adding, though, I wonder if I'll ever be caught up!


I've been attempting to post almost daily, but eventually that will slow down.

Glad you're enjoying my take on 'must hear' Classical works.

I'm assuming that not ALL of the works will be well loved by all. For instance, the *Stockhausen* and *Reich* are difficult listens for me, but I'd be remiss to not include them in a music appreciation thread like this.


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## pianozach

*#83
Symphony No. 36 in C major (aka The "Linz Symphony"), K. 425
WA Mozart
1783*

*Written in four days* by *Mozart* during a stopover in the Austrian town of *Linz* on his and his wife Contanza's way back home to Vienna from Salzburg in late 1783 (although not premiered until 1784).

*"On Tuesday, November 4th, I an giving a concert in the theatre here and, as I have not a single symphony with me, I am writing a new one at breakneck speed, which must be finished by that time."*

When you hear this piece you would never guess that it was written in that kind of haste. It takes its time - with a leisurely and laid back opening, unusual for Mozart. Mozart was always looking for every work he produced to have some sort of novelty, a "hook" if you will, and in this symphony he came up with a new idea of scoring brass and percussion in the slow movement.

*I. Adagio, Allegro Spiritoso
II. Andante
III. Menuetto
IV. Finale (Presto)*

The _*Adagio*_ introduction to the first movement had become popular with symphonies of Haydn, but Mozart interprets this convention freely, cramming in three contrasts of emotion in a short amount of time. The dotted rhythms and the presence of the timpani at the opening might signal a French-style overture, a noble sound, but the triple meter doesn't fit the type and the bass line wanders through some chromatic harmonies. This music often sounds more like an improvised fantasia, a style by then decades out of date. The violins finally enter with a lyric melody over a pulsing background in the low strings. He follows this up with some darkly shaded solos from the oboe and bassoon, while the urgency of the throbbing accompaniment increases, as if something fateful is about to occur. And . . . it doesn't; The brisk, straightforward march that follows is a surprise, despite the fact that it should have been predictable. The introduction must always yield to an Allegro, but the character was not what we were led to expect. Mozart continues by playing with the standard sonata form as well. The march persists through the transition to what ought to be a singing second theme, as we keep waiting for the lyrical turn that never arrives. Instead, we receive a *gavotte* that, with its forte punctuation from the oboes and violins (oboes in the eighteenth century definitely being instruments for the outdoors), matches the energy level of the march. The gavotte, a dance from Brittany, popularized in French courts of the seventeenth century, involves crossing feet, hopping, and jumping-far from the graceful cantabile of most second themes. In this movement, Mozart mixes the esoteric fantasia with more recent trends, like the slow introduction, and overturns the standard sonata form with an unexpected gavotte.

And this is one of the reasons I love Mozart: Even though he knows how a symphony should be written, he's a real smart *** in the way he can captivate and surprise his audience.

The oddities continue in the _*Andante con moto*_ second movement The orchestration for full wind band (oboes, horns, and trumpets) in addition to the strings makes for an unusually heavy Andante, with unexpected fatalistic interjections from horns and timpani. The mood is dark, although there are fleeting major key passages interspersed, like rays of light through shadows.

The *Minuetto* (or Minuet) is courtly, and the trio contrasts with a certain rustic feel.

The brilliant *Presto* finale, in direct contrast with to the first three movements, has contrapuntal passages.

Here's the great *Carlos Kleiber* conducting the *Vienna Philharmonic*. The orchestra size is far greater than the original version scored for only 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, yet Kleiber does a great job keeping the intimate moments tender while making the more exciting passages evolve into something quite epic.

I particularly enjoyed this particular comment to this video:

_"Kleiber is asking every orchestra member to feel the inner rhythm of every phrase. Look at him at the opening of the finale. There is no "time beating" here. He demands that all members feel the inner strength and elasticity of the sublime music. If you look carefully, you can almost see which ones "get it"--and there is joy in their eyes. Kleiber invites them to all share his vision. The fact that this was, in all probability, impossible was his great cross to bear. But we are fortunate to hear what, to me, is the closest thing to musical perfection ever to come out of an orchestra. Simply a joy._"_ (maxreger100).

_After his entrance, Kleiber begins the piece 1:00 into the video._

* Mozart Symphony No 36 in C major KV 425 "Linz"
*


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## pianozach

*#84
Requiem
Gyogy Ligeti
1965*

The *Requiem* by the Hungarian composer *Gyorgy Ligeti* is a large-scale choral and orchestral composition, composed between 1963 and 1965.

The work lasts for just under half an hour, and is in four movements:

*Introitus*, a gradual unbroken plane of sound moving from _"mourning into the promise of eternal light"_; 
*Kyrie*, a complex polyphonic movement reaching a fortissimo climax; 
*Dies Irae*, which uses vocal and orchestral extremes in theatrical gestures; and 
the closing *Lacrimosa*, for soloists and orchestra only, which returns to the subdued atmosphere of the opening.

*- Wikipedia*​
*Ligeti's Requiem* achieved almost instant fame (for a modern classical work) from its use by Stanley Kubrick in his 1968 film *2001: A Space Odyssey*, although the soundtrack only uses the climax of the Kyrie section.

Ligeti was born in Transylvania to a Hungarian and Jewish family, and was sent to a forced labor camp in 1944. Ligeti's teenaged brother perished in the Mauthausen concentration camp and both of his parents were sent to Auschwitz. Only he and his mother survived.

Some in depth details, from author *Byron Adams*: *"One dimension of my music bears the imprint of a long time spent in the shadow of death."*

For some firsthand indepth analysis of the work, here's a link to a blog article by *David Gary*, a bass in the Seattle Symphony Chorale, which performed the Requiem several years ago: https://www.secondinversion.org/2017...getis-requiem/

Reviewer *Tom Service* wrote in 2012 *". . . listen to the Kyrie of the Requiem for one of the darkest visions of musical terror ever imagined . . . "*

The first video below is for those that would prefer some training wheels to help with their first listen to some *Ligeti*. Honest, it's not for the faint of heart. If you're constitutionally hardier, you are free to skip ahead to the full live version at the bottom.

In fact, while I can appreciate what it is, I do not claim to fully understand music of this sort. Hence the generous helping of quotes from others to give an inkling as to its influence.

So, if you're up for it, here's some excerpts from the *Kyrie* and *Dies Irae*, with stills from *2001: A Space Odyssey*, recorded by the *Chor des Bayerischen Rundfunks* and the *Sinfonie-Orchester des Hessischen Rundfunks Frankfurt* under the direction of *Michael Gielen*.

*Gy. Ligeti -- Requiem*






.

*However*, *if you're a bit more brave than the average adventurer, here's the whole thing. 
*
Make note of the oversized score . . . there's some 20-part polyphony in some of it . . . and that's what it takes to have it printed out.

Here's your disclaimer: Once you've heard this, you may have the urge to pick up a bone and use it as a weapon. No seriously, there's quite a bit of heaven AND hell, hope and desperation, love and fear in this work.

And don't ask me to open the pod bay doors. I'm sorry Dave. I'm afraid I can't do that.

But, please, feel free to comment on this rather recent work.


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## pianozach

*#85
Variations on an Original Theme, Op. 36 ("Enigma Variations")
Edward Elgar
1899*

The *Enigma Variations* is an orchestral work comprising fourteen variations on an original theme.

In a programme note for a performance in 1911 Elgar wrote:

*"This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. The sketches are not 'portraits' but each variation contains a distinct idea founded on some particular personality or perhaps on some incident known only to two people. This is the basis of the composition, but the work may be listened to as a 'piece of music' apart from any extraneous consideration."*

The theme is followed by 14 variations. The variations spring from the theme's melodic, harmonic and rhythmic elements, and the extended fourteenth variation forms a grand finale.

The word "*Enigma*", serving as a title for the theme of the Variations, was added to the score at a late stage, after the manuscript had been delivered to the publisher. Despite a series of "hints" provided by Elgar, the precise nature of the implied puzzle remains unknown.

Elgar's first public pronouncement on the Enigma appeared in Charles A. Barry's programme note for the first performance of the Variations:

*"The Enigma I will not explain - its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes", but is not played . . . . So the principal Theme never appears, even as in some late dramas - eg Maeterlinck's L'Intruse and Les sept Princesses - the chief character is never on the stage."*

*Theme (Enigma: Andante)
Variation I (L'istesso tempo) "C.A.E."
Variation II (Allegro) "H.D.S-P."
Variation III (Allegretto) "R.B.T."
Variation IV (Allegro di molto) "W.M.B."
Variation V (Moderato) "R.P.A."
Variation VI (Andantino) "Ysobel"
Variation VII (Presto) "Troyte"
Variation VIII (Allegretto) "W.N."
Variation IX (Adagio) "Nimrod"
Variation X (Intermezzo: Allegretto) "Dorabella"
Variation XI (Allegro di molto) "G.R.S."
Variation XII (Andante) "B.G.N."
Variation XIII (Romanza: Moderato) " * * * "
Variation XIV (Finale: Allegro) "E.D.U."*

*Gennady Rozhdestvensky* conducts the *Royal Philharmonic* at London's Royal Albert Hall.

*Rozhdestvensky conducts Elgar's "Enigma Variations"
*






.

The 11th track, *The Globalist*, of English alternative rock band *Muse*'s 2015 album *Drones* contains music based on *Variation IX (Adagio) "Nimrod"*.

*Muse - The Globalist [Lyrics]
*


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## pianozach

*#86
Threnody for the Victims of Hiroshima
Krzysztof Penderecki
1960*

*Threnody for the Victims of Hiroshima* is a musical composition for 52 string instruments, and dedicated to the residents of Hiroshima killed and injured by the first-ever wartime usage of an atomic weapon on August 6, 1945.

It's around 8 minutes and 37 seconds long (it's original title was *8'37"*, likely a nod to John Cage).

As you've probably already guessed, the sonoristic manipulation and counterpoint probably intentionally makes the listener *"uneasy by choosing to refer to an event too terrible for string orchestral screams"* (reviewer *Paul Griffiths*).

*Threnody* is a deeply personal work, disturbing in its evocations of human misery and terror. Though it is dedicated to the victims of the Hiroshima atomic bomb drop, Penderecki drew on his own experiences in *Nazi-occupied Poland* in composing this work. He noted that Nazi war crimes, especially *"the great Apocalypse" of Auschwitz*, have been in his "subconscious mind since the war." As a result, this work, like much of Penderecki's music, is emotionally powerful and in large part autobiographical, but at the same time expresses a universal mourning for the victims of war.

The result is a work of considerable expressive force, a musical representation of human suffering that, despite its considerable technical difficulties, strikes home with surprising sincerity. Each string section, as it ebbs and swells, engages in a kind of dialogue with other sections, and the effect of many instruments playing glissandi at once simulates, rather distressingly, the sound of human voices wailing in a swirling, hellish polyphonic wash.

It is a vivid evocation of the horrors of war, and also a good example of Penderecki's so-called "sensualist," Neo-Romantic style.

Excerpts from *Threnody to the Victims of Hiroshima* are used in *Stanley Kubrick*'s 1980 adaptation of *The Shining*.

On a side note, it's on *Rolling Stone's List of 25 Songs That Are Truly Terrifying*, alongside *The End* by *The Doors*, and _*Be Careful With That Axe, Eugene*_ by *Pink Floyd*.

If you're a music geek like me, you might enjoy this 15 page Extended Analysis https://www.scribd.com/document/411...-to-the-Victims-of-Hiroshima-Tony-Bannach-pdf

You might also enjoy the program notes provided by the San Francisco Symphony, attributed to James M. Keller: https://www.sfsymphony.org/Data/Eve...derecki-Threnody-for-the-Victims-of-Hiroshima

The work, even today, is quite a bit to listen to, so I provide you with a choice of listening/watching experiences.

First, a live version by the *Finnish Radio Symphony Orchestra*, conducted in 2015 by *Krzysztof Urbański*.

The second video is an animated score version, which allows you to follow along in a visual sort of way. This version is played by the Polish National Radio Symphony Orchestra.

*Penderecki: Threnody to the Victims of Hiroshima - Urbański, FRSO*






.

*Penderecki - Threnody (Animated Score)*





.
.
.

On 12 October 1964, *Penderecki* wrote:

*"Let the Threnody express my firm belief that the sacrifice of Hiroshima will never be forgotten and lost."*

.

.

.

.

_*Penderecki died March 29 2020 after a lengthy illness. Although he officially did not die from COVID-19, his caregiver had tested positive.*_


----------



## pianozach

*#87
Messe de Nostre Dame (Mass of Our Lady)
Guillaume de Machaut 
~1365*

This polyphonic masterpiece of medieval music is the earliest complete setting of the *Ordinary of the Mass* attributable to a single composer.

It's in 5 movements: the *Kyrie, Gloria, Credo, Sanctus*, and *Agnus Dei*, followed by the dismissal *Ite, missa est*.

*I. Kyrie: 0:00
II. Gloria: 8:38
III. Credo: 13:22
IV. Sanctus et Benedictus: 19:56
V. Agnus Dei: 24:52
*

*Guillaume de Machaut - La Messe de Nostre Dame*


----------



## pianozach

*#88
Viderunt omnes
Pérotin
1198*

OK, into the Way Back machine, Sherman; today we're going to the *late 12th Century* to listen to some traditional *Gregorian chant*.

This work is based on an ancient *gradual* (a chant or hymn in the liturgical celebration of the Eucharist in the Catholic Church) of the same title.

The chant was subsequently expanded upon by composers of the Notre Dame school who developed it as type of early polyphony known as *organum*. Thought to be written for Christmas, the polyphonic settings would have retained the same liturgical purpose as the original gradual, while being musically enhanced for the festivities. The cantus firmus, or tenor, "holds" the original chant, while the other parts develop complex melismas on the vowels. The various settings of *Viderunt Omnes* provide context for specific trends in medieval music.

The Latin text describes God's oversight of the Earth, an especially symbolic message given the musical unity that the composition came to represent.

*Viderunt omnes fines terræ
salutare Dei nostri.
Jubilate Deo, omnis terra.

Notum fecit Dominus salutare suum;
ante conspectum gentium
revelavit justitiam suam.

All the ends of the earth have seen
the salvation of our God.
Rejoice in the Lord, all lands.

The Lord has made known his salvation;
in the sight of the heathen
he has revealed his righteousness.
*
*Pérotin*'s four-part version of Viderunt, one of the few existing examples of organum quadruplum, may have been written for the *Feast of the Circumcision* in 1198.

The melismas in particular are especially diminuted (a form of embellishment or melodic variation in which a long note or a series of long notes is divided into shorter, usually melodic, values), rendering the text virtually incomprehensible. While only solo sections are polyphonic, the organum remains clear when juxtaposed with the traditional, monophonic choir chant.

*In simple terms* this means that it takes over two minutes to finish singing the first word (Viderunt), and another minute for the second (Omnes), and so on.

The first syllable starts with the group of soloists establishing the mode and constant intervals (initial pitch, the octave, then the fifth) and is developed further from there.

Here's *The Hilliard Ensemble*

*PEROTIN Viderunt Omnes*


----------



## pianozach

*#89
Missa Papae Marcelli (Pope Marcellus Mass)
Giovanni Pierluigi da Palestrina
~1562*

One the most beautiful Masses of all times, and *Palestrina*'s best-known one. The mass was composed in honor of *Pope Marcellus II*, who reigned for only three weeks in 1555.

It consists, like most Renaissance masses, of a *Kyrie, Gloria, Credo, Sanctus/Benedictus*, and a two-part _*Agnus Dei*_.

It is primarily a six-voice mass, but voice combinations are varied throughout the piece; *Palestrina* scores Agnus II for seven voices, and the use of the full forces is reserved for specific climactic portions in the text.

_[00:01] Kyrie
[04:44] Gloria
[11:00] Credo
[20:54] Sanctus et Benedictus
[28:33] Agnus Dei 1 et 2_

*Palestrina, Missa Papae Marcelli. The Tallis Scholars, Peter Phillips*






.

The title track of English alternative rock band *Muse*'s 2015 album *Drones* sets the music of the Benedictus movement of the *Missa Papae* *Marcelli* to alternative lyrics that tie into the concept album's theme of being "killed by human drones".

_Killed by drones
My mother, killed by drones
My sister and brother killed by drones
Our lives between your
Fingers and your hands
Can you feel anything?
Are you dead inside?
Now you can kill
From the safety of your home
With drones
Amen_

*Drones*


----------



## pianozach

*#90
Toccata and Fugue in D Minor BMW 565
JS Bach 
1708?*

Oh, you've heard this one. I'm sure of it. It's one of the most famous works in organ repertoire. Well, you've heard the opening, at least, but maybe you never sat down and listened to the whole thing start to finish.

Here's organist *Hans-Andre Stamm* on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.

. 
*J.S. Bach - Toccata and Fugue in D minor BWV 565*






Incidentally, Bach did not score this specifically for organ; it could have been for any keyboard instrument.

So, a rather remarkable thing about the music of Bach is that it seems to translate to practically any instrument, or can be orchestrated or arranged ad infinitum.

But I do enjoy the orchestral version used in *Fantasia*

Here's *Stowkowski*'s arrangement for orchestra from the Disney film *FANTASIA*. 
I do like how the animators ran with the the free form idea for the fugue. Just images, shapes, colors.






*Fantasía: Tocata y Fuga (Johann Sebastian Bach)*





.

*J.S. Bach* produced so much amazing music, much of it for the church.

Almost hard to say if there would have been a "*Bach*" if there hadn't been a church. Or vice versa.


----------



## pianozach

> Almost hard to say if there would have been a "Bach" if there hadn't been a church. Or vice versa.


Yes - an 'alternate history' *what-if*.

Hard to say. "The Church", which usually refers to the Catholic Church, supported some musicians, while suppressing others. Without the church the whole composer/musician dynamic would have been considerably different.

But *Bach* was NOT Catholic; he was a devout Lutheran, not surprising as he was born in Germany in 1685.

And overall Bach wasn't exactly supported by either church . . . In 1703, he landed his first job as a musician at the court of Duke Johann Ernst in Weimar. There he was a jack-of-all-trades, serving as a violinist and at times, filling in for the official organist.

Bach had a growing reputation as a great performer, and it was his great technical skill that landed him the position of organist at the New Church in Arnstadt. He was responsible for providing music for religious services and special events as well as giving music instruction.

In 1707, Bach was glad to leave Arnstadt for an organist position at the Church of St. Blaise in M?hlhausen.

After a year in Mühlhausen, Bach won the post of organist at the court of the Duke Wilhelm Ernst in Weimar.

In 1717, Bach accepted a position with Prince Leopold of Anhalt-Köthen. But Duke Wilhelm Ernst had no interest in letting Bach go and even imprisoned him for several weeks when he tried to leave. In early December, Bach was released and allowed to go to Köthen.

After auditioning for a new position in Leipzig, Bach signed a contract to become the new organist/teacher/composer at St. Thomas Church. He was required to teach at the Thomas School as a part of his position as well.

Bach was born in 1685 in Germany, as was *Handel*, which brings me right to . . .

*#91
Water Music
George Frideric Handel
1717*

The *Water Music* is a collection of orchestral movements (often published as three suites) in response to King George I's request for a concert on the River Thames.

The *Water Music* opens with a French overture and includes minuets, bourrées and hornpipes. It is divided into three suites:

*Suite in F major* (HWV 348)
Overture (Largo - Allegro)
Adagio e staccato
Allegro - Andante - Allegro da capo Aria
Minuet
Air
Minuet
Bourrée
Hornpipe
Andante
Allegro
Hornpipe

*Suite in D major* (HWV 349)
Overture (Allegro)
Alla Hornpipe
Minuet
Lentement
Bourrée

*Suite in G major* (HWV 350)
Sarabande
Rigaudon
Allegro
Minuet
Gigue

The *Water Music* is scored for a relatively large orchestra, making it suitable for outdoor performance.

Check the antique instruments they're using for these performances.

*Water Music Suite No. 1*

*Handel - Water Music Suite No. 1 (Proms 2012)*






.

*Water Music Suite No. 2 in D Major*

*Handel - Water Music Suite No. 2 (Proms 2012)*






.

*Water Music Suite No. 3 in G Major*

*Handel - Water Music Suite No. 3 (Proms 2012)*


----------



## pianozach

*#93
Symphony No. 104 "London"
Franz Joseph Haydn
1795*

The *Symphony No. 104 in D major* (H. 1/104) is Haydn's *LAST* symphony. The work is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D and G, two trumpets in D, timpani and strings.

_I. Adagio - Allegro
II. Andante
III. Menuetto and Trio: Allegro
IV. Finale: Spiritoso_

*Haydn: Symphony nº 104 "London" - Dima Slobodeniouk - Sinfonica de Galicia*


----------



## pianozach

*#95
Overture from The Magic Flute
Mozart
1791*

The *Overture* to *The Magic Flute* is one of the supreme orchestral works of the 18th century. Rich, masterful, constructively concise, and melodically inventive, it balances the seemingly polar opposites of the opera, both the profound and comedic, with ease and conviction.

The slow introduction opens with the triple chords associated with the solemn ceremonies of the priests, the _*Overture*_'s only thematic borrowing from the opera. The _*Allegro*_ is built on a tune of opera buffa jocularity treated, most remarkably, as a fugue. I love how it effortlessly comes seemingly from nowhere. The complementary theme, initiated by the flute, is characterized by some fluid ascending chromatic scales. The balance of the *Overture* follows traditional sonata form, with the triple chords of the priests reiterated to mark the beginning of the development section.

You'll often hear about Classical Music's "war horses", and this is probably one of them. For those familiar with this short work, it's fascinating to revisit it with fresh ears.

Here's *Sir Neville Marriner*, conducting the *Orchestra della Svizzera Italiana* (I think).

*Mozart The Magic Flute Overture Neville Marriner*






:angel:

And as long as we're there . . . Here's a wonderful rendition of the *Queen of the Night* aria from *The Magic Flute*, performed by _*Diana Damrau*_ for The Royal Opera

*The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)*


----------



## Ethereality

Periphery wanted me to post this somewhere to additionally mention (for the love of teaching and spreading music) a differently generated list for those who are* "fairly new to Classical but feel that they have somewhat more of an advanced 'ear',"* um, "those who think they're past beginners' music." This is just a teeny blip amongst pianozach's thread which you can move elsewhere if you'd like.

This equation comes from [piece mentions ÷ favoritism] yielding the works that are considered some of the most advanced but also the most approachable and agreed upon, taken from *periphery's Stat Charts of TalkClassical's favorite works*. In order:


Stravinsky: Le Sacre du printemps (The Rite of Spring) [1913]
Mahler: Symphony #2 "Resurrection" [1894]
Beethoven: Symphony #9 in D minor, op. 125 "Choral" [1824]
Beethoven: Symphony #6 "Pastoral" in F, op. 68 [1808]
Mendelssohn: Violin Concerto in E minor, op. 64 [1844]
Dvořák: Symphony #9 in E minor, op. 95 "From the New World" [1893]
Fauré: Requiem in D minor, op. 48 [1890]
Bach: Mass in B minor, BWV 232 [1749]
Wagner: Tristan und Isolde [1859]
Lassus: Lagrime di San Pietro [1594]
Haydn: Die Schöpfung (The Creation), Hob.XXI/2 [1798]
Mozart: Requiem Mass in D minor, K. 626 [1791]
Mahler: Symphony #9 [1909]
Beethoven: Piano Sonata #29 in B-flat, op. 106 "Hammerklavier" [1818]
Beethoven: Piano Sonata #32 in C minor, op. 111 [1822]
Bach: Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893 [1722, 1742]
Beethoven: Piano Concerto #4 in G, op. 58 [1806/7]
Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492 [1786]
Schubert: Symphony #8 in B minor, D. 759 "Unfinished" [1822]
Beethoven: Symphony #5 in C minor, op. 67 [1808]
Bruckner: Symphony #8 in C minor, WAB 108 [1890]
Schubert: Winterreise, D. 911 [1827]
Strauss, R.: Vier letzte Lieder (Four Last Songs) [1948]
Brahms: Symphony #4 in E minor, op. 98 [1885]
Chopin: Nocturnes [1827-46]
Beethoven: Symphony #3 in E-flat, op. 55 "Eroica" [1803]
Mussorgsky: Pictures at an Exhibition [1874]
Schubert: Piano Sonata #21 in B-flat, D. 960 [1828]
Brahms: Piano Concerto #2 in B-flat, op. 83 [1881]
Rimsky-Korsakov: Scheherazade, op. 35 [1888]
Handel: Messiah, HWV 56 [1741]
Schubert: String Quartet #14 in D minor, D. 810 "Death and the Maiden" [1824]
Ockeghem: Missa Prolationum [15th cent.]
Mahler: Das Lied von der Erde [1909]
Bach: Cello Suites, BWV 1007-1012 [1720]
Mozart: Don Giovanni [1787]
Brahms: Piano Quintet in F minor, op. 34 [1864]
Beethoven: Piano Concerto #5 in E-flat, op. 73 "Emperor" [1809]
Wagner: Der Ring des Nibelungen (The Ring of the Nibelung)
Debussy: Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) [1894]
Bach: Matthäus-Passion ("St. Matthew Passion"), BWV 244 [1746]
Schubert: Wanderer Fantasy in C, D. 760 [1822]
Shostakovich: Cello Concerto #1 in E-flat, op. 107 [1959]
Mendelssohn: Octet for Strings in E-flat, op. 20 [1825]
Schubert: String Quintet in C, D. 956 [1828]
Mozart: Piano Concerto #20 in D minor, K. 466 [1785]
Beethoven: Symphony #7 in A, op. 92 [1812]
Bruckner: Symphony #9 in D minor [1896]
Beethoven: Piano Sonata #21 in C, op. 53 "Waldstein" [1804]
Liszt: Piano Sonata in B minor, S.178 [1854]


----------



## pianozach

Ethereality said:


> Periphery wanted me to post this somewhere to additionally mention (for the love of teaching and spreading music) a differently generated list for those who are* "fairly new to Classical but feel that they have somewhat more of an advanced 'ear',"* um, "those who think they're past beginners' music." This is just a teeny blip amongst pianozach's thread which you can move elsewhere if you'd like.
> 
> This equation comes from [piece mentions ÷ favoritism] yielding the works that are considered some of the most advanced but also the most approachable and agreed upon, taken from *periphery's Stat Charts of TalkClassical's favorite works*. In order:
> 
> 
> Stravinsky: Le Sacre du printemps (The Rite of Spring) [1913]
> Mahler: Symphony #2 "Resurrection" [1894]
> Beethoven: Symphony #9 in D minor, op. 125 "Choral" [1824]
> Beethoven: Symphony #6 "Pastoral" in F, op. 68 [1808]
> Mendelssohn: Violin Concerto in E minor, op. 64 [1844]
> Dvořák: Symphony #9 in E minor, op. 95 "From the New World" [1893]
> Fauré: Requiem in D minor, op. 48 [1890]
> Bach: Mass in B minor, BWV 232 [1749]
> Wagner: Tristan und Isolde [1859]
> Lassus: Lagrime di San Pietro [1594]
> Haydn: Die Schöpfung (The Creation), Hob.XXI/2 [1798]
> Mozart: Requiem Mass in D minor, K. 626 [1791]
> Mahler: Symphony #9 [1909]
> Beethoven: Piano Sonata #29 in B-flat, op. 106 "Hammerklavier" [1818]
> Beethoven: Piano Sonata #32 in C minor, op. 111 [1822]
> Bach: Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893 [1722, 1742]
> Beethoven: Piano Concerto #4 in G, op. 58 [1806/7]
> Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492 [1786]
> Schubert: Symphony #8 in B minor, D. 759 "Unfinished" [1822]
> Beethoven: Symphony #5 in C minor, op. 67 [1808]
> Bruckner: Symphony #8 in C minor, WAB 108 [1890]
> Schubert: Winterreise, D. 911 [1827]
> Strauss, R.: Vier letzte Lieder (Four Last Songs) [1948]
> Brahms: Symphony #4 in E minor, op. 98 [1885]
> Chopin: Nocturnes [1827-46]
> Beethoven: Symphony #3 in E-flat, op. 55 "Eroica" [1803]
> Mussorgsky: Pictures at an Exhibition [1874]
> Schubert: Piano Sonata #21 in B-flat, D. 960 [1828]
> Brahms: Piano Concerto #2 in B-flat, op. 83 [1881]
> Rimsky-Korsakov: Scheherazade, op. 35 [1888]
> Handel: Messiah, HWV 56 [1741]
> Schubert: String Quartet #14 in D minor, D. 810 "Death and the Maiden" [1824]
> Ockeghem: Missa Prolationum [15th cent.]
> Mahler: Das Lied von der Erde [1909]
> Bach: Cello Suites, BWV 1007-1012 [1720]
> Mozart: Don Giovanni [1787]
> Brahms: Piano Quintet in F minor, op. 34 [1864]
> Beethoven: Piano Concerto #5 in E-flat, op. 73 "Emperor" [1809]
> Wagner: Der Ring des Nibelungen (The Ring of the Nibelung)
> Debussy: Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) [1894]
> Bach: Matthäus-Passion ("St. Matthew Passion"), BWV 244 [1746]
> Schubert: Wanderer Fantasy in C, D. 760 [1822]
> Shostakovich: Cello Concerto #1 in E-flat, op. 107 [1959]
> Mendelssohn: Octet for Strings in E-flat, op. 20 [1825]
> Schubert: String Quintet in C, D. 956 [1828]
> Mozart: Piano Concerto #20 in D minor, K. 466 [1785]
> Beethoven: Symphony #7 in A, op. 92 [1812]
> Bruckner: Symphony #9 in D minor [1896]
> Beethoven: Piano Sonata #21 in C, op. 53 "Waldstein" [1804]
> Liszt: Piano Sonata in B minor, S.178 [1854]


Fun!

Can't argue with that list.

Well, except for the *Strauss Leider* perhaps.

I should compare that list with my list just to see how many works appear on both.


----------



## pianozach

pianozach said:


> 1. Holst - The Planets, Op. 32. 1918
> 2. Dvorak - Symphony No.9 in E minor "From the New World", Op 95. 1893
> 
> *3
> Symphony No. 3 "Eroica"
> Ludwig van Beethoven
> 1803*
> 
> . . .
> 
> So . . . here's a live version (the BEST way to experience classical music), conducted by a modern genius, *Leonard Bernstein* leading the Wiener Philharmoniker.
> 
> 1ST MOVEMENT: *Allegro con brio*
> 2ND MOVEMENT: *Marcia funebre: Adagio assai*
> 3RD MOVEMENT: *Scherzo: Allegro vivace*
> 4TH MOVEMENT: *Allegro molto-Poco andante-Presto*
> 
> *BEETHOVEN - Symphony no. 3 in E flat Major, Op. 55 - Leonard Bernstein *


As I predicted early on, Youtube videos disappear (or are _"disappeared"_), and the astonishingly good Bernstein version of Beethoven's 3rd is no exception.

As the TC settings don't allow any edits to posts after even a day, I cannot go back and "fix" the original post when a video vanishes, so here's the same video on a different account:

Here's a new link

*Beethoven: Symphony No. 3 in E flat major, Op. 55 (Leonard Bernstein)*


----------



## johnnysc

Ethereality said:


> Periphery wanted me to post this somewhere to additionally mention (for the love of teaching and spreading music) a differently generated list for those who are* "fairly new to Classical but feel that they have somewhat more of an advanced 'ear',"* um, "those who think they're past beginners' music." This is just a teeny blip amongst pianozach's thread which you can move elsewhere if you'd like.
> 
> This equation comes from [piece mentions ÷ favoritism] yielding the works that are considered some of the most advanced but also the most approachable and agreed upon, taken from *periphery's Stat Charts of TalkClassical's favorite works*. In order:
> 
> 
> Stravinsky: Le Sacre du printemps (The Rite of Spring) [1913]
> Mahler: Symphony #2 "Resurrection" [1894]
> Beethoven: Symphony #9 in D minor, op. 125 "Choral" [1824]
> Beethoven: Symphony #6 "Pastoral" in F, op. 68 [1808]
> Mendelssohn: Violin Concerto in E minor, op. 64 [1844]
> Dvořák: Symphony #9 in E minor, op. 95 "From the New World" [1893]
> Fauré: Requiem in D minor, op. 48 [1890]
> Bach: Mass in B minor, BWV 232 [1749]
> Wagner: Tristan und Isolde [1859]
> Lassus: Lagrime di San Pietro [1594]
> Haydn: Die Schöpfung (The Creation), Hob.XXI/2 [1798]
> Mozart: Requiem Mass in D minor, K. 626 [1791]
> Mahler: Symphony #9 [1909]
> Beethoven: Piano Sonata #29 in B-flat, op. 106 "Hammerklavier" [1818]
> Beethoven: Piano Sonata #32 in C minor, op. 111 [1822]
> Bach: Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893 [1722, 1742]
> Beethoven: Piano Concerto #4 in G, op. 58 [1806/7]
> Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492 [1786]
> Schubert: Symphony #8 in B minor, D. 759 "Unfinished" [1822]
> Beethoven: Symphony #5 in C minor, op. 67 [1808]
> Bruckner: Symphony #8 in C minor, WAB 108 [1890]
> Schubert: Winterreise, D. 911 [1827]
> Strauss, R.: Vier letzte Lieder (Four Last Songs) [1948]
> Brahms: Symphony #4 in E minor, op. 98 [1885]
> Chopin: Nocturnes [1827-46]
> Beethoven: Symphony #3 in E-flat, op. 55 "Eroica" [1803]
> Mussorgsky: Pictures at an Exhibition [1874]
> Schubert: Piano Sonata #21 in B-flat, D. 960 [1828]
> Brahms: Piano Concerto #2 in B-flat, op. 83 [1881]
> Rimsky-Korsakov: Scheherazade, op. 35 [1888]
> Handel: Messiah, HWV 56 [1741]
> Schubert: String Quartet #14 in D minor, D. 810 "Death and the Maiden" [1824]
> Ockeghem: Missa Prolationum [15th cent.]
> Mahler: Das Lied von der Erde [1909]
> Bach: Cello Suites, BWV 1007-1012 [1720]
> Mozart: Don Giovanni [1787]
> Brahms: Piano Quintet in F minor, op. 34 [1864]
> Beethoven: Piano Concerto #5 in E-flat, op. 73 "Emperor" [1809]
> Wagner: Der Ring des Nibelungen (The Ring of the Nibelung)
> Debussy: Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) [1894]
> Bach: Matthäus-Passion ("St. Matthew Passion"), BWV 244 [1746]
> Schubert: Wanderer Fantasy in C, D. 760 [1822]
> Shostakovich: Cello Concerto #1 in E-flat, op. 107 [1959]
> Mendelssohn: Octet for Strings in E-flat, op. 20 [1825]
> Schubert: String Quintet in C, D. 956 [1828]
> Mozart: Piano Concerto #20 in D minor, K. 466 [1785]
> Beethoven: Symphony #7 in A, op. 92 [1812]
> Bruckner: Symphony #9 in D minor [1896]
> Beethoven: Piano Sonata #21 in C, op. 53 "Waldstein" [1804]
> Liszt: Piano Sonata in B minor, S.178 [1854]


Thanks for compiling. I thinking also if it might be helpful to read about the history of a piece. How it was composed, why, what context, etc. Maybe first couple of listens concentrate on the music and then afterwards read up while listening. I suppose wiki would be an easy access but I wonder if there is an encyclopedia type reference one could have to peruse while listening?


----------



## pianozach

Ethereality said:


> Periphery wanted me to post this somewhere to additionally mention (for the love of teaching and spreading music) a differently generated list for those who are* "fairly new to Classical but feel that they have somewhat more of an advanced 'ear',"* um, "those who think they're past beginners' music." This is just a teeny blip amongst pianozach's thread which you can move elsewhere if you'd like.
> 
> This equation comes from [piece mentions ÷ favoritism] yielding the works that are considered some of the most advanced but also the most approachable and agreed upon, taken from *periphery's Stat Charts of TalkClassical's favorite works*. In order:
> 
> 
> Stravinsky: Le Sacre du printemps (The Rite of Spring) [1913]
> Mahler: Symphony #2 "Resurrection" [1894]
> Beethoven: Symphony #9 in D minor, op. 125 "Choral" [1824]
> Beethoven: Symphony #6 "Pastoral" in F, op. 68 [1808]
> Mendelssohn: Violin Concerto in E minor, op. 64 [1844]
> Dvořák: Symphony #9 in E minor, op. 95 "From the New World" [1893]
> Fauré: Requiem in D minor, op. 48 [1890]
> Bach: Mass in B minor, BWV 232 [1749]
> Wagner: Tristan und Isolde [1859]
> Lassus: Lagrime di San Pietro [1594]
> Haydn: Die Schöpfung (The Creation), Hob.XXI/2 [1798]
> Mozart: Requiem Mass in D minor, K. 626 [1791]
> Mahler: Symphony #9 [1909]
> Beethoven: Piano Sonata #29 in B-flat, op. 106 "Hammerklavier" [1818]
> Beethoven: Piano Sonata #32 in C minor, op. 111 [1822]
> Bach: Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893 [1722, 1742]
> Beethoven: Piano Concerto #4 in G, op. 58 [1806/7]
> Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492 [1786]
> Schubert: Symphony #8 in B minor, D. 759 "Unfinished" [1822]
> Beethoven: Symphony #5 in C minor, op. 67 [1808]
> Bruckner: Symphony #8 in C minor, WAB 108 [1890]
> Schubert: Winterreise, D. 911 [1827]
> Strauss, R.: Vier letzte Lieder (Four Last Songs) [1948]
> Brahms: Symphony #4 in E minor, op. 98 [1885]
> Chopin: Nocturnes [1827-46]
> Beethoven: Symphony #3 in E-flat, op. 55 "Eroica" [1803]
> Mussorgsky: Pictures at an Exhibition [1874]
> Schubert: Piano Sonata #21 in B-flat, D. 960 [1828]
> Brahms: Piano Concerto #2 in B-flat, op. 83 [1881]
> Rimsky-Korsakov: Scheherazade, op. 35 [1888]
> Handel: Messiah, HWV 56 [1741]
> Schubert: String Quartet #14 in D minor, D. 810 "Death and the Maiden" [1824]
> Ockeghem: Missa Prolationum [15th cent.]
> Mahler: Das Lied von der Erde [1909]
> Bach: Cello Suites, BWV 1007-1012 [1720]
> Mozart: Don Giovanni [1787]
> Brahms: Piano Quintet in F minor, op. 34 [1864]
> Beethoven: Piano Concerto #5 in E-flat, op. 73 "Emperor" [1809]
> Wagner: Der Ring des Nibelungen (The Ring of the Nibelung)
> Debussy: Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) [1894]
> Bach: Matthäus-Passion ("St. Matthew Passion"), BWV 244 [1746]
> Schubert: Wanderer Fantasy in C, D. 760 [1822]
> Shostakovich: Cello Concerto #1 in E-flat, op. 107 [1959]
> Mendelssohn: Octet for Strings in E-flat, op. 20 [1825]
> Schubert: String Quintet in C, D. 956 [1828]
> Mozart: Piano Concerto #20 in D minor, K. 466 [1785]
> Beethoven: Symphony #7 in A, op. 92 [1812]
> Bruckner: Symphony #9 in D minor [1896]
> Beethoven: Piano Sonata #21 in C, op. 53 "Waldstein" [1804]
> Liszt: Piano Sonata in B minor, S.178 [1854]



Holst - The Planets, Op. 32. 1918
Dvorak - Symphony No.9 in E minor "From the New World", Op 95. 1893
Beethoven - Symphony No. 3 "Eroica"
Stravinsky - The Firebird. 1910	
Tchaikovsky - 1812 Festival Overture, Op. 49. 1882
Vivaldi - Summer, The Four Seasons. 1723
JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051. 1721.
WA Mozart - Symphony 41 in C "Jupiter", K. 551. 1788
Borodin - In the Steppes of Central Asia. 1880. 
WA Mozart - Overture from The Marriage of Figaro. 1786
Grieg - Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23). 1876 
Frederic Chopin - Polonaise Op. 53
Mussorgsky - Pictures at an Exhibition (Ravel orchestration). 1922
Gershwin - Rhapsody in Blue 
Stravinsky - The Rite of Spring 
Beethoven - Symphony No.5 in C minor, Op. 67. 1808 
JS Bach - Cello Suite No. 1 in G major, BWV 1007
Carl Orff - O Fortuna from Carmina Burana
Mussorgsky - Night On Bald Mountain (Rimsky-Korsokov arrangement). 1886	
Johann Sebastian Bach - Well-Tempered Clavier 2, Prelude F Sharp minor
Claude Debussy - The Sunken Cathedral
Sergei Rachmaninoff - Prelude Op. 23 No. 5
Franz Liszt - Consolation No. 3
Richard Strauss - Also Sprach Zarathustra
Ravel - Bolero	
George Martin - Pepperland
Chopin - Prelude in Db "Raindrop"
Beethoven - Piano Sonata No. 14 in C♯ minor ("Moonlight Sonata") 
Antonio Vivaldi - The Four Seasons
Rossini - Overture to "The Barber of Seville" 
Wagner - Ride of the Valkyries 
Mozart - Symphony No.40 in G minor
Vivaldi - The Four Seasons "Spring"
Beethoven's Symphony No. 6	
Mozart - Requiem in D minor 
Johann Strauss II - The Blue Danube, Op.314 
Tchaikovsky - Capriccio Italien
Paul Dukas - The Sorcerer's Apprentice	
Beethoven - Symphony No. 9
Schubert - Ave Maria
Ottorino Respighi - The Pines of Rome	
Beethoven's Symphony No. 7 
Beethoven's Piano Concerto No. 4 in G Major: Op.50
Tallis - Spem in Alium (40-voice motet) 1570
Beethoven's Piano Sonata No.21 in C Major Op.53 (The Waldstein)
Dvorak - Slavonic Dance No. 7, Op. 46 
Josquin des Prez - Missa L'Homme armé super voces musicales
Palestrina - Missa Aeterna Christi munera
Allegri - Miserere
Beethoven's String Quartet in F Major Op.59, no.1

I compared the _*first*_ *50* on my list with your list of 50. There are only 15 shared entries.

My first 50 doesn't have any Schubert (except for Ave Maria), Brahms, Mahler, or Mendelsson, and that's by design. In fact, that is the basic difference in the lists . . . yours is for intermediate and advanced listeners, while mine is designed for beginners, although both lists are certainly great listening playlists for any lover of Classical Music.

Your 50 hasn't any Mozart Symphonies, nor any Beethoven String Quartets. There's no Tchaikovsky, Vivaldi, Rossini, Ravel, Rachmaninoff, or Grieg.

Looking forward to the first _*100*_ on my list, and it doesn't really change much. Maybe a dozen shared entries, although it's unfair to compare lists of different sizes. And, besides, I haven't revealed the last few entries in the Top 100 yet.

Both lists of 50 are quite short on music written after 1915. Yours has only five written in the 20th Century. Mine is almost as deficient, with only 10 of the 50 written in the 20th Century.



johnnysc said:


> Thanks for compiling. I thinking also if it might be helpful to read about the history of a piece. How it was composed, why, what context, etc. Maybe first couple of listens concentrate on the music and then afterwards read up while listening. I suppose wiki would be an easy access but I wonder if there is an encyclopedia type reference one could have to peruse while listening?


My list also differs in that I have the luxury of trotting it out in blog form, and usually with a little description, fun facts, and/or context accompanying each entry (more or less), however superficial my commentary may be.

There are some striking similarities between the two lists though: We both list the same five *Beethoven Symphonies* (3, 5, 6, 7, & 9), plus *Dvoraks' 9th*. You have 10 works from *Beethoven*, while I've listed 9.

Your list is a groupthink list, but there are several on that list that are certainly "advanced", but not necessarily "approachable". Wagner's Ring is some fine stuff, but a daunting endeavor to get through. Bruckner's 8th and 9th tasks even advanced listeners. Shosty's Cello Concerto*? Well THAT's certainly a marathon

Of course, the very act of ranking one list against another is somewhat silly  in the first place; they have different purposes, and different intended audiences. As you pointed out, many on your list are there because they are from composers (e.g. Schubert, Brahms, Mahler, or Mendelsson) that produced works of greater complexity, requiring greater focus to appreciate fully. They are "deep tracks", and practically all are great and worthy. In fact, I'll sprinkle many of them into my personal listening queue.



* *Shostakovich*: Cello Concerto No. 1

I've got some Shostakovich on my list, but as he's considerably more "advanced", his first entry isn't until the #70, and it's quite awhile before this particular piece shows up. Here's my *Shosty list*:

*70. Piano Trio No. 2 in E minor [1944]
153. Symphony No. 5
190. String Quartet No. 8
224. Symphony No. 15
238. Cello Concerto No. 1 in Eb major, Op. 107
257. Festival Overture 
265. Quartet No. 8 (duplicate entry!)
517. Symphony No 7 "Leningrad"
*
After that my numbering is a bit wonky, but I've got 
*Symphony 8
Piano Concerto 2*

In another thread we've been discussing FILM SCORES, and it's amusing to me that Shostakovich actually DID write some music FOR film. And, of course, there are a handful of other films in which his music was appropriated.

There were also some others that I considered for the list, but didn't make the cut:
*The Assault on Beautiful Gorky
Lady Macbeth of Mtsensk District
String Quartet No. 4
String Quartet No. 11
Quintet in G minor for Piano and String Quartet, Op. 57

Which of these should I move to #265?*


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## fbjim

Ethereality said:


> Periphery wanted me to post this somewhere to additionally mention (for the love of teaching and spreading music) a differently generated list for those who are* "fairly new to Classical but feel that they have somewhat more of an advanced 'ear',"* um, "those who think they're past beginners' music." This is just a teeny blip amongst pianozach's thread which you can move elsewhere if you'd like.
> 
> This equation comes from [piece mentions ÷ favoritism] yielding the works that are considered some of the most advanced but also the most approachable and agreed upon, taken from *periphery's Stat Charts of TalkClassical's favorite works*. In order:
> 
> 
> Stravinsky: Le Sacre du printemps (The Rite of Spring) [1913]
> Mahler: Symphony #2 "Resurrection" [1894]
> Beethoven: Symphony #9 in D minor, op. 125 "Choral" [1824]
> Beethoven: Symphony #6 "Pastoral" in F, op. 68 [1808]
> Mendelssohn: Violin Concerto in E minor, op. 64 [1844]
> Dvořák: Symphony #9 in E minor, op. 95 "From the New World" [1893]
> Fauré: Requiem in D minor, op. 48 [1890]
> Bach: Mass in B minor, BWV 232 [1749]
> Wagner: Tristan und Isolde [1859]
> Lassus: Lagrime di San Pietro [1594]
> Haydn: Die Schöpfung (The Creation), Hob.XXI/2 [1798]
> Mozart: Requiem Mass in D minor, K. 626 [1791]
> Mahler: Symphony #9 [1909]
> Beethoven: Piano Sonata #29 in B-flat, op. 106 "Hammerklavier" [1818]
> Beethoven: Piano Sonata #32 in C minor, op. 111 [1822]
> Bach: Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893 [1722, 1742]
> Beethoven: Piano Concerto #4 in G, op. 58 [1806/7]
> Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492 [1786]
> Schubert: Symphony #8 in B minor, D. 759 "Unfinished" [1822]
> Beethoven: Symphony #5 in C minor, op. 67 [1808]
> Bruckner: Symphony #8 in C minor, WAB 108 [1890]
> Schubert: Winterreise, D. 911 [1827]
> Strauss, R.: Vier letzte Lieder (Four Last Songs) [1948]
> Brahms: Symphony #4 in E minor, op. 98 [1885]
> Chopin: Nocturnes [1827-46]
> Beethoven: Symphony #3 in E-flat, op. 55 "Eroica" [1803]
> Mussorgsky: Pictures at an Exhibition [1874]
> Schubert: Piano Sonata #21 in B-flat, D. 960 [1828]
> Brahms: Piano Concerto #2 in B-flat, op. 83 [1881]
> Rimsky-Korsakov: Scheherazade, op. 35 [1888]
> Handel: Messiah, HWV 56 [1741]
> Schubert: String Quartet #14 in D minor, D. 810 "Death and the Maiden" [1824]
> Ockeghem: Missa Prolationum [15th cent.]
> Mahler: Das Lied von der Erde [1909]
> Bach: Cello Suites, BWV 1007-1012 [1720]
> Mozart: Don Giovanni [1787]
> Brahms: Piano Quintet in F minor, op. 34 [1864]
> Beethoven: Piano Concerto #5 in E-flat, op. 73 "Emperor" [1809]
> Wagner: Der Ring des Nibelungen (The Ring of the Nibelung)
> Debussy: Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) [1894]
> Bach: Matthäus-Passion ("St. Matthew Passion"), BWV 244 [1746]
> Schubert: Wanderer Fantasy in C, D. 760 [1822]
> Shostakovich: Cello Concerto #1 in E-flat, op. 107 [1959]
> Mendelssohn: Octet for Strings in E-flat, op. 20 [1825]
> Schubert: String Quintet in C, D. 956 [1828]
> Mozart: Piano Concerto #20 in D minor, K. 466 [1785]
> Beethoven: Symphony #7 in A, op. 92 [1812]
> Bruckner: Symphony #9 in D minor [1896]
> Beethoven: Piano Sonata #21 in C, op. 53 "Waldstein" [1804]
> Liszt: Piano Sonata in B minor, S.178 [1854]


Not a shabby list at all.

For beginners I think things like Der Ring should probably be eschewed - Das Rhinegold or a "bleeding chunks" recording might be more suitable, just for the time investment.

Also "Fairly new but having somewhat more of an advanced ear" is probably a good place to start including more accessible post-1950 stuff

Just some vague suggestions for more accessible but still modern stuff in a variety of styles from minimalist to tonal and from American-to-European, just as a taster: 
Terry Riley - In C (1964) (Columbia)
George Crumb - Ancient Voices of Children (1970) (Nonesuch)
Morton Subotnik - Silver Apples of the Moon (1967) (Nonesuch)
Anton Webern - Complete Orchestral Works (DG)(various, but I believe there's a specific Karajan recording of all of them) 
Dmitri Shostakovich - String Quartet No. 8 (1960) (Decca/Borodin Quartet)


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## pianozach

fbjim said:


> Not a shabby list at all.
> 
> For beginners I think things like Der Ring should probably be eschewed - Das Rhinegold or a "bleeding chunks" recording might be more suitable, just for the time investment.
> 
> Also "Fairly new but having somewhat more of an advanced ear" is probably a good place to start including more accessible post-1950 stuff
> 
> Just some vague suggestions for more accessible but still modern stuff in a variety of styles from minimalist to tonal and from American-to-European, just as a taster:
> Terry Riley - In C (1964) (Columbia)
> George Crumb - Ancient Voices of Children (1970) (Nonesuch)
> Morton Subotnik - Silver Apples of the Moon (1967) (Nonesuch)
> Anton Webern - Complete Orchestral Works (DG)(various, but I believe there's a specific Karajan recording of all of them)
> Dmitri Shostakovich - String Quartet No. 8 (1960) (Decca/Borodin Quartet)


Agreed. *The Ring* is for "later", although I've included the most "populist" edit from it, _*Ride of the Valkyries*_, at #31. I did, however, include *Tristan und Isolde* at #165, and there's a smattering of other Wagner on my list.

I've observed that many that enjoy Classical Music in general rarely have (or make) the opportunity to explore more contemporary Classical. This little list you've provided is a gem:

*Terry Riley - In C (1964) (Columbia)
George Crumb - Ancient Voices of Children (1970) (Nonesuch)
Morton Subotnik - Silver Apples of the Moon (1967) (Nonesuch)
Anton Webern - Complete Orchestral Works (DG) 
Dmitri Shostakovich - String Quartet No. 8 (1960) (Decca/Borodin Quartet)*

I've heard *Silver Apples* and *Shosty's SQ#8*, but am unfamiliar with the first two. And I certainly haven't heard *Webern's Complete Orchestral Works*: Certainly *Webern* wrote less orchestral music than he did Chamber music or music for Choir or voice. He wrote only one symphony. And it's to his credit that his catalog, being rather thin, still managed to make an impact. Frankly, I'm woefully unfamiliar with Webern's music. Is Webern's music celebrated due to his tragic death? In the grand scheme of things, just much influence did his music have?

As far as my "*Beginner's*" list goes, I've got *Webern's Variations for Orchestra, Op. 30* at *#300*. And that's it. Nothing else. I don't think I've ever heard his *Symphony*; I hear that it's an extraordinary work, although I rarely hear it mentioned (certainly not here), nor played (either on KUSC, Classic FM, or programmed into Symphony Orchestra schedules). I find that surprising, as it's length (or brevity) certainly makes it radio-friendly.


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## hammeredklavier

------------------------------------------


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## pianozach

hammeredklavier said:


> ------------------------------------------


Oh. Welcome back to the thread.

Something got you wanting to say something . . . c'mon, spit it out!


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## hammeredklavier

pianozach said:


> Oh. Welcome back to the thread.
> Something got you wanting to say something . . . c'mon, spit it out!


I was just asking Ethereality who Periphery was.



Ethereality said:


> Periphery wanted me to post this


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## pianozach

Oops. I skipped a couple.

*#92 
Gloria RV 589
Antonio Vivaldi
1715*

Vivaldi wrote at least three settings of the hymn *Gloria in excelsis Deo*, whose words date probably from the 4th Century and which is an integral part of the *Ordinary of the Mass*. Two survive: RV 588 and RV 589. A third, RV 590, is mentioned only in the Kreuzherren catalogue and presumed lost. The *RV 589 Gloria* is a familiar and popular piece among sacred works by *Vivaldi*. It was probably written at about the same time as the RV 588, possibly in 1715.

The better known of the two is RV 589, so well known that it's simply referred to as *THE* *Vivaldi Gloria*

*Movements*

*I. Gloria (Chorus)
II. Et in terra pax (Chorus)
III. Laudamus te (Sopranos I and II)
IV. Gratias agimus tibi (Chorus)
V. Propter magnam gloriam (Chorus)
VI. Domine Deus (Soprano)
VII. Domine, Fili unigenite (Chorus)
VIII. Domine Deus, Agnus Dei (Contralto and Chorus)
IX. Qui tollis peccata mundi (Chorus)
X. Qui sedes ad dexteram Patris (Contralto)
XI. Quoniam tu solus sanctus (Chorus)
XII. Cum Sancto Spiritu (Chorus)*

*Vivaldi Gloria at La Pieta, Venice*


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## pianozach

*#94
String Quartet No. 62 in C major, Op.76, No.3 "Emperor" (aka "Kaiser")
Franz Joseph Haydn
1797*

*Haydn*'s opus 76 is a set of six quartets (referred to as the *"Erdody"* quartets), the last full set of quartets he composed. (He composed only three more after this: The two Lobkowitz quartets, and an unfinished quartet).

This one carries the nickname Emperor (or Kaiser) because in the second movement is a set of variations on _"Gott erhalte Franz den Kaiser" ("God Save Emperor Francis")_, an anthem he wrote for *Emperor Francis II*. This same melody is known to modern listeners for its later use in the German national anthem, the *Deutschlandlied*.

The quartet consists of four movements:

_*I. Allegro
II. Poco adagio; cantabile
III. Menuetto. Allegro
IV. Finale. Presto*_

The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The second movement, in G major cut time, is in variation form, with the _*"Emperor's Hymn"*_ as the theme. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C major, is in sonata form.

Composer/Conductor *Samuel Adler* has singled out this work's second movement as an outstanding example of how to score for string instruments, observing of the movement's final variation:

_"This is a wonderful lesson in orchestration, 
for too often the extremes in the range 
are wasted too early in a work, 
and the final buildup is, as a result, anticlimactic.

The other formal factor to notice 
is that the entire structure 
is an accumulation of the elements 
which have slowly entered the 
harmonic and contrapuntal 
scheme in the course of 
the variations and have 
become a natural part 
of the statement 
[i.e. theme]."_​
This _*2nd movement*_ is actually in a "*Theme and variation"* form. After the statement of the theme, you will hear four variations, or alterations of the original statement of the theme. In each variation, you will hear the other instruments playing more actively, creating a more polyphonic texture than you heard at the beginning of the movement. As you listen to the theme in the lower violin part in Variation 1, notice how the upper violin plays faster-moving notes. In Variation 2, the cello has the theme accompanied by the other instruments. The viola plays the theme in Variation 3 while the other instruments provide lively interplay: . And in Variation 4, the higher violin plays the theme again in polyphonic texture with the rest of the string quartet

So listen for the statement of the theme in homophonic texture at the beginning of this movement. You'll then hear the theme in four variations, each of which becomes more polyphonic and features a different instrument playing the theme.

And then remember you're hearing only four instruments.

Here's the *Calidore Quartet*. [they start at 0:55]

*BISQC 2013 - Calidore Quartet - Joseph Haydn Quartet in C Major "Emperor"
*


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## pianozach

*#96
Piano Concerto No. 5 in E♭ major, Op. 73 "The Emperor Concerto"
Ludwig van Beethoven
1811*

This is *Beethoven*'s last completed piano concerto. The nickname was given by the English publisher of the concerto.

Beethoven's *Piano Concerto No. 5* could be considered either the last great concerto in the classical style or, because of its immensely powerful gestures, the first of the great 19th-century romantic concertos.

As expected, it's brilliant, long, and demanding for both the soloist AND the audience. Yes, the pianist must have some great chops to pull it off, but the piece itself vacillates seamlessly between some sort of Mozartian tribute and a Romantic depiction of heroism with trills, arpeggios, scales, and chords being pounded out.

Here's *Krystian Zimerman*, accompanied by the *Wiener Philharmoniker*, conducted by *Leonard Bernstein*

*Beethoven - 5th Piano Concerto 'Emperor' (Zimerman, Bernstein, Wiener Philharmoniker)
*


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## pianozach

Spent all day yesterday preparing for the evening accompanying a Silent film short, *"Barney Oldfield's Race for a Life"* (1913).

This would be my 3rd outing doing Silent Film accompaniment (the first two being Keaton's *The General*, and Lloyd's *Safety Last*)

It's a rather interesting process to prepare for it . . . you basically have to memorize the film, so you know when to change to something else, and how long you'll have play something.

Of course, a hundred years ago there were professionals that could improvise accompaniment on the spot, but it was their steady gig, and they were very used to the predictable plot lines and characters.

Early on in the genres heyday they'd come up with something that fit, improvising, or playing songs of the day that suggested the tone of a scene (this particular trick is a relic of that era . . . 1. Using a song of the era on today's audiences may sail right over their heads, and 2. Using songs today's audiences DO know are anachronistic and usually do not work stylistically).

Accompanists of the day might also rely on Classical music, and I certainly do as well. When accompanying The General I used a healthy helping of Grieg's *Finlandia* for the rousing climax (only one person in the audience recognized it). This time I used some Grieg again, playing (and riffing on) *Zug der Zwerge (March of the Dwarves)* for the climactic train/car chase and rescue.

I played only the 13 minute warmup short (and 50 minutes of music from the era prior to that). The feature was Chaplin's *The Kid* (1921), and was run using the pre-recorded orchestral score that Chaplin himself wrote for it in 1971.

*BBC Singers, BBC Symphony Chorus and the BBC Symphony Orchestra, conducted by Sakari Oramo*






*Mikhail Pletnev

*


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## pianozach

*#97
Symphonie Fantastique
Hector Berlioz
1830*

Well, technically the full title is *Symphonie fantastique: Episode de la vie d'un artiste ... en cinq parties (Fantastical Symphony: An Episode in the Life of an Artist, in Five Parts) Op. 14*



_*"You don't know what love is, whatever you may say. For you, it's not that rage, that fury, that delirium which takes possession of all one's faculties, which renders one capable of anything."*_

*Berlioz* formed the idea of a "*fantastic symphony*" portraying an episode in the life of an artist who is constantly haunted by the vision of the perfect, unattainable woman based on his own infatuation with an Irish actress he saw playing Ophelia in a production of Hamlet.

Symphonie Fantastique is cast in five movements:

the *first* a dream, 
the *second* a ball where the artist is haunted by the sight of his beloved. 
After a country scene, 
the _*fourth*_ movement slips into nightmare: *"Convinced that his love is spurned, the artist poisons himself with opium,"* 
*"The dose of narcotic plunges him into a heavy sleep. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution."* - Berlioz.

Which brings us to the *Dream Of A Witches' Sabbath*, which weaves in the medieval Dies Irae plainchant. The artist's perfect beloved transforms and is cast into Hell.

It's generally thought that Berlioz was under the influence of opium when writing a least part of this symphony. Leonard Bernstein called the first Psychedelia in music.

Berlioz was a master orchestrator, and wrote a part in his *Symphonie Fantastique* for the *bass ophicleide*, a brass instrument that looks like a cross between a bassoon and saxophone, with long, cone-shaped tubing and a mouthpiece similar to a trombone's. The word "ophicleide" in Greek literally means "serpent with keys". These days the ophicleide is almost extinct and its line is usually played by a tuba.









*Bass ophicleide*, made by A. G. Guichard, France (Paris), about 1840






The symphony has five movements, instead of four as was conventional for symphonies of the time:

*I. Reveries - Passions (Reveries - Passions) - C minor/C major
II. Un bal (A Ball) - A major
III. Scene aux champs (Scene in the Fields) - F major
IV. Marche au supplice (March to the Scaffold) - G minor
V. Songe d'une nuit du sabbat (Dream of a Night of the Sabbath) - C major*

Here's * Stephane Deneve* conducting the *Chicago Symphony Orchestra*

*Hector Berlioz - Symphonie fantastique Op.14, CSO/Alexander Bedenko guest principal clarinetist 
*





*Symphonie Fantastique FUN FACT*: Symphonie Fantastique appears (uncredited) on the soundtrack of the 1977 film *Jabberwocky* by first time director *Terry Gilliam*.


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## pianozach

*#98
Nocturne in Eb, Op.9 No.2
Frederic Chopin
1832
*
This nocturne is the second of a set of three nocturnes. I've played the first, and it's gorgeous as well.

But let's talk about #2, the one in Eb, which is better known than the first; indeed, it may be his best known work.

As the song progress, the main melody is repeated thrice, and each time includes more and more ornamentation, a classic Chopin technique. The song is generally played with contrast, switching from light and sweet to loud and dramatic.

Here's a beautiful rendition of one of the variants of the *Nocturne* by *Valentina Lisitsa* live at The Royal Albert Hall June 19th 2012. By "variant", I mean that she's playing a later version with ornamentation (flashy parts) that are different than the original version. This version, however, IS authentic, with those changes composed by Chopin. Some publications will have the "alternate" passages printed above the original passages, while others may print them in appendices in the back of the score.

*CHOPIN Nocturne in E flat ,op.9 no.2 ORIGINAL LATER VERSION Valentina Lisitsa*


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## pianozach

And here's the one I used to play, the *Bb minor Nocturne No. 1
*





:tiphat:


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## pianozach

*#99
Revolutionary Etude
Chopin
1831*

Well, technically it's *Etude Op. 10, No. 12 in C minor*. It's also known as the *Etude on the Bombardment of Warsaw*, as it was inspired by 1831 Russian attack on Warsaw, during the November 1830-31 Uprising. It's the last of a set of twelve dedicated to his *"friend Franz Liszt"*.

Chopins Op. 10 études were published in 1833 when he was just 23 years old.

Quite a stylist 180° from the previous two nocturnes of his posted in this thread. 

Here's *Valentina Lisitsa*, the self-proclaimed _*"Queen of Rachmaninoff"*_

*Chopin Etude Op 10 No.12 Valentina Lisitsa*


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## pianozach

*#100* is coming, but in order to build a little anticipation, I'd like to highlight a few gems that, for some reason or another, aren't on this list.

Here's a little *Toccata* I used to play frequently, and still trot it out for a performance once and a while. The clip below is considerably slower than I play it.

In 1932, Soviet Armenian composer *Aram Khatchaturian*, at 29 years old, composed this wham bam *Toccata in E-flat minor* as part of a three movement suite.

This is not his most well-known piece. That distinction would go to the wore-out-its-welcome and overplayed "_*Sabre Dance*_" from his ballet *Gayane* (1939-41)






.

*Nikolai Rimsky-Korsakov* (1844-1908) composed his four act opera *The Legend of the Invisible City of Kitezh and the Maiden Fevroniya* in 1905, and arranged a four movement suite in 1907. It's based on two Russian legends, that of the city of Kitezh, which became invisible when attacked by the Tatars; and Saint Fevronia of Murom.

*I. Prelude. A Hymn to Nature 
II. Wedding Procession
III. Tartar invasion and Battle of Kerzhenets
IV. IV. Death of Fevroniya and apotheosis of the Invisible City*

The opera itself is an odd mix of Russian nationalism, fairytale, and pantheistic and Christian symbolism and the Suite reflects that, although not overtly so. I do love the birdcalls in the opening movement of the Suite





.

.

And a String Trio. This one's from 1978, by Greek-French composer, music theorist, architect, performance director and engineer *Iannis Xenakis*, called *Ikhoor*.

While it starts off sounding rather random, it slowly comes together to showcase some unusual sonorities you might not have thought possible from a few string players.


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## pianozach

*#100
Fanfare for the Common Man
Aaron Copland
1942*

And here we are, 100 extraordinary and diverse Classical works.

Well, what a wonderful piece to have in the *#100* spot. I'm betting that you've heard it, or excerpts of it, or adaptations of it. It's been musically "quoted" in many other works, and used to open TV shows, sporting events, and concerts, and as wakeup music for Space Shuttle astronauts. Even Copland worked it into the finale of his 3rd Symphony.

*Fanfare for the Common Man* was written in response to a request from Eugene Goossens, the conductor of the Cincinnati Symphony Orchestra, for fanfares to begin each orchestral concert for the 1942-43 concert season. A total of 18 fanfares were written at Goossens' behest, but Copland's is the only one which remains in the standard repertoire.

It was written in response to the US entry into World War II and was inspired in part by a famous 1942 speech where vice president Henry A. Wallace proclaimed the dawning of the "*Century of the Common Man*": "S_*ome have spoken of the American Century. . . . I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man*_."

*Here's James Levine and the New York Philharmonic*

*Fanfare for the Common Man, New York Philharmonic, James Levine*





.

But it's the version by *Emerson, Lake & Palmer* in 1977 that brought it back into the public consciousness. The three minute single edit of this went to *#2* on the *UK singles charts*, while an eight minute version appeared on *Works Vol. 1.*

But here's a live version from the Works Orchestral Tour, complete with spinning drum kit platform.

*Emerson, Lake & Palmer - Fanfare For The Common Man - Live In Montreal, 1977*






Fanfare for the Common Man

And another version of that version, by

Keith Emerson (Keyboards)
Jeff "Skunk" Baxter (Guitar)
Joe Walsh (Guitar)
John Entwistle (Bass)
Simon Phillips (Drums)

Live in Japan 1990

*THE BEST/Fanfare For The Common Man*


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## pianozach

*BREAK TIME*

*Main Theme from Star Wars
John Williams
1977
*

Live 1984

*John Williams - Star Wars Theme (Live, 1984) (HQ áudio)*






So much great "Classical" music, so little time.

As I've arbitrarily chosen a *"Top 100"*, it would be remiss for me not to mention just how much music I've actually missed.

While browsing the internet looking for gorgeous and inspiring music, I stumbled across some soundtrack music, of which I've posted _ONE_ example of, above, the *Main Title Theme from Star Wars*, one of *John Williams*' most memorable works. Of course, *Williams*, the prolific composer that he is, is not content with letting well enough alone, and has converted many of his film scores to Orchestral Suites.

And *Williams* is not just prolific, as a composer he's really great.

If you were to attempt a Greatest Hits compilation of his great and memorable and favorite music, it might end up being a 10 or 20 CD box set. *Star Wars* alone has several tracks - remember the _*Cantina Band*_? Yeah, you can hear it in your head right now.

By the time you get to 1975s *Jaws*, which really put him out into the public consciousness, he'd already scored over 40 films, including *The Towering Inferno, Earthquake, The Poseidon Adventure, The Cowboys, Goodbye Mr. Chips* and *Valley of the Dolls*. After that there were some other interesting scores: *Hitchock'*s last film *Family Plot, Black Sunday*, and *The Fury*.

But, of course, most of us will recognize the names of most of his extraordinary scores:

*Star Wars, 
Close Encounters of the Third Kind, 
Superman
Raiders of the Lost Ark
E.T. the Extra-Terrestrial
Empire of the Sun
Born of the Fourth of July
Home Alone
Hook
JFK
Jurassic Park
Schindler's List
Saving Private Ryan
A.I. Artificial Intelligence
Harry Potter and the Sorcerer's Stone
*
and many of the sequels of those films.

But *Williams* is not what I ran across: There's other brilliant scores by other composers, most with unfamiliar names.

The scores to Disney's *Frozen*, Dreamworks *How to Train Your Dragon* . . .

Several from *Hans Zimmer*: *Man of Steel, Pearl Harbor, The Last Samurai, The Thin Red Line*, and on and on

Just sayin'.


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## pianozach

*The Top 100*

Holst - The Planets, Op. 32 [1918]
Dvorak - "New World" Symphony No.9 in E minor "From the New World", Op 95 [1893]
Beethoven - Symphony No. 3 in Eb Major, Op. 55 "Eroica" [1804]
Stravinsky - The Firebird [1910] 
Tchaikovsky - 1812 Festival Overture, Op. 49 [1882]
Vivaldi - Summer, The Four Seasons [1723]
JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051 [1721]
WA Mozart - Symphony 41 in C "Jupiter", K. 551. [1788]
Borodin - In the Steppes of Central Asia. 1880. 
WA Mozart - Overture from The Marriage of Figaro, K492 [1786]

Grieg - Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23) [1876]
Frederic Chopin - Polonaise in Ab Major, Op. 53 [1842]
Mussorgsky - Pictures at an Exhibition (Ravel orchestration). [1874/1922]
Gershwin - Rhapsody in Blue [1924]
Stravinsky - The Rite of Spring [1913]
Beethoven - Symphony No.5 in C minor, Op. 67. [1808] 
JS Bach - Cello Suite No. 1 in G major, BWV 1007 [1720]
Carl Orff - O Fortuna from Carmina Burana [1937]
Mussorgsky - Night On Bald Mountain (Rimsky-Korsokov arrangement). [1867/1886]
Johann Sebastian Bach - Well-Tempered Clavier 2, Prelude F Sharp minor [1742]

Claude Debussy - The Sunken Cathedral, from Préludes [1910]
Sergei Rachmaninoff - Prelude Op. 23 No. 5 [1901]
Franz Liszt - Consolation No. 3 [1850]
Richard Strauss - Also Sprach Zarathustra [1896]
Ravel - Bolero [1928]
George Martin - Pepperland [1968]
Chopin - Prelude in Db "Raindrop" [1838]
Beethoven - Piano Sonata No. 14 in C♯ minor ("Moonlight Sonata") [1801]
Antonio Vivaldi - The Four Seasons [1720]
Rossini - Overture to "The Barber of Seville" [1816]

Wagner - Ride of the Valkyries, Die Walküre, Der Ring des Nibelungen [1856]
Mozart - Symphony No.40 in G minor [1788]
Vivaldi - The Four Seasons "Spring" [1720]
Beethoven's "Pastoral" Symphony No. 6 in F major, Op. 68 [1808]
Mozart - Requiem in D minor [1792]
Johann Strauss II - The Blue Danube, Op.314 [1866]
Tchaikovsky - Capriccio Italien [1880]
Paul Dukas - The Sorcerer's Apprentice [1897]
Beethoven - "Choral" Symphony No. 9 in D minor, Op. 125 [1824]
Schubert - Ave Maria from Liederzyklus vom Fräulein vom See, Op. 52 [1825]

Ottorino Respighi - The Pines of Rome [1924]
Beethoven's Symphony No. 7 in A major, Op. 92 [1812]
Beethoven's Piano Concerto No. 4 in G Major, Op.58 [1806]
Tallis - Spem in Alium (40-voice motet) [1570]
Beethoven's Piano Sonata No.21 in C Major Op.53 (The Waldstein) [1804]
Dvorak - Slavonic Dance No. 7, Op. 46 [1878]
Josquin des Prez - Missa L'Homme armé super voces musicales [1495]
Palestrina - Missa Aeterna Christi munera [1590]
Allegri - Miserere [1638]
Beethoven's String Quartet in F Major Op.59, no.1 [1806]

Beethoven - "Razumovsky" String Quartets, Op. 59 [1806]
Monteverdi - The Vespers [1610]
Mozart - Piano Concerto No. 20 in D minor, K466 [1785]
Tchaikovsky - Sixth Symphony in B minor, Op. 74 "Pathetique" [1893]
Beethoven - Piano Sonata No. 8 in C minor, Op. 13 "Pathetique" [1798]
William Byrd - Mass for 4 & 5 voices [1593 / 1595]
Bach - Brandenburg Concertos [1721]
Brahms - Piano Trio No. 1 in B major, Op. 8 "Eroica" [1854]
Schubert -String Quartet No. 14 in D minor "Death and the Maiden" [1824]
Mozart - Piano Concerto No. 21 in C major, Andante ("Elvira Madigan") [1785]

Haydn - Mass No. 11 in D minor "Lord Nelson Mass" [1798]
Bizet - Carmen [1875]
Schubert - Symphony No. 8 "Unfinished" [1822]
Monteverdi - Madrigals, book 5 [1605]
Bach - Goldberg Variations [1741]
Dvorak's Carnival Overture, Op. 92 [1891]
Handel - Messiah [1741]
Mozart - Symphony 35 [1782]
Strauss - Salomé - "Dance of the Seven Veils" [1905]
Shostokovich - Piano Trio No. 2 in E minor [1944]

Debussy - String Quartet in G , Op. 10 [1893]
Aaron Copland - Appalachian Spring, [1944]
Ravel - Miroirs, No. 5 "La vallee des cloches" [1905]
Ravel - String Quartet in F [1903]
JS Bach - Well-Tempered Clavier [1722]
Beethoven - Sonata no. 28 in A major, Op. 101 [1816]
Schubert - String Quartet in C major [1828]
Smetana - Vltava from Ma Vlast [1874]
Verdi - Requiem [1874]
Steve Reich - Music for 18 Musicians [1976]

Stockhausen - Gesang der Jünglinge [1956]
Mahler - Symphony No 2 "Resurrection" [1894]
Mozart - Symphony 36 in C major, K425 "Linz" [1783]
Legeti - Requiem [1965]
Elgar - Enigma Variations [1899]
Krzysztof Penderecki - Threnody for the Victims of Hiroshima [1960]
Machaut - Messe de Nostre Dame [1365]
Perotin - Viderunt omnes [1198]
Palestrina - Missa Papae Marcelli [1562]
Bach - Toccata and Fugue in D Minor [1708]

Handel - Water Music [1717]
Vivaldi - Gloria [1715]
Haydn - Symphony No. 104 "London" [1795]
Haydn - String Quartet Op.76, No.3 "Emperor" [1797]
Mozart - Overture from The Magic Flute [1791]
Beethoven - Piano Concerto No. 5 in Eb major, Op. 73 [1811]
Berlioz - Symphonie Fantastique, Op. 14 [1830]
Chopin - Nocturne in Eb, Op.9 No.2 [1832]
Chopin - Revolutionary Etude, Op. 10, No. 12 [1831]
Aaron Copland - Fanfare for the Common Man [1943]


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## pianozach

*#101 
Symphony No. 4 in E minor, Op. 98
Johannes Brahms
1885*

This is the last of *Brahms*' symphonies, and it contains some of the darkest and deepest music in the 19th century.

The first movement (*Allegro non troppo*) is notable for not bothering to go back and repeat its exposition; the music just seems to continually unfold.

The third movement is notable for being the basis for *Yes' Cans and Brahms* found on the 1971 album *Fragile* (actually just keyboardist Rick Wakeman). In this clip the 3rd mvt. starts at 23:30.

The final movement is a masterwork of scoring and architecture.

The roughly 40 minute symphony is in 4 movements:

*I. Allegro non troppo 
II. Andante moderato 
III. Allegro giocoso 
IV. Allegro energico e passionato *

*Brahms - Symphony No 4 in E minor, Op 98 - Haitink*






And the adaptation of the 3rd movement by *Rick Wakeman* for the *Yes* album *Fragile* . . .

*Cans and Brahms (Extracts from Brahms' 4th Symphony in E Minor, Third Movement) (2008 Remaster)*


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## pianozach

*#102 
Symphony No. 3 in A minor, Op. 56 "Scottish" 
Felix Mendelssohn
1842*

From *Mendelssohn*, after a 'walking tour" of Scotland:

_"In the deep twilight we went today to the palace where Queen Mary lived and loved;
a little room is shown there with a winding staircase leading up to the door; 
up this way they came and found Rizzio in that little room, pulled him out, 
and three rooms off there is a dark corner, where they murdered him. 
The chapel close to it is now roofless; 
grass and ivy grow there, and at that broken altar 
where Mary was crowned Queen of Scotland. 
Everything around is broken and mouldering, 
and the clear heavens pour in. 
I think I have found there the beginning of my Scottish Symphony."​_








"Ruins of Holyrood Chapel"
Louis Daguerre​
Although it was the fifth and last of *Mendelssohn*'s symphonies to be completed, it was the third to be published, and has subsequently been known as *Symphony No. 3*.

Intriguingly, despite describing the work as his '_*Scottish Symphony*_' to his family in 1829, by the time the work was published in 1842 Mendelssohn never publicly called attention to the symphony's Scottish inspiration, and it is debatable whether he intended the finished work to be considered 'Scottish'. Ever since the Scottish provenance became known following the composer's death, however, audiences have found it hard not to hear the piece as evoking the wild Romantic landscapes of the north - even if such picturesque associations have caused audiences to overlook the many other musical qualities of this symphony.

Mendelssohn's symphony is in four interconnected movements:

I. *Andante con moto - Allegro un poco agitato* (in A minor and in sonata form with introduction)
II. _*Vivace non troppo*_ (in F major and in sonata form)
III. *Adagio* (in A major and in abridged sonata form)
IV. *Allegro vivacissimo* - Allegro maestoso assai (in A minor → A major and in sonata form)

Unusually, Mendelssohn marked the movements to be performed without breaks, and underlined the connection between the symphony's parts by making them grow from the continual thematic transformation of the original idea he had notated in 1829, presented in the slow introduction to the *first movement*. Despite this overriding concern for musical unity the emotional scope of the work is wide, consisting of a dark and stormy first movement, a joyous and fairly brief second movement, a slow movement maintaining an apparent struggle between love and fate, and a finale that takes its components from Scottish folk dance.

The lively _*second movement*_ is in the style of Scottish folk music melodically and rhythmically, using the pentatonic scale and the characteristic Scotch snap rhythm, although no direct quotations have ever been identified.

A novel feature lies in the coda of the *finale*, where Mendelssohn introduces a new majestic theme in A major to close the work in a contrasting manner to the rest of the A minor finale. Akin to a victory hymn and intended by Mendelssohn to allude to a male-voice choir, this ending returns to the balladic tone of the first movement's introduction, transforming the material of the original inspiration for the piece Mendelssohn had twelve years before.

The *Finale* is marked _*Allegro Guerriero*_ - fast and warlike - and the music strongly suggests a battle, with its syncopations which dominate the movement and the underlying lower instruments marching constantly onward. The chaotic fugal passages conjure up the frenzy of combat and the falling two-note figure which occurs later in the movement is a device which has been suggested to be akin to women bewailing the death of their men in battle.

At the end of the movement the music comes to a virtual stop and is followed by a curious coda which presents a theme which sounds new, although it is related to the very opening theme of the Symphony. The orchestration is unusual and unlike anything that Mendelssohn did before or after. The majestic melody begins with the lower strings and the woodwind doubling each other at the bottom of their register before it gradually rises up as if escaping the mists with which *Mendelssohn* and his lifelong friend *Carl Klingemann* (who wrote the phrase _*"mighty mountains sticking up to their knees in the clouds, and looked out again from the top"*_) had become so familiar in the Highlands. The Symphony ends in triumph with horns blazing above the full orchestra.

Here's *Rumon Gamba* directing the *Orquesta Sinfonica de Galicia*.

*F. Mendelssohn: Symphony nº 3 "Scottish" - R. Gamba - Sinfónica de Galicia*


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## pianozach

*#103
Thieving Magpie Overture 
Gioachino Rossini
1817*

*The Thieving Magpie (La gazza ladra)* is an Opera Semiseria in two acts, although it's best known for this *Overture*.

According to legend, before the first performance of the opera, the producer assured the composition of the overture by locking Rossini in a room, from the window of which the composer threw out the sheets of music to the copyists who then wrote the orchestral parts, to complete the composition of the opera.

You might remember it being used for dramatic effect in *Kubrick*'s 1971 film *A Clockwork Orange*, where an abridged version was used.

This abridged version was actually uncredited on the soundtrack album. It's the Rome Opera House Orchestra conducted by Tullio Serafin in 1963.

I think it was also used in an episode of *Spongebob Squarepants*.

Here's *Gustavo Dudamel* conducting the *Vienna Philharmonic Orchestra*

*GUSTAVO DUDAMEL conducts ROSSINI - "La Gaza Ladre" ~ Vienna Philharmonic*






.

But, of course, for Prog fans, *Marillion* used the *Overture* on their double-disc live set *The Thieving Magpie* as entrance music.

*Marillion La gazza Ladra Sláinthe Mhath Live*






That *Marillion* clip sounds just like this from the *Ren & Stimpy* soundtrack


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## pianozach

*#104
William Tell Overture
Gioachino Rossini 
1829*

Ah, yes, the *Overture* to *Rossini*'s opera *William Tell*, his last of 29 operas. Probably more well known as the *Lone Ranger Theme*, an edit from the 4th movement.

*"Hi-yo Silver, awa-a-a-ay!"*

Nello Santi conducts the NHK Symphony Orchestra

* Rossini "Wilhelm Tell" Overture*






.

I'd be remiss if I didn't mention that amongst the films which feature this overture prominently is Stanley Kubrick's *A Clockwork Orange*, where an electronic rearrangement by *Wendy Carlos* of the finale is played during a fast motion orgy scene.

*William Tell Overture Abridged 720p*


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## pianozach

*#105
Trout Quintet
Franz Schubert 
1819 (published posthumously in 1829)*

The *Trout Quintet (Forellenquintett)* is the popular name for the *Piano Quintet in A major, D. 667.*

The 4th movement (of 5) is a set of variations based on an earlier 'Trout' song Schubert had written (with the help of a popular German poet Christian Schubart), a request made by a friend (wealthy music patron and amateur cellist Sylvester Paumgartner) that commissioned the work.

In this case he used the instrumentation of piano, violin, viola, cello, and double bass (instead of the standard piano + string quartet).

The Trout Quintet represents Schubert at his most natural, unaffected and carefree. Schubert writes not four movements, but *five*: an exploratory sonata-form movement (I. Allegro vivace), an andante (II.), a brilliant scherzo (III. Scherzo: Presto), and the requested set of variations on _*Die Forelle*_ (IV. Andantino - Allegretto) slipped in just before the rollicking finale (V. Allegro giusto).

_*"The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble)."*_ [thank you *Wikipedia*!]

In 1969, five young musicians (They were pianist Daniel Barenboim, cellist Jacqueline du Pre, violinist Itzhak Perlman , violinist Pinchas Zukerman on viola, and Zubin Mehta on double bass) were filmed by director Christopher Nupen for what became a landmark classical music documentary title simply *The Trout*. It's an all-star cast - even the the page-turner is the Grammy-awarded Lawrence Foster. The musicians are shown in intimate backstage scenes laughing together as they prepare to play. They then go on to deliver a virtuosic performance.

Barenboim and du Pre were married in 1967.

Here's that film . . . the performance of the actual quintet starts at 15:00, but the lead-in mini-documentary is fascinating as well.

Allegro Vivace 15:00Andante 24:14Scherzo 32:30Thema 37:45Allegro Giusto 46:30

*Schubert Piano Quintet D667 The Trout Jacqueline du Pre, Daniel Barenboim, Itzhak Perlman, Pinchas*






.

All of the performers here, with the exception of *Jacqueline du Pre*, whose career was cut short by Multiple Sclerosis (which forced her to stop performing at the age of 28), went on to long and illustrious careers. Still, du Pre is a recognizable name in classical music, having been the subject of a scandalous biographical film *Hilary and Jackie* in 1998.

*Daniel Barenboim*, du Pre's husband is currently the general music director of the Berlin State Opera and Staatskapelle Berlin, and has served as Music Director of the Chicago Symphony Orchestra, the Orchestre de Paris and La Scala in Milan. He's received 7 Grammy awards.

*Itzhak Perlman* has appeared on the Ed Sullivan Show (in 1958 [when he was eleven years old] and again in 1964), and made his debut at Carnegie Hall in 1963. He's appeared on several film scores, notably Schindler's List, Memoirs of a Geisha. He's won 15 Grammy Awards in addition to the Brammy Lifetime Achievement Award, 4 Emmy Awards, and the Presidential Medal of Freedom.

Violinist/violist/conductor *Pinchas Zukerman* has received 21 Grammy nominations and two Grammy wins. He is featured on over 110 releases. Zukerman was married to his second wife, actress Tuesday Weld, from 1985 to 1998.

*Zubin Mehta* is currently music director emeritus of the Israel Philharmonic Orchestra and Conductor Emeritus of the Los Angeles Philharmonic. He's served as the Music Director of the Montreal Symphony Orchestra from 1961 to 1967; and Music Director of the Los Angeles Philharmonic Orchestra from 1962 to 1978. From 1978 to 1991, he was Music Director of the New York Philharmonic. Mehta has received 23 Grammy nominations, with 5 wins.

The page turner is *Lawrence Foster*, currently the Artistic Director and Chief Conductor of the Polish National Radio Symphony Orchestra.


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## pianozach

*#106
Symphony 37 in G Major
WA Mozart
1783 *

There is no *Symphony 37* by Mozart.

*Let me explain*: Until the mid-17th Century it was considered a waste of time to catalog music - honestly, nobody realized it was actually worth keeping or remembering.

There's a couple of modern examples here:

Film: movies were considered one-shot viewing deals, once created, and viewed, preserving them wasn't considered, in fact, many were deliberately melted down so the celluloid could be recycled.

TV: TV shows in the 1950s through the mid 1960s were not preserved . . . the video was reused, and often all we have are kinescopes (films of the broadcast) as a record.

So it was back in the 1800s. Nobody back then expected their music to be played centuries later, let alone be organized. In the "Classical" era, they rarely played music from earlier centuries (outside of some church pieces), and there wasn't a large music publishing business. What purpose was there in cataloguing and carefully codifying one's music? Not only that, since music printing did not become very profitable until the nineteenth century either, composers did not expect it to hold particular value after it had been performed.

Mozart almost certainly did not title his symphonies - nobody did.

*Ludwig von Kochel* finally counted everything in 1862, 71 years after Mozart's death (which is why all of Mozart's works have a K. number after them). He painstakingly found _*all*_ of Mozart's 626 works and put them roughly into chronological order.

When looking at Mozart's symphonies, he counted 41. He recognized Mozart's handwriting, and looking at the music of "Symphony 37," he could tell the introduction was clearly composed by Mozart. But in *1907*, *Lothar Perger* discovered that the rest of the symphony was actually one by *Michael Haydn* (the brother of *Joseph Haydn*). Mozart had likely copied the symphony to learn from it (which was a common practice back then to learn from others), and simply composed his own slow introduction since it didn't have one.

It's doubtful that Mozart worried much about the confusion he may have caused by his frequently copying out other composer's scores. That's how you learn. Or, perhaps in Mozart's case, it's how he entertained himself; by writing out something he had heard.

It's not that he plagiarized it . . . it's that he made a handwritten copy of it, and added a 90 second introduction, and this was later thought to a symphony that Mozart had written.

By 1907, everybody was very familiar with the famous symphony No. 40 in G minor, and his amazing "Jupiter" Symphony No. 41. Were people going to call the Jupiter Symphony no. 40, and No. 40 No. 39? That would be too confusing, so we simply skip over 37 and refer to the others by their "original" titles.

So . . . While there _*was*_ a *37th Symphony*, because it was believed to be a work by Mozart, _*there is no longer*_ a *Symphony No. 37*, as it is mostly written by *Michael Haydn*, being his Symphony *No. 25 in G major, Perger 16, Sherman 25, MH 334*.

Mozart's *Adagio maestoso* introduction in triple time (3/4) ends with a fermata on a V7 chord, which leads into a tonic chord beginning Haydn's work. And Mozart did not copy the rest of the work verbatim: he removed a bassoon solo from the middle Andante sostenuto movement, and "appears to have reduced the colla parte writing in the winds throughout the work," according to music historian Gary Smith. There's also some other minor alterations, such as leaving out some bassoon doublings of the cello part, and leaving out the harpsichord, which was playing a 'continuo' part based on the cello line.

Ⅰ. *Adagio maestoso - Allegro con spirito*
Ⅱ. *Andante sostenuto*
Ⅲ. *Allegro molto*

Here's a spirited performance, with the harpsichord part restored (played by *Roland Martin*). It also like the bassoon part was restored as well, at least I _THINK_ I can hear the occasional bassoon.

Unfortunately there is no attribution on this video, but *Martin* is an adjunct professor at the University of Buffalo specializing in harpsichord and organ. The orchestra is likely either that school's orchestra (I hear some clams here and there) or one of the many others where he's been a "guest" harpsichordist.

There's also something a bit different about this live performance: Notice how the violinists and violists aren't sitting.

*Symphony "Number 37' in G Major, K. 444/425a - Mozart*






.

*I. Adagio maestoso
Allegro con spirito (1:19)
II. Andante sostenuto (5:12)
III. Allegro molto (10:27)*

.

_*What I find remarkable*_ is that this Symphony was mistaken for a Mozart Symphony for decades. While it was never one of his "Greatest Hits" symphonies, no one doubted that is was one of Mozart's, because it was good enough to be mistaken for one.


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## pianozach

*#107
Symphony No. 5 in Bb major
Franz Schubert
1816*

This is the perfect entry level for anyone to whom you want to introduce *Schubert* with the intention of making sure that they want to hear more. It's fresh, it's fairly light and it's just bursting with tunes, in every nook and cranny.

Well, there's the usual four movements . . .

*I. Allegro 
II. Andante con moto 
III. Menuetto (Allegro molto - trio) 
IV. Allegro vivace*

*Schubert* scored this one for a fairly small ensemble at the time, without clarinets, trumpets, or timpani. And only one flute instead of the usual two.

*When he was 19 years old*. His freakin' *fifth* symphony. In 1816 year he put to paper some 125 songs and over 50 other works for chorus, orchestra, piano, and various chamber ensembles.

The symphony is in the key of B-flat minor and following a brisk, elegant, and classical-sounding _*Allegro*_, a charming _*Andante*_ seems to continue in the 18th century spirit with a lyrical genius. It opens as a straightforward song form, with a developing middle section in contrast to the outside statements. Schubert begins the return, but in a surprise move he then allows the listener a review of nearly the entire middle section, with its extended harmonic journey in search of the home key and theme. The straightforward but energetic and fast-paced _*Menuetto*_ reminds us how far the character of this form had removed itself from its ancestor in the dance, so much so that it's more of a Mozartian scherzo than a minuet. Many believe this movement, in G minor, is an homage to Mozart's Symphony No. 40.

In keeping with the rest of the work, the _*Allegro Vivace*_ is completely classical in form and character; it requires an especially light presto treatment for which the old-style instruments are admirably suited, even so, it's a flashy, carefree romp. Surprisingly, it's the shortest of the four movements.

Every analysis I've read of this symphony mentions the very strong influence of *Mozart* on *Schubert*, and indeed, it wouldn't be all that impudent to call it a tribute. For an untrained ear, it wouldn't be unusual to mistake it for one of the *Haydn-esque* Mozart Symphonies. Certainly the 2nd movement reflects the style of Mozart, and the 3rd resembles Mozart's 'peasant stomp' minuets.

In his *5th Symphony*, *Schubert* poured some of his beautiful melodies into a flexible classical form, seemingly _*"half Haydn and half Mozart, yet he still managed to make it sound utterly "Schubertian"."*_

So I love the sound of this particular live performance (*The Tel Aviv Soloists* conducted by *Barak Tal*), and it's probably due to the unusually small orchestra being used, and probably closer to the size that Schubert had in mind. The sound of the instruments isn't swallowed up in a massive reverberative crowd of instruments, which seems to be the norm for most live performances (as in "bigger is better").

*Franz Schubert - Symphony No. 5 in B flat major, D. 485*


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## pianozach

*#108
Kinderszenen, Op. 15
Robert Schumann 
1838
*
*Kenderszenen*, or *Scenes from Childhood*, is a set of thirteen pieces of music for piano.

_*Movement No. 7*_ of the work, _*Traumerei*_, is one of Schumann's best known pieces; it is the opening and closing musical theme of the 1947 Hollywood film *Song of Love*, starring Katharine Hepburn as Clara Wieck Schumann. The "_*Träumerei*_" in F major has been performed in myriad forms and transcriptions. It has been the favorite encore of several great pianists.

Here's *Träumerei*, performed by *Martha Argerich*.








This is *Robert Schumann*'s first appearance on this list. Schumann (1810 - 1856) was a German pianist, and composer mostly noted for his piano works and song, although he did write symphonic works as well.

No. 1. Von fremden Landern und Menschen (Of Foreign Lands and People) 
No. 2. Curiose Geschichte (A Strange Story) 
No. 3. Hasche-Mann (Catch-as-catch-can) 
No. 4. Bittendes Kind (Pleading Child) 
No. 5. Glückes genug (Happy Enough) 
No. 6. Wichtige Begebenheit (An Important Event) 
No. 7. Träumerei (Dreaming) 06:09
No. 8. Am Camin (By the Fire-side) 
No. 9. Ritter vom Steckenpferd (Knight of the Hobby-horse) 
No. 10. Fast zu ernst (Almost Too Serious) 
No. 11. Furchtenmachen (Frightening) 
No. 12. Kind im Einschlummern (Child Falling Asleep) 
No. 13. Der Dichter spricht (The Poet Speaks) 

Overall, the pieces are not _technically_ demanding, but it is the quality of expression and the sensitivity of the performer to that expression that is key. It is important to remember that the titles are _*not*_ the story, but only an indication meant to guide the performer.

Here's one of the most famous concert pianists ever, *Vladimir Horowitz*, performing *Kinderszenen* in Vienna, 1987.

*Schumann - Kinderszenen Op.15, "Scenes from Childhood" | Vladimir Horowitz*


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## pianozach

*#109
Till Eulenspiegels Lustige Streiche, Op. 28
Richard Strauss 
1895*

Translated in English as *Till Eulenspiegel's Merry Pranks*, it's a tone poem by Bavarian composer Richard Strauss (best known these days for another of his tone poems, *Also sprach Zarathustra*, which years later became known as the theme from *2001: A Space Space Odyssey*).

*Till Eulenspiegel* (full title: *Till Eulenspiegels lustige Streiche, nach alter Schelmenweise-in Rondeauform-für grosses Orchester gesetzt* or, in English, *Till Eulenspiegel's Merry Pranks, After the Old Rogue's Tale, Set in Rondo Form for Large Orchestra*) chronicles the misadventures and pranks of the German peasant folk hero *Till Eulenspiegel*, and, in spite of being overshadowed by the 2001 theme, this remains quite popular and well-known.

*Till Eulenspiegel* contains some of Strauss' most brilliant orchestration and makes use of various instruments, including the clarinet in D, which is rarely used anymore. And he uses a rather large orchestra for this: 3 flutes and piccolo, 3 oboes and English horn, clarinet in D, 2 clarinets in B-flat, bass clarinet in B-flat, 3 bassoons and contrabassoon, 4 horns in F, 4 horns in D, 3 trumpets in F, 3 trumpets in D, 3 trombones, bass tuba, triangle, cymbals, bass drum, snare drum, large rattle, timpani, AND strings.

His orchestrated score with its virtuosic instrumentation and colorful dissonances is brilliant.

And while it's a fully accessible work that a first-time casual listener can enjoy, the score also offers subtleties to delight a professional musician.

With *Till Eulenspiegel, Strauss* broke new musical ground. Never before had a composer created with such a vast instrumental palette or used it with an insouciance as breathtaking as it was appropriate to its subject. Strauss's glee at realizing his audacity and skill runs through every measure. But that, too, is part of the character of Till Eulenspiegel.

*I. Introducing the Rogue
II. Till's Pranks
III. Till's Trial
IV. Sentence and Execution
V. Epilogue*

So, I would have preferred to have linked to *Zubin Mehta* conducting the *New York Philharmonic* in 1992, but alas, it's been yanked from Youtube because someone has a buck to make.

Here's the next best thing, though: *Lorin Maazel* conducting the *Waseda Symphony Orchestra* at the Herkulessaal in Munich, Germany. The downbeat is at 0:36.

* Richard Strauss - Till Eulenspiegels lustige Streiche (Op. 28)*


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## pianozach

*#110
Violin Concerto in E minor, Op. 64
Felix Mendelssohn
1845*

OK, *Mendelssohn*'s *violin concerto* is regarded as one of the greatest violin concertos of all time.

*Hillary Hahn* with the *Frankfurt Radio Symphony Orchestra* conducted by *Paavo Jarvi*, 2012.

*Hilary Hahn & FRSO - Mendelssohn Violin Concerto E Minor OP.64 (Full Length)
*






.

_*I. Allegro molto appassionato 
II. Andante 
III. Allegretto non troppo -- Allegro molto vivace *_

One note . . . Mendelssohn deliberately dispensed with the space between movements because he felt that the applause between the movements was "distracting".

Ever since then, it's been concert etiquette to wait until the end of the last movement to clap.


----------



## pianozach

pianozach said:


> *The Top 100*
> 
> Holst - The Planets, Op. 32 [1918]
> Dvorak - "New World" Symphony No.9 in E minor "From the New World", Op 95 [1893]
> Beethoven - Symphony No. 3 in Eb Major, Op. 55 "Eroica" [1804]
> Stravinsky - The Firebird [1910]
> Tchaikovsky - 1812 Festival Overture, Op. 49 [1882]
> Vivaldi - Summer, The Four Seasons [1723]
> JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051 [1721]
> WA Mozart - Symphony 41 in C "Jupiter", K. 551. [1788]
> Borodin - In the Steppes of Central Asia. 1880.
> WA Mozart - Overture from The Marriage of Figaro, K492 [1786]
> 
> Grieg - Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23) [1876]
> Frederic Chopin - Polonaise in Ab Major, Op. 53 [1842]
> Mussorgsky - Pictures at an Exhibition (Ravel orchestration). [1874/1922]
> Gershwin - Rhapsody in Blue [1924]
> Stravinsky - The Rite of Spring [1913]
> Beethoven - Symphony No.5 in C minor, Op. 67. [1808]
> JS Bach - Cello Suite No. 1 in G major, BWV 1007 [1720]
> Carl Orff - O Fortuna from Carmina Burana [1937]
> Mussorgsky - Night On Bald Mountain (Rimsky-Korsokov arrangement). [1867/1886]
> Johann Sebastian Bach - Well-Tempered Clavier 2, Prelude F Sharp minor [1742]
> 
> Claude Debussy - The Sunken Cathedral, from Préludes [1910]
> Sergei Rachmaninoff - Prelude Op. 23 No. 5 [1901]
> Franz Liszt - Consolation No. 3 [1850]
> Richard Strauss - Also Sprach Zarathustra [1896]
> Ravel - Bolero [1928]
> George Martin - Pepperland [1968]
> Chopin - Prelude in Db "Raindrop" [1838]
> Beethoven - Piano Sonata No. 14 in C♯ minor ("Moonlight Sonata") [1801]
> Antonio Vivaldi - The Four Seasons [1720]
> Rossini - Overture to "The Barber of Seville" [1816]
> 
> Wagner - Ride of the Valkyries, Die Walküre, Der Ring des Nibelungen [1856]
> Mozart - Symphony No.40 in G minor [1788]
> Vivaldi - The Four Seasons "Spring" [1720]
> Beethoven's "Pastoral" Symphony No. 6 in F major, Op. 68 [1808]
> Mozart - Requiem in D minor [1792]
> Johann Strauss II - The Blue Danube, Op.314 [1866]
> Tchaikovsky - Capriccio Italien [1880]
> Paul Dukas - The Sorcerer's Apprentice [1897]
> Beethoven - "Choral" Symphony No. 9 in D minor, Op. 125 [1824]
> Schubert - Ave Maria from Liederzyklus vom Fräulein vom See, Op. 52 [1825]
> 
> Ottorino Respighi - The Pines of Rome [1924]
> Beethoven's Symphony No. 7 in A major, Op. 92 [1812]
> Beethoven's Piano Concerto No. 4 in G Major, Op.58 [1806]
> Tallis - Spem in Alium (40-voice motet) [1570]
> Beethoven's Piano Sonata No.21 in C Major Op.53 (The Waldstein) [1804]
> Dvorak - Slavonic Dance No. 7, Op. 46 [1878]
> Josquin des Prez - Missa L'Homme armé super voces musicales [1495]
> Palestrina - Missa Aeterna Christi munera [1590]
> Allegri - Miserere [1638]
> Beethoven's String Quartet in F Major Op.59, no.1 [1806]
> 
> Beethoven - "Razumovsky" String Quartets, Op. 59 [1806]
> Monteverdi - The Vespers [1610]
> Mozart - Piano Concerto No. 20 in D minor, K466 [1785]
> Tchaikovsky - Sixth Symphony in B minor, Op. 74 "Pathetique" [1893]
> Beethoven - Piano Sonata No. 8 in C minor, Op. 13 "Pathetique" [1798]
> William Byrd - Mass for 4 & 5 voices [1593 / 1595]
> Bach - Brandenburg Concertos [1721]
> Brahms - Piano Trio No. 1 in B major, Op. 8 "Eroica" [1854]
> Schubert -String Quartet No. 14 in D minor "Death and the Maiden" [1824]
> Mozart - Piano Concerto No. 21 in C major, Andante ("Elvira Madigan") [1785]
> 
> Haydn - Mass No. 11 in D minor "Lord Nelson Mass" [1798]
> Bizet - Carmen [1875]
> Schubert - Symphony No. 8 "Unfinished" [1822]
> Monteverdi - Madrigals, book 5 [1605]
> Bach - Goldberg Variations [1741]
> Dvorak's Carnival Overture, Op. 92 [1891]
> Handel - Messiah [1741]
> Mozart - Symphony 35 [1782]
> Strauss - Salomé - "Dance of the Seven Veils" [1905]
> Shostokovich - Piano Trio No. 2 in E minor [1944]
> 
> Debussy - String Quartet in G , Op. 10 [1893]
> Aaron Copland - Appalachian Spring, [1944]
> Ravel - Miroirs, No. 5 "La vallee des cloches" [1905]
> Ravel - String Quartet in F [1903]
> JS Bach - Well-Tempered Clavier [1722]
> Beethoven - Sonata no. 28 in A major, Op. 101 [1816]
> Schubert - String Quartet in C major [1828]
> Smetana - Vltava from Ma Vlast [1874]
> Verdi - Requiem [1874]
> Steve Reich - Music for 18 Musicians [1976]
> 
> Stockhausen - Gesang der Jünglinge [1956]
> Mahler - Symphony No 2 "Resurrection" [1894]
> Mozart - Symphony 36 in C major, K425 "Linz" [1783]
> Legeti - Requiem [1965]
> Elgar - Enigma Variations [1899]
> Krzysztof Penderecki - Threnody for the Victims of Hiroshima [1960]
> Machaut - Messe de Nostre Dame [1365]
> Perotin - Viderunt omnes [1198]
> Palestrina - Missa Papae Marcelli [1562]
> Bach - Toccata and Fugue in D Minor [1708]
> 
> Handel - Water Music [1717]
> Vivaldi - Gloria [1715]
> Haydn - Symphony No. 104 "London" [1795]
> Haydn - String Quartet Op.76, No.3 "Emperor" [1797]
> Mozart - Overture from The Magic Flute [1791]
> Beethoven - Piano Concerto No. 5 in Eb major, Op. 73 [1811]
> Berlioz - Symphonie Fantastique, Op. 14 [1830]
> Chopin - Nocturne in Eb, Op.9 No.2 [1832]
> Chopin - Revolutionary Etude, Op. 10, No. 12 [1831]
> Aaron Copland - Fanfare for the Common Man [1943]


*#101 - #110

How does this happen?

These ten were all composed between 1783 and 1895; not a single one from the 20th or 21st Century. Throw out the two on the end, and the majority were written between 1816 and 1885. Same with the previous 10 (#s 91-99); all but one were composed before 1832.

People that enjoy post-Romantic era Classical music tend to dismiss the "Golden Age" of Classical Music. They enjoy more 'modern' works, and there's certainly nothing wrong with that. I've certainly highlighted more modern works further up the list. Actually, compared to most Greatest lists, I've got a whopping 16% of my first 100 that were written in the 20th Century, and as the broad umbrella of Classical music can be thought of as stretching back to around 1700 or so (only 9% of my list are entries from before that).

So, roughly 300-350 years of Classical music; percentagewise that's actually pretty reasonable.

At the same time, one cannon logically dismiss any of these ten (with the exception of Mozart's 37th Symphony, which, aside from a short introduction, he did not write), or the last 20. They are all great in their own right.

Another interesting point worth making is that eight of these ten are orchestral works; only one is a chamber piece, while one other is for solo piano.

But this is where Classical music really shines.

Realistically, the jury is still out on most "classical" music written in the last 50 years . . . how does one even attempt to assess them? 

.

#101 - #110

Johannes Brahms - Symphony No. 4 in E minor, Op. 98 (1885)
Felix Mendelssohn - Symphony No. 3 in A minor, Op. 56 "Scottish" (1842)
Gioachino Rossini - Thieving Magpie Overture (1817)
Gioachino Rossini - William Tell Overture (1829)
Franz Schubert - Trout Quintet (1819)

WA Mozart - Symphony 37 in G Major (1783)
Franz Schubert - Symphony No. 5 in Bb major (1816)
Robert Schumann - Kinderszenen, Op. 15 (1838)
Richard Strauss - Till Eulenspiegels Lustige Streiche, Op. 28 (1895)
Felix Mendelssohn - Violin Concerto in E minor, Op. 64 (1845)*


----------



## pianozach

*#111
Don Juan, Op. 20
Richard Strauss
1888*

*Don Juan* is a tone poem *Richard Strauss* composed when his was a mere 24 years old, and was an international success. Technically, the full title is *Don Juan; Tondichtung für großes Orchester*

So, there's been a few _*"tone poems"*_ on the list already, but what, exactly, _IS_ a tone poem?

Well, it's sometimes also referred to as a _*symphonic poem*_ (probably a better phrase to describe it), and it's usually a single-movement piece of orchestral music which either illustrates or evokes the content of a poem, short story, novel, painting, landscape, or practically any other non-musical source.

So, _this_ tone poem is notable for being a *"musical symbol of fin-de-siecle [end of century] modernism"*, with _*"modernism"*_ being a philosophical and aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time.

And the opening bars of *Don Juan* are usually held up as exemplifying that mood in the 1890s, with the works of *Mahler, Strauss*, and *Debussy* implying a profound historical transformation generally pigeonholed to the the years *1890-1930* (after 1930 we get _"post-modernism"_). Some experts think that *Don Juan* was the piece that actually *created* the the tone poem, where the structure of the work follows the dramatic arc of the tale, where the music unfolds organically as the plot reveals itself.

Anyway, the *Don Juan* legend originated in Renaissance-era Spain. *Strauss*'s tone poem is based on *Don Juans Ende*, a play derived from an unfinished 1844 retelling of the tale by poet *Nikolaus Lenau*. *Strauss* reprinted three excerpts from the play in his score. In Lenau's rendering, Don Juan's promiscuity springs from his determination to find the ideal woman. Despairing of ever finding her, he ultimately surrenders to melancholy and wills his own death.

And it wasn't just the structure that made the piece revolutionary - Strauss also made demands on the orchestra that exceeded anything previously composed.

But technically, the piece is actually in a modified Rondo form . . . a work with a recurring primary theme that alternates with various differing verses or episodes, in this case a "hero" theme alternating with episodes (or "verses") describing his romantic exploits does lend itself to this explanation, with each of the "verses" illustrating a different relationship with different women, each with a distinct character portrayed through the music.

The works' final phrases taper away, ending in quiet tones evocative of the dying breaths of *Don Juan*, willingly killed in a duel with an avenging father.

Here's * Andrés Orozco-Estrada* conducting the * Tondichtung für großes Orchester*. While there is a better _performance_ available of the *Berliner Philharmoniker* conducted by the great and controversial *James Levine* (and I do enjoy his conducting visually far more than Sawallisch's), the sound quality of this performance has a sparkling clarity that surpasses the video of Levine's performance. And the Levine performance fades out several minutes before the end of the piece, a remarkably aggravating experience.

* Strauss: Don Juan ∙ hr-Sinfonieorchester ∙ Andrés Orozco-Estrada*


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## pianozach

_As you've probably guessed, this list is endless.
_
*#112
The Lark Ascending
Ralph Vaughan Williams
1914/1921*






​.

This is a symphonic poem based on the 122-line poem of the same name by the English poet *George Meredith* about the song of the skylark.

It was originally scored for violin and piano in 1914, and premiered in 1920, but the composer re-scored it for solo violin and orchestra in 1920 (which premiered the following year), and this is the more popular version of the two.

The composer termed the piece a _*"pastoral romance for orchestra"*_. It is full of the folk melodies that the composer loved to collect, with those singing violin lines, mingling with the sounds of the earth before breaking free, rising to ever loftier heights. The mood is deeply nostalgic, and his writing evokes the glorious image of the rolling British countryside.

But this piece also has a darker subtext, that of the Great World War, which occupied British attention at the time. Unsubstantiated legend has it that *Vaughan Williams* composed this watching soldiers leaving for war, but he was even arrested while making notes for it, after being observed by a small boy who reported him as being a possible spy writing down troop movements in secret code.

Even so, on 4 August 1914, the day that Britain entered the War, *Vaughan Williams* visited Margate for a week's holiday. It was not an embarkation point, so he would not have seen departing soldiers. The ships that he did see were engaged in preparatory fleet exercises.

Yet *Vaughan Williams*'s *The Lark Ascending* is a gentle, introspective work. The solo violin flutters and soars, evoking the lark of Meredith's poem. The winds and supporting strings float peacefully beneath the solo part in long and languid lines.

A critic from The Times wrote after the debut, *"It showed serene disregard of the fashions of today or yesterday. It dreamed itself along."*

The use of pentatonic scale patterns, sometimes criticized as *"a steady trickle of pentatonic wish-wash"*, free the violin from a strong tonal centre, and expresses impressionistic elements. This liberty also extends to the meter. The cadenzas for solo violin are written without bar lines, lending them a sense of meditational release.









*Classic FM* asked violinist *Jennifer Pike* (shortly before a performance of the piece) what makes Ralph Vaughan Williams' work for solo violin and orchestra so special. Well, I'll just post the short video of her explanation, but prior to that I'll point out that the work extraordinarily popular in Great Britain, where it just seems to stir up nationalistic pride. English poet. English composer. World War I.

But it's not universally loved, or even liked, by all. For those not swayed by it's programmatic soothing tones seem to view it as plinkity plonkity ethereal nothingness, and don't see why it's *"special"*. But, as Pike explains, it's the folk elements and beautiful melodies, and it evocation of the nostalgic nationalism from the early 20th century.

*Why Does Everyone Love The Lark Ascending? Jennifer Pike Explains | Explained | Classic FM Meets*






.

Strangely enough, the *Lark* is NOT the national bird of England (or Great Britain for that matter) - that would be the *Robin*, chosen only a few years ago. It beat out competition from the *barn owl*, which came in second, and the *blackbird*, in third.

Nor is the lark the national bird of *Wales*; that would be the *Red Kite*, chosen in 2007. Scotland doesn't have one yet, but it's likely they'll choose the golden eagle.

*Northern Ireland* also does not have an official national bird, but the *Eurasian oystercatcher* (Haematopus ostralegus) was unofficially selected in 1961.

The *northern lapwing* (Vanellus vanellus) was declared the *Republic of Ireland*'s national bird by a committee of the Irish Wildlife Conservancy in 1990.

There are around 98 species of *Lark*. In cuisine, Larks, commonly consumed with bones intact, have historically been considered wholesome, delicate, and light game. They can be used in a number of dishes; for example, they can be stewed, broiled, or used as filling in a meat pie. Lark's tongues were particularly highly valued. You don't see it much on menus anymore, but it's still popular in southern Europe, especially Italy.

.





​
So . . . Here's *Hilary Hahn* performing *The Lark Ascending* at the George Enescu Festival. While it's really a beautiful rendering of the work, she pretty much shows no engagement or connection as she plays, allowing the piece to speak for itself. Her movements are part of her technique, while her face shows no emotion.

And I do prefer to see some connection to a piece by a soloist. But she's pretty flawless. So this is the version I've chosen.

*Hilary Hahn - V. Williams "The Lark Ascending"*






.

Then again, most of the live online versions are performed in this manner, with a British stiff upper lip, a calm and understated demeanor.

It's really a beautiful piece of music. Listen. Let it _sweep you away . . ._


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## pianozach

*Intermission*

*The transformative power of classical music with Benjamin Zander*

*Benjamin Zander* has two infectious passions: classical music, and helping us all realize our untapped love for it; and by extension, our untapped love for all new possibilities, new experiences, new connections.

20 minutes

*The transformative power of classical music | Benjamin Zander*


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## pianozach

*#113
The Well Tempered Klavier, Book 2
JS Bach
1742*

*Part 1 of 3
*
OK, this is ALMOST cheating, but it's not.

All right, again we have a work that is pretty lengthy, 24 Preludes and Fugues. Not a dud amongst them.

As a keyboardist, I have a special fondness for his works for klavier.

As a teen I competed in Bach Festivals, and usually did quite well. I succeed not so much with superior technique, but with speed and flash. Interpretively, I may very well have sucked, but the judges seemed to be more impressed with bravura and neglected to notice the lack of true nuance and subtlety.

But here's what I consider to be some of the best excerpts from *WTC2*:

*No. 9: E major fugue* This is a hymn tune. Very clever imitations. It is like a 16th century motet and full of suspensions (50 in all). Very moving.

Here's *Glenn Gould* live, performing this *Prelude and Fugue* quite differently than his studio recording of the two.

*Glenn Gould - Fugue in E Major from The Well Tempered Clavier Book 2 - BWV 878*






.

*No. 10: Prelude and Fugue in E minor, BWV 879*

Music starts at 0:41

*Bach - WTC II (Nikolai Demidenko) - Prelude & Fugue No. 10 in E Minor BWV 879*






.

*No. 6: Prelude and Fugue in D minor* The Prelude is unstoppably quick.

The *Fugue*'s subject and counter-subject are extremely expressive and so very contrasted. This is what really good counterpoint is all about.

Here's *Jacqueline Leung*, recorded in St. John's Cathedral, Hong Kong.

*Bach Prelude and Fugue in D minor BWV 875 (Book II)*






.

*No. 7: Prelude and Fugue in E♭ major, BWV 876*
The prelude is a seriously massive three-section piece with lots of combining of themes. The Eb fugue is light hearted with wonderful episodes and interesting modulations, and one very extended phrase half-way through.

Here's *Nikolai Demidenko* again.

*Bach - WTC II (Nikolai Demidenko) - Prelude & Fugue No. 7 in E-Flat Major BWV 876*


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## pianozach

pianozach said:


> *#113
> The Well Tempered Klavier, Book 2
> JS Bach
> 1742*
> 
> *Part 2 of 3
> *
> 
> .
> 
> .
> 
> *No. 14: Prelude and Fugue in F♯ minor, BWV 883*
> 
> *Angela Hewitt*
> 
> *Bach - WTC II (Angela Hewitt) - Prelude & Fugue No. 14 in F-Sharp Minor BWV 883*
> 
> 
> 
> 
> 
> 
> .
> 
> *No. 15: Prelude and Fugue in G major, BWV 884*
> 
> *Christiane Jaccottet* playing the Harpsichord.
> 
> *Prelude and Fugue No. 15 in G Major, BWV 884*
> 
> 
> 
> 
> 
> 
> .
> 
> *No. 20: Prelude and Fugue in A minor, BWV 889*
> 
> * Angela Hewitt*
> 
> *Prelude and Fugue No. 20 in A minor, BWV 889*
> 
> 
> 
> 
> 
> 
> .
> 
> But . . . here's *Friedrich Gulda* playing an actual Clavichord, giving the fugue (which starts at 6:09) a rather unusual tone, especially when he gets to the fugue. You'll have to click through to Youtube to listen, but it is certainly worth it.
> 
> *Friedrich Gulda: J.S. Bach - Prelude & Fugue No. 20 in A minor, BWV 889, Well-Tempered Clavier II*


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## pianozach

*#113
The Well Tempered Klavier, Book 2
JS Bach
1742*

*Part 3 of 3*

And one more for the road: *No. 18: Prelude and Fugue in G♯ minor, BWV 887*

Perky rhythm, interesting harmonies

*Andras Schiff*

.

*J.S. Bach: Prelude and Fugue in G sharp minor (WTK, Book II, No.18) , BWV 887*






.

.

.

.

.

But, if you've got 2 hours and 23 minutes to spare, here's the entire *The Well-Tempered Clavier, Book II*, played by a much older *Andras Schiff* in 2018 at the Royal Albert Hall in London.

_*[The original uninterrupted version video is gone, but here's the entire work in 24 videos, although I'm guessing you'll have to actually go to Youtube for the playlist to work correctly. Simple click on the Youtube or Watch on Youtube link at the bottom of THIS link, and you're there.]*_

.

*Bach Nr 1 BWV 870 C-Dur II Das Wohltemperierte Klavier Teil II Sinfonia Tanzfuge András Schiff*


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## pianozach

*#114
Cello Symphony 
(Symphony for Cello and Orchestra or Cello Symphony, Op. 68)
Benjamin Britten 
1963 (premiered 1964)*

*Edward Benjamin Britten*, Baron Britten OM CH (22 November 1913 - 4 December 1976) was an English composer, conductor and pianist. He was a central figure of 20th-century British classical music, with a range of works including opera, other vocal music, orchestral and chamber pieces.

Given that the rich wealth of Classical music reaches back centuries, it does seem a bit odd that there isn't a corresponding wealth of recent Classical music. This work is from *1963*, comparatively brand new in the larger picture of Classical music.

The piece is in the four-movement structure typical of a symphony, but the final two movements are linked by a cello cadenza:

*I. Allegro maestoso
II. Presto inquieto
III. Adagio - cadenza ad lib
IV. Passacaglia: Andante allegro*

. . . . and the balance between soloist and orchestra is more equal than in a traditional concerto format.

The *first movement* begins with a rhetorical introduction from the cello, the style recalling the composer's debt to *Purcell*, and this leads to a straightforward sonata form in which the roles of soloist and orchestra are reversed in the recapitulation. The shadowy _*scherzo*_ (Presto inquieto) is a technical tour de force, every melodic and harmonic fragment derived from the same group of motivic cells; in spite of its careful intellectual construction the movement has an remarkable eeriness and intensity. Baroque influences return in the double-dotted rhythms of the *Adagio*, and a version of the _*finale*_'s main theme is heard before the soloist's cadenza. The *Passacaglia* is more harmonic in conception than melodic, the chord sequence on which it is based being announced by the soloist beneath the opening trumpet solo.

Here is that premiere performance featuring cellist *Mstislav Rostropovich* (for whom the work was written) and the *Moscow Philharmonic Orchestra* conducted by the composer *Benjamin Britten*.

*Britten - Cello Symphony - Rostropovich / Britten live*


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## pianozach

*#115
Prelude a l'apres-midi d'un faune 
(Prelude to the Afternoon of a Faun)
Claude Debussy
1894*

Yeah, I've been featuring a great many symphonic poems lately. But it's purely coincidental.

This is one of *Debussy*'s most famous works and is considered a turning point in the history of music, sometimes considered to be the beginning of modern music. It's also *Debussy*'s first major orchestral work, and one for which he received the prestigious Grand Prix du Rome.

About his composition Debussy wrote:

_The music of this prelude is a very free illustration of [Stephane] Mallarme's beautiful poem. 
By no means does it claim to be a synthesis of it. Rather there is a succession of scenes 
through which pass the desires and dreams of the faun in the heat of the afternoon. 
Then, tired of pursuing the timorous flight of nymphs and naiads, 
he succumbs to intoxicating sleep, 
in which he can finally realize 
his dreams of possession 
in universal Nature._​
There are three versions of this piece: In 1912 it was made into a short ballet, and in 1958 *Jerome Robbins* made another ballet version, which is still frequently performed.

Additionally *Debussy* also rewrote the piece for performance on two pianos in 1895.

Oh, and there's a jazz version rearranged and recorded by jazz musician *Eumir Deodato* for his album 1973 *Prelude*.

And, not surprisingly, *Isao Tomita* performed a synth version on his 1975 album *Firebird*.

*Prelude to the Afternoon of a Faun* is the first animated segment in Italian director/animator *Bruno Bozzetto*'s 1977 film *Allegro Non Troppo* . While retaining *Debussy*'s music, the on-screen story instead depicts an aging faun's vain attempts to recapture his youth.

*Prélude à l'après-midi d'un faune* starts at *9:11*. This link is actually the entire 85 minute film. If you're unfamiliar with it, it's as much a parody of *Fantasia* as it is a tribute, and in some ways, it's better. It's certainly quirkier.

Indeed you discover that it's a far more interesting, and considerably less safe playlist.

Caude Debussy: Prélude à l'après-midi d'un faune
Antonín Leopold Dvořák: Slavonic Dance No. 7, Op. 46
Maurice Ravel: Boléro
Jean Sibelius: Valse triste
Antonio Vivaldi: Concerto in C major, RV 559
Igor Stravinsky: The Firebird Suite
Medley: Brahms - Hungarian Dance No. 5; Bach Toccata and Fugue, Dvorak - Savonic Dance No. 7 (again), and Liszt - Hungarian Rhapsody.

*Allegro non troppo* shares some tracks with both *Fantasia* (1940) and *Fantasia 2000*:

*Bach's Toccata and Fugue* was in the original *Fantasia*, while *Stravinsky's Firebird* also closed out *Fantasia 2000*.

*Allegro non troppo Bruno Bozzetto 1977*


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## pianozach

*#116
Academic Festival Overture, Op. 80
Tragic Overture, Op. 81
Johannes Brahms 
1880*

Brahms has been infrequently on this list, not because he isn't a great composer, but because he is too great of a composer. His music is generally considered to be difficult for "newbies" to grasp. In spite of that, here's where he's appeared on this list so far:

*#58 Piano Trio No. 1 "Eroica"
#101 Symphony No. 4*
. . . and his *Hungarian Dance No. 5* is hidden in *#115*, as part of the soundtrack of *Allegro non troppo*.

After 100+ works, we're all ready for some of *Brahms*' sophistication.

Well, #116 is a "Two-fer".

The *Academic Festival Overture* (Akademische Festouverture), Op. 80, by *Johannes Brahms*, was one of a pair of contrasting concert overtures - the other being the *Tragic Overture*, Op. 81. *Brahms* composed the work during the summer of 1880 as a tribute to the University of Breslau, which had notified him that it would award him an honorary doctorate in philosophy.

Initially, Brahms had contented himself with sending a simple handwritten note of acknowledgment to the University, since he loathed the public fanfare of celebrity. However, conductor Bernard Scholz, who had nominated him for the degree, convinced him that protocol required him to make a grander gesture of gratitude. The University expected nothing less than a musical offering from the composer. _"Compose a fine symphony for us!"_ he wrote to Brahms. _"But well orchestrated, old boy, not too uniformly thick!"_.

Cheeky, eh?

So Brahms, who was known to be a curmudgeonly joker, filled his quota by creating a _*"very boisterous potpourri of student drinking songs"*_, four of them, to be precise.

The work sparkles with some of the finest virtues of Brahms's orchestral technique, sometimes applied for comic effect, such as the bassoons that inflate the light subject of *"Fuchslied" (Was kommt dort von der Hoh?)*. The inventive treatment includes tunes appropriated from the student ditties _*"Fuchslied", "Wir hatten gebauet ein stattliches Haus", "Hort, ich sing das Lied der Lieder"*_, and most memorably, the broad, triumphant finale on *"Gaudeamus igitur"*, which succinctly engages Brahms's sophisticated mastery of counterpoint, further fulfilling the "academic" aspect of his program, cheekily applied to the well-worn melody. Brahms manages to evoke ravishing euphoria without sacrificing his commitment to classical balance.

It was the first melody, however, that was most notorious in the composer's day. *"Wir hatten gebauet"* was the theme song of a student organization that advocated the unification of the dozens of independent German principalities. This cause was so objectionable to authorities that the song had been banned for decades. Although the proscription had been lifted in most regions by 1871, it was still in effect in Vienna when Brahms completed his overture. Because of this ban, police delayed the Viennese premiere of the *Academic Festival Overture* for two weeks, fearing the incitement of the students.

The blend of orchestral colors is carefully planned and highlighted in the piece, which, in spite of Scholz's request, calls for one of the largest ensembles for any of his compositions: piccolo, two flutes, two oboes, two clarinets (both doubling in B♭ and C clarinets), two bassoons, contrabassoon, four horns (two in C and two in E), three C trumpets, three trombones, one tuba, timpani, bass drum, cymbals, triangle, and strings.

The *Overture* consists of four continuous sections:

*I. Allegro 
II. Maestoso 
III. Animato 
IV. Maestoso*

Here's *Paavo Järvi* conducting the *Orchestre de Paris *

*Brahms - Academic Festival Overture, Op 80 - Järvi*








*Brahms* seems to have had a penchant for composing works in pairs, so the second part of the "two-fer" is the 15-minute *Tragic Overture, Op. 81*.

*Brahms* chose the title _*"Tragic"*_ to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the *Tragic Overture* does not follow any specific dramatic program. Brahms summed up the effective difference in character between the two overtures when he declared *"one laughs while the other cries."*

The Tragic Overture comprises three main sections.

*I. Allegro ma non troppo
II. Molto pi? moderato
III. Tempo primo ma tranquillo*

It remains one of the great musical expressions of tragedy from the Romantic age.

Here's the always brilliant *Leonard Bernstein* conducting the *Vienna Philharmonic Orchestra*.

*Brahms - Tragic Overture (Bernstein)*








But wait, this entry has an under three minute bonus track.

*Hungarian Dance No. 5*. *Claudio Abbado* conducts the *Berliner Philharmoniker*

*Brahms: Hungarian Dance No. 5 / Abbado · Berliner Philharmoniker*


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## pianozach

*#117
Cello Concerto in B minor
Antonin Dvorak 
1895*

The 40 *minute Cello Concerto in B minor, Op. 104, B. 191* is *Antonin Dvorak*'s last solo concerto.

*I. Allegro 
II. Adagio, ma non troppo 
III. Finale: Allegro moderato - Andante - Allegro vivo*

Amusingly enough, Dvorak had repeatedly been asked for a cello concerto for quite some time, but he always refused, stating that the cello was a fine orchestral instrument but totally insufficient for a solo concerto. But hearing Victor Herbert playing cello for his own Cello Concerto No. 2 with the New York Philharmonic seems to have changed his mind.

Among all cello concertos, Dvorak's has been called "supreme," "the greatest", and the "king." It is admired for the richness of its orchestral music and for the lyrical writing for the solo instrument.

So . . . I had two astounding choices of performances of this piece . . . one with today's greatest cellist *Yo-Yo Ma* performing in 1981: 




and a recently re-discovered video of *Jacqueline du Pré*, perhaps the greatest cellist at the time performing in 1968.

Runners-up would be a performance by *Mstislav Rostropovich* from 1977 with the *London Philharmonic Orchestra* being conducted by the stunning *Carlo Maria Giulini*: 



 ,

and one with the French bad-boy GQ pin-up *Gautier Capucon* with the *Orchestre de Paris*: 



.

I swear, they are all fabulous - you cannot go wrong listening to *ANY* of these performances.

But MY money's on *Jacqueline du Pré* playing with the *London Symphony Orchestra* conducted by *Daniel Barenboim*. Du Pre is, by far, the most *fascinating* to watch perform . . . she and the cello and the score all become one marvelous entity that creates a journey, a dance, a transcendent experience that may leave you breathless.

.

*Jacqueline du Pré - Dvořák Cello Concerto - London Symphony Orchestra cond. Daniel Barenboim*


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## pianozach

*#117-1/2
Cello Concerto in B minor
Antonin Dvořák 
1895*

Alternate choices of performances of this piece . . .

One with _*today's*_ greatest cellist *Yo-Yo Ma* performing in 1981: 



 But alas, that particular performance is no longer available on Youtube.

Here's *Yo-Yo Ma* performing *Dvořák's Cello Concerto* in 2017 with the *Calgary Philharmonic Orchestra* conducted by *Rune Bergmann*.








A performance by *Mstislav Rostropovich* from 1977 with the *London Philharmonic Orchestra* being conducted by the stunning *Carlo Maria Giulini*: 









:devil:

. . . And one with the French bad-boy GQ pin-up *Gautier Capucon* with the *Orchestre de Paris* conducted by *Paavo Järvi*: 



.


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## pianozach

*#118
Piano Concerto
Edvard Grieg 
1868*

The *Piano Concerto in A minor, Op. 16*, composed when he was only 24, was the only concerto Grieg completed. It is one of his most popular works and is among the most popular of all piano concerti.

Oh, you'll recognize it right away. The famous flourishing introduction is so very well known, as well as the main theme of the 1st movement.

*I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato - Quasi presto - Andante maestoso*

And it doesn't get much better than this:

*Arthur Rubinstein* and the *London Symphony Orchestra* with *André Previn* conducting.

*Arthur Rubinstein - Grieg - Piano Concerto in A minor, Op 16*


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## pianozach

*#119 
Symphony No 4 in A major, Op. 90 "Italian"
Felix Mendelssohn
1833/1834*

This symphony has its origins in *Mendelssohn*'s *Scottish 3rd Symphony*, but for this one its inspiration is the color and atmosphere of Italy, which he'd visited in 1831. He wrote to his sister, *"The Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples."*

Oddly enough, his 1833 4th symphony is his third, while the Scottish 3rd Symphony, his fourth, was not finished until 1842.

The symphony's success after its 1833 London premiere, which he conducted himself, and Mendelssohn's popularity, influenced the course of British music for the rest of the century.

Mendelssohn himself, however, remained dissatisfied with the composition, which cost him, he said, some of the bitterest moments of his career; he revised it in 1834 and even planned to write alternative versions of the second, third, and fourth movements. He never published the symphony, and it appeared in print only in 1851.

On one level the *Italian Symphony* is not particularly Italian; it's much more an expression of how Italy made *Mendelssohn* feel. Indeed, it's not until the final movement - some twenty minutes into the symphony - that we first hear a genuinely Italian music motif, in this case the sound of a national peasant dance.

*I. Allegro vivace 
II. Andante con moto 
III. Con moto moderato 
IV. Presto and Finale: Saltarello *

*Herbert von Karajan* conducting the *Berlin Philharmonic Orchestra*.

*Mendelssohn Italian Symphony (Herbert von Karajan)
*


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## pianozach

*Audience Participation Time*

This is fun!

Clap-along to *Stravinsky*'s *The Rite of Spring*.


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## pianozach

*The History of the Orchestra, I guess*.






.

The video touches on the subject of whether Classical Music, or the Symphony Orchestra is dead or not.


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## pianozach

*#120
String Quartet No.12 in F, Op. 96 - The "American Quartet"
Antonín Dvořák 
1893*

It's *Dvořák*'s 12th quartet, and is one of the most popular in the chamber music repertoire.

He wrote it while vacationing in Iowa - he sketched the quartet in three days and completed it in thirteen more days.

As he'd familiarized himself with Native American music and African-American spirituals, the piece sometimes was known by some now non-pc nicknames until the 1950s.

*I. Allegro ma non troppo
II. Lento
III. Molto vivace 
IV. Finale: vivace ma non troppo*

While the influence of American folk song is not explicit in the quartet, the impact of Dvořák's quartet on later American compositions is clear. Following Dvořák', a number of American composers turned their hands to the string quartet genre.

The extensive use of folk-songs in 20th century American music and the 'wide-open-spaces' atmosphere of 'Western' film scores may have at least some of their origins in Dvořák's new American style.

Originally your video was to be the Pavel Haas Quartet performing in 2011, but as is usual for Youtube, the account on which it was posted no longer exists, so the video is not available.

Instead, here is *The New York Philharmonic String Quartet*, performing in 2016 at West Side Presbyterian Church in Ridgewood, New Jersey.

*The New York Philharmonic String Quartet performs Dvořák's American Quartet*


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## pianozach

*#121
Billy the Kid
Aaron Copland
1938*

OK, it's a *Ballet Suite*:

_*Introduction: The Open Prairie
Street Scene in a Frontier Town
Mexican Dance and Finale
Prairie Night (Card Game at Night, Billy and his Sweetheart)
Gun Battle
Celebration (After Billy's Capture)
Billy's Death
The Open Prairie Again *_

You may recognize some cowboy and folk tunes he heavily used: *Git Along Little Dogies*, and _*The Old Chisholm Trail*_ to name a couple.

Here is *Giancarlo Guerrero*, at Carnegie Hall
Conducting NYO2 (*National Youth Orchestra*, an intensive summer training program for outstanding young musicians ages 14-17)

*NYO2 Performs "Billy the Kid" Suite*


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## pianozach

Just found a fun version of *Bolero* transcribed for 10 pianos.

*PianoPulse Project No. 1 | Bolero | Ravel | by Frank Dupree*


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## pianozach

*#122, Part 1
A Boy was Born, Op. 3 
Benjamin Britten
1934*

This is a choral composition by a 19-year-old *Benjamin Britten*, with the byline " - *The Choral variations for men's, women's and boys' voices, unaccompanied (organ ad lib)"*. In essence, it's a Christmas Cantata.

This 30 minute piece written in the form of a musical theme and six variations setting ten different texts dating mostly from the 16th century, although he does include the text of *Christina Rosseti*'s *In the Bleak Midwinter* from the 19th century.

*Theme: A boy was born

Variation 1: Lullay Jesu

Variation 2: Herod

Variation 3: Jesu, as thou art our saviour

Variation 4: The three kings

Variation 5: In the bleak midwinter / Corpus Christi Carol ("Lully, lullay")

Variation 6: Noel, Welcome Yule/Christmas/A Christmas Carol
*
Surprisingly, I'm unable to find a single YouTube video of the ENTIRE work, so here it is piecemeal.

.

The _*first variation*_ is in the form of a dialogue between Mary (women's voices) and the child (boys).

*Theme: A Boy was Born and Variation 1: Lullay Jesu
The National Youth Choir of Australia*

*Benjamin Britten: A Boy was Born - Theme and Variation I*






.

*Variation 2* tells of the massacre of the innocents with jerky rhythms, altering and distorting the original theme.

*Variation 2: Herod
National Youth Choir of Australia*

* Benjamin Britten: A Boy was Born - Variation II*






.

In *Variation 3* a semi-chorus sings the text, _*"Jesu, as Thou art our saviour"*_, punctuated four times by a boy (or boys) singing *"Jesu"* as a melisma.

*Variation 3: Jesu, as thou art our saviour
Antioch Chamber Ensemble*, 2009, Experimental Media and Performing Arts Center at RPI in Troy, NY

*Antioch Chamber Ensemble - Jesu, as Thou art our Savior - Benjamin Britten*


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## pianozach

*#122, Part 2
A Boy was Born, Op. 3 
Benjamin Britten
1934*

*Variation 4*, about the three kings, has the theme as a wordless background flow to the narrative, picturing a distant procession.

*Variation 4: The three kings
The Giovanni Consort*, Perth, Western Australia

*A Boy was Born (Benjamin Britten): Variation 4 - 'The three kings'*






.

*Variation 5*, set for upper voices only, opens with *Rossetti*'s *"In the Bleak Midwinter"* sung by women's voices, whose parts 'clashing' in seconds suggest the cold while their descending phrases are meant to suggest the falling snow: against this, the boys choir sing an artlessly folk-like setting of the Corpus Christi Carol.

*Variation 5: In the bleak midwinter / Corpus Christi Carol ("Lully, lullay")
National Youth Choir of Australia
Australian Boys Choir
Noel Ancell OAM*, conductor Recorded in performance at Trinity College Chapel, Melbourne on 11 July 2015

*Benjamin Britten: A Boy was Born - Variation V
*





.

*Variation 6* is in the form of a spritely rondo, one of the most complex to perform as it divides into eight distinct voice parts, followed by a recollection of the earlier variations and final return of the original theme.

*Variation 6: Noel, Welcome Yule/Christmas/A Christmas Carol
National Youth Choir of Australia
Australian Boys Choir*

*Benjamin Britten: A Boy was Born - Variation VI*


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## pianozach

*Benjamin Britten Bonus Round*

While this is not the first appearance of English composer *Benjamin Britten* (1913-1976) on this list (he finally appeared at #114 with his "Cello Symphony"), it shouldn't be inferred that he is a lesser composer.

In fact, he's pretty much known for changing the face of British opera (*Peter Grimes, Billy Budd* and *The Turn of the Screw*), including three church operas (*The Prodigal Son, Curlew River*, and the *The Burning Firey Furnace*), as well as some well-loved choral works (like the *Ceremony of Carols*, *Hymn to St Cecilia*, and his *War Requiem*) and song cycles (such as the *Seven Sonnets of Michelangelo*).

He may actually be the most widely performed British 20th century composer, and is certainly considered a major influence on 20th Century music.

_*"Music for me is clarification; 
I try to clarify, to refine, to sensitize... 
My technique is to tear all the waste away; 
to achieve perfect clarity of expression, that is my aim."*_* 
-Benjamin Britten*​
. . . And, of course, there's Britten's *A Young Person's Guide to the Orchestra (1946)*, a series of variations on a theme by *Henry Purcell*, composed with the primary goal of introducing the instruments of the orchestra, through several imaginative musical works.

This clever three movement symphonic work lays out the theme in the orchestra in the *first movement*, then restates it in each individual section of the orchestra to highlight the different timbres of each section.

In the *second movement* he manages to highlight the instruments in each section.

And in the *third* and final *movement* Britten combines all the sections of the orchestra in an intricate fugue using a new, dancelike theme derived from the original theme, followed by a Grand Finale, the original theme reappears reset boldly beneath the dancelike fugue theme.

Probably one of the most remarkable facets of the work is that it was actually composed for a short educational film, *Instruments of the Orchestra* (1946), but proved so popular that it quickly became a standard concert piece.

*An animated adaptation of Benjamin Britten's The Young Person's Guide To The Orchestra | Short Film*


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## pianozach

*#123
Die Fledermaus: Overture
Johann Strauss II 
1874*

I'll eventually get to opera. I've been deliberately neglecting it as it seems to be a subgenre of classical music that is considerably more difficult to appreciate.

For me it was the bellowing of the singers. I'll admit I had a pre-conceived notion of opera singers as the lady with the horned helmet, or a pretentious tenor.

But I have featured a small number of pieces from opera, mostly overtures.

And here's the _*Overture*_ to *Strauss' Die Fledermaus ("The Bat")*, his most famous operetta. The *Overture* is packed full of tunes from start to finish, all of which end up appearing during the course of the action that follows.

But let's start with the difference of an operetta vs. and opera. *Operetta* is a genre of light opera, light in terms both of music and subject matter, although the lines between the two are not as well defined as all that. Operettas are often shorter than operas, and may have some dialogue.

Anyway, this overture is similar to the _*"potpourri"*_-type of overture that would later become familiar on Broadway: essentially a parade of tunes to come within the stage work it introduces, with the perky, chromatic three-note motif heard at the very top serving as binding material.

*Carlos Kleiber* conducting the *Wiener Philharmoniker*.

*Carlos Kleiber - "Die Fledermaus" - J. Strauss - New Year's Concert 1989*






.

And *Tom and Jerry* fooling around with a medley of *Johann Strauss II's Overture of "Die Fledermaus"*, with intro and outro making use of *Franz Liszt's "Les préludes"*.

As a Los Angeles area native, I find it amusing that the animators, at 1:00 into this clip, actually somewhat accurately depicted the Hollywood Bowl area. Tom is flattened by a bus as he rolls out onto N. Highland Ave/Cahuenga Ave.






*Tom and Jerry, 52 Episode - Tom and Jerry in the Hollywood Bowl (1950)*


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## pianozach

pianozach said:


> *A Beginner's Guide to Classical Music*
> 
> Often people unfamiliar with Classical music will ask advice on how to approach it. Where do you start?
> 
> :tiphat:
> 
> Frankly, many already are familiar with a lot of classical music.
> 
> Cartoons from the 1940s and 1950s are loaded with it.
> 
> And anyone who's a fan of theatrical films will have heard a great deal of it, even though they may not have realized it: For instance, *2001: A Space Odyssey* used a great many classical pieces for its score. From the impressive opening of *Richard Strauss' Also Spracht Zarasthustra*, to *Johann Strauss*' _*The Blue Danube*_, the use of already composed works helped give the film the impact that made it so very successful.
> 
> Stanley Kubrick's *A Clockwork Orange* used Beethoven's 9th Symphony.
> 
> *Apocalypse Now* used Wagner's Ride of the Valkyries from his massive operatic suite Die Walk?re.
> 
> Even *Ferris Bueller's Day Off* used music from Boccerini's String Quintet in E.
> 
> So . . . I compiled a collection of some of the most compelling and accessible classical works for novice listeners.
> 
> Originally it was to be a *Top Ten*, which quickly grew into a *Top 20*, then a *Top 25*, and so on.
> 
> One of the problems with getting folks to come over to "the classical side" will be familiar to Prog Rock lovers . . . the _*length and complexity*_ tends to just chase folks away.
> 
> CAUTION: This list is NOT really a "ranking", although works I feel are better are more likely to appear in a higher position. The list is more of an "ordering" to introduce the uninitiated to Classical Music, in a sequence that in my opinion is more likely to entice one "into the fold".
> 
> But the 1st piece is
> 
> *The Planets*
> *Gustav Holst*, an 8 movement symphonic work that clocks in at well over a half hour.
> 1916
> 
> This piece is #2 on the Parker Symphony Orchestra's List of *10 BADASS PIECES OF CLASSICAL MUSIC*. Here's _THAT_ full list.
> 
> *Orff - Carmina Burana / "O Fortuna" (#18)
> Holst - The Planets, Mars (#1)
> Verdi - Requiem "Dies Irae" (#79)
> Wagner - Ride of the Valkyries (#31)
> Vivaldi - The Four Seasons: Summer Mvt. 3 Presto (#6)
> Bizet - Carmen Overture / Les Toreadors (#62)
> Mussorgsky - Night on Bald Mountain (#19)
> Verdi - Il Trovatore / "Anvil Chorus"
> Khachaturian - Sabre Dance
> Strauss - Also Sprach Zarathustra, Prelude (#24)
> *
> . . . and their _*"Honorable Mentions"*_:
> 
> Tchaikovsky - 1812 Overture (#5)
> Shostakovich - Symphony No 5, Mvt 4 (#153)
> Bruckner - Symphony No 1, Mvt 3
> Grieg - In The Hall Of The Mountain King (#11)
> Dvorak - Symphony No 9, Mvt 4 (#2)
> Mozart - Requiem in D minor, Dies Irae (#35)
> Bizet - L'Arlésienne Suite No 2, Mvt 4 (Farandole)
> Saint-Saëns - Symphony No 3, Mvt 3 and 4 (#408)
> Beethoven - Symphony No 9, Mvt 4 (#39)
> Glinka - Overture from Ruslan and Ludmilla (#231)
> Holst - The Planets, Jupiter (#1)
> Mozart - Symphony No 25, Mvt 1
> Bach - Toccata and Fugue in D minor (#90)
> Smyth - The Wreckers (Overture)
> 
> 
> 
> Ah, but *The Planets* is a great look at orchestration and variety. And several film composers have used Holst's techniques to great success. John Williams has paid great tribute with his scores to Star Wars and others (he's pretty damned prolific).
> 
> Of course, the best way to experience Classical music is in a live setting. Unlike rock music, which sometimes suffers in concert, Classical music is exacting . . . it's important to the players and conductor that it be perfect. You won't find fall-down drunk singers or guitarists on acid here.
> 
> Here's a great and spirited live version by the *National Youth Orchestra of Great Britain*.
> 
> This version also has a new movement, to include _*Pluto*_, discovered after the suite was written.
> 
> Mars, the Bringer of War 0:00
> Venus, the Bringer of Peace 7:15
> Mercury, the Winged Messenger 15:09
> Jupiter, the Bringer of Jollity 18:58
> Saturn, the Bringer of Old Age 26:42
> Uranus, the Magician 35:32
> Neptune, the Mystic 41:20
> Pluto, the Renewer 49:17
> 
> *Proms 2016 - Gustav Holst - The Planets*
> 
> 
> 
> 
> 
> 
> .
> 
> This extensive work has popped up in popular music as well, especially the *1st movement*.
> 
> *Sinfonia*, a large group of electric guitarists covered it, as did *King Crimson* (retitled _*"The Devil's Triangle"*_), and eventually, *Emerson, Lake and Powell*.
> 
> *Jimmy Page* adapted part of *'Mars'* in the song _*'Friends'*_ on *Led Zeppelin III*.
> 
> *Yes* quoted a few sections of _*Jupiter*_ in the song _*"The Prophet"*_ from their 1970 album "Time and a Word".
> 
> *Isao Tomita* did an electronic version many years ago, and *Jeff Wayne and Rick Wakeman* teamed up as well in 2005 with an album *Beyond the Planets*.
> 
> Many artists, such as *Frank Zappa*, have "quoted" licks from the suite in instrumental sections of songs.
> 
> *John Williams* used the melodies and instrumentation of *Mars* as the inspiration for his soundtrack for the Star Wars films (specifically *"The Imperial March"*)
> 
> *Hans Zimmer* closely used the melodies, instrumentation and orchestration of Mars as the inspiration for his soundtrack for the movie *Gladiator* to the extent that a lawsuit for copyright infringement was filed by the Holst foundation.


*The Planets*

*"Sinfonia, a large group of electric guitarists covered it . . . "*

Well, actually they called themselves *Sinfonity*. And they covered only the 1st Movement, Mars, the Bringer of War.

*Holst "The Planets", Mars,the bringer of war, by Sinfonity*






.

"*. . . as did King Crimson (retitled "The Devil's Triangle"), . . . *"

*KC*'s second album *In the Wake of Poseidon* (1970) included their re-interpretation of Mars, which they retitled *The Devil's Triangle*, a three movement piece _*(I . Merday Morn; II. Hand of Sceiron; & III. Garden of Worm)*_.

How an album was even recorded and released is astonishing, considering the band was in chaos, with only Fripp still in the band.

Here's an excerpt. Note: *KC*'s publishers actively scour Youtube for unauthorized KC video, so this link will likely eventually go dead. Just go to Youtube and search for *"King Crimson The Devil's Triangle"*. People are always reposting it.

*The Devils Triangle*






.

"and eventually, *Emerson, Lake and Powell*."

*Emerson, Lake & Powell* released only one album, the 1986 self-titled *Emerson, Lake & Powell*. They used their cover of Mars to close out the album. For this "reunion" album Drummer *Cozy Powell* filled in for *Carl Palmer*, who was contractually obligated to the band *Asia* at the time

Oddly enough, *Greg Lake* was singing for *King Crimson*'s 2nd album (although he had already left the band), on which their cover of Mars appeared, although he did not sing or play on that track.

Even more odd, *Greg Lake* ended up temporarily playing bass and singing lead vocals for *Asia* when they toured Asia, after founded *John Wetton* either quit or was fired. *Wetton* agreed to return on the condition that ex-Yes guitarist and Asia co-founder *Steve Howe* would be ousted from the band.


----------



## pianozach

*Mars, the Bringer of War*

_"Jimmy Page adapted part of '*Mars*' in the song '*Friends*' on *Led Zeppelin III*."_

Yes, *Led Zeppelin* pretty much plagiarized *Holst*'s melody and vibe for _*Friends*_ on *Led Zeppelin III*.

*Gawd they stole an awful lot of music, didn't they?*

*Led Zeppelin "Friends / Celebration Day" from III 2014 Vinyl Reissue*


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## pianozach

*The Planets

Jupiter
*






*Yes* quoted a few sections of Jupiter in the song *"The Prophet"* from their 1970 album *"Time and a Word"*." Note for note.






*Isao Tomita* recorded his electronic version of the entire suite in 1976. Here's his version of *Jupiter*.

Electronic music has progressed significantly since 1976, but this was pretty cutting edge at the time.


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## pianozach

*Every Beethoven Symphony at the Same Time*

*"You're Welcome."*






It's even more amusing for *Star Trek* fans. The android *Data*, in his quest to understand humanity would listen to multiple pieces of music simultaneously, because he could process the audio of several pieces at the same time.


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## pianozach

*#124
Symphony No. 4 in F minor, Op. 36
Pyotr Ilyich Tchaikovsky
1878*

*Tchaikovsky*, arguably one of the great symphonists, wrote (officially) 6 symphonies, although his 1885 *"Manfred Symphony"*, a symphony that is not numbered (and would fall in between his 4th and 5th symphonies) would make that count 7 symphonies.

So, of course, his *6th Symphony* gets all the attention: It's a great, lengthy masterpiece of late romanticism with last movement being one of most stunning pieces of music of all times.

His *5th* and *3rd* symphonies are probably the next in terms of being revered.

So, his *4th symphony* is a a bit unusual, with some weird ideas in first and last movements, and of course in the scherzo with some oddball pizzicato messing-around. The slow movement has something special about it and the ending, well, it's one of wildest codas in symphonic genre. CLASH CLASH BUM TRA TA TA TA DAM (Did I get that right?).

However, in terms of emotional depth and complexity, it's a breakthrough work.

The symphony is in four movements:

*Andante sostenuto - Moderato con anima - Moderato assai, quasi Andante - Allegro vivo 
Andantino in modo di canzona 
Scherzo: Pizzicato ostinato - Allegro 
Finale: Allegro con fuoco *

Reaction at the premieres was generally negative. A reviewer in Germany in 1897 wrote _*"The composer's twaddle disturbed my mood. The confusion in brass and the abuse of the kettledrums drove me away!"*_

So you're probably going to love it.

Here's the *Mariinsky Theatre Orchestra*, conducted by *Valery Gergiev*, from the Salle Pleyel in Paris, 2010

*Tchaikovsky - Symphony No. 4 in F minor, Op. 36 (Mariinsky Theatre Orchestra, Valery Gergiev)*

*This video won't 'embed'; you have to click through to Youtube to hear the Symphony:
*


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## pianozach

*#124
Symphony No. 4 in F minor, Op. 36
Pyotr Ilyich Tchaikovsky
1878*

Even better . . .

Here's the *New York Philharmonic*, conducted by *Leonard Bernstein*, 1974

*Tchaikovsky Symphony No. 4 Leonard Bernstein*


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## pianozach

*#125 
Totentanz
Franz Liszt
1849*

*Totentanz* (Dance of the Dead): is a symphonic piece for solo piano and orchestra by *Franz Liszt*, based on a Gregorian plainchant melody *Dies Irae *as well as for some stylistic innovations. The piece was originally planned in 1838 and completed in 1849; But it was then revised twice, in 1853 and 1859 (now considered to be the "standard" version) although not premiered until 1865.

As it turns out, Liszt was obsessed, with death, religion, and heaven and hell. Evidently he frequented Parisian hospitals, gambling casinos and asylums in the early 1830s, and he even went down into prison dungeons in order to see those condemned to die.

Here's *Beatrice Berrut* on piano live recorded at the Berliner Philharmonie. *Junges Orchester der FU* conducted by *Antoine Rebstein*.

*Berrut* plays with wonderful passion, bringing out both the torment and the beauty of the piano part.

*Liszt Totentanz @Berliner Philharmonie, Beatrice Berrut, Piano*


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## pianozach

*#126
Danse Macabre, Op. 40. 
Camille Saint-Saens 
1874*

Oh no, another tone poem. Actually, this one started out as a song for voice and piano in 1872, but, well, you how things go . . .

Now it's considered one of the scariest pieces of Classical Music, along with the previous entry, *Totentanz*.

According to legend, Death appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance for him while he plays his fiddle (here represented by a solo violin). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year.

The piece opens with a harp playing a single note, D, twelve times (the twelve strokes of midnight)






*Happy Hallowe'en*


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## pianozach

*#127
Symphony No.4 in E-flat major ("Romantic")
Anton Bruckner 
1874 / 1880 (1881) / (1888)*

And . . . back to the symphony. This *Bruckner* symphony was written in 1874, and premiered in 1881, although Bruckner continued to revise it several times up until 1888. And it's a long one, and depending on the version, runs anywhere from 60 to 80 minutes.

There are three major versions.

In the second (1880 or 1881) version, the _*3rd movement*_ was completely removed and replaced. There were other major changes, and it helped create what is now referred to as _*The Bruckner Problem*_: With numerous contrasting versions and editions that exist for most of the symphonies, it's now considered difficult to ascertain the authenticity of the versions: In spite of this little problem, this is the version most commonly performed today.

But if you soldier on through this, the ending is breathtaking.

*I. Bewegt, nicht zu schnell* (1:00)
*II. Andante quasi Allegretto* (22:25)
*III. Scherzo. Bewegt - Trio. Nicht zu schnell. Keinesfalls schleppend* (40:30)
_*IV. Finale. Bewegt, doch nicht zu schnell*_ (51:30)

That's right. The fourth movement is almost a half hour long.

There also seems to be a great deal of dissent amongst *Bruckner* aficionados as to which versions are the best, and I think it simply comes down to one's individual taste.

Here's *Münchner Philharmoniker* conducted by *Sergiu Celibidache*. I think Celibidache really milks this performance (and why shouldn't he?), savoring all the full, fat chords, so this performan is almost eight minutes long. Live recording from the Herkulessaal, Munich 1983

*Bruckner Romantic Symphony No 4 - Celibidache Münchner Philharmoniker - 1983 Herkulessaal Live*






••••••••••••••••


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## pianozach

*#128
Piano Concerto No. 1
Pyotr Ilyich Tchaikovsky
1875/1879/1888*

*The Piano Concerto No. 1 in Bb minor, Op. 23*, was composed by *Pyotr Ilyich Tchaikovsky* between November 1874 and February 1875. It was revised in the summer of 1879 and again in December 1888.

And it's one of the most famous openings of a classical piece ever, famed for the sequence of pounding chords with which the soloist's part launches the first movement, right after a bold horn call . . . . well, yeah, there's *Beethoven*'s 5th symphony, and *Bach*'s Toccata and Fugue, and _*Ave Maria*_, and dozens of others. Sure. But this is right up there with the big boys. This work has become one of the most popular concertos ever written.

I tell ya, *Tchaikovsky* really had a gift for a great tune.

*I. Allegro non troppo e molto maestoso - Allegro con spirito 
II. Andantino semplice - Prestissimo - Tempo I 
III. Allegro con fuoco - Molto meno mosso - Allegro vivo*

Some eighty-odd years after *Tchaikovsky* sketched out his initial ideas for his *Piano Concerto No. 1*, it became the first piece of classical music to sell a million records when, in 1958, the pianist *Van Cliburn* wowed the world with his impassioned recording of the piece.

Here's *Van Cliburn*, with Conductor *Kiril Kondrashin* and the *Moscow State Philharmonic Academy Orchestra* in 1962.








So . . . *Van Cliburn* (1934-2013) was a _celebrity_ American pianist, attaining stardom as a classical musician that nowadays is usually reserved for rock stars.


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## pianozach

*#129
Symphony 38 in D Major
Mozart 
1787*

Often called *The Prague Symphony*, as it made it's debut there.

It remains one of his most interesting and popular symphonies, owing to its richness of contrapuntal and harmonic exploration. The symphony is structured in only three movements, a departure from the more traditional four-movement form most common in the 18th century. In this work, the substantial and expertly-wrought first movement balances out the other two.

* Bernard Haitink 
Chamber Orchestra of Europe*

* MOZART "Symphony No.38 in D major K504" 
(Prague) BERNARD HAITINK (2017)*


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## pianozach

*#130 
Piano Sonata in Bb
Franz Schubert
1828*

I've actually performed the 22 minute 1st movement. It's beautiful.

And it's *Schubert*'s last sonata.

The breadth and majesty of the *first movement* spring from the opening theme; this is a long drawn out and beautiful melody whose equal notes move stepwise in the manner of many of the themes of Schubert's last year. The calm main theme itself is so broad as to be almost hymn-like. One of the most striking is the long and careful preparation for the return of B-flat major at the end of the development section, where the key of D minor is slowly abandoned until at length we hear a soft trill on a bass note and the home key is reached.

The *Andante Sostenuto* in C-sharp minor is a movement comparable in style to the slow movement of the great String Quartet in C, D. 956, composed during the same period. Toward the end of the movement there is a remarkable key shift, from C-sharp minor to C major.

In the main section, a somber melody is presented over a relentless rocking rhythm. The central section is written in A major, and presents a choral melody over an animated accompaniment; it later touches upon B-flat major, the sonata's home key. The main section returns with a variant of the original accompanying rhythm. This time, the tonal scheme is more unusual: after a half cadence on the dominant, a sudden, mysterious harmonic shift introduces the remote key of C major. This eventually turns into E major, and proceeds as before. The coda shifts to the tonic major, but is still haunted by glimpses of the minor mode.

The *Scherzo* is a con delicatezza and carefully devised section providing an excellent contrast to the emotional depths of the first two movements. The first part of the scherzo proper cadences not in the tonic or dominant, but in the subdominant. The second, B part, continues to modulate by ascending fourths, until it reaches the key of D-flat major. In this key, a new theme is presented, and the local subdominant (G-flat major, a further fourth upward) is emphasized, first in the major mode, then in the minor, with an enharmonic shift to F-sharp minor. This harmonic excursion eventually leads, through A major and a diminished triad, back to the tonic and the opening section. The trio is in binary form and in B-flat minor, bringing back again the serious tone that generally prevails.

The *finale* has the same structure as that of the previous sonata. The main theme opens with an 'empty' octave on G, which resolves to C minor, subsequently interpreted as V of II in B-flat major. The second theme, in ternary form, is written in the traditional key of the dominant, with a central section in D major; it consists of a long, "endless" melody played over an uninterrupted flow of semiquavers. A third theme, based on a dotted rhythm, follows, beginning in F minor, fortissimo, and then shifting back to the major mode, pianissimo. This theme eventually leads back to the main theme of the rondo. The development section is characterised by clashing rhythms of juxtaposed eighth notes and triplets, and reaches a climax on C-flat major, from which the bass descends to G, returning to the main theme. In the coda, the main theme is fragmented in a manner also similar to the finale of the previous sonata; the octave on G here descends to G-flat and then to F, and the movement closes with a triumphant _*presto*_.

Schubert's last sonata is probably his greatest achievement in the form and one of the finest contributions to the long series of classical sonatas. It has a feeling of tranquility and ease; the ease of a master who has all the technical facility at his fingertips with which to express his ideas and emotions.

*I. Molto moderato
II. Andante sostenuto
III. Scherzo: Allegro vivace con delicatezza - Trio
IV. Allegro, ma non troppo - Presto*

Here's Alfred Brendel. Brendel truncates the first movement down to 15 minutes by omitting the excessively long repeat.

*Schubert Piano Sonata No 21 D 960 B flat major Alfred Brendel*


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## pianozach

*#131 
Symphony No. 3 in F major, Op. 90
Johannes Brahms
1883*

This is the shortest of Brahms' four symphonies.

*I. Allegro con brio 
II. Andante
III. Poco allegretto 
IV. Allegro - Un poco sostenuto*

.

You've probably heard the moody _*third movement*_ already - it has been used in countless films and television shows. Notably, it's in the soundtrack to the 1946 film *Undercurrent*, starring Katharine Hepburn, the 1952 film tragedy *Angel Face* (*Tiomkin*'s score uses it as the main theme, the 1961 film *Goodbye Again* (starring Ingrid Bergman), and most recently, in the 2013 film *Kill Your Darlings*.

It's been adapted into songs and video games, used as floor music at the *2012 Olympic Games*.

*Carlos Santana* used the theme in his song *Love of My Life* (Ft. Dave Matthews), from his 1999 album *Supernatural*.



This passionate symphony is, overall, a quiet one. Well, except for the very loud and striking first movement.

*"Now, in this symphony, I encountered things I had never imagined music capable of expressing - regret, and a yearning for what is past or for what might have been, which in either case is a longing for the impossible." - Larry Rothe*

Here's one of my favorite conductors, *Leonard Bernstein* conducting the *Wiener Philharmoniker*.

Downbeat is around 0:56.

The eight minute *3rd movement* starts at 26:54. If you listen to anything today, it should be this third movement. And while it is extraordinary in the context of the entire symphony (The 1st mvt. in F major, the 2nd in C major, and this one in C minor leading to the finale in F minor and finally back to F major), it certainly stands up just fine all by itself. And the french horn part may be the most heart-wrenching thing you hear all day.






••••••••••••••••

Oh, and here's that Carlos Santana track I mentioned earlier.


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## pianozach

An acquaintance of mine remarked, _"Love, love, love the four Brahms Symphonies. The 3rd movement here is simply amazing. It's impossible to tire of, just truly gorgeous. I notice you've listed the 3rd and 4th symphonies thus far. However, his first is one of my favorite pieces in the classical world."_

*Awesome!
*
:tiphat:

We all have our favorites, and there are centuries of music from which to choose. My list has grown so long I've stopped counting, but there's well over 500. . . . And not surprisingly for a list of this sort, I've managed to list some works more than once, and I've already run into some duplicates in the first 200 (I discovered that I had *Brahms' 3rd symphony* THREE times). That means the order in which I present them will likely change. Occasionally I'll spot a work that's further down on the list that I'll bump up to a lower number to replace a duplicate.

And, except for the *Top 100*, the rankings _are_ fairly meaningless, other than I've tried to spread the love around, and represent the many ways in which classical music manifests. I'm actually pretty lean on 20th century works, with some notable exceptions.

And I've all but ignored *film composers*.

*John Williams*, for instance, has composed some of the world's most popular and memorable works imaginable:

*Jaws, Star Wars, Raiders of the Lost Ark, Harry Potter, 
Close Encounters of the Third Kind, E.T., Superman, Schindler's List,* and 
*Jurassic Park*.

And some other great scores that you may have forgotten:

*Hook, Catch Me If You Can, Saving Private Ryan, Memoirs of a Geisha, 
The Book Thief, Home Alone, Goodbye Mr. Chips, Rosewood, 
Heidi, Black Sunday, The Cowboys, Dracula* (1979), 
*The Fury, Nixon, Images, The Reivers, 
Born On The Fourth Of July, The Witches Of Eastwick*, and *Jane Eyre*.

He also composed music for the *1984 Summer Olympic Games*. He has *51 Academy Award nominations* and *66 Grammy nominations* (winning 24 times).



As for Brahms, he's fairly well represented in the first 200 with four works, especially considering the competition.

*58. Piano Trio No. 1
101. Symphony No. 4
116. Academic Festival Overture
131. Symphony No. 3

203. Four Songs for 2 horns, harp and women's choir
204. Clarinet Quintet in B minor
262. Piano Concerto No. 2
264. Symphony No. 1
*_294. Symphony No. 3 [duplicate] . . . oops . . . 
_
*302. Double Concerto for Violin, Cello and Orchestra
304. German Requiem
335. Lullaby (Wiegenlied)

528. Symphony No. 2
529. Tragic Overture
540. String Quartet No. 1
541. Piano Quartet in C minor*

But *Brahms* is undeservedly scarce, and there's a reason for this: My list was conceived as a doorway to the world of Classical music, intended for those that are interested in learning about it, but have little exposure to it.

Brahms' music is generally on the very sophisticated side: There's no *Bolero* or *The Planets*, no flashy virtuoso works. No cannons, few scary passages, and very few tunes that have made it into the mainstream culture. Brahms wasn't used for *Bugs Bunny* cartoons. You'll find *Brahms* in films, but generally more obscure films, not blockbusters like *2001*.

Well, there IS *Hungarian Dance No. 5* from The *Great Dictator* by Charlie Chaplin:






[It reminds me quite a bit of the Looney Tunes version of the *Barber of Seville*]

I don't know . . . I find this brilliant, although there are others that might find it to be an insolent use of great music.



This really turned out to be a long term project. I have only gotten to #131 now. Most of the entries so far have had some commentary, although some do not.

And I can't tell just how popular the thread is . . . except when folks leave comments. And some of those comments have resulted in me adding a suggested piece to the list, or even bumping a work closer to the top of the list.

And doing stats on the list? Almost impossible. You asked about *Brahms*, so I simply scan down the list.

For instance . . . there are eight symphonies in the Top 50, and the majority of them are from *Beethoven*. But most in the top 50 are orchestral works; Overtures, Concertos, Ballets, etc.

And there's a preponderance of piano works on the list. I've tried mightily to be inclusive, but it's a learning process for me as well. As a pianist, I've far more likely to be familiar with piano-based works.

To my credit, *Bach's 1st Cello Suite *did make the Top 20, as did *Carl Orff's O Fortuna*. *Mozart's Requiem* and *Schubert's Ave Maria* made the Top 40. The Top 50s had several choral works.

And I did cheat a bit with *Vivaldi's Four Seasons* and *Bach's Brandenburg Concertos*: Technically that's 10 concertos altogether, for various solo instruments.



Coming up soon are works from *Liszt, Tchaikovsky, Rimsky-Korsakov, Saint-Saens, Sibelius, Rachmaninoff, Mahler*, and *Elgar*.


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## pianozach

*#132
Les Preludes
Franz Liszt
1854*

*Les preludes (d'apres Lamartine)* is one of the earliest examples of an orchestral work entitled "*symphonic poem*", even though it's Liszt's third of thirteen. In fact, it may be the first orchestral work to have been described as such.

Unfortunately, the closing fanfare was used by the Nazis for their news bulletins as an introduction to the announcer to say *"Das Oberkommando der Wehrmacht gibt bekannt..."* (_"The supreme command of the armed forces announces..."_) before relating the Nazi's latest victory.

Germans were so conditioned by the militaristic usage of *Les preludes* that there was a de facto *ban* on the piece after the war.

Here in the states, that same fanfare is far more well known as the heroic them for the 1940 film serials *Flash Gordon Conquers the Universe* starring Buster Crabbe.

The work is divided into five main sections:

*Question (Introduction and Andante maestoso)
Love 
Storm 
Bucolic calm 
Battle and victory *

It starts off slowly and quietly, but soon overwhelms you, washes over you and pulls you into its wake.

Here's the *West-Eastern Divan Orchestra*, a youth orchestra based in Seville, Spain, consisting of musicians from countries in the Middle East, of Egyptian, Iranian, Israeli, Jordanian, Lebanese, Palestinian, Syrian and Spanish background. Orchestra founder *Daniel Barenboim* conducts.

*Les préludes (Liszt) / ~ Conductor: Daniel Barenboim ~ West Eastern Divan Orchestra*


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## pianozach

*#133
Swan Lake, Op. 20
Tchaikovsky
1876*

Composed as a ballet in 4 acts, it was initially a failure, although it's now one of the most popular of all ballets. Tchaikovsky wrote three ballets: *Swan Lake* (1876), *Sleeping Beauty* (1889), and *The Nutcracker* (1892).

The concert suite was published in 1900 as "*Op. 20a*", after *Tchaikovsky*'s death in 1893, contains six numbers, lasting around 20 to 35 minutes in performance (the full ballet runs up to three hours):

_Scene [Act II, No. 10 from the ballet]
Valse [Act I, No. 2]
Danse des cygnes [Act II, No. 13, part IV]
Scene [Act II, No. 13, part V]
Czardas: Danse hongroise [Act III, No. 20]
Scene [Act IV, No. 29].
_
The suite is quite good, and encapsulates the best of the full ballet music.

*Swan Lake* is a timeless love story that mixes magic, tragedy, and romance. It tells the tale of Prince Siegfried and a lovely swan princess named Odette. Under the spell of an evil sorcerer, Odette spends her days as a swan swimming on a lake of tears and her nights in her beautiful human form.

Here's the *Berliner Philharmoniker* led by *Herbert Von Karajan* with the *Swan Lake Suite*. No live version this time, as the sound on this audio-only version is far superior to all the live versions available on YouTube.






.

However, there is really nothing quite like the full immersive experience.

Here's three very different versions.

First a very traditional version from the *Kirov Ballet* with the 'happy ending' version.

Second, the *Vienna State Ballet* in 2014, choreographed by *Rudolf Nureyev* in 1964.

And finally, the *American Ballet Theatre* from 2005 in a compelling and emotional version.

These are all live versions, although they all have introductions of some sort or another. The Kirov and Vienna versions both use the 3 minute Tchaikovsky introduction to roll the credits. The American Ballet video has a short intro by one of the Kennedys, and the Introduction stars at about 2:30 with a danced prologue.


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## pianozach

*#134
Scheherazade , Op. 35
Nikolai Rimsky-Korsakov
1888*

*Scheherazade*, a symphonic suite composed by *Nikolai Rimsky-Korsakov* in 1888 based on *One Thousand and One Arabian Nights*, is considered his most popular work.

*Rimsky-Korsakov* wrote a brief introduction that he intended for use with the score as well as the program for the premiere:

_The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely.
_
Here's *Leif Segerstam* and the *Sinfonica de Galicia*


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## pianozach

*#135 
The Carnival of the Animals 
Camille Saint-Saens 
1886*

*The Carnival of the Animals (Le carnaval des animaux) *is a humorous musical suite of fourteen movements by the French Romantic composer *Camille Saint-Saens*.

So humorous, in fact, that composer *Camille Saint-Saens* feared it would ruin his image. Though he banned most of it from public performance until after its death, it is among his biggest hits today. The French composer was supposed to be working on his third symphony when he took a break to compose *Carnival* in a small Austrian village in 1886. Though he had a great time writing it, he worried the humorous piece would harm his reputation as a serious musician. Insisting the work be performed in private, he allowed only the iconic cello movement _*The Swan*_ to be published during his lifetime.






.

So iconic is the Finale that Walt Disney used it as a section of its *Fantasia 2000*.






.

The *Suite* is scored for two pianos, two violins, viola, cello, double bass, flute (and piccolo), clarinet (C and B♭), glass harmonica, and xylophone.

*I "Introduction et marche royale du lion" (Introduction and Royal March of the Lion)
II "Poules et coqs" (Hens and Roosters)
III "Hemiones (animaux v?loces)" (Wild Donkeys Swift Animals)
IV "Tortues" (Tortoises)
V "L'Elephant" (The Elephant)
VI "Kangourous"
VII "Aquarium"
VIII "Personnages a longues oreilles" (Characters with Long Ears)
IX "Le Coucou au fond des bois" (The Cuckoo in the Depths of the Woods)
X "Voliere" (Aviary)
XI "Pianistes" (Pianists)
XII "Fossiles" (Fossils)
XIII "Le cygne" (The Swan)
XIV Final (Finale)*

The entire suite lasts approximately 25 minutes, but In 1976, Warner Brothers broadcast Bugs and Daffy's *Carnival of the Animals* on CBS, with a full orchestra conducted by Michael Tilson Thomas and featuring Bugs Bunny and Daffy Duck as the duo pianists. This is an abridged version of the work, omitting the "_*Tortoise", "Characters with Long Ears", "Cuckoo"*_ and _*"Swan"*_ movements and using the *"Pianists"* music over the ending credits.

Here's _THAT_ version, in 2 parts.






.


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## pianozach

*The Carnival of the Animals 
Saint-Saens
*
But wait. In all seriousness.

The 14-movement suite:

*Symphony Orchestra of The Stanisław Moniuszko Music School* in Wałbrzych, Poland *Małgorzata Sapiecha* - conductor. Yes, performed by students. Appropriate.


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## pianozach

*#136
The Nutcracker, Op. 71
Pyotr Tchaikovsky
1892*

*The Nutcracker* is the last of three ballets by *Tchaikovsky*, and although the original production was not a success, the 20-minute *suite* that *Tchaikovsky* extracted from the ballet was. However, the complete *Nutcracker* has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America.

Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker.

The story of *The Nutcracker* is loosely based on the E.T.A. Hoffmann fantasy story *The Nutcracker and the Mouse King*, about a girl who befriends a nutcracker that comes to life on Christmas Eve and wages a battle against the evil Mouse King.

This is noteworthy for the use of a brand new instrument, the *celeste*, which he used effectively here as the "voice" of his Sugar Plum Fairy.

And as it's become quite the popular piece, its influence in popular culture still resonates.

In 1940 the Disney animated film *Fantasia* features a segment using The Nutcracker Suite. Selections from the ballet suite underscore scenes depicting the changing of the seasons from summer to autumn to winter. A variety of dances are presented with fairies, fish, flowers, mushrooms, and leaves, including *"Dance of the Sugar Plum Fairy", "Chinese Dance", "Arabian Dance", "Russian Dance", "Dance of the Flutes"* and *"Waltz of the Flowers"*.

Here's a playlist of all six of those segments.






The entire ballet, however, runs closer to 90 minutes though.

Here's the *New York City Ballet*'s film version from 1993, immodestly titled *"George Balanchine's The Nutcracker"* (he's the choreographer for this version). And while I'm completely unfamiliar with famous ballet dancers, you _WILL_ notice a 13-year-old Macaulay Culkin as Drosselmeier's Nephew. The New York city Ballet Orchestra is conducted *David Zinman*.






••••••••••••••••


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## pianozach

*#137
Karelia Suite, Op. 11
Jean Sibelius
1893*

Originally conceived under the title *Karelia Music* consisting of an _*Overture, 8 tableaux*_, and *2 Intermezzi* lasting around 44 minutes (parts of which were considered lost, but later reconstructed), became a three movement *Suite* (_*Intermezzo, Ballade*_ (based on Tableau 4) and *Alla Marcia* (from Tableaux 5-1/2, retitled Intermezzo II). The *Overture* was released separately under its own Opus number (Op. 10).

Here's the now defunct *Radio Kamer Filharmonie* (2005-2013) conducted by *Michael Schonwandt*





.

. . . And in case it gets yanked by *Youtube*, here's a backup video.

Here's the *Scottsdale Philharmonic*


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## pianozach

*Karelia Suite, Op. 11
Jean Sibelius*

The rock group *The Nice* (with Keith Emerson at the helm) recorded an arrangement of the *Intermezzo* which appeared on their 1968 album *Ars Longa Vita Brevis*, a video live version from 1969, and later a live version with the Sinfonia of London, released on the LP Five Bridges in 1970.

Here's those reworkings:















.

*Karelia* was also used as the theme music to the UK commercial TV channel *ITV* current affairs programme *This Week* throughout the 1960s.


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## pianozach

*#138
Symphony No. 2, Op. 27
Sergei Rachmaninoff
1907*

This Glinka prize-winning Symphony was well received at its premiere in 1908, restoring the confidence of the fledgling composer after the disastrous debut of his first in 1895 (It didn't help that the orchestra was underrehearsed and the conductor was drunk for that one).

*Rachmaninoff*'s *2nd Symphony* is hauntingly beautiful. You don't need to think and analyze to appreciate its beauty. But it seems to evoke hope and redemption; it's like some sort of musical ascent from utter failure to renewed triumph.

The entire symphony, in its original form, lasts about an hour, although over the years there have been many edited versions performed, one even trimming it down to 35 minutes.

The _*3rd movement*_ may very well be one of the most beautiful pieces of music you'll ever hear. Parts of the third movement were used for pop singer *Eric Carmen*'s 1976 song, _"Never Gonna Fall in Love Again"_, which borrowed the introduction and main melody of the third movement as the song's chorus and bridge, respectively. As *Rachmaninoff*'s music was still in copyright at the time (it has since expired in most countries), *Carmen* was made to pay royalties to the Rachmaninoff estate for the use of the composer's music.

*Symphony No. 2 Op. 27 III. Adagio: Adagio: -- London Symphony Orchestra conducted by Gennadi Rozhdestvensky*






.

Here's the whole thing, with *Valery Gergiev* conducting the *Mariinsky Orchestra* in 1992.


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## pianozach

*#139
Symphony No. 1 in D
Gustav Mahler
1888*

*Gustav Mahler* is one of classical music's most introspective composers and divides opinion more than most. Approaching Mahler's music is daunting, as he's written some of history's most incredible and bombastic symphonies and staggeringly poignant vocal works.

Thus, *Mahler* has only had, so far, one entry (#82) on this list, his *Resurrection Symphony*, complete with orchestral death shrieks. The other symphonies, from the all-encompassing *ninth* and the '*Titan*' *first* to the lengthy *third* and the '*Symphony of a Thousand' eighth* (it used more than 1,000 performers when Mahler first conducted it in Munich in 1910), have so much to explore that you could spend weeks getting to the bottom of each of them.

So, let's visit the appalling racket of his *First Symphony*. It goes from static and then suddenly to violence, to tragic and then becomes sentimental. It was originally called *The Titan* (loosely based on a novel by the popular writer Jean Paul), when Mahler had premiered it as a *Symphonic Poem in Two Parts* (actually five movements), but after some revisions it turned into a four movement symphony and the name was dropped in 1896.

Listen for the folk dance in the 2nd movement, and for _*"Frere Jacques"*_ in the spooky funeral march of the _*3rd movement*_.

Here's *Leonard Bernstein* conducting the *Vienna Philharmonic Orchestra*.

*Leonard Bernstein* is still Gustav Mahler's most famous and, controversially, most significant interpreter.

It is the conductor's restless energy that is immediately apparent; right through the *First Symphony*'s spellbinding opening you are on the edge of your seat, wondering what will happen next. This gives way to a wonderfully exuberant allegro where minor imprecisions of ensemble and a little extraneous noise don't even matter in the context of what is going on. There is a real sense of build towards the joyous eruption of the coda.

It is entirely typical of *Bernstein* that he wallows in the vulgarity of the second movement, including ridiculous glissandi and over-the-top winds.

He also revels in the contrasts of the _*funeral march*_ where the brief consolation of the *Wayfaring song* clashes with the vulgarity of the _*klezmer*_ music.

There is an astonishing explosion at the outset of the finale and the utmost desolation of the opening leads to utmost exaltation at the end. The white-hot blaze of the final bars could have come from the baton of no-one else.

Again, *Mahler* demands some patience and focus, which is richly rewarded. Downbeat is at 0:50.


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## pianozach

*#140
Cello Concerto in E minor, Op. 85
Sir Edward Elgar 
1919*

*Elgar*: Yeah, you've already heard something from Elgar: The *Pomp and Circumstance* march, the most popular graduation music ever.

But THIS concerto is now a cornerstone of the solo cello repertoire, and his last notable work. However, it didn't really gain wide popularity until the 1960s when one of the most famous cellists of the time, *Jacqueline du Pre* recorded and released her performance of it.

Elgar composed it in the aftermath of the First World War, when his music had _already_ gone out of fashion with the concert-going public.

It's an intimate, highly-concentrated somber work, reflecting the sorrows faced by the composer's native land in the closing months of "The Great War" (World War I). Appalled and disillusioned by the suffering caused by the war, he realized that life in Europe would never be the same after such destruction. In spite of fleeting moments of idyllic release, it's dominated by disillusionment, by a sense of suffering that at times cries out against life, yet more often speaks in quiet anguish.

It's four movements are actually fairly short. They unfold from one another as if forming a single, rhapsodic thought - which, in view of Elgar's masterful use of his thematic material, they actually do. After the almost funereal beginning of the *first movement*, the clarinets introduce a lyric second theme, which is treated in the graceful manner of a siciliana. The _*second movement*_ is prefaced by a pizzicato version of the cello's opening recitative; the main body of this movement is a scherzo-like moto perpetuo. A meditative _*adagio*_ of great beauty reduces the orchestra to chamber size, and the cello sings through all but a single measure.

In the concerto's _*rondo finale*_, something of the pre-WWI Elgarian swagger can be detected, but only fleetingly. Fragments of melody from the concerto's earlier movements are hinted at before a climax of anguish and resignation.

Here's *Jacqueline du Pre* performing it live in 1970 with *Daniel Barenboim* conducting. We are all so lucky that this exists.

Turn it up. Let that opening grab you straight away.






••••••••••••••••


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## pianozach

*#141
Symphony No. 2 in D major, Op. 43 
Jean Sibelius
1902/1903*

This is only *Sibelius*' second entry on this list (the first being the *Karelia Suite*), but there are several coming up quickly.

Finnish composer and violinist *Jean Sibelius* was born in 1865, the year Lincoln was assassinated, and lived until September 1957 (the month that _*That'll Be the Day (That I'll Die)*_ by *Buddy Holly and the Crickets* reaches #1).

He's noted for his set of seven symphonies, which, like his other major works, are regularly performed and recorded in his home country and internationally. His other best-known compositions are *Finlandia*, the *Karelia Suite*, *Valse Triste*, the *Violin Concerto*, the choral symphony *Kullervo*, and _*The Swan of Tuonela*_ (from the *Lemminkainen Suite*). Other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the *Kalevala*, over a hundred songs for voice and piano, incidental music for numerous plays, the opera *Jungfrun i tornet *(_The Maiden in the Tower_), chamber music, piano music, Masonic ritual music, and 21 publications of choral music.

During a trip with his family to Rapallo, Italy in 1901, Sibelius began to write his *Second Symphony*, partly inspired by the fate of Don Juan in *Mozart's Don Giovanni*. It was completed in early 1902 with its premiere in Helsinki on 8 March. The work was received with tremendous enthusiasm by the Finns. Merikanto felt it exceeded _"even the boldest expectations,"_ while Evert Katila qualified it as _"an absolute masterpiece"_. Flodin, too, wrote of a symphonic composition _"the likes of which we have never had occasion to listen to before"_.

Again, the best sounding live version available comes from the baton of *Leonard Bernstein* conducting the *Wiener Philharmoniker*.

Why? Here's a comment about it from a fan:

_"So majestic. Bernstein Masters the sound of silence. The excitement of tension that builds up as we await the next cord for resolution. Newer heard a more romantic interpretation of Sibelius. You hear the darkness, frost and snow. Northern lights and pinewood forests amongst the thousands of Finnish lakes. Listen how he avoids any vibrato especially in the brass where it's cold and crisp sound stings and gives you the chills. This must have been difficult to achieve for the warm sounding Wiener Musikern and might explain the stunned and exhausted audience in the end of this masterpiece?

Listen to the dynamics!

So relaxing and exciting at the same time. Marvelous. By far my favorite interpretation of this symphony."_

In 2 parts.
The 3rd and 4th movements are connected, with the 4th movement starting around the 6:20 mark in the video


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## pianozach

*#142
Requiem in D minor, Op. 48
Gabriel Fauré
1888 / expanded, revised and reworked for full orchestra 1890*

The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works.

This thing is packed with beautiful melodies.

The composition is structured in seven movements:

*Introit et Kyrie
Offertory
Sanctus
Pie Jesu
Agnus Dei
Libera me
In Paradisum*

There is something about this work that simultaneously sounds both "Ahead of its Time" and "Stuck In Time". It's also quite different from many Requiems in that it's far more serene, restful, and contemplative. I don't know, but it's almost happy.

Of course, *Fauré* was not one that embraced the bombastic and aurally impressive tricks of his predecessors, instead relying on nuance, subtlety, and melody. But that's exactly why we are still in love with this work; there's an ethereal beauty that sets it apart.

*Victor Pablo Perez* conducting the *Orquesta Sinfonica de Galicia*


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## pianozach

*#143
Symphony No 4 in G Major
Gustav Mahler
1900*

*Symphony No. 4 *is the last of the four *"Wunderhorn"* symphonies (those with themes based on earlier Mahler songs), with this one based on his 1892 song _*"Das himmlesche Leben"*_, which presents a child's view of heaven.

At an hour, it's one of Mahler's shorter symphonies.

I. Bedachtig, nicht eilen (Moderately, not rushed) 00:31
II. In gemachlicher Bewegung, ohne Hast (Leisurely moving, without haste) 17:28
III. Ruhevoll, poco adagio (Peacefully, somewhat slowly) 27:56
IV. Sehr behaglich (Very comfortably) 49:09

To convey the journey toward innocence, Mahler's first three movements gradually diminish in complexity as they approach the pure and serene threshold of the finale.

*Mahler* described the *Fourth Symphony*'s unique atmosphere this way:

_"Imagine the uniform blue of the sky
…Occasionally…
it darkens and becomes phantasmagorical and terrifying: 
but it is not that it becomes overcast, 
for the sun continues to shine in its eternal blue, 
only to us it suddenly seems horrific, 
just as, 
on the most beautiful day in a sunlit forest, 
one can be seized with panic and terror."_​
*Yeah, actually, that pretty much sums up 2021. A great symphony to end an "interesting" year.*

*Leonard Bernstein* conducting the *Wiener Philharmoniker*. The soprano soloist in the 4th movement is *Edith Mathis*.


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## pianozach

. . . And may 2022 be a better year than the last

*#144
Große Fuge, Op. 133
Beethoven
1825*

How could I pass up the opportunity to use *#144* as an excuse to put *Beethoven*'s *Grosse Fugue* on the list? (Get it? 144 = a gross).

This poor single movement string quartet is actually an immense double fugue, and was roundly condemned by critics at the time. Critics referred to it as incomprehensible, inaccessible, eccentric, and "Armegeddon".

It's now considered among *Beethoven*'s greatest achievements.

It originally served as the final movement of his *Quartet No. 13 in B♭ major* (Op. 130), written in 1825. But Beethoven's publisher, who was concerned about the dismal commercial prospects of the piece, urged Beethoven to replace the _*fugue*_ with a new finale. Beethoven complied, and the *Große Fuge* was published separately in 1827 as Op. 133. It was composed when Beethoven was almost completely deaf.

The work has been described as an expansion of the formal Baroque grand fugue, as a multi-movement work rolled into a single piece, and even as a symphonic poem in sonata form.

It opens with a 24-bar overture, which also serves to introduce the main fugal subject, the building blocks for all that is to come.

Here's the *Alban Berg Quartett*.


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## pianozach

*#145
Quatuor pour la fin du temps 
(Quartet for the End of Time)
Olivier Messiaen 
1941*

Alrighty then. Ready for something even more adventurous than *Beethoven's Grosse Fugue*? Of course you are.

Here's something that shouldn't work, but does; a chamber piece written for clarinet, violin, cello and piano.

*Messiaen* wrote the piece while a prisoner of war in German captivity and it was first performed by his fellow prisoners in Stalag VIII A January 15, 1941 (as a French soldier he'd been captured in May 1940) to fellow prisoners and guards. He played the piano part himself. The clarinetist, violinist and cellist were fellow prisoners.

The result is one of the most heart-breaking, gripping and concise (the whole piece is around 50 minutes) explorations of what it means to be alive ever attempted. What more can you possibly ask of a piece of music?

The quartet opens with *Messiaen*'s imitation of a blackbird's song. Here's what the composer himself said about the opening:

*"Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of Heaven."*

*Messiaen* wrote in the Preface to the score that the work was inspired by text from the Book of Revelation (*Rev 10:1-2, 5-7, King James Version*):

_And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and he set his right foot upon the sea, and his left foot on the earth .... And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer: But in the days of the voice of the seventh angel, when he shall begin to sound, the mystery of God should be finished ..._

The work is in eight movements. Only four of the eight movements involve all four players.

*I. "Crystal liturgy", for the full quartet
II. "Vocalise, for the Angel who announces the end of time", for the full quartet.
III. "Abyss of birds", for solo clarinet. "The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs."
IV. "Interlude", for violin, cello, and clarinet
V. "Praise to the eternity of Jesus", for cello and piano
VI. "Dance of fury, for the seven trumpets", for the full quartet.
VII. "Tangle of rainbows, for the Angel who announces the end of time", for the full quartet.
VIII. "Praise to the immortality of Jesus", for violin and piano.*

Unlike most of the previous linked videos for other works, this link is a studio recording of the Cameo Trio with a guest cellist (although there _IS_ a live version of them performing the work available on YouTube).

Of course, the sound is better than on all of the live versions. This version also gives additional visuals and notes from *Messiaen* himself. It's around 50 minutes long.






Mvt I - 0:48 
Mvt II - 3:41 
Mvt III - 8:33 
Mvt IV - 15:13 
Mvt V - 17:04 
Mvt VI - 26:11 
Mvt VII - 33:09 
Mvt VIII - 40:48

••••••••••••••••


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## pianozach

*#146
Symphony No. 5 in E-flat Major, Op. 82
Jean Sibelius
1915, rev. 1916, rev. 1919*

And suddenly, several works from *Jean Sibelius* on the list: *The Karelia Suite* at #137, his *Symphony #2* at #141, and now his three movement *Fifth Symphony*, with perhaps the greatest finale of all time: There are swans, there are horns, there is unbridled orchestral ecstasy.

But first, the chaotic swirly _*opening*_ eventually ending in swans. Yes, it's basically about swans. Sibelius wanted to convey the majestic call of the Whooper Swan for one of his main themes. Here's what a whooper swan sounds like:





.

. . . which *Sibelius* turned into this swaying, triple-time motif for the horns:






In the symphony's breathless *moto perpetuo finale, Sibelius* introduces one of his most memorable ideas: a bell-like tolling of chords among the four horns that is said to have come to him after he watched a flock of swans pass overhead. This "_*swan theme,"*_ which emerges from the giddy rush of the tremolo strings, is the soul of the movement, and it's accompanied by a poignant, singing subject given out in octaves by the woodwinds and cellos.

*Sibelius* brings the _*finale*_ to climax by means of a grand slow-down, the reverse of the method he used in the first movement. The last pages of the symphony offer a mighty apotheosis of the _*"swan theme,"*_ capped by six isolated, powerful chords. The world that has been summoned out of the ether ends as a succession of huge, monolithic shouts of _*"Amen."*_

*I. Tempo molto moderato
II. Andante mosso, quasi allegretto
III. Allegro molto*

And again, no one does it like *Leonard Bernstein*. Here he is, again conducting the *Wiener Philharmoniker*.

I. 0:53
II. 16:10
III. 26:31





••••••••••••••••


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## pianozach

*#147
Rodeo
Aaron Copland
1942*

This is *Copland*'s 4th entry on this list, preceded by

#72 Appalachian Spring
#100 Fanfare for the Common Man
#121 Billy the Kid

*Rodeo: The Courting at Burnt Ranch* is a ballet composed by *Aaron Copland* and commissioned and choreographed by Agnes de Mille, which premiered in 1942.

It's in five sections:

*Buckaroo Holiday,
Corral Nocturne, 
Ranch House Party
Saturday Night Waltz, and
***-Down*

. . . although the _symphonic_ version (*Four Dance Episodes from Rodeo*) omits the Ranch House Party, making it more like a 4-movement symphony. It debuted in 1943.

Of course, we Prog Rock fans will instantly recognize the *4th movement*, which was covered by *Emerson, Lake & Palmer* on it's 1972 album *Trilogy*, as well as a 1974 live version on *Welcome Back My Friends . . . *.

Others may recognize the ****-Down* as the music from the *"Beef: It's What's For Dinner"* advertising campaign.

_*Rodeo*_ is distinguished by an effusive exuberance, an evocative sense of orchestral color, distinctive harmonic language, and singular expressivity.

There are a few live videos of the orchestral version, but many, many versions of just the 4th movement.

So here's a youth orchestra joyously performing ****-Down*. You'll have to ignore the applause between movements - the audience evidently doesn't know any better. If you want to skip to the popular 4th movement, it starts at 18:02.






They're pretty good, but if you'd like to hear a far better performed and conducted 4th movement, here again is *Leonard Bernstein*, this time with the *New York Philharmonic*.





••••••••••••••••


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## pianozach

*Rodeo
Aaron Copland*

Here's a nice professional performance of the *Four Dance Episodes from Rodeo* symphonic suite, which is the popular version.

*All University Orchestra - Carnegie Mellon University*








But here's the slightly longer ballet version that includes the *Ranch House Party* sandwiched in the middle, as it's played for the ballet version. Presented in conductor's score format. With commercials between each movement, unless you pay for Youtube Premium.

*Los Angeles Philharmonic Orchestra, Zubin Mehta. 2011.*






.

And here's *Emerson, Lake and Palmer* in their prime, live in 1973 from their Brain Salad Surgery tour. The tempo is considerably faster than their original studio recording.


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## pianozach

I'm rather amused that the language protection on this site has decided that the spelling of the original title of the movement from Rodeo,

*"***-Down"*,​
is not fit for public consumption, although*

"Hoedown"​​*​
is just fine.

_Heaven forbid we talk about gardening, and the use of a *** to turn the soil._


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## pianozach

*#148
String Octet in E-flat Major, Op. 20
Felix Mendelssohn
1825/1832*

Written in 1825, when *Mendelssohn* was 16 years old.

This is not actually *Mendelssohn*'s first mention on this list. That distinction goes to #49, the *Miserere mei, Deus* from *Gregorio Allegri*, written in 1638; and the mention that *Mendelssohn* making his own transcription of the work, which was already now famous because a 14-year-old *Mozart* had made a transcript of the "secret" music in 1770.

*Mendelssohn*'s first actual entry on the list was at #102: The 1842 "Scottish" Symphony No. 3 in A minor, Op. 56, followed by his 1845 Violin Concerto in E Minor, Op. 64 at #110, and the 1834 "Italian" Symphony No. 4 in A major, Op. 90.

*#102: "Scottish" Symphony No. 3 in A minor (1842)
#110: Violin Concert in E Minor (1845)
#119: "Italian" Symphony No. 4 in A Major (1834)
#148: String Octet in Eb Major (1825/1832)*

He made some revisions in 1832, and it received its first public performance in 1836.

The work comprises four movements:

*I. Allegro moderato ma con fuoco (E-flat major)
II. Andante (C minor)
III. Scherzo: Allegro leggierissimo (G minor)
IV. Presto (E-flat major)*

A typical performance of the work lasts around thirty minutes, with the first movement usually comprising roughly half of this.

The original score is for a double string quartet with 4 violins and pairs of violas and cellos.

Apart from the composer being in his teens, this *octet* is remarkable for the fluidity of its melodies and for the delicate balance of its various parts, as well exhibiting a personal and mature musical language throughout the work.

From the almost minimalist unison textures of the work's _*Scherzo*_, to the eight-part fugato of its _*Finale*_, *Mendelssohn* created a masterwork. WHEN HE WAS ONLY 16 YEARS OLD.

Here's *Liza Ferschtman, Itamar Zorman, Elina Vahala, Corina Belcea*, violin, *Mark Desmons, Krzysztof Chorzelski*, viola and *Sebastian Klinger, Antoine Lederlin*, cello at the *Delft Chambermusic Festival* in 2016.






▁ ▂ ▃ ▄ ▅ ▆ █

•••••••••••••••• •••••••••••••••• •••••••••••••••• •••••••••••••••• ••••••••••••••••


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## pianozach

pianozach said:


> *3
> Symphony No. 3 "Eroica"
> Ludwig van Beethoven
> 1803*
> 
> It has been over 200 years since *Beethoven's 3rd Symphony* was written and is testament to his absolute genius.
> 
> There is just so much to it, there is so much happening.
> 
> This symphony is about humans - our struggles, challenges and victories. You come away having experienced the power and joy of being alive.
> 
> The Eroica, written in 1803, was originally destined to be called _"The Bonaparte"_, a celebration of Napoleon and all he stood for. Beethoven changed his mind when he heard that Napoleon had declared himself emperor. Beethoven denounced him as a tyrant and scrubbed out his name so hard there is a hole in the original manuscript.
> 
> The way Beethoven works out all the motifs, melodies and themes in such detail, while at the same time maintaining a completely organic development of the emotional message, is extraordinary.
> 
> This is where it starts to get interesting. And by 'get interesting', I mean _*'the rulebook gets incinerated in a political and revolutionary rage by a deaf genius'*_. The third symphony is the one that, everyone generally agrees, changed everything and kick-started the Romantic period in music.
> 
> So . . . here's a live version (the BEST way to experience classical music), conducted by a modern genius, *Leonard Bernstein* leading the Wiener Philharmoniker.
> 
> 1ST MOVEMENT: *Allegro con brio*
> 2ND MOVEMENT: *Marcia funebre: Adagio assai*
> 3RD MOVEMENT: *Scherzo: Allegro vivace*
> 4TH MOVEMENT: *Allegro molto-Poco andante-Presto*
> 
> *BEETHOVEN - Symphony no. 3 in E flat Major, Op. 55 - Leonard Bernstein *


Naturally, as expected, Youtube videos and Youtube channels come and go. That's one reason I include the video's title most of the time.

Here's a new active link.

*Beethoven: Symphony No. 3 in E flat major, Op. 55 (Leonard Bernstein)
*


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## pianozach

*#149
Piano Trio No. 4 in E minor Op. 90 "Dumky".
Antonin Dvorak
1891*

This six movement *Trio for piano, violin, and cello* is one of *Dvorak*'s best known works. The first three movements are connected together without interruption in harmonically complementary keys, giving the impression of one long first movement.

In Ukrainian folk music, the name *dumka* was given to a certain type of song with a nostalgic, elegiac character, a ballad, or perhaps a lament.

The word "_*dumka*_" is the diminutive of the Ukrainian word "_*duma*_" (meaning "thought", "idea", "reflection", "contemplation") which will be found in various mutations in other Slav languages (the Czech "dumat" means "to ponder" or "to contemplate"). In musical terms, the word originally refers to a specific type of Ukrainian (Little Russian) song form which is typical for its leisurely tempo and meditative, melancholic character. During the course of the 19th century, the dumka was transferred to higher artistic genres by composers - largely Slavs themselves - who drew inspiration from it: Tchaikovsky, Mussorgsky, Chopin, Janacek and, most notably, Antonin Dvorak.

*I. Lento maestoso - Allegro vivace - Allegro molto
II. Poco adagio - Vivace
III. Andante - Vivace non troppo
IV. Andante moderato - Allegretto scherzando - Allegro
V. Allegro
VI. Lento maestoso - Vivace*

*Trio Jade* performing at the 2014 Seoul Spring Chamber Music Festival


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## pianozach

*#150
Finlandia
Jean Sibelius 
1899*

*#150*. This had better be good.

*It is.*

This tone poem for orchestra is one of *Sibelius*' best known works (the other being the *Karelia Suite*), yet it originated in political protest.

It was written for the Finnish Press Pension Celebration of 1899, a thinly veiled rally in support of freedom of the Finnish press, then largely controlled by tsarist Russia.

Sibelius's contribution to the three-day pageant was a set of nationalistic musical tableaux. Several of these pieces he later recycled into the suite *Historic Scenes No. 1*, but the grand finale, originally called "*Finland Awakes*," became what is now known as *Finlandia*. Its first performances under that title were given by the Helsinki Philharmonic at the Paris World Exhibition of 1900.

A few years ago I accompanied the silent film *The General* (a film by *Buster Keaton* about the kidnapping of a train during the Civll War), and used a lengthy edit from *Finlandia* for the finale of the film, which made it the most expensive film yet made.

_*The lush video*:
Created by
Wild Scandinavia / Wildes Skandinavien / (2011) 
Directors: Oliver Goetzl
Writers: Oliver Goetzl
Cinematography: Ivo Nurenberg, Jan Henriksson and Rolf Steinmann
Gulo Film Productions 
_
_"This film shows animal behaviour that has never been filmed before: Oliver Goetzl and Ivo Nurenberg got the first ever made shots of a wild lynx in the finish wilderness, they did highspeed shots of Goldeneye chicks jumping out of their tree nest, they filmed exciting encounters of bears and wolves. The documentary was shot with more than 650 shooting days."_

Here's *Herbert von Karajan* conducting the *Berlin Philharmonic* recorded sometime between Sep 1976 and Jan 1981.





••••••••••••••••


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## pianozach

*The Top 150*

*#1 -50*

Holst - The Planets, Op. 32 [1918]
Dvorak - "New World" Symphony No.9 in E minor "From the New World", Op 95 [1893]
Beethoven - Symphony No. 3 in Eb Major, Op. 55 "Eroica" [1804]
Stravinsky - The Firebird [1910] 
Tchaikovsky - 1812 Festival Overture, Op. 49 [1882]
Vivaldi - Summer, The Four Seasons [1723]
JS Bach - Brandenburg Concerto #6, In B Flat, BWV 1051 [1721]
WA Mozart - Symphony 41 in C "Jupiter", K. 551. [1788]
Borodin - In the Steppes of Central Asia. 1880. 
WA Mozart - Overture from The Marriage of Figaro, K492 [1786]

Grieg - Peer Gynt: Suite No. 1, Op. 46, and Suite No. 2, Op. 55. (Original score, Op. 23) [1876]
Frederic Chopin - Polonaise in Ab Major, Op. 53 [1842]
Mussorgsky - Pictures at an Exhibition (Ravel orchestration). [1874/1922]
Gershwin - Rhapsody in Blue [1924]
Stravinsky - The Rite of Spring [1913]
Beethoven - Symphony No.5 in C minor, Op. 67. [1808] 
JS Bach - Cello Suite No. 1 in G major, BWV 1007 [1720]
Carl Orff - O Fortuna from Carmina Burana [1937]
Mussorgsky - Night On Bald Mountain (Rimsky-Korsokov arrangement). [1867/1886]
Johann Sebastian Bach - Well-Tempered Clavier 2, Prelude F Sharp minor [1742]

Claude Debussy - The Sunken Cathedral, from Préludes [1910]
Sergei Rachmaninoff - Prelude Op. 23 No. 5 [1901]
Franz Liszt - Consolation No. 3 [1850]
Richard Strauss - Also Sprach Zarathustra [1896]
Ravel - Bolero [1928]
George Martin - Pepperland [1968]
Chopin - Prelude in Db "Raindrop" [1838]
Beethoven - Piano Sonata No. 14 in C♯ minor ("Moonlight Sonata") [1801]
Antonio Vivaldi - The Four Seasons [1720]
Rossini - Overture to "The Barber of Seville" [1816]

Wagner - Ride of the Valkyries, Die Walküre, Der Ring des Nibelungen [1856]
Mozart - Symphony No.40 in G minor [1788]
Vivaldi - The Four Seasons "Spring" [1720]
Beethoven's "Pastoral" Symphony No. 6 in F major, Op. 68 [1808]
Mozart - Requiem in D minor [1792]
Johann Strauss II - The Blue Danube, Op.314 [1866]
Tchaikovsky - Capriccio Italien [1880]
Paul Dukas - The Sorcerer's Apprentice [1897]
Beethoven - "Choral" Symphony No. 9 in D minor, Op. 125 [1824]
Schubert - Ave Maria from Liederzyklus vom Fräulein vom See, Op. 52 [1825]

Ottorino Respighi - The Pines of Rome [1924]
Beethoven's Symphony No. 7 in A major, Op. 92 [1812]
Beethoven's Piano Concerto No. 4 in G Major, Op.58 [1806]
Tallis - Spem in Alium (40-voice motet) [1570]
Beethoven's Piano Sonata No.21 in C Major Op.53 (The Waldstein) [1804]
Dvorak - Slavonic Dance No. 7, Op. 46 [1878]
Josquin des Prez - Missa L'Homme armé super voces musicales [1495]
Palestrina - Missa Aeterna Christi munera [1590]
Allegri - Miserere [1638]
Beethoven's String Quartet in F Major Op.59, no.1 [1806]

*#51-100*

Beethoven - "Razumovsky" String Quartets, Op. 59 [1806]
Monteverdi - The Vespers [1610]
Mozart - Piano Concerto No. 20 in D minor, K466 [1785]
Tchaikovsky - Sixth Symphony in B minor, Op. 74 "Pathetique" [1893]
Beethoven - Piano Sonata No. 8 in C minor, Op. 13 "Pathetique" [1798]
William Byrd - Mass for 4 & 5 voices [1593 / 1595]
Bach - Brandenburg Concertos [1721]
Brahms - Piano Trio No. 1 in B major, Op. 8 "Eroica" [1854]
Schubert -String Quartet No. 14 in D minor "Death and the Maiden" [1824]
Mozart - Piano Concerto No. 21 in C major, Andante ("Elvira Madigan") [1785]

Haydn - Mass No. 11 in D minor "Lord Nelson Mass" [1798]
Bizet - Carmen [1875]
Schubert - Symphony No. 8 "Unfinished" [1822]
Monteverdi - Madrigals, book 5 [1605]
Bach - Goldberg Variations [1741]
Dvorak's Carnival Overture, Op. 92 [1891]
Handel - Messiah [1741]
Mozart - Symphony 35 [1782]
Strauss - Salomé - "Dance of the Seven Veils" [1905]
Shostokovich - Piano Trio No. 2 in E minor [1944]

Debussy - String Quartet in G , Op. 10 [1893]
Aaron Copland - Appalachian Spring, [1944]
Ravel - Miroirs, No. 5 "La vallee des cloches" [1905]
Ravel - String Quartet in F [1903]
JS Bach - Well-Tempered Clavier [1722]
Beethoven - Sonata no. 28 in A major, Op. 101 [1816]
Schubert - String Quartet in C major [1828]
Smetana - Vltava from Ma Vlast [1874]
Verdi - Requiem [1874]
Steve Reich - Music for 18 Musicians [1976]

Stockhausen - Gesang der Jünglinge [1956]
Mahler - Symphony No 2 "Resurrection" [1894]
Mozart - Symphony 36 in C major, K425 "Linz" [1783]
Legeti - Requiem [1965]
Elgar - Enigma Variations [1899]
Krzysztof Penderecki - Threnody for the Victims of Hiroshima [1960]
Machaut - Messe de Nostre Dame [1365]
Perotin - Viderunt omnes [1198]
Palestrina - Missa Papae Marcelli [1562]
Bach - Toccata and Fugue in D Minor [1708]

Handel - Water Music [1717]
Vivaldi - Gloria [1715]
Haydn - Symphony No. 104 "London" [1795]
Haydn - String Quartet Op.76, No.3 "Emperor" [1797]
Mozart - Overture from The Magic Flute [1791]
Beethoven - Piano Concerto No. 5 in Eb major, Op. 73 [1811]
Berlioz - Symphonie Fantastique, Op. 14 [1830]
Chopin - Nocturne in Eb, Op.9 No.2 [1832]
Chopin - Revolutionary Etude, Op. 10, No. 12 [1831]
Aaron Copland - Fanfare for the Common Man [1943]

*#101-150*

Brahms - Symphony No. 4 in E minor, Op. 98 [1885]
Mendelssohn - Symphony No. 3 "Scottish" [1842]
Rossini - Thieving Magpie: Overture [1817]
Rossini - William Tell: Overture [1829]
Schubert - Piano Quintet (Trout) in A major, D. 667. [1819]
Mozart* (*Michael Haydn) - Symphony 37 in G Major [1783]
Schubert - Symphony No. 5 in Bb major [1816]
Schumann - Kinderszenen, Op. 15 [1838]
Strauss - Till Eulenspiegels Lustige Streiche, Op. 28 [1895]
Mendelssohn - Violin Concerto in E minor, Op. 64 [1845]

Strauss - Don Juan, Op. 20 [1888]
Vaughan Williams - The Lark Ascending[1914/1921]
Bach - The Well Tempered Klavier, Book 2 [1742]
Britten - Cello Symphony, Op. 68 [1963]
Debussy - Prelude a l'apres-midi d'un faune [1894]
Brahms- Academic Festival Overture, Op. 80 / Tragic Overture, Op. 81 [1880] 
Dvořák - Cello Concerto in B minor, Op. 104 [1895]
Grieg - Piano Concerto [1868]
Mendelssohn - Symphony No 4 in A major, Op. 90 "Italian" [1833]
Dvořák - String Quartet No.12 in F, Op. 96 - The "American Quartet"[1893]

Copland - Billy the Kid [1938]
Britten - A Boy was Born, Op. 3 [1934]
Johann Strauss II - Die Fledermaus: Overture [1874] 
Tchaikovsky - Symphony No. 4 in F minor, Op. 36 [1878]
Liszt - Totentanz [1849]
Saint-Saens - Danse Macabre, Op. 40 [1874]
Bruckner - Symphony No.4 in E-flat major ("Romantic")[1880]
Tchaikovsky - Piano Concerto No. 1 [1888]
Mozart - Symphony 38 in D Major [1787]
Schubert - Piano Sonata in Bb [1828]

Brahms - Symphony No. 3 in F major, Op. 90 [1883]
Liszt - Les Preludes [1854]
Tchaikovsky - Swan Lake, Op. 20 [1876]
Rimsky-Korsakov - Scheherazade , Op. 35 [1888]
Saint-Saens - The Carnival of the Animals [1886]
Tchaikovsky - The Nutcracker, Op. 71 [1892]
Sibelius - Karelia Suite, Op. 11 - [1893]
Rachmaninoff - Symphony No. 2, Op. 27 [1907]
Mahler - Symphony No. 1 in D [1888]
Elgar - Cello Concerto in E minor, Op. 85 [1919]

Sibelius - Symphony No. 2 in D major, Op. 43 [1902/1903]
Fauré - Requiem in D minor, Op. 48 [1890]
Mahler - Symphony No 4 in G Major [1900]
Beethoven - Große Fuge, Op. 133 [1825]
Messiaen - Quatuor pour la fin du temps [1941]
Sibelius - Symphony No. 5 in E-flat Major, Op. 82 [1919]
Copland - Rodeo [1942]
Mendelssohn - String Octet in E-flat Major, Op. 20 [1832]
Dvorak - Piano Trio No. 4 in E minor Op. 90 "Dumky" [1891]
Sibelius - Finlandia [1899]


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## pianozach

*#151
The Unanswered Question
Charles Ives
1908, rev. 1935*

*The Unanswered Question* is a single movement musical work by American composer *Charles Ives*. Originally paired with *Central Park in the Dark* as *Two Contemplations* in 1908, _*The Unanswered Question*_ was revived by Ives in 1930-1935. As with many of Ives' works, it was largely unknown until much later in his life, and was not performed until 1946.

Against a background of slow, quiet strings meant to represent _"The Silence of the Druids"_, a solo trumpet supposedly poses _"The Perennial Question of Existence"_, to which a woodwind quartet of _"Fighting Answerers"_ tries vainly to provide an answer, growing more frustrated and dissonant until they give up. The three groups of instruments perform in independent tempos and are placed separately on the stage-the strings _offstage_.

*Ives* provided a short text by which to interpret the work, giving it a narrative as in program music. Throughout the piece the strings sustain slow tonal triads that, according to Ives, represent _"The Silence of the Druids-who Know, See and Hear Nothing"_. Against this background, the trumpet poses a phrase seven times-_"The Perennial Question of Existence"_-to which the woodwinds "answer" the first six times in an increasingly erratic way. *Ives* wrote that the woodwinds' answers represented _"Fighting Answerers"_ who, after a time, _"realize a futility and begin to mock 'The Question'"_ before finally disappearing, leaving _"The Question"_ to be asked once more before _"The Silences"_ are left to their _"Undisturbed Solitude"_.

*Premil Petrovic / No Borders Orchestra. 11.10.2012. Sava Centar - Belgrade*


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## pianozach

*#152
Concierto De Aranjuez
Joaquin Rodrigo 
1939*

Something from the mid-20th Century. I'm jazzed when I can included something post-1899, or even post 1929. 
I'm not as much a fan of "modern, post-modern, avant-garde, atonal, experimental or 12-tone music as I ought to be, and it's rare when I find 20th Century works I think are both noteworthy AND likeable. This is one of 'em.

Probably *Rodrigo*'s best known work, this *guitar concerto* was inspired by the gardens at *Palacio Real de Aranjuez*, the spring resort palace and gardens built by Philip II in the last half of the 16th century and rebuilt in the middle of the 18th century by Ferdinand VI. The work attempts to transport the listener to another place and time through the evocation of the sounds of nature.

According to the composer, the _*first movement*_ is _"animated by a rhythmic spirit and vigour without either of the two themes... interrupting its relentless pace"_; 
the _*second movement*_ _"represents a dialogue between guitar and solo instruments (cor anglais, bassoon, oboe, horn etc.)"_; 
and the _*last movement*_ _"recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar."_ *Rodrigo* described the concerto itself as capturing _"the fragrance of magnolias, the singing of birds, and the gushing of fountains"_ in the gardens of Aranjuez.

For a piece that you may never have even heard of, it has received an astonishing number of reinterpretations, usually the second movement, perhaps most famously by jazz musician *Miles Davis*.

Other artists include *Deep Purple, Buster Williams, Chick Corea, Spencer Davis Group, Tom Scott, The Shadows, Led Zeppelin* (keyboardist/bassist John Paul Jones incorporated parts of the music during an improvisation section of their song "No Quarter" on their 1977 tour), *Andre Rieu, Tomita, Herb Alpert*, and *Carlos Santana*.

*Pepe Romero*






00:59 1 Allegro con spirito
07:21 2 Adagio 
19:05 3 Allegro gentile

And just 'cause I loves me some *Herb Alpert*, here's his dance version from his 1979 album *Rise*. It was the closing track on the album.





.

.

For comparison's sake, here's what *Miles Davis* did with it in 1960 on his album *Sketches of Spain*. Following the faithful introduction of the concerto's guitar melody on flugelhorn, Evans' arrangement turns into a "quasi-symphonic, quasi-jazz world of sound".

For *Sketches of Spain*, Evans and Davis won the *1961 Grammy Award* for *Best Original Jazz Composition*. The album was ranked number 358 on Rolling Stone's list of the 500 greatest albums of all time.


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## pianozach

*INTERMISSION*

One of the world's most musical minds, *Leonard Bernstein*, explains why there are 12 notes in a scale in less than 5 minutes.

He takes almost 2 minutes getting started, but after that you'll find it was worth the wait.


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## pianozach

*#153
Symphony No.5
Dmitri Shostakovich 
1937*

*Symphony No. 5 in D minor, Op. 47*, by *Dmitri Shostakovich* premiered in Leningrad in 1937 to an ovation that lasted a half hour.

Why? Aside from the subjective opinion that the Symphony is BRILLIANT, the public viewed it as an expression of the suffering to which it had been subjected by *Stalin*, when millions of Soviet citizens were forcibly relocated, exiled and/or killed outright. During the first performance of the symphony, people were reported to have wept during the Largo movement.

Some context is needed here. Every article written about the piece invariably starts with Stalin's condemnation of Shostakovich's wildly succesful 1936 opera *Lady Macbeth of Mtsensk* through the official Communist newspaper *Pravda*, which amounted to _"a warning"_. Stalin had decided personally to attend the long-running production. He left before the final act began. For reasons that remain a matter of debate, the dictator took offense.

On the bright side, Shostakovich wasn't _"disappeared"_, but the fall from grace affected his output. He ended his opera career and focused on instrumental music. He quietly withdrew his probing and highly experimental 1936 *4th Symphony* while still in rehearsals, delaying its premiere for 25 years. The newspaper *Soviet Art (Sovetskoe iskusstvo)* published a notice that *Shostakovich* had asked for the symphony's premiere to be cancelled _"on the grounds that it in no way corresponds to his current creative convictions and represents for him a long-outdated creative phase"_, that it suffered from _"grandiosomania"_ and he planned to revise it. Actually, party officials exerted pressure on Renzin, the Philharmonic's director, to cancel the scheduled performance, and Renzin reluctant to take responsibility for the programming decision himself, instead privately persuaded Shostakovich to withdraw the symphony.

Instead of revising his 4th symphony, Shostakovich started work on a more _'conventional'_ symphony in April 1937, completing it in three months. In her fascinating memoirs, soprano Galina Vishnevskaya observes that the composer had to have the piece vetted by a Party committee before the public premiere: _*"A few dozen nincompoops got together to judge a genius.*_"

Fearing arrest, torture and even death, the composer, brilliantly found a way to compose music which appeared to adhere to Stalin's directives while subtly weaving a deeper and sardonic musical truth, bearing testimony to the despair and terror that reigned over the nation.

From the symphony's opening battle between the lower and the upper strings and its soaring melodies, to the sounds of hopeless oppression and finally to the triumph of the human spirit, Shostakovich brilliantly captures the conflicting moods of a time, place and people.

To please the party officials, Shostakovich knew that he had to produce an upbeat ending. The fourth movement strikes a celebratory mood, although it might come across as being a forced happiness. There are happy marches and swirling melodies and flourishes . . . but the genius of Shostakovich has it come crashing to a dead end . . . supplanted by a dead slow march, clearly an allusion to *Mussorgsky*'s opera *Boris Gudunov*, in which crowds are forced to praise the Tsar. Unlike Boris Gudunov, which ends in a minor key, the movement ends in a major key, in which audiences heard condemnation of the government through inflections of despair, while Stalin undoubtedly heard the contrition of a wayward composer, and a pro-nationalistic work.

Although I'd like to be able to suggest a single movement to listen to, this is a work that really does seem to develop through the four movements.

This badass symphony is on *Classic fM Digital Radio*'s *10 Greatest Symphonies Of All Time* list (at #7).

As far as *Shostakovich* goes, he's previously appeared on this list at #70 with the *Piano Trio No. 2 in E minor* (1944)

In this video *Philippe Jordan* conducts *Gustav Mahler Jugendorchester* in London at the Royal Albert Hall in 2013.

*00:00 __ 1. Moderato-Allegro non troppo
15:42 __ 2. Allegretto
21:32 __ 3. Largo
34:13 __ 4. Allegro non troppo
*


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## pianozach

*#154
 Atmosphères 
György Ligeti 
1961*

Ah. Something modern. Well, only 60 years old or so. But in terms of Classical Music, that's actually pretty new.

This piece's largest claim to fame is that it was used in *Stanley Kubrick*'s film *2001: A Space Odyssey* in 1968.

It is devoid of conventional melody and meter in favor of dense sound textures, in what the composer terms as _*"micropolyphonic texture"*_. Think of it as _"sound masses"_, with sliding and merging orchestral clusters that suggest timbre being the central focus of the piece. It exemplifies *Ligeti*'s notion of *"static, self-contained music without either development or traditional rhythmic configurations."* *Atmospheres* has been called music that collapses foreground and background elements of musical structure into a _*"magma of evolving sound"*_.

As *Ligeti* described it, _*"Tone colour, usually a vehicle of musical form, is liberated from form to become an independent entity."*_

Here's the *RTVE Symphony Orchestra (Orquesta Sinfonica de RTVE) *conducted by *Carlos Kalmar*.






:wave:

_If you love this piece, I recommend further exploration by listening to *Penderecki's Anaklasis* and *Xenakis's Metastasis*, also of the "Sound Mass" genre._

••••••••••••••••


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## Philidor

Oh yes, the „Atmosphères“ … I like them very much.

Where premiered in Donaueschingen 1961, it had to be repeated on the spot. After many scandals in the 1950s, resulting from the refusal of serial or aleatoric music, this was quite surprising. 

Ligeti didn’t takt the bait to try a follow.up-piece. In an interview he even called it a dead end, but one oft hat kind that shows a hidden path to liberty. – Next compositions were „Poème symphonique“ for 100 metronomes and the „Volumina“ for organ.

Pieces like the prelude to Rheingold, the prelude to Lohengrin, Schönberg‘s „Colours“ piece (from „Five Pieces for Orchestra“ op. 16) and the beginning of Bartók’s „Wooden Prince“ have been identified as vague predecessors of „Atmosphères“ and have been rejected afterwards. If you’re looking for some characteristic feature oft he pieces, you could name it being outwardly static but simultaneously internally lively.

(The timestamps belong to Abbado‘s recording with the Vienna Philharmonic, live October 1988, DG)

The piece starts with an unprecedented sound: all 74 involved instruments (4 fl., 4 cl., 3 bn., 1 cbn., 6 french horns, 28 vln., 10 vla., 10 vlc., 8 db) are playing a chromatic cluster spanning almost five octaves. There it is – pianissimo, dolcissimo, then he is disappearing little by little, until there is a rest of about one and half an octave in the medium range. – Now couples of violas and cellos have crescenos and decrecendos independently from each other, however, the total sound level is increaenosing. At 1:43, a new cluster starts. Then crescendo and decrescendo apply to the notes of a C-Major-scale and a F-sharp-based pentatonic; so, they white keys of a piano against the black ones, if you want. 

The volume game then changes into changes in pitch. Whilst all instruments stayed on their individual tone all the time so far, the strings now (about 2:33) start moving within a minor third, the woodwinds are playing tremolos. The movement gets closer meshed, at 3:19 it is quiet again. The total sound is rising, the instruments stop playing one after the other, until four piccolos are remaining on a small cluster in altissimo.

Now (at 4:24) the event of the piece occurs: From the piccolos‘ cluster there is a fall in the most cavernous regions of the orchestra – eight double basses have a cluster. Brutal. Shocking.

It is easy to perceive that now a second major section of the piece starts (by the way: almost exact in the middle). Above the basses‘ cluster, the other 48 strings are playing 48-part polyphonic music. . The basses leave, the other strings are approaching each other with crecendo until they all reach a 4-tone cluster between b and c‘ sharp.

Now there ist he second major event: Clarinets and flutes take over this cluster and make it stil more narrow to c‘/d‘ flat. Then expansion again. At 5:58 the brass is joining with kind of foghorn sounds. Starting at about 6:30 a flageolet-sound of all strings is crystallizing, starting as chromatic cluster and reducing to a diatonic one – the tones of a c-major-scale. The effect from chromatic to diatonic is almost the same as the effect of a cadence in tonal music. This cluster is then narrowing too.

The last section starts at about 7:17, almost insubstantially. The brass players are blowing into their instruments without generating a tone, the percussionists are scrubbing the strings of a grand piano with brushes. The strings are playing „gettato“, the flutes are joining with clusters. Coda feeling. In the end, trombones and tuba appear de profundis. A great piece is over.


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## pianozach

Philidor said:


> Oh yes, the „Atmosphères" … I like them very much.
> 
> Where premiered in Donaueschingen 1961, it had to be repeated on the spot. After many scandals in the 1950s, resulting from the refusal of serial or aleatoric music, this was quite surprising.
> 
> Ligeti didn't takt the bait to try a follow.up-piece. In an interview he even called it a dead end, but one oft hat kind that shows a hidden path to liberty. - Next compositions were „Poème symphonique" for 100 metronomes and the „Volumina" for organ.
> 
> Pieces like the prelude to Rheingold, the prelude to Lohengrin, Schönberg's „Colours" piece (from „Five Pieces for Orchestra" op. 16) and the beginning of Bartók's „Wooden Prince" have been identified as vague predecessors of „Atmosphères" and have been rejected afterwards. If you're looking for some characteristic feature oft he pieces, you could name it being outwardly static but simultaneously internally lively.
> 
> (The timestamps belong to Abbado's recording with the Vienna Philharmonic, live October 1988, DG)
> 
> The piece starts with an unprecedented sound: all 74 involved instruments (4 fl., 4 cl., 3 bn., 1 cbn., 6 french horns, 28 vln., 10 vla., 10 vlc., 8 db) are playing a chromatic cluster spanning almost five octaves. There it is - pianissimo, dolcissimo, then he is disappearing little by little, until there is a rest of about one and half an octave in the medium range. - Now couples of violas and cellos have crescenos and decrecendos independently from each other, however, the total sound level is increaenosing. At 1:43, a new cluster starts. Then crescendo and decrescendo apply to the notes of a C-Major-scale and a F-sharp-based pentatonic; so, they white keys of a piano against the black ones, if you want.
> 
> The volume game then changes into changes in pitch. Whilst all instruments stayed on their individual tone all the time so far, the strings now (about 2:33) start moving within a minor third, the woodwinds are playing tremolos. The movement gets closer meshed, at 3:19 it is quiet again. The total sound is rising, the instruments stop playing one after the other, until four piccolos are remaining on a small cluster in altissimo.
> 
> Now (at 4:24) the event of the piece occurs: From the piccolos' cluster there is a fall in the most cavernous regions of the orchestra - eight double basses have a cluster. Brutal. Shocking.
> 
> It is easy to perceive that now a second major section of the piece starts (by the way: almost exact in the middle). Above the basses' cluster, the other 48 strings are playing 48-part polyphonic music. . The basses leave, the other strings are approaching each other with crecendo until they all reach a 4-tone cluster between b and c' sharp.
> 
> Now there ist he second major event: Clarinets and flutes take over this cluster and make it stil more narrow to c'/d' flat. Then expansion again. At 5:58 the brass is joining with kind of foghorn sounds. Starting at about 6:30 a flageolet-sound of all strings is crystallizing, starting as chromatic cluster and reducing to a diatonic one - the tones of a c-major-scale. The effect from chromatic to diatonic is almost the same as the effect of a cadence in tonal music. This cluster is then narrowing too.
> 
> The last section starts at about 7:17, almost insubstantially. The brass players are blowing into their instruments without generating a tone, the percussionists are scrubbing the strings of a grand piano with brushes. The strings are playing „gettato", the flutes are joining with clusters. Coda feeling. In the end, trombones and tuba appear de profundis. A great piece is over.


Excellent technical summation.

For all practical purposes the work is quite a *"sound wash"*, seemingly dissolving from one fuzzy cluster to the next. I find that calling it *"Polyphonic"* is somewhat misleading: Yes, it is, with the voicings and tones changing independently (*polytonal*) in a non-traditional sense, while the different sections of the orchestra move at different speeds (making it *polyrhthmic* as well).

A sound wash. Sort of like a 1/4 mile car wash; you move from these clusters of sounds to the next cluster of sounds, and occasionally the machinery kicks in or stops, and we hear that as well.

But it's not our traditional understanding of *polyphony*. From my understanding it also cannot be conducted in the "traditional sense" as cueing every musical entrance would be practically impossible.


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## Philidor

Thank you for your answer. 

Yes, it is not polyphony in the Palestrina way. I am not sure whether the word "micropolyphony" was introduced by Ligeti himself or by others, but I remember that this is the terminus technicus is use for this way of composing.


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## pianozach

*#155
Symphony 39 in E-Flat Major, K. 543
Wolfgang Amadeus Mozart
1788*

Well, it may _seem_ like *Mozart* is overrepresented on my list, but such is the genius of "Wolfy", that he gets and deserves multiple spots.

8. Symphony 41 in C "Jupiter", K. 551. 1788
10. Overture from The Marriage of Figaro. 1786
32. Symphony No. 40 in G minor
35. Requiem in D minor
53. Piano Concerto No. 20
60. Piano Concerto No. 21, Andante ("Elvira Madigan")
68. Symphony No. 35 
95. Overture from The Magic Flute
106. Symphony No. 37
129. Symphony No 38

And now, #155, *Symphony No. 39 in E-Flat Major, K. 543*. It's the first of a set of three symphonies (39, 40, and 41) that Mozart composed in rapid succession during the summer of 1788. Sadly, they would be his last. He passed away in 1791 at the young age of 35.

Predictably, there are four movements:

*I. Adagio - Allegro
II. Andante con moto
III. Menuetto - Trio
IV. Allegro*

*Symphony No. 39* is the only one of Mozart's mature symphonies _not_ to use _oboes_. The resulting reliance on the clarinet (a new member of the orchestra at the time) within the winds gives the work a sound distinct from his other symphonies. This symphony is often characterized as being "warm and autumnal", a description that (as so often with Mozart) tells only part of the story.

But you'll probably enjoy the solo clarinet in the _*3rd movement*_, a very interesting minuet and trio. The trio is an Austrian folk dance called a "Landler" and features a clarinet solo. The forceful _*Menuetto*_ is set off by the trio's unusual tint of the second clarinet playing arpeggios in its low (_"chalumeau"_) register. The melody for this particular folk dance derived from local drinking songs which were popular in Vienna during the late 18th century.



Although there are videos available of two of my favorite conductors available (Leonard Bernstein and Sir Neville Mariner), here's someone virtually unknown in _this_ country: *Dima Slobodeniouk* conducting the *Sinfonica de Galicia*.

Unlike many orchestral conductors he chooses to lead without the baton (more like a choir conductor), and given the very slow tempo at the beginning of the first movement conducts in 4/8 rather than in common time (4/4).






∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞


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## pianozach

*1/2

#156
Kontakte
Karlheinz Stockhausen 
1960*

. . . And . . . this one may or may not be your _'cup of tea'_.

*Kontakte ("Contacts")* is an electronic music work by *Karlheinz Stockhausen*, realized in 1958-60 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig.

The score is divided into sixteen sections with many subsections, and there are two versions of the piece; one for electronic sounds alone, and another for electronic sounds, piano, and percussion.

The piece is astonishingly complex, but it can be encapsulated by simply calling it _an encounter between electronic sounds and instrumental music, with an emphasis on their similarities of timbre._

But *Kontakte* actually refers to three kinds of 'contacts':

1. Contact between specific acoustic and electronic *"Sound Families"* (Metal, Wood, and Skin)
2. Contact between *"Space Shapes"*, that is, the spatial movement around the listener, and
3. Contact between *"Moments"*, in this case the sequence of independent sections

Those _"sections"_ can be understood as the different movements, although there are many:









In essence, *Stockhausen* is attempting to take the listener to a new level of perception, a completely different way of hearing sound.

By removing the traditional sense of directional form, melodic focus, and harmonic stability, the *interrelations* between the timbres of percussion, piano, and electronic tape moving in time become the object of focus.

When listening (which for many will require a great deal of patience, like slogging through *Revolution No. 9 *by *The Beatles*) one should become centered around the focus on each passing sound in the moment, accomplished through the use of space and layering of interesting timbres.

With no sense of direction, the piece can be experienced at any given point in time, having no real beginning or end. In *Stockhausen*'s words _*"They are a form in a state of always having already commenced, which could go on as they are for an eternity….an eternity which does not begin at the end of time, but which is present in every moment."*_

So, here's two videos (which some may say is two too many).

The *first* is the audio accompanied by the score, so one can follow along to the written manuscript. Full screen mode is far better for viewing.

The *second* is a stunning live performance (well, live in conjunction with pre-recorded electronic tape) by *Mike Truesdell* (percussion) & *Renate Rohlfing*(piano).










So . . . *Stockhausen*, on the surface, doesn't really seem all that "accessible". How does one "enjoy" something like this?

*Well*, it's not strictly necessary to actually _*"enjoy"*_ the music.

Some explanations from London Contemporary School of Piano Coach *Siwan Rhys* and *George Barton*:



> In the 1950s, in the aftermath of the horrors the world had seen during the Second World War, *Stockhausen* was concerned with finding a new musical language that would be something like a clean break with the past. That's a familiar story about the post-war avant-garde, but for *Stockhausen* this was far from being a coolly intellectual exercise about his own artistic relevance.
> 
> It was a deeply personal quest. *Stockhausen*'s father died fighting in the war . . .





> . . . *Stockhausen*'s quest for a music that would not be in thrall to the same culture that had allowed these horrors led him to examine the basic building blocks of the experience of listening to music. He developed a fundamentally radical musical approach through the use of new technology and what it could bring, not just in terms of new sounds but in terms of structuring his music.





> *STOCKHAUSEN WAS EXAMINING FUNDAMENTAL CONNECTIONS BETWEEN PITCH, RHYTHM, AND TIMBRE*
> 
> Initially this work was predominantly focused on electronic music. But in *KONTAKTE Nr 12½* he took the step of combining electronic sounds with live instruments, making connections (the 'contacts' of the title) between the instrumental sounds and the synthesised electronic sounds, as well as between the different building blocks of music, pitch, rhythm and timbre.
> 
> To get a bit more detailed, he was examining fundamental connections between pitch, rhythm, and timbre. He then used these insights as the subject matter of his music, as the key element in creating what you might call musical narrative.
> 
> Understanding all this is not a requirement for enjoying the music, though. Perhaps a mistake many make when coming to some post-war classical music is trying to understand it formally in the same way that one might the music of, for example, Brahms or Beethoven. Their music is in some ways immediately comprehensible on a structural level. For example, one can instinctively feel 'this is a climax, this is a return, this is a build-up', etc.





> *LISTENERS ARE INVITED TO ENJOY AND EXPERIENCE THE SOUND COMBINATIONS, THE MUSICAL NARRATIVES, AND THE INTENSITY OF THE MUSICAL EXPERIENCE.
> *
> By contrast, the structural subtleties and the details of the construction of Stockhausen's music are for the most part hidden so deeply that they are entirely inaudible. It's not the intention that listeners be looking for clues and engaging with deciphering structural complexities. They are simply invited to enjoy and experience the sound combinations, the musical narratives, and the intensity of the musical experience.
> 
> In that sense one 'understands' this music best when not trying to follow a structure or expected trajectory, or indeed when not considering its role in music history. If you experience the music and attend to the detail of the sounds and the ordering of the sounds in time, *then* you are understanding it.


Ø


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## pianozach

*2/2

Hymnen
Stockhausen *

And, of course, my mention of *The Beatles* is not coincidental, as both *Paul McCartney* (with his Kontac-inspired *The Liverpool Sound Collage* in 1965), then *John Lennon* (with _*Revolution No. 9*_ in 1968, embracing the freedom of musical breadth suggested by a later work by Stockhausen, _*Hymnen*_), were both aficionados of *Stockhausen*. *The Beatles* were at the forefront of many trends (not all strictly musical ones, either), and Stockhausen inspired them to think outside of the normal ways of writing and playing music.

Now, Stockhausen's *Hymnen* is *NOT* an entry on *The Beginner's Guide to Classical Music*. It's long. It's inaccessible. It requires a great deal of time to listen to it. But even then, as an inspiration to rock icons *Paul McCartney* and *John Lennon*, it would be remiss to _*NOT*_ allow the opportunity to _*"go deep"*_ into this work of electronic and concrete music that's considered.

*Hymnen* (which translates as *"Anthems"*) consists of *four "regions"* (by the composer). These are mostly analogous to the term "*movements*" used in most Classical Music.

Each region uses certain anthems as centres:

*Region I* (dedicated to *Pierre Boulez*) has two: _*"The Internationale"*_ and *"La Marseillaise"*

*Region II* (dedicated to *Henri Pousseur*) has four: 
(1) the German anthem, 
(2) a group of African anthems, 
(3) the opening of the Russian anthem, and 
(4) a "subjective centre" which contains a fragment of the "Horst-Wessel-Lied", consisting of the recording of a moment during the studio work, "in which the present, the past and the pluperfect become simultaneous".

*Region III* (dedicated to *John Cage*) has three: 
(1) the continuation of the Russian anthem (the only one made entirely from electronic sounds), 
(2) the American anthem, and 
(3) the Spanish anthem.

_*Region IV*_ (dedicated to *Luciano Berio*) has just one, but it is a "double centre": the Swiss anthem, whose final chord turns into an imaginary anthem of the utopian realm of "Hymunion in Harmondie under Pluramon".






Both *John* and *Paul* were also quite taken with *John Cage*, and some of *The Beatles*' dabbling in experimental music actually made it onto their self-titled 1968 double-LP as *Revolution No. 9*, a self contained track. While they'd utilized tape loops and sound effects before (notably in their 1966 track *Tomorrow Never Knows*), this was positively a game changer for popular music.






••••••••••••••••


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## pianozach

*MUSIC THERAPY intermezzo*

There's more and more research indicating that listening to Classical music can help patients manage all kinds of pain--from clinical depression to Post Traumatic Stress Disorder to Parkinson's Disease.

Recently, researchers in Mexico published new findings that classical music, specifically *Wolfgang Amadeus Mozart*, *Arcangelo Corelli* and *Johann Sebastian Bach*, helped a group of patients control their clinical depression.

So here's some suggestions . . .

*Bach*'s *Italian Concerto*, the *Brandenburg Concertos*, the Major key Preludes and Fugues from *Well Tempered Clavier* (Books I & II) 
*Mozart*'s *Sonata for Two Pianos*. 
Actually, almost any *Mozart symphony* will do . . . and he wrote over 3 dozen of them.
*Mozart*'s *Piano Concerto No. 5 in D
**Twelve concerti grossi*, Op. 6, by *Arcangelo Corelli*.
*Vivaldi* . . . *The Four Seasons* (except, maybe, Summer . . . )
*Holst* - *Jupiter* from *The Planets*
*Schubert*'s *Symphony No. 9* in C major 
*Grieg*'s *Holberg Suite*
*Respighi*'s *Pines of Rome*

and more *Mozart*:
*Overture* from the *Marriage of Figaro* 
*Overture* from the *Barber of Seville*

You could also try some choral music:
*Seal Lullaby* by *Eric Whitacre* 
*Sicut Cervus* by *Palestrina* 
*Ubi Caritas* by *Ola Gjeilo*

Oh, and *Aaron Copland* - *Appalachian Spring* and *Rodeo*

Interesting, but makes some sense as the orderly construction of complex compositions would lead the brain to experience a sense of relief, releasing beneficial sensory material. Maybe some choice *Chopin* would represent the keys in that regard.

Here's a fairly short edit of a *Paul Simon* interview, where he discusses the relationship of serotonin, dopamine, and adrenaline. Only somewhat related, but Paul is always an interesting, thoughtful interview.





••••••••••••••••


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## EvaBaron

pianozach said:


> *MUSIC THERAPY intermezzo*
> and more *Mozart*:
> *Overture* from the *Marriage of Figaro*
> *Overture* from the *Barber of Seville*


Overture from the Barber of Seville is from Rossini, not Mozart. Can I instead recommend Overture from Don Giovanni, a great overture


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## pianozach

EvaBaron said:


> Overture from the Barber of Seville is from Rossini, not Mozart. Can I instead recommend Overture from Don Giovanni, a great overture


Right you are. Thank you. That was actually the one I meant. I got the operas mixed up, not the composer. I'll fix.

However, some of *Rossini*'s opera _*Overtures*_ are pretty anti-depressive as well.


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## pianozach

*#157 
Glassworks
Philip Glass
1981

Glassworks* is a chamber music work of six movements.

_*"Glassworks was intended to introduce my music to a more general audience than had been familiar with it up to then."*_ - *Philip Glass*

Indeed. One could say that it's a bizarre but successful attempt to combine classical and pop... for the *Walkman*.

Says the composer, *"The Glassworks record begins with a solo piano piece, 'Opening', written for Michael Reisman, that was meant to create an intimate atmosphere from the very start."*

I. "*Opening*" (piano, with horn at end) 6:24
II. "*Floe*" (2 flutes, 2 soprano saxophones, 2 tenor saxophones, 2 horns, synthesizer) 5:59
III. "_*Island*_" (2 flutes, 2 soprano saxophones, tenor saxophone, bass clarinet, 2 horns, viola, violoncello, synthesizer) 7:39
IV. "_*Rubric*_" (2 flutes, 2 soprano saxophones, 2 tenor saxophones, 2 horns, synthesizer) 6:04
V. "_*Facades*_" (2 soprano saxophones, synthesizer, viola, violoncello) 7:20
This movement has its origins in the film score *Koyaanisqatsi*, but was ultimately not used in the film; it is often performed as a work in its own right.
VI. "_*Closing*_ (flute, clarinet, bass clarinet, horn, viola, violoncello, piano) 6:03
A reprise of "Opening".






.

Like it or don't like it.

:devil:

Sometimes I enjoy it, and sometimes I don't. Sometimes the reasons for liking it and not liking it are the same.

It may relax you, or make you tense.

It could make you cry.

According to *Philip Glass*, people were so angry at his music when it first premiered that they would throw things. Wrap your mind around what it is about this that music could possibly drive people to that reaction. It makes no sense.


∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞​


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## pianozach

*#158
4th Symphony
Robert Schumann 
1841/revised 1851*

A little controversy regarding the completion dates of *Symphony No. 4 in D minor, Op 120* here: *Clara Schumann*, Robert's widow, later claimed on the first page of the score to the symphony, as published in 1882 as part of her husband's complete works (*Robert Schumanns Werke, Herausgegeben von Clara Schumann, published by Breitkopf & Härtel*), that the symphony had merely been sketched in 1841 but was only fully orchestrated ("vollstandig instrumentiert") in 1851. However, this was untrue, and his close friend Johannes Brahms, who greatly preferred the earlier version of the symphony, published that version in 1891 despite Clara's strenuous objections:

_"It is a real pleasure to see anything so bright and spontaneous expressed 
with corresponding ease and grace . . . 
Everything is so absolutely natural that you cannot imagine it in any other way . . . 
there are no harsh colors, no forced effects . . . 
The score has not gained by being revised . . . 
It has undoubtedly lost much of its charm, lightness of touch and clarity of expression."_

Robert Schumann is far more recognized for his piano works, to the unjust neglect of his orchestral output. As you can tell from this excellent symphony, that neglect is undeserved.

In the revision it appears that he deliberately sought to create a richer, more full-bodied sound to match the earnestness of his musical ideas. Most music fans must agree, as it is the final version that usually is played and recorded.

Yet that hasn't stopped conductors AND composers (including Mahler, Berlioz, Gounod, Hans Pfitzner, Stravinsky, and Bernstein) from attempting to rework Schumann's orchestrations.

Here's *Leonard Bernstein* in a legendary performance with the *Vienna Philharmonic Orchestra*

Bernstein observes Schumann's wish that there be no 'gap' between movements.

I. *Andante con moto*; from 00:00
II. *Romanza: Andante*; from 11:48
III. *Scherzo: Presto*; from 17:03 (!)
IV. *Largo - Finale: Allegro vivace*; from 22:32

One more thing - the *Finale* is generally well regarded. The final movement, like the first, has a slow introduction; in this case it serves as a bridge from the quiet conclusion of the scherzo to the dramatically charged finale proper, which commences with a dramatic proclamation of the theme and then cites other material from the preceding movements. A bustling orchestral build-up leads to a lusty fanfare from the horns and a robust Landler-like motif (actually derived from the theme) is introduced by the cellos during a brief respite before the final rush to the exuberant conclusion.

Also . . . note that *Bernstein* is conducting without the use of a score. Something very showmanlike and theatrical about that.





Well, son of a biscuit. Gone. Well, here's all FOUR Schumann Symphonies with Bernstein.






¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶


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## pianozach

*#159
Horn Concerto No. 3 in E-flat major, K. 447
Wolfgang Amadeus Mozart (1756-1791)
1787*

Mozart composed this for his friend and French horn player Joseph Leutgeb.

It's in the usual three-movement concerto form, with an *Allegro* followed by a slow movement marked *Romance* and a concluding *Allegro* in rondo form with plenty of hunting-horn atmosphere. The concerto is scored for two clarinets, two bassoons, and the usual complement of strings.

And it's short, clocking in at under 15 minutes.

Here's *Radek Baborak* on the French Horn with the *Orquesta Sinfonica de RTVE* with *Jean-Jacques Kantorow* conducting.





····±±±±±±±±±±±±±±±±±±±±± ±±±±±±±±±±±±±±±±±±±±±±±±± ±±±±±±±±±


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## pianozach

*#160
Symphony No. 1 "Classical"
Sergei Prokofiev 
1917*

*Sergei Prokofiev* was a Russian Soviet composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century.

His *Symphony No. in D major* is written in loose imitation of the style of Haydn and Mozart, and is considered to be one of the first *neoclassical* compositions.

The symphony is in four movements and lasts about ten to sixteen minutes:

JOKE OF THE DAY: If it takes 16 minutes for 20 musicians to play Prokofiev's 1st Symphony, how long will it take using 40 musicians?

*I. Allegro
II. Larghetto
III. Gavotte: Non troppo allegro
IV. Finale: Molto vivace*

The *first movement* is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle -- the recapitulation, for example, begins in the _"wrong"_ key (but soon rights itself) and occasionally a beat is left out, as though the music has somewhere else to be. The sleek main theme is followed by the enormous leaps, flashing grace notes and sparse texture of the second subject.

A graceful melody floating high in the violins is used to open and close the *Larghetto*, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding.

The *third movement*, a _*Gavotte*_, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet.

The *finale* is the most brilliant movement of the Symphony, and calls for remarkable feats of agility and precise ensemble from the performers.

That said, it is *NOT* representative of a composer who later gained a reputation as an ear-shattering iconoclast, the *"enfant terrible"* of 20th-century music, the master of modernity.

Here's a nice lively, sparkling, and breathtakingly sonic rendition by the *Baltic Sea Philharmonic* conducted by *Kristjan Jarvi* in 2016 at the Tchaikovsky Concert Hall in Moscow.


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## pianozach

*Opera*

I've been glossing over the Classical subgenre of *opera* for the entire list, mostly because, on the whole, they're not nearly as accessible as non-vocal works.

For starters, operas are usually sung in a classical (or 'operatic') style, which is a difficult hurdle to overcome when trying to entice someone to sample the world of Classical music in the first place.

Secondly, most of the greatest operas aren't in English (most in Italian or German), although other languages are represented.

Third, they are truly meant to be seen live . . . sure, the music may be excellent, but they are written to be enjoyed with live action.

And, fourthly, they're long.

And, of course, how can you rank them, or even compare them to each other?

_Here we go . . . .
_
ŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒ ŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒŒ

*Opera*

OK, I've already included some works from operas, mostly *Overtures*:

#18. *O Fortuna* from *Carmina Burana* by *Carl Orff*
. . . . . . . . . . Ok Carmina Burana is technically an *Oratorio*, _not_ an Opera. The distinction is thin: An opera is intended to be acted out, as a play in which all of the dialogue is sung rather than spoken. A cantata, on the other hand, is also a drama, but is more like a story set to music and simply sung.

#30. *Overture* to *The Barber of Seville* by *Rossini*

#31. *Ride of the Valkyries*
. . . . . . . . . . The opening of act 3 of *Die Walkure*, the second of the four operas constituting *Richard Wagner*'s *Der Ring des Nibelungen*.

#67. *Handel*'s *Messiah*
. . . . . . . . . . Yeah another oratorio, but this one has the *Hallelujah chorus* in it.

#69. *Richard Strauss* - *Salome - "Dance of the Seven Veils "

*#95. *Mozart* - *Overture* from *The Magic Flute*

#103. *Rossini* - *Thieving Magpie Overture*

#104. *Rossini* - *William Tell Overture[/COLOR]*

#123. *Johann Strauss II* - *Overture* to *Die Fledermaus*

______________________________


*Opera*

As far as finding 'entry level' opera, I've found that looking for the BEST opera isn't necessarily the best path.

No matter how you judge it, experts and opera lovers generally agree that *Richard Wagner*'s Ring cycle (technically *DER RING DES NIBELUNGEN*), actually four epic operas running about 15-16 hours in total is the best of the best.

But I'll be leaving that until later I think. Something that long needs to be worked into I think . . . .

OK, then, I've got roughly 50 operas that ought to be noted, and I've put them in an order based mostly on how often they appear in BEST OPERA lists.

And yet, if one should ask for the ONE BEST OPERA, I'm liable to get as many answers as people I ask.

I've been the resident musical director for a small amateur opera group (*VCGSRC*- the *Ventura County Gilbert & Sullivan Repertoire Company*); we stick mainly to the operettas composed by *Sir Arthur Sullivan and W.S. Gilbert*. I asked one of our current sopranos what her favorite was, and she promptly replied *"Don Giovanni"*, which is in my *TOP TEN OPERAS*.

______________________________

One of the really special things about opera is its raw, immediate nature.

There are no microphones. No soundboards. No special effects. Just a performer singing their soul out.

Except sometimes it's not that simple. Because unless you speak Italian, French, German, and Russian then chances are that you're going to have to choose between watching the performer or staring up at surtitles because English was a little late to the ball when it comes to opera history.

Opera has been around for centuries and it wasn't until the 20th century that operas written in English took off. Meaning that most of the greatest operas were written in languages other than English.

So what are you supposed to do if English is your only language? You can either make due with surtitles or you can check out this list of the *Greatest English Operas!
*


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## pianozach

*#161
The Pirates of Penzance
Sir Arthur Sullivan, with libretto and lyrics by W.S. Gilbert
1879*

OK, here's the first entire Opera for the list. It's in English, which makes it just a skosh more accessible as a gateway to the world of opera.

Yes, I know - - - *The Pirates of Penzance* isn't even really a _*"true"*_ opera. It's an *operetta*, or a comic opera. It has a healthy amount of dialogue.

The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879.

*The Pirates of Penzance*_ tells the story of a young pirate apprentice named Frederic who has come to the end of his indentured period. As it turns out, Frederic was indentured by mistake. His half-deaf nurse had been instructed to apprentice him to a "pilot" but instead apprenticed him to a "pirate". At any rate, Frederic has decided to leave the pirate life forever and, though he loves his comrades dearly, devote his life to the extermination of their kind. However, since he is until the stroke of midnight still one of them, he feels obliged to point out the pirates' weakness--they are too softhearted. Apparently, all a captive must do is plead to being an orphan and he is immediately released!

Once upon the shore, Frederic, who has never seen any woman other than his old nurse, stumbles upon a bevy of beautiful maidens. He immediately falls in love with the most beautiful of the bunch, Mabel, who graciously offers to reclaim the "Poor Wandering One." What Frederic has forgotten, however, is that there are pirates about! Suddenly his old comrades are upon them! The lonely pirates are delighted by the beauty of their captives and recognize the situation as a "first rate opportunity of getting married with impunity." But the girls' father, Major-General Stanley, arrives just in the nick of time and claims untruthfully to be an orphan, thus winning a brief reprieve for his daughters. The General is terrified that the pirates will uncover his lie, but Frederic eases his fears, promising to apprehend the band of pirates and put an end to their plundering. However, when Frederic learns that, due to a technicality (his apprenticeship contract is until his 18th birthday, not his 18th year, and as he was born on February 29th), he is still indentured to the pirates, and the complications abound._

A major Broadway revival featuring *Kevin Kline* (Pirate King), *Rex Smith* (Frederic), and *Linda Ronstadt* (Mabel) opened at the Uris Theatre on January 8, 1981 and ran for 772 performances. A 1983 film version featured Kline, Smith, Ronstadt, and Angela Lansbury.

The music is superb. One of the tunes has become part of our culture . . . _*With Cat-like Tread*_ is now well known as *Hail Hail the Gang's All Here*.

Here's a video of the opening number from that 1980 pre-Broadway revival at the Central Park's Delacorte Theater for their Shakespeare Festival, although it is only the songs, and is missing the very important dialogue that drives the plot.

*But, I actually recommend that you skip directly to the next video of the film version *





And the link to the playlist of songs from that production:

https://www.youtube.com/playlist?list=PL720944FDE2714530

.

In 1983 *The Pirates of Penzance* was brought to the screen in a brilliant film version. The lyrics are more understandable and the revised orchestral arrangements are further revised. All the production values that cinema has to offer are utilized to their fullest advantage.


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## pianozach

*#162
The Mikado
Gilbert & Sullivan
1885
*
Setting the opera in Japan, an exotic locale far away from Britain, allowed *Gilbert* to satirize British politics and institutions more freely by _disguising_ them as Japanese.

*The Mikado* is a comedy that deals with themes of death and cruelty. This works only because Gilbert treats these themes as trivial, even lighthearted issues.

Since the 1990s, the opera, and productions of it, have sometimes drawn criticism from the Asian-American community (or, more commonly, from white folk on behalf of the Asian-American community) as promoting _*"simplistic orientalist stereotypes"*_. Of course, the _*point*_ of the opera is to reflect *British* culture through the lens of an _invented_ 'other', a *fantasy Japan* that has only the most superficial resemblance to reality.

*Mikado Fun Fact #1:* The phrase *"A short, sharp shock"*, from the Act 1 song "I am so proud" has entered the English language, appearing in titles of books and songs, such as in samples of *Pink Floyd's "The Dark Side of the Moon"*.

*Mikado Fun Fact #2*: Many productions used to add an additional character to help with the singing of the character of Pish-Tush, as some of it was set rather low in range.

This production revives the practice in a unique way, by splitting the role of Pish-Tush into two roles; Pish and Tush, although they share only one costume simultaneously.

Here's the *Pacific Opera Project's* 2019 production. I've worked with two of the performers in other productions.

I myself played the title role once. It's great. He doesn't even have any stage time until several scenes into the Second Act.

Oh, and the video is _restricted_ to *embedding* on *other* websites . . . you'll have to *click on the link* and actually *go* TO *Youtube* to watch it: *The Overture* and credits start at around 14:20 (there's a very long promotional introduction).





.

In fairness, the *POP* production is considerably 'updated'.

Here's a far more _*"traditional"*_ approach presented by the _*Stratford Festival of Canada*_. Here's Act I and Act II.


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## pianozach

*The Mikado*
*addendum*

*The Mikado* has made its way to cinema as well. Obviously, there's the advantage of reshoots, overdubs, lighting, camera angles, and considerably higher budgets which allow for higher production values overall. In the following video a couple numbers have been cut, and the director chose to include a 15 minute expositional prologue. The prologue works _*cinematically*_, as in the stage version all of the information related here is presented in real time rather than as dialogue about what happened earlier.

Here's the *1939* version of *The Mikado*. Although it's an American production it was shot in England using mostly English actors from the *D'Oyly Carte Opera Company*, well known for its staging of *Gilbert & Sullivan* operettas.





.

A *1966* stage version of The Mikado by the *D'Oyly Carte Opera Company* was adapted for a *1967* cinematic version. In _this_ case, the performance of stage actors without the interaction of a live audience robs this performance of some of the theatrical magic, leaving it a bit dull and lifeless.

There is also a *1987* version with *Eric Idle* in the lead role of _*Ko-Ko*_, although his schtick is mostly stolen from a *1960* *Bell Telephone Hour* production starring *Groucho Marx*.

Here's one duet, There is beauty in the bellow of the blast, featuring *Groucho* singing with *Helen Traubel*:






The *1987 Eric Idle TV version* is a wonderfully droll live version that dispenses with almost all references to its original setting in a fictional Japan, instead apparently placing it in a 1920s Edwardian Art Deco seaside grand hotel. ("Almost all references": there are a few moments at which the actors were told to make _*racially insensitive*_ hand "*********" gestures that must have seemed awkward even in 1987 and are downright offensive now.)

Except for the amateur singing of *Idle*, the voices here are top notch.

This version, however, appears to be lifted from a far superior *1983* stage version starring *William Conrad* and *Clive Revill*.






*Ya still with me?
*
*1995. Australian version.
*
Here's the "megamix" _*finale*_. Very modern.


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## pianozach

I'd be remiss if I were to fail to mention that there is also a reworked and reorchestrated 1986 version titled

*HOT MIKADO*,

_inspired_ by a 1939 version titled *THE HOT MIKADO*, of which very little had survived.

Visually it's sort of a mixture of Japanese architecture and _*The Cotton Club*_, but the arrangements are what make this a such a successful adaptation: The score uses much of Sullivan's original music but is *reorchestrated* using 1940s popular musical harmonies and arrangements and a wide range of styles, including jazz, hot gospel, blues, rock, Cab Calloway swing, and torch songs.

Here's the *Three Little Maids* number [after a vampy first half it turns very *Andrews Sisters*]:






And the retitled *"Swing a Merry Madrigal"* (it stays traditional for the first minute, then breaks into swing, with some decent scatting):






Here's the *American Musical Theatre of San Jose*'s 1998 entire production, although both the video and audio are somewhat substandard:


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## Chibi Ubu

*The Great Courses Classical Music Lectures: Robert Greenberg, Ph.D*

I recommend his work to all who want to learn about Classical Music...

One can stream his presentations on Wondrium.com for a monthly fee. He is very entertaining and he is a musicologist/composer/conductor in the SF Bay Area. I have benefited from watching his stuff, and there is a lot of material to be consumed. It's a great place to start!


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## pianozach

*Gilbert & Sullivan squirrel chasing
*
Yes, I'm a G&S fan!

So, like many artists that specialize in comedy, *Sir Arthur Sullivan* really felt comedy was beneath him, and wanted to be taken seriously as a composer. For many, many years he had a dream of composing a breathtaking Grand Opera.

Sullivan eventually go his chance in 1891 with _Ivanhoe_. He initially asked his longtime librettist WS Gilbert to supply a libretto, but Gilbert declined, but recommended Julian Sturgis. At the time the legend of Ivanhoe was all the rage, and the Grand Opera was quite successful at the time

Our Artistic Director for the Operetta Troupe (of which I'm the Musical Director) despises *Ivanhoe* passionately. I've suggested we present it (both seriously, and in 'jest') on several occasions, and have been met with derision and scorn, even when suggesting it as merely a concert presentation.

From what I've read (and the little I've heard) it's really not suitable for presentation any more. When originally presented the story of *Ivanhoe* was well-loved and well-known, and this Grand Opera used that to its advantage . . . librettist Julian Sturgis evidently cherry picked the best parts of the story and that's what was set. Unfortunately, they left out a great deal of the _*plot*_, which makes it difficult for modern audiences, now unfamiliar with the tale, to follow along. The opera _*intentionally*_ dramatizes disconnected scenes from the book and does not attempt to retell the whole story.

That is why I've been advocating for a *concert presentation*. The music, from what I've heard and read, is top notch stuff. It's a bit stuffy in places, as it's heavy with ballads and hymn-like numbers, but that's outweighed by the wonderfully complex and dramatic music. There's a brilliant double chorus in the jousting scene, and some wonderfully Wagnerian arias. And in a concert presentation of an unknown operatic work no one will notice if we made any judicious 'trimming' of the score.

Also in its favor for presentation, is that it's likely it might actually be a premiere presentation out here, leaving a possibility for advertising it as such. The *"Lost Arthur Sullivan Grand Opera"*, _*"West Coast Premiere"*_, *"rare opportunity to hear the score from one of Great Britain's most celebrated composers"*, the opera that broke attendance records on its original run in 1891 (a consecutive run of 155 performances, a record for a grand opera, a record that is _STILL_ unbroken in England). We just passed its 130th anniversary in 2021.






Which brings me to Gilbert & Sullivan's fourteenth and last opera together, _The Grand Duke_.

Almost nobody has heard of it, but it's truly lovely. Who can resist an operetta with a statutory duel whereby the loser is declared legally dead; an aria about a sausage roll; an increasingly drunk chorus; a "roulette" aria; and a patter song in Greek? (_"In the period Socratic every dining room was Attic..."_) And Julia's aria in Act II is splendid.[/QUOTE]

We presented *The Grand Duke* a few years ago.

There's some great moments in *The Grand Duke*, but there's also some headscratchingly awful _settings_ of *Gilbert*'s lyrics. It seems to have been a slap-dash affair with *Sullivan*, as though he were just too busy to be bothered to get the lyrics to fit correctly. But even Gilbert was critical of his own libretto, calling it *"an ugly misshapen little brat"*.

In spite of that, it still manages to make some forays into actual *Grand Opera*. There's some great melodies, and some great dialogue. But there's also filler, unjustified comedy, a complex yet thin plot, and, again, some awkward lyrics.

That doesn't mean it's _justifiably_ neglected in the canon of *G&S* . . . It's quite a jolly romp with some dramatic moments, even though I suspect the intention was to present a dramatic splash with some comedic moments: In effect, this operetta doesn't really know WHAT it wants to be.

I like it. It's not my favorite, and it's far from perfect, but I like it anyway.

And the similarly undersung _*Princess Ida* _has some of Sullivan's best music.

Yes, *Princess Ida* is also amusing, although I still don't understand the Brits' obsession with cross-dressing. Whatever.

The lead role, in the hands of a capable actress is a tour de force. The ending (like many of their endings) unfortunately seems arbitrary and rushed, which works for most of the other G&S operettas, but not so much in _this_ one. In this case, with the feminists all caving in to the mens' world at the end seems astonishingly outdated, but it is what it is.


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## pianozach

Chibi Ubu said:


> I recommend his work to all who want to learn about Classical Music...
> 
> One can stream his presentations on Wondrium.com for a monthly fee. He is very entertaining and he is a musicologist/composer/conductor in the SF Bay Area. I have benefited from watching his stuff, and there is a lot of material to be consumed. It's a great place to start!


Thanks for the link.

Yes, there are many ways to "learn about Classical Music", and I'm sure that learning from an actual scholar would be a wonderful way to learn.

You could also follow this thread, or just poke around on this site here and there watching for recommendations. One could also Google "100 best Classical Music works".

Community Colleges here in California have free tuition for residents, and most offer a class in Music Appreciation.

And you're right: There IS "a lot of material to be consumed".


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## pianozach

*#163
Porgy and Bess
George Gershwin
Libretto by author DuBose Heyward and lyricist Ira Gershwin.
1935*

Hailed as a true American opera, with lyrics by Ira Gershwin and DuBose Heyward, the plot is about the crippled Porgy and his Bess in the poor American deep south. Every folk-jazz inspired number is a hit: *A Woman is a Sometime Thing, Leavin' for the Promised Land, Bess, You is My Woman Now* and, best known of all, *Summertime*.

Hailed as the first great American opera (although *Gershwin* preferred to refer to it as a _*"folk opera"*_), it premiered on Broadway on October 10th, 1935.

Even though it received mixed reviews after its premiere, the fact that some of the most popular songs in American musical history, like _*"Summertime"*_ and _*"I Got Plenty O' Nuttin'"*_, came from this show speaks to how great it is. *Janis Joplin* famously released a cover of Summertime. Actually, "*Summertime*" is one of the most popular songs in the history of recorded music, with more than 33,000 covers by groups and solo performers.

Even though the show hadn't been performed in full from its debut to a 1976 revival by the Houston Grand Opera it is still the standard for American opera. Not only is *Porgy and Bess* a great opera, but it was revolutionary for casting an all African-American cast in the 1930's.

But if you thought *The Mikado* had some _*racism*_ issues, it took *Porgy and Bess* around 50 years to shake off the charges of racism, and by then, the opera was considerably outdated. It didn't help that the opera wasn't presented in its fully intended operatic format; it was trimmed, truncated, the recitatives converted to dialogue, and in Europe, performed by white actors in blackface.

But *PORGY AND BESS *has, to date, been produced on *Broadway* seven times: in 1935, 1942, 1943, 1944, 1953, 1976, 1983, 2012, and The Metropolitan Opera production opened September 2019, and closed February 15, 2020.

So, the first filmed version was in 1959, with *Sydney Poitier* playing Porgy, although *Harry Belefonte* was the producers' first choice. This was more "*Musical*" than an Opera.

As Poitier was not a singer, his singing voice was dubbed by *Robert McFerrin*, the father of Grammy Award winner *Bobby McFerrin*. The film won one *Oscar* for *Andre Previn* for *Best Adapted Score*.

So . . . it's long . . . the original version is around four hours.

Here's a very short sampler, featuring the incomparable *Audra McDonald* in a Broadway version:






. . . and the highlights from the *San Francisco Opera* _(unfortunately, you have to click through to *Youtube* to view it)_






•

Like that?

Here's the *entire* 2002 *Lincoln Center* production. Although this is downloaded from a videotape, the sound is excellent, and the production quite good. Even the *Overture* is 'kickin'".

Marquita Lister as Bess
Alvy Powell as Porgy






•

And the unfairly maligned yet visually stunning *Trevor Nunn* film version, a 1993 television adaptation of Nunn's 1986 production. What's nice here is that it was based on the "complete" score.

Willard White (Porgy) 
Cynthia Haymon (Bess)


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## pianozach

*#164
Part 1 of 3
Don Giovani
Wolfgang Amadeus Mozart
Italian libretto by Lorenzo Da Ponte.
1787/1788*

Its full title: *Il dissoluto punito ossia il Don Giovanni - Dramma giocoso in due atti *(The Rake punished, or Don Giovanni, a dramma giocoso in two acts)

An opera of perfect proportions, both thematically and musically balanced. *The opera of all operas*.

*Mozart*'s art has often been compared with *Shakespeare*'s, above all perhaps for the composer's complete and lifelike blend of the comic and tragic: their co-existence is actually the essence of all Mozart's operatic masterpieces, and *Don Giovanni* - aptly labelled a _dramma giocosa_ - is the work in which they are most intimately woven together.

People's long fascination with the *Don Juan* legend, first made into a play by some Spanish poet-monk in the early 17th century, meant that by Mozart's time there were countless Don Juan shows around. But Mozart - whose music would have been impossible without alchemy of *Da Ponte*'s words - gave life, as it were, to the supernatural, in the form of the *Commendatore*'s statue.

In Leporello's _*Catalogue Aria*_ he created a piece unlike anything else in all opera. The work that Rossini claimed he would most liked to have composed himself is driven from start to finish with timeless power and brilliance.
*Mozart*'s masterpiece mixes comedy and tragedy in equal measure (he called it a _'merry tragedy'_) and has one of the most powerful finales of any opera ever written. Womanizing nobleman *Don Giovanni* thinks he can outsmart the devil; and even when hell opens to claim him, he still resists with all his strength. If you've ever cried out against fate, or dreamed of living a life of pure id, then this is the opera for you. Highlights include Giovanni's charming serenade *'Deh Vieni All Finestra' ('Come To The Window')* and the epic, spine-tingling *Finale*.

This is Mozart's *19th* opera (although three of his earlier operas were 'incomplete'). Reports about the last-minute completion of the overture conflict; some say it was completed the day before the premiere, some on the very day. More likely it was completed the day before, in light of the fact that Mozart recorded the completion of the opera on 28 October. Mozart left finishing Don Giovanni until the very latest deadline; legend has it that the scores handed to the orchestra minutes before curtain call were still wet.

*Synopsis*: Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters "something" he cannot kill, beat up, dodge, or outwit.

The plot is long and involved, and best left as a link: https://www.metopera.org/discover/s...A1MOZPq9MdGDriBRdHgaAu5BEALw_wcB&gclsrc=aw.ds

So let's start with the *Overture*, shall we?

Before the premiere, it was mentioned to *Mozart* that there was no overture. He reportedly said _*"Don't worry. It is here,"*_ pointing to his head. He went to his desk well after midnight and spent the entire evening composing, as his wife helped to keep him awake with punch and poetry readings. There was no time to write a score, so he wrote out the individual parts without one! A copyist had been ordered at 7 a.m., and at 7 a.m., the overture was finished. The work is virtually the first movement of a symphony and contains no themes from the opera. At the end, the music quietly glides into Leporello's first aria. For the benefit of concert performances, Mozart provided a louder ending.

Here's *Manfred Honeck*
conducting the *Czech Philharmonic Orchestra*
in 2006, at the Estates Theatre, Prague
.






.

_*"The Champagne Aria"*_: Giovanni's one attempt at self-expression in the Act I aria _*'Finch'han dal vino'*_ (aka the Champagne Aria for the tradition of having Giovanni swig champagne before singing and throw away the glass at the end). The great seducer's tongue-twisting aria reveals his irrepressible energy and love of life. Don Giovanni rattles off instructions to Leporello at top speed: he must prepare a great feast, with enough wine to make everyone drunk, he must find more girls to attend and he must organize dancing.






.

"La ci darem la mano."

Clever musical touches can be found in the well-known duet _*"Là ci darem la mano"*_ in Act I. As the duet begins, Giovanni and his prey have alternate verses, but, as the conquest ensues, they begin to blend in harmony, the music reflecting their emotional unity.

Here's *Rodney Gilfry* (Don Giovanni) and *Liliana Nikiteanu* (Zerlina) performing the recitative and aria (the aria proper starts at 2:48).

Just remember - if he seems a little sleazy, he's _SUPPOSED_ to be. He gets dragged off to Hell for that later.






.

_*'Deh Vieni All Finestra' ('Come To The Window')*_

Here's *Erwin Schrott*. Recitative and Aria (which starts at 0:55)


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## pianozach

*#164
Part 2 of 3
Don Giovani
Wolfgang Amadeus Mozart
Italian libretto by Lorenzo Da Ponte.
1787/1788*

Of course, the most memorable part of the opera is the *Dinner/Descent into Hell* sequence at the end. Bernard Shaw is right: This really is *“beyond all comparison the most wonderful of the wonders of dramatic music”*.

There are an astounding breadth of ways the entrance of the statue and Don Giovanni's descent into Hell are theatrically handled, and varies according to the artistic vision of the director as well as the production costs associated. For a theatre with a trap door, he can actually 'descend' to Hell, others can make him 'vanish' using lighting and visual tricks.

There are three I will *not* be embedding here . . . *one* (from the *Teatro dell’Opera di Roma*) where The Commendatore's statue appears instead as a cartoon version of Michaelangelo's Hand and Finger of God from the Sistine Chapel, which is lowered onstage (much like the animation from an episode of MONTY PYTHON), and instead of being dragged to Hell, Giovanni breaks the plywood finger off, throws it down, and exits stage right.

*Another* is where he falls into the pit of Hell, but a bit of him bounces back into view.

The *last* has the statue wielding a flaming sword. Yes, it's actually on fire. It's not the worst thing ever, but it reminds me too much of a light saber from Star Wars.

Indeed, it's been a lot of fun finding all the different videos of this online:



Here's a longer clip that gives the preceding scene previous to the statue's entrance, which occurs at around 8:37 in this clip.

This is from the *Indiana University Jacobs School of Music*'s production of Mozart's *DON GIOVANNI*











/



But here's another impressive production with *Kurt Moll* as the *Commedatore*.

There are English subtitles, and while they are not the best translation (more of a paraphrasing), it's fairly actually appropriate.


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## pianozach

Here's the most visually impressive of the lot. [Unfortunately this version has no attribution/credit, but I believe it's a 2011 production from the *Metropolitan Opera Company* and *Metropolitan Opera Orchestra*. The *Commendatore* is a singer from the Slovak Republic - *Stefan Kocan*. *Mariusz Kwiecien* is in the title role of Don Giovanni and *Luca Pisaroni* is Leporello.

They're singing in Italian, and the subtitles are in French.






,



Here's that *Franco Zeffirelli* production.


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## pianozach

*#164
Part 3 of 3
Don Giovani
Wolfgang Amadeus Mozart
Italian libretto by Lorenzo Da Ponte.
1787/1788

Don Giovani
Wolfgang Amadeus Mozart*




.

A screen adaptation of the opera was made under the title *Don Giovanni* in 1979. It appears to be quite awful, in spite of the excellent source material.

But, if you're up for it, here's the full opera, all three hours, with English subtitles. This is the *Zurich 2011* production with *Rodney Gilfry* as Don Giovanni

* 





*


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## pianozach

*#165*
*TRISTAN UND ISOLDE
Richard Wagner** 
1860 (premiere delayed until 1865)
German

Wagner* doesn't just rip out your heart, he beats you with it, makes you eat it, all the while kicking you in the sides.

The ultimate, transcendent, no-holds-barred "love in death" experience, ending with Isolde's *Liebestod*. As usual, *Wagner* wrote his own libretto. Isolde is betrothed to King Mark. After a mix-up, she and Tristan drink a love potion and fall cataclysmically in love. This is "extreme opera", full of ecstatic thrills in very slow motion, but worth every note. Be prepared.

A revolutionary chord (commonly referred to as the _*"Tristan chord"*_) heralds the start of modern opera and a new way of thinking.

Around 1857 Wagner, reaching a creative block with his Ring opera cycle, decided meanwhile to compose a popular, easily performable opera based on the Tristan legend. Being Wagner, what he came up with was a vastly profound psychodrama whose very opening chord challenged traditional harmony, inspiring and liberating a subsequent generation of composers. So much so, that Tristan has been called *‘the first modern opera’*, a unique watershed beyond which music changed for good.

Very little actually happens onstage, in the manner of Wagner’s beloved Greek tragedies. But the score is vibrantly alive both with the lovers’ passion and a more transcendent yearning, for surcease, rest, escape from a cruel existence. Its score intertwines motives in darkly sensuous chromatic harmonies which find resolution only in death.

It undoubtedly reflects Wagner’s personal unhappiness, and his affair (probably more idealised than real) with Mathilde Wesendonck, but also his interests in Buddhism and Schopenhauer’s philosophy. It’s never been his most popular work, but its power is enormous, even overwhelming – which for some devotees is the point – and its greatness undeniable.

I'll skip the SYNOPSIS, as it can be found elsewhere online. For instance, there's a fairly thorough synopsis on the Wikipedia entry.
Or HERE in this short Youtube video: *Wagner's 'Tristan und Isolde' Told in 3 Minutes*







.


So . . . here are some highlights, smaller digestible snippets from this work.

Here's a 71-second snippet of the gorgeous *Liebestod* conducted by *Dudamel*.












And the entire 23-minute *Vorspiel [Prelude] und Liebestod*, played by the *Frankfurt Radio Symphony Orchestra* conducted by *Andres Orozco-Estrada*










.



Of course, these are orchestral, and opera is vocal. Probably the most incredible part of Tristan und Isolde is the ending of “_*Tristan*_,” simply because of the sense of release and this very transcendence that cannot be found anywhere else in opera. After several operas of unresolved harmonic development, we finally get to that glorious B major chord we’ve been waiting for. This is arguably the longest and greatest payoff in all of art history. And of course, playing only this ending betrays its greatness by failing to include everything in the opera that makes the pay-off so marvelous. You really must sit through the whole thing to appreciate the ending.

Somehow, in today's culture, it seems overly daunting to commit *four hours of time* to simply sit and listen (and in this case, watch as well) to one of the finest operas every composed.

Yet we'll willingly sit through yet another football game, or binge-watch 8 episodes of *Game of Thrones*.

Consider:

_"No healing, no sweet death can ever free me from the pain of yearning:
Nowhere, ah, nowhere can I find rest. 
Night casts me back to day,
So that the sun can for ever feast its sight upon my suffering." _

So, instead of highlights, here's the full 4-hour 1983 production from the *Bayreuther Festspiele*, conducted by *Daniel Barenboim*, with *Rene Kollo* as Tristan and *Johanna Meier* as Isolde, and King Marke sung by *Matti Salminen*. The credits roll for the first minute of this video, but it's worth playing through it to let the silence settle you in.

*BTW*: This video has *subtitles* available in German, French, Spanish, and *English*. Click on the "setting" icon at the bottom right of the screen, and select.


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## Shaughnessy

First-rate work making the "daunting" more "approachable" for Beginners while still being able to hold the interest of more experienced listeners.


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## pianozach

So, there it is. A short wade into the OPERA pond.

To recap – I’ve taken a few sojourns into some opera and operetta (and oratorio) music:

#18. *O Fortuna* from *Carmina Burana* by *Carl Orff*
#30. *Overture* to *The Barber of Seville* by *Rossini*
#31. *Ride of the Valkyries (Die Walküre)*
#67. *Handel*'s *Messiah*
#69. *Richard Strauss* - *Salome - "Dance of the Seven Veils "*
#95. *Mozart* - *Overture* from *The Magic Flute*
#103. *Rossini* - *Thieving Magpie Overture*
#104. *Rossini* - *William Tell Overture[/COLOR]*
#123. *Johann Strauss II* - *Overture* to *Die Fledermaus*


. . . And five operas (and some wandering off the path)


#161. Gilbert & Sullivan - *The Pirates of Penzance*
#162. Gilbert & Sullivan - *The Mikado*
* The Hot Mikado
Ivanhoe
The Grand Duke
Princess Ida*
#163. George Gershwin - *Porgy and Bess*
#164. Mozart - *Don Giovani*
#165. Richard Wagner - *Tristan und Isolde


*
Obviously, there is far more to Opera than just these. Many wouldn’t even bother putting the *Sullivan* operettas on a Top 10 list of Best Operas.
* 

*
So I’ll wrap up the opera genre for the time being with the rogue-ish *San Francisco Opera* list of *The 10 Best Operas of All Time



10. Dead Man Walking by Jake Heggie, 2000
9. Porgy and Bess by George Gershwin, 1935
8. Dialogues of the Carmelites by Francis Poulenc, 1957
7. Eugene Onegin by Pyotr Ilyich Tchaikovsky, 1879
6. The Barber of Seville (Il barbiere di Siviglia) by Gioachino Rossini, 1816
5. La Bohème by Giacomo Puccini, 1896
4. La Traviata by Giuseppe Verdi, 1853
3. Die Walküre by Richard Wagner, 1870
2. Tosca by Giacomo Puccini, 1900
1. The Marriage of Figaro (Le nozze di Figaro) by Wolfgang Amadeus Mozart, 1786

*
I applaud *SFO* for their choices to include 3 from the 20th Century, and one from the 21st Century. I’m actually unfamiliar with the two most recent on their list, but there’s no denying that the rest mentioned are certainly excellent operas. I find it interesting that Puccini twice found his way on their Top 10 List, both in the top five.



*Gramophone* has their own list of “starter-pack” Top 10 Operas, which shares some entries with the SFO list. They’re in no particular order:
* 

Mozart - The Marriage of Figaro (Le nozze di Figaro)
Puccini - La bohème
Puccini - Tosca
Beethoven – Fidelio
Wagner - Tristan und Isolde
Janáček - The Cunning Little Vixen
Verdi - Aida
Verdi - La traviata
Mozart - The Magic Flute (Die Zauberflöte)
Bizet - Carmen
*

If you find that the Opera genre interests you, whether it be the ones I’ve mentioned, or others, seek out more, and explore others from the composers that you like the most (unless it’s Beethoven; he only wrote the one). There are plenty.
* 



*


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## pianozach

*Intermission*

Suggested by *HammeredKlavier*

*Missa pro defuncto Archiepiscopo Sigismondo*
*Johann Michael Haydn*
*1771*

Well, *Michael Haydn* has generally been given short shrift by the Classical community, as he's certainly been overshadowed by the other composers of the time, most notably his older brother *Joseph Haydn*, but that assessment has changed favorably in the last few decades. Although *Michael Haydn*'s sacred choral works are generally regarded as his most important, it should be noted that he also composed secular works, including 41 symphonies and wind partitas, and many concertos and chamber works. 

But this sacred *Requiem* Mass was written when Michael Haydn was Director of Music for the Archbishop of Salzburg. The Mozart family were active in Salzburg at that time (he was employed there for 44 years), and this Requiem likely had a profound effect on the young *Mozart*, whose own Requiem of some 20 years later shows the influence of this earlier work. Evidently both Leopold and his son Wolfgang were present at the first three performances (some say they were both playing in the orchestra at the premiere). 

*1. Introitus et Kyrie *
_*2. Dies Irae
3. Domine Deus, Jesu Christe
4. Quam Olim Abrahæ
5. Hostias
6. Sanctus
7. Benedictus
8. Agnus Dei*_
*9. Cum Sanctis Tuis and Requiem Æternam*

Technically, there are 11 sections, and, depending on the recording, they may be lumped together in different variations in as little as five sections. 

For all of its influence, stylistically it is rooted firmly in the Classical tradition (and, I suppose, some Baroque tradition as well), and artfully stays "inside the box" in a friendly and graceful manner, except when it goes somewhat rogue, with some real bang up thunder-in-your-face sections, like in the _*Kyrie*_ and _*Dies Irae*_. The fugal sections (in the _*Quam olim abrahæ*_ and in the _*Cum sanctis tuis*_) are of special note, and the second and first themes first heard in the _*Introit*_ and _*Kyrie*_ are artfully reprised in the _*Requiem Æternam*_ followed by a surprise recapitulation of the _*Cum sanctis tuis*_ _fugue_ to wrap it all up nicely. 

This *Requiem* is also quite reminiscent of, and surpasses, his brother's choral works. Comparatively, when it comes to sacred choral works, the common feeling is that Michael really outshines his older brother. I'm struck by the very masterful interplay of brass and strings against each other, as well as against the vocal quartet and choir. I also find it interesting how *M Haydn* manages to bounce between Baroque, Classical, and proto-Romanticism on a dime.

It's also reminiscent of bits of *Handel*'s *Messiah*, whom may have been an inspiration. 

Here's the *Liszt Ferenc Chamber Orchestra* and the *Hungarian Radio and Television Chorus*, conducted by *Helmuth Rilling*.


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## pianozach

So let us turn from *Opera* (the last five entries) to
the *PIANO CONCERTO*.

I've presented several concertos already on this list, including five PIANO CONCERTOS.

So let's get the *exposition* out of the way, shall we?

A *concerto* is a classical music composition that highlights a solo instrument against the background of a full orchestra. Practically every orchestral instrument has concertos written for it, with the violin, the cello, and the piano probably being the most common (and the flute perhaps running a close 4th).

There are also *concertos* for groups of instruments, where 2 or more solo instruments are featured.

Most *concertos* have three sections or movements, and in the 19th century they were especially popular as a way to showcase virtuoso playing by the soloist.

Piano Concertos (or Keyboard concerti) were common in the time of *Johann Sebastian Bach* in the *Baroque* music era (although there were plenty of concertos for individual stringed or woodwind instruments), during the *Classical* music period, and during the *Romantic* music era (approx. 1800-1910). Keyboard concertos are also written by contemporary classical music composers. 

*20th*- and *21st-century *piano concertos may include experimental or unusual performance techniques. In the 20th and 21st century, J.S. Bach's harpsichord concertos are often played on piano. There are variant types of piano concertos, including double piano concertos, for two solo pianists and orchestra, and double or triple (or larger solo groups) concertos in which the piano soloist is joined by a violinist, cellist, or another instrumentalist.

My *Beginner's Guide to Classical Music* has already had five piano concertos listed, including perhaps the *greatest piano concerto* of all time,

*Beethoven's Piano Concerto No. 5 (Emperor) *(which came in at *#96*, well after two others):
*Beethoven's Piano Concerto No. 4 *in G Major: Op.50 (*#43*) from 1806, and
*Mozart's Piano Concerto No. 20* (*#53*) [a Top 10 Concerto].

Also already listed are

*Grieg's Piano Concerto* (#118) [probably the *4th* best Piano Concerto of all time], and
*Tchaikovsky's Piano Concerto No. 1 *(#128) [probably the *2nd* best Piano Concerto of all time]

Which brings us to the *3rd best Piano Concerto* of all time (and the first on the list from the *20th Century*) . . .

.

.

*#166*
*Piano Concerto No. 2
Sergei Rachmaninov*
*1901*

The *Piano Concerto No. 2 in C minor, Op. 18* is one of Rachmaninoff's most enduringly popular pieces.

It is so popular that several successful pop songs can be traced directly from this piece.

The second theme of *Allegro scherzando* provides the basis for *Frank Sinatra*'s 1945 "*Full Moon and Empty Arms*".[9] And two songs recorded by Sinatra also have roots in the *first movement* of the concerto: "*I Think of You*" and "*Ever and Forever*".

The _*Adagio sostenuto*_ theme appears in *Eric Carmen*'s 1975 ballad *"All by Myself"*.

You can also hear it (or selections from it) in over over a dozen films, starting as early as 1932 with the adaptation of *Grand Hotel* with Greta Garbo. You'll also hear in *Brief Encounter* (1945), *The Seven Year Itch* (1955), *Center Stage *(2000), and *Hereafter* (2010).

But this whole concerto is one of the greatest works in the piano repertoire.

But let's start with the bit that everyone knows, the 2nd movement, partly because of the final scene of this 1945 film, *Brief Encounter* . . .










The melody from *Eric Carmen*'s *All By Myself* became a hit partly on the dramatic middle section from the _*second movement*_ (the single cut it down considerably, but here's the full-length version). The instrumental section starts around 2:45.









.

This concerto is sometimes said to have saved *Rachmaninoff*'s compositional career, after his *first piano concerto* tanked (or maybe it was his *Symphony No. 1 in D Minor*).

_"In his youth, Rachmaninoff was subject to emotional crises over the success or failure of his works as well as his personal relationships. Self-doubt and uncertainty carried him into deep depressions, one of the most severe of which followed the failure, on its first performance in March 1897, of his *Symphony No. 1 in D Minor*. The symphony was poorly performed, and the critics condemned it. During this period, while brooding over an unhappy love affair, he was taken to a psychiatrist, Nikolay Dahl, who is often credited with having restored the young composer's self-confidence, thus enabling him to write the *Piano Concerto No. 2* (which is dedicated to Dahl)."_ - Britannica

OK, you ready?

*Rachmaninoff: "Do not waste your time with music that is trite or not noble. Life is too short to spend it wandering in the barren Saharas of musical trash."*


Here's *Anna Fedorova* with *Martin Panteleev* conducting the *Nordwestdeutsche Philharmonie*, recorded live in 2013 at the Koninklijk Concertgebouw in Amsterdam.



*00:05 I. Moderato
11:37 II. Adagio sostenuto
23:49 III. Allegro scherzando*


*



*


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## pianozach

*#167
Piano Concerto in A minor, Op. 54
Robert Schumann
1845

Schumann*, until 1840, wrote exclusively for the piano, so it's somewhat surprising that he wrote only one piano concerto.

*Allegro affettuoso*_
*Intermezzo: Andantino grazioso
Allegro vivace*_

There is no break between these last two movements (_attacca subito_).

Schumann preferred that the movements be listed in concert programs as only two movements:

*Allegro affettuoso
Andantino and Rondo*

The basic idea expressed in the work is that of yearning and happiness between two loving people. Schumann musically transforms his fight to marry his wife Clara in this work, who, incidentally, premiered the work.

*Clara Schumann* wrote after the premiere: *"... how rich in invention, how interesting from the beginning to the end, how fresh and what a beautiful coherent whole!"*

Special emphasis was placed on the skilful, colorful and independent orchestral treatment, that would leave room for piano and orchestra alike.

It has become one of the most widely performed and recorded piano concertos from the Romantic period.

Here's *Khatia Buniatishvili* with the Israel Philharmonic Orchestra, conducted by *Zubin Mehta*.


*



*


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## pianozach

*#168
Piano Concerto No. 1 in D minor, Op. 15
Johannes Brahms
1858*

*I. Maestoso
II. Adagio
III. Rondo: Allegro non troppo*

The work reflects *Brahms*'s effort to combine the piano with the orchestra as equal partners in a symphonic-scale structure, in emulation of the classical concertos of *Mozart* and *Beethoven*, instead of the earlier model of an orchestra simply accompanying the pianist.

This *first concerto* demonstrates Brahms's particular interest in scoring for the *timpani* and the *horn*, both of whose parts are difficult and prominent.

In an all-too-familiar story, the piece's second premiere in Leipzeig received a chilly reception, and it was never held in such high esteem as other Romantic piano war-horses of the period. _*Now*_, however, it’s a very different story: this is one of the best-loved and most frequently performed piano concertos in the world, and is considered to be a masterpiece.

As a masterpiece there are several excellent versions available on *YouTube*, by some of the most important names in music.

There's a great version by the legendary virtuoso *Arthur Rubinstein*. The video with *Bernard Haitink* conducting the *Royal Concertgebouw Orchestra* in Amsterdam is from 1973 and showcases a remarkably great orchestra and an 83 year old Rubinstein. The tempo is slow, and Rubinstein _not_ a showman. Both Rubinstein and Haitink are probably of the opinion that the music speaks for itself.





There's *Yuja Wang*, a fairly new sensation on the pianist circuit. Her version is HIGHLY recommended - she's a joy to watch perform. It's as though she's making love to the music as she plays. This 2017 performance is with *Valery Gergiev* conducting the *Münchner Philharmoniker. * 





There's one from extraordinary pianist *Emanuel Ax, *also with a much older* Bernard Haitink *conducting and the* Royal Concertgebouw Orchestra *again, this time in 2011. *Haitink* seems to be conducting with more gusto than he did over three decades previously when conducting with Rubinstein at the piano.





And one from *Daniel Barenboim* with the Munchner Philharmoniker conducted by the equally famous *Sergiu Celibidache*. Barenboim has a wonderfully sensitive touch . . . very romantic.





And it's so difficult to choose just one. But I have: Here's the most wonderful *Helene Grimaud*, whose interpretation/performance is so wonderfully personal, strong, forceful, and tender. Solid phrasing and dynamics. With her in 2005 is the *Southwest German Radio Symphony Orchestra* conducted by *Michael Gielen*


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## pianozach

*#169
Piano Concerto in G major
Maurice Ravel
1932*

*Ravel*'s Piano Concerto in G major, M. 83 (not to be confused with his *Piano Concerto for the Left Hand*) is heavily jazz influenced.

Ravel remarked that *"The most captivating part of jazz is its rich and diverting rhythm. ... Jazz is a very rich and vital source of inspiration for modern composers and I am astonished that so few Americans are influenced by it."

I. Allegramente
II. Adagio assai
III. Presto*

Surprisingly, *Ravel* was aiming to write was something light, fanciful and not inherently serious: _"In the spirit"_, as he said, _"of Mozart and Saint-Saens. The music of a concerto should, in my opinion, be lighthearted and brilliant, and not aim at profundity or at dramatic effects. It has been said of certain classics that their concertos were written not "_for_" but "_against_" the piano. I heartily agree. I had intended to title this concerto "_Divertissement_." Then it occurred to me that there was no need to do so because the title “Concerto” should be sufficiently clear."_

It is of note that many "_throwaway_" works by composers often end up being pieces for which they're remembered fondly: *Carnival of the Animals, Peter and the Wolf*, etc.

Anyway, I'd mentioned *Yuja Wang* previously, so here she is with the *Camerata Salzburg* conducted by *Lionel Bringuier* in 2016 at the Salzburg.


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## pianozach

*#60 Encore Edition 
From Post #170 *








A Beginner's Guide to Classical Music


#57d Brandenburg Concerto No. 4 in G major , BWV 1049 Concerto No. 4 a Violino Principale, due Flauti d'Echo, due Violini, una Viola e violone in Ripieno, Violoncello e Continuo. (for solo violin and 2 recorders (or traverse flutes, or flageolet), accompanied by two violins, viola, cello...




www.talkclassical.com




*Piano Concerto No. 21 in C Major, K. 467
Wolfgang Amadeus Mozart*
*1785

Mozart*'s *Piano Concerto No. 20 in D minor* is #53 on this list, and was completed only four weeks before the *Piano Concerto in D Minor*.

*I. Allegro maestoso
II. Andante
III. Allegro vivace assai*

The second movement was featured in the 1967 Swedish film *Elvira Madigan*, resulting in the piece becoming widely known as the "*Elvira Madigan concerto*".

*Neil Diamond*'s 1972 song "*Song Sung Blue*" was based on a theme from the andante movement of this concerto.

Here's pianist *Yeol Eum Son* and conductor *Alexey Utkin*.

*



*


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## pianozach

*#170*
*Piano Concerto No. 2 in F major, Op. 102
Dmitri Shostakovich*
*1957*

Shostakovich remarked that this Piano Concerto No. 2 has “no redeeming artistic merits”.

I'm guessing it just sounded too cheerful to him.

*Yuja Wang* with the *Philadelphia Orchestra* conducted by *Yannick Nézet-Séguin* at Carnegie Hall in *2021*


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## hammeredklavier

pianozach said:


> Here's the *Liszt Ferenc Chamber Orchestra* and the *Hungarian Radio and Television Chorus*, conducted by *Helmuth Rilling*.


I've found Raphaël Pichon's interpretation to be the best:


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## pianozach

You're obviously more familiar with M Haydn, so why do you consider Pichon's interpretation to be "the best"?


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## hammeredklavier

pianozach said:


> You're obviously more familiar with M Haydn, so why do you consider Pichon's interpretation to be "the best"?


Listen to that recording of the Dies Irae movement, for instance, the "HIP sound" and the pace of tempo and dynamics (the sense of "urgency" it creates)— it feels so "right" to me. Also listen to the "Quam olim abrahae" fugue,


hammeredklavier said:


> The way to reach the dominant from i64, with the chromatic ascent C -> C# -> D, with the major second [ G, A ] on the top
> (D -> C -> C# -> D | G -> F# | Bb -> A)
> Dzmj8lRLHh0&t=16m50s sounds so eerie


It's just the feeling I get from Pichon's and none of the others, such Ivor Bolton's. (maybe it's because it's the one I'm most familiar with. What do you think?).


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## pianozach

hammeredklavier said:


> Listen to that recording of the Dies Irae movement, for instance, the "HIP sound" and the pace of tempo and dynamics (the sense of "urgency" it creates)— it feels so "right" to me. Also listen to the "Quam olim abrahae" fugue,
> 
> It's just the feeling I get from Pichon's and none of the others, such Ivor Bolton's. (maybe it's because it's the one I'm most familiar with. What do you think?).


I hate making snap judgements, so I'll get back to you in a few weeks. 

Having heard this though raises my opinion of M Haydn. There was something else from him I listened to last week as well that I thought was really good. Can't remember what it was now though.


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## hammeredklavier

pianozach said:


> There was something else from him I listened to last week as well that I thought was really good. Can't remember what it was now though.


Could it be something related to the requiem stylistically?


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## pianozach

*43. Beethoven - Concerto No. 4 in G Major, Op.50 (1806)*
*53. Mozart – Piano Concerto No. 20 (1785)
60. Mozart’s Piano Concerto No. 21
96. Beethoven – Piano Concerto No. 5 (1811)
118. Grieg - Piano Concerto (1868)
128. Tchaikovsky - Piano Concerto No.1 (1875/1888)

166. Rachmaninov’s Piano Concerto No. 2
167. Schumann Piano Concerto
168. Brahms’ Piano Concerto No. 1
169. Ravel’s Piano Concerto in G major
170. Shostakovich’s Piano Concerto No.2 (1957)*

So there it is - five piano concertos in a row.
With the previous 6 on the list, that’s two each from both Beethoven and Mozart.

So, speaking of *Mozart*, he's usually referred to as one of the *"Big Three"* (along with *Bach* and *Beethoven*).

On *The Beginner’s Guide* he's already been mentioned 15 times, more than anyone else on the list so far:

*#8. Symphony 41 in C "Jupiter”
#10. Overture from The Marriage of Figaro
#32. Symphony No. 40 in G Minor
#35. Requiem in D minor
#53. Piano Concerto No. 20

#60. Piano Concerto No. 21 "Elvira Madigan"
#67. Symphony No. 35
#83. Symphony No. 36
#95. Overture from The Magic Flute
#106. Symphony No. 37

#129. Symphony No. 38 
#155. Symphony No. 39
#159. Horn Concerto No. 3
#164. Don Giovani
#170. Piano Concerto No. 21 *

Included are his Symphonies #35-41. Seven. In a row.
Four concertos, the Requiem, one opera, and two opera overtures.
As a pianist, I'm actually pretty fond of his piano sonatas, and somehow not a single one has made the list so far.

But what is missing from the list that ought to be added RIGHT NOW? Here's five from Mozart.

Let's start with 

*#171*
*The Marriage of Figaro
WA Mozart*
*1786*

_*The Marriage Of Figaro *_*(Le Nozze Di Figaro)*, premiered in 1786, is an ideal place to begin an exploration of the best Mozart works and the opera’s ‘*Overture*’ (on this list at *#10*) sets its mood perfectly.

It seems to have been *Mozart*’s own idea to set the scandalous play by Pierre-Augustin Caron De Beaumarchais, which had already been banned in Paris and Vienna, but what cannot be spoken can sometimes be sung. A suitably adapted opera libretto by his new collaborator Lorenzo Da Ponte produced from the composer a score that matches the swiftly changing moods of this busy, intricate, and amorous comedy.

This enchanting opera tells the story of the Count and Countess Almaviva and two of their staff – the maid Susanna and the count’s valet *Figaro*. The opera actually follows on from the plot of *The Barber of Seville* (famously made into an opera by *Rossini*) and contains some of *Mozart*’s most wonderful music including Cherubino’s beautifully simple *“Voi che sapete”*, and the soprano aria *”Porgi, amor”*, and the _*“Sull’aria”*_ duet – which famously makes an appearance in *The Shawshank Redemption, *and which I've accompanied many times in concert.

It’s lively, cheeky, and funny. *Mozart* had a sense of humour, and there’s no mistaking it in this cheerful opera. It’s a great love-story, with a few cases of mistaken identity, trickery, and practical jokes thrown in for good measure.

I think that opera composers are vastly overrated. How does one create 2-3 hours of music that must include the libretto and the storyline?

*Orchestra e coro del Teatro alla Scala*


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## pianozach

pianozach said:


> *#170*
> *Piano Concerto No. 2 in F major, Op. 102
> Dmitri Shostakovich*
> *1957*


I honestly thought I'd get a flurry of comments on _this_ one, either to tell us all why it's so great, or why it sucks, or some accolades for including a somewhat more recent work, or shaming me for my lack of more recent works.

It's one of only nine pieces on the list that were written in the 2nd half of the 20th Century (i.e. post-1950):

80. Steve Reich – Music for 18 Musicians [1976]
81. Stockhausen – Gesang der Jünglinge [1956]
84. Legeti – Requiem [1965]
86. Krzysztof Penderecki – Threnody for the Victims of Hiroshima [1960]
#114. Britten - Cello Symphony (Symphony for Cello and Orchestra), Op. 68 (1963 /1964)
#154. Ligeti - Atmospheres (1961)
#156. Stockhausen – Kontakte (1960)
#157. Glass – Glassworks (1981)
#170. Shostakovich - Piano Concerto No. 2 in F major, Op. 102 (1957)


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## pianozach

*MOZART*

*#172 
Die Zauberflaute (The Magic Flute) 
1791*

A complex allegorical opera combining elements of fairy-tale quest and symbolic references to Freemasonry, *The Magic Flute* was *Mozart*’s last opera to be staged. It forms an apt summation of the incredible variety of his art, with the diverse music allotted to all the different characters and situations displaying his outstanding range of invention and style. Comic and serious by turns this finally triumphant opera is one of the best Mozart works.

A handsome prince, a serpent, and three ladies who produce an enchanted flute with the power to change men’s hearts? Mozart's opera is a bit of a musical pantomime, with some brilliant songs thrown in for good measure: the famously difficult* ‘Queen of the Night’ *aria, _‘Der Halle Rache kocht in meinem Herzen’_, is just one of them.

And, with this piece, Mozart _kind of_ invented the musical.

Yeah, opera had existed for about 200 years, but *The Magic Flute* wasn’t really an opera. It was a *Singspiel* — a song-play — which was a genre of theater popular in Germany featuring spoken (rather than sung) dialogue interspersed with songs.

It was also considered a pretty lowbrow art form. Most Singspiel were simple comedies written for lower-class audiences and performed by itinerant actors traveling from village to village.

Until *Mozart*.

*The Magic Flute* dragged Singspiel from the town square onto the stages of Austria’s most prestigious theaters, giving the genre legitimacy in the eyes of the upper class and establishing a theatrical tradition that would eventually lead to *Broadway*.



*The Magic Flute (Paris Opera, 2001)*


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## hammeredklavier

pianozach said:


> Until *Mozart*. *The Magic Flute* dragged Singspiel from the town square onto the stages of Austria’s most prestigious theaters


Is that true though?

"We may assume that Leopold and Wolfgang, while in Vienna, received reports from their friends in Salzburg about the highly successful performance of “Die Hochzeit auf der Alm” in May 1768. The very idea that Wolfgang should write a similar opera (K.50) may have originated in these reports. But how did Mozart come to know the music? For this we have just one clue: in his 1952 biography of Michael Haydn, Hans Jancik mentions that “Die Hochzeit auf der Alm” was also performed in Vienna in 1768." min-ad/06-2/7_Mozartian_Touches77-88.pdf#page=4




"Auf! Es kommt der Fruhling an": watch?v=EsaDuWePEMw
"Lobet ihr Krafte den Schopfer der Welt": watch?v=puANS_Rzv9g
"Gequaltes Herz! Entdecke mir die Wahrheit deiner pein": watch?v=v7lz6nSLzFU


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## pianozach

Interesting.

Anecdotal, and possibly true. Also possibly not true. Our records from way back then aren't always the most accurate.

And even if it had been presented, there's no record that the Mozarts attended. But, yes, they _COULD_ have. And little Wolfy was known to "appropriate" music and ideas from elsewhere, often putting his own "spin" on them.

I'm not really familiar with the *M Haydn* catalog, so when you say they're similar, I'll just have to take your word for it.

And when you say "similar", are you talking about the plot, or the singspiel format?

Of course, is it likely that THE MAGIC FLUTE plagiarized (or perhaps, was influenced by) a minor work like Die Hochzeit auf der Alm two decades after its performance when Mozart was 12 years old? Sure, Mozart was a genius, but this scenario seems a bit of a stretch.

Also, given how many are UNfamiliar with M Haydn and his works, I daresay he had very little impact or influence on the musical world.

That's akin to saying that *Rory Storm and the Hurricanes* are worthy of more than a footnote because they inspired the *Beatles* to polish it up a bit. 

That said, I'm not really sure WHY M Haydn has been so overlooked, ignored really. His music measures up to Haydn and Mozart quite well. I guess perhaps he just didn't have any real breakaway hits.


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## hammeredklavier

pianozach said:


> Also, given how many are UNfamiliar with M Haydn and his works, I daresay he had very little impact or influence on the musical world.


I'm just saying (as a reply to your post#354) there were singspiels performed in Austrian cultural centers such as Vienna before Mozart's mature ones. 
Just cause a composer isn't popular today, it doesn't mean he had little influence in history (although how you subjectively evaluate it is up to you).


hammeredklavier said:


> "The numerous settings of liturgical texts in German, the secular German part-songs and Lieder, together with his expanding sphere of influence as a teacher of composition in the 1790s, place Michael Haydn in a position of importance in the early history of both German sacred music and German song. One of his students Georg Schinn (1768-1833), left Salzburg in 1808 to take a position in the Munich Hofkapelle, where Michael Haydn's Latin and German sacred music was performed frequently throughout the 19th century." <Michael Haydn and "The Haydn Tradition:" A Study of Attribution, Chronology, and Source Transmission / Dwight C. Blazin / P.28>
> 
> Why assume that, if Beethoven was in Haydn's position, Beethoven would have influenced Mozart and Weber (who wrote some of his early dramatic works under Haydn's supervision) the same way Haydn did? No matter how highly you regard Beethoven, he wasn't the one who wrote watch?v=I-TeHK-bVvU in 1769.
> 
> "According to contemporary reports, instead of the usual Baroque scenery, in the subsidiary piece the theatre was made up »in the manner of an alpine hut. On one side there was a waterfall, on the other a high mountain cliff. In the morning and evening sunlight [...] one could see the cattle up on the Alpine pastures.« Haydn's Wedding on the Alpine Pasture was no doubt a pioneering work for the Salzburg Theatre. The individual arias and instrumental movements together with the entire singspiel were adapted by Haydn himself and other composers and - as witness numerous copies of the work - were soon in wide distribution in the abbeys of Kremsmünster and Seitenstetten or being taken further afield by the boatsmen who plied the waters of the Salzach river at Laufen." (an excerpt from the program notes for Brunner's recording of Die Hochzeit auf der Alm MH107)
> 
> Today, we are shoved in our throats, the _dogma_; "it was _all about_ Bach, Mozart, Beethoven. They were the ones who _did everything (pretty much)_". But if we were educated from youth to be more open to _free-thinking_; for example, "Aumann could have been influential in ways Mozart wasn't", —our way to view classical music history _could have_ been different.





hammeredklavier said:


> Although Haydn's music hasn't been distributed widely (partly due to the composer not wanting his music printed or published in his lifetime), Schubert happened to have exposure to it during his youth as a chorister in Vienna. Of Mozart, Schubert only said "O immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls!” and that was it, but Haydn was the composer Schubert specifically said he wanted be like; "I thought to myself, 'May thy pure and peaceful spirit hover around me, dear Haydn! If I can ever become like thee, peaceful and guileless, in all matters none on earth has such deep reverence for thee as I have.' (Sad tears fell from my eyes. . . .)"" .
> [Franz Schubert: A Biography, By Henry Frost · 2019 (P. 138)]
> 
> It maybe difficult to understand from our point of view today, how Schubert could have admired an obscure late 18th century composer over Mozart, but he did. I don't have to indulge in the wishful thinking "All renowned musical minds have worshipped Mozart over all his contemporaries", "Because Mozart was a musical god". I accept that there can be valid differences of opinion, but no such thing as a dogmatic law of objectivity that condemns anyone as a weirdo for holding them.


----------



## pianozach

hammeredklavier said:


> I'm just saying there were singspiels performed in Austrian cultural centers such as Vienna before Mozart's mature ones.
> Just cause a composer isn't popular today, it doesn't mean he had little influence in history (although how you subjectively evaluate it is up to you).


Agreed. 

At least *M Haydn*'s stuff is worthy enough to be placed beside *Mozart* and *Haydn*.

So . . . there's also *Salieri*. Also forgotten, but one of the biggest composers of his day. I've listened to a bit of his stuff. Nothing awful about it, if you're into simplicity. I'm sure he was popular BECAUSE of that; very much like pop music of that last half century - the simply stuff seems to be more accessible to the masses.


----------



## hammeredklavier

One more thing; I don't think it's fair to compare K.620 (not K.50) with MH107 especially when Haydn's late works such as 


hammeredklavier said:


> + Der Schulmeister MH204, Der Englische Patriot MH285, Beschluss-Arie MH295, and especially Die Ährenleserin MH493 (1788), which is said to contain greater boldness of chromatic language, Lied-like qualities of the northern tradition (as opposed to coloratura) than Haydn's earlier works, and 3 instances of homage to Mozart's Don Giovanni.
> 
> 
> 
> 
> Ich suche die Natur. Edle Wahrheit! Zeig die Wege, wo ich selbe finden kann. Mach das Mark des Geistes rege, zeig mir deine Tritte an. Lass mich finden, aus was Gründen eine Kunst beträchtlich sei. Weg mit Schmink' und Tandelei! Ich suche die Natur.
> I seek Nature. Noble Truth! Show the ways where I can find the same. Stir the spirit's depths; show me your steps. Let me find for what cogent reasons an art merits consideration. Away with decoration and ostentation! I seek Nature.


still haven't been recorded. It's only fair to judge after they're all recorded and we give them equal amount of chance as Mozart's.
Remember, music is subjective.


----------



## pianozach

*Mozart

#173
Concerto for Flute and Harp, K. 299/297c
1778

Mozart* is on record as not being particularly fond of the flute, but you would never know that from this delightful (and fairly early) work combining the instrument with its frequent Arcadian companion, the harp.

The result is a piece with a sense of never-ending innocence and charm, that also reaches real depth in the slow movement, containing sheer loveliness that would be hard to surpass in any work of its type.

The Concerto was composed in Paris in 1778 for a father-and-daughter pair of amateur instrumentalists – the *Duc de Guines* and his harpist daughter, *Marie-Louise-Philippine*, who was studying composition with Mozart while he was in France.

This unusual pairing of instruments came about from a commission by the fantastically named *Adrien-Louis de Bonnières, duc de Guînes*, who played flute, and wanted a piece to play with this daughter, who played the harp. The piece is completely enchanting – but Mozart himself wasn’t convinced by the instrumentation and never wrote another work for harp.

When Mozart wrote this concerto in 1778, the harp was still being developed. This is the only piece of music he wrote for the instrument, but the writing for each soloist is carefully crafted – it’s something of a showpiece for harpists who can get their fingers around the difficult passages.

Mozart typically did not notate cadenzas for works such as these, and any ideas he may have had for this likely never existed in print. Cadenzas composed by *Carl Reinecke* (1824-1910) are often used (and sometimes the ones composed by *Andre Previn*), although many flutists and harpists have chosen to write their own

_I. Allegro
II. Andantino
III. Rondeau - Allegro_

Here's *Julia Rovinsky* (Harp) and *Guy Eshed* (Flute) soloing with the *Israel Philharmonic Orchestra*, conducted by *Zubin Mehta* in Tel Aviv in 2016

*Mozart. Flute and Harp Concerto K299. Zubin Mehta, Julia Rovinsky, Guy Eshed*


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## pianozach

*Mozart

174 
Clarinet Concerto In A Major, K. 622
1791

Mozart's Clarinet Concerto In A Major* is widely regarded as being the greatest clarinet concerto. It's *Mozart's* _last_ instrumental work, and was completed in October 1791, less than two months before his death at the age of just 35.

*Mozart* composed the *Clarinet Concerto* for clarinetist *Anton Stadler*, considered the most gifted clarinetist in *Vienna* (and also Mozart’s friend and fellow Mason), and he performed the work at the premiere on 16 October 1791. It was the first clarinet concerto to be written by a major composer (the clarinet was a fairly new instrument) – however it wasn’t strictly composed for the clarinet at all. Mozart originally composed the concerto for the *basset horn* (a member of the clarinet family).

Some of *Mozart’s Clarinet Concerto* was featured in the score to the 2010 film *The King’s Speech*, although only the orchestral sections. And the '*Adagio*' second movement featured prominently in *Out Of Africa*.

I love the *Baltimore Symphony Orchestra*'s program notes for the piece, so here they are:

_"A mood of gracious lyricism prevails in the _*first movement*_. Mozart chose a softer-toned orchestral ensemble — gentle flutes instead of the more penetrating oboes, no brass except for two horns — to set his soloist in high relief. Graceful, flowing melodies abound, exploiting the clarinet's rich singing tone. But soon after its entrance, the clarinet flies free of the orchestra's theme to show off its coloratura abilities and the exciting contrasts between its lowest and highest notes. There is also melancholy in this outwardly serene music, and after its initial gymnastics, the clarinet expresses this in a slightly mournful melody in the minor mode.

"The clarinet's most haunting tones are displayed in the *Adagio* second movement, one of Mozart's most sublime slow movements. Here the clarinet becomes a great operatic diva, its drooping phrases singing of loneliness and loss. Mozart experienced considerable depression in his last year and had often remarked that he did not expect a long life. His music frequently expresses a profound sense of life's transitory nature and the sadness that hides behind beauty — and never more poignantly than here.

"Such thoughts of mortality are mostly pushed aside in the merry *rondo finale*. The clarinet leads off with a chirpy rondo refrain exploiting the instrument's comic side. But high comedy also includes room for more serious emotions, as Mozart had demonstrated over and over in his great comic operas. And thus, between returns of this refrain, he develops other melodies in surprisingly moving ways, and his adventurous harmonies wander into darker minor-key territory. However, Mozart never forgets who is the star and gives the clarinetist plentiful opportunities to show off his fleet virtuosity."_

I'd say that this 2nd mvt., the adagio, is so brutally beautiful . . .


Here's *Arngunnur Arnadottir*, clarinet, with the *Iceland Symphony Orchestra* conducted by *Conrelius Meister* in 2015.


*Wolfgang Amadeus Mozart: Clarinet Concerto in A major, K.622*


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## pianozach

*175
Mozart*
*Piano Sonata No. 11 In A, K331/K300I ("Alla Turca")*

Probably composed in 1783 (and published the following year) *Mozart’s Sonata No.11* has become famous above all for its finale, the so-called *‘Rondo Alla Turca’*, which is written in a percussive Turkish style that was well-known in Vienna due to the bands of Turkish musicians who would roam the streets and play in public.

Mozart also made use of the style in his opera *The Abduction From The Seraglio* of 1782. But there is more to the Sonata than that – the *opening movement* is a particularly clever and charming set of variations, while the *slow movement* is a graceful minuet and trio. As well as Mozart’s original version the Sonata has become known via arrangements, and sets of variations, by later musicians such as Max Reger and Dave Brubeck.

Mozart wrote 18 sonatas for solo piano and this is one of his most famous. Jumping on the 18th century trend for all things Turkish, Mozart uses a “Turkish” style march in this sonata’s *third movement*. Putting aside the question of how Turkish it actually is… the movement has become one of the most famous works ever written for piano.



*Olga Jegunova - W.A. Mozart: Piano Sonata No 11 in A - Major, K.331 (300i)*














Andante grazioso:
00:04 Theme
00:51 Variation 1
01:33 Variation 2
02:21 Variation 3
03:16 Variation 4
03:59 Variation 5
05:48 Variation 6
6:53 Minuetto
10:24 Alla Turca - Allegretto


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## pianozach

So . . . up to 175 entries, and 20 of them are composed by Mozart

Let's turn to the the third of the “*Big Three*”, *LUDWIG VAN BEETHOVEN*, who already has fourteen on the list, Yes, it's time for five from _this_ master, or the “*Best Of Beethoven*”.

Of course, these 14 already on the list are superb, and include 5 of his 9 Symphonies, 6 piano works, and three for string quartet:

*3. Beethoven - Symphony No. 3 "Eroica"
16. Beethoven – Symphony No.5 in C minor, Op. 67. 1808
28. Beethoven - Piano Sonata No. 14 in C♯ minor (“Moonlight Sonata”) 
34. Beethoven - Symphony No. 6
39. Beethoven - Symphony No. 9

42. Beethoven - Symphony No. 7 
43. Beethoven - Piano Concerto No. 4 in G Major: Op.50
45. Beethoven - Piano Sonata No. 21 in C Major, Op. 53 “Waldstein
50. Beethoven - String Quartet in F Major Op.59, no.1
51. Beethoven – “Razumovsky” String Quartets

55. Beethoven – Piano Sonata No. 8 in C minor, Op. 13 “Pathetique”
76. Beethoven – Piano Sonata No. 28, Op. 101
96. Beethoven – Piano Concerto No. 5
144. Beethoven - Grosse Fugue*

So, here’s five more that are considered favorites, as well as rounding out the “*Best Of*”, or Beethoven’s Greatest . . . or, rather, here’s *five more Beethoven works you cannot live without*.





*Beethoven

176
Violin Concerto in D, Op. 61*

The opening — four soft beats on timpani — creates a new sound right at the start. The slow movement is one of the most beautiful in the repertoire. *Brahms* modeled his own violin concerto entirely on this work.

And . . . *Beethoven* only wrote one *violin concerto*.

The consistently lyrical *Violin Concerto In D* allowed *Beethoven* to express pure musical serenity while his more intense side was coming out in compositions like the *Coriolan Overture*. Though it was a failure at its premiere (it was not performed for almost 4 decades), now it is one of Beethoven’s most popular pieces, certainly the most popular of all violin concertos, and one of the best Beethoven works.

The work was revived in 1844, well after Beethoven's death, with a performance by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn.

The unsuccessful debut may explain why Beethoven never attempted another violin concerto.

It is really a 40-minute outpouring of untroubled melody, its very typical moments of harmonic and dynamic surprise in the orchestra hardly affecting the surface.

The work is in three movements:

*I. Allegro ma non troppo (D major)
II. Larghetto (G major)
III. Rondo. Allegro (D major)*

There is no break between the second and third movements.

Recorded Live February 1992, at the Konzerthaus Berlinere the one and only *Itzhak Perlman*, with the *Berliner Philharmoniker* conducted by *Daniel Barenboim*.


*Beethoven: Violin Concerto in D major, Op. 61/Anne-Sophie Mutter*


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## pianozach

*Beethoven

177. 
Missa Solemnis, Op. 123
1823*

One of *Beethoven*’s greatest achievements is this epic setting of a sacred Mass, his second.

In fact, Beethoven described his grandly conceived “Missa solemnis” as *“my greatest work”* and sold manuscript copies to some of the subscribers even before it had appeared in print.

Missa solemnis, like most masses, is in five movements:

*Kyrie eleison
Gloria
Credo
Sanctus
Agnus Dei*

Of course, I've sung some Beethoven, and he really doesn't give a damn how difficult his vocal works are to sing. He seems to treat voices as though they are instruments. 

On the first page of the Missa Solemnis, Beethoven inscribed the words *“From the heart – may it go again to the heart.”*

Here’s the *London Philharmonic Choir, London Symphony Chorus and Orchestra, Sir Colin Davis*, director. *"A musician must make affirmations,"* says Davis. *"If a musician cannot believe in music as a universal ideal, what is he left with? We may be encircled by gloom but music gives us a chance to throw what Meredith calls "that faint thin line upon the shore". ... Beethoven is a man at war with himself but a man who is determined to win."*

They don’t get started until 7:45, so you can skip to there if you want.




*Beethoven, Missa Solemnis. Colin Davis. BBC Proms 2011*


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## pianozach

*178
Beethoven
Piano Sonata No. 23** in F minor, Op. 57 “Appassionata”**
1807*

*Beethoven* described this as the best he ever wrote (well, at least until his "hammerklavier" sonata). It may very well be the most celebrated of Beethoven's piano sonatas.

*I. Allegro assai
II. Andante con moto
III. Allegro ma non troppo – Presto*

Here's *Daniel Barenboim*

_*Listen to this from start to finish. With no other distractions. Wearing headphones. In the middle of the night. It's only about 23 minutes long. Enjoy.*_



*Beethoven Sonata N° 23 'Appassionata' Daniel Barenboim*













.

And just 'cause I'm in the mood, here's a *metal* version of the 3rd movement played on electric guitar by *Mats Kleppe*

Good music transcends genre.


*Appassionata Op. 57 - 3rd Movement - Beethoven [Metal]*


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## pianozach

*179*
*Beethoven
Fidelio, Op 72*
*1805/1814*

*Beethoven*'s only opera.

. . . And it took him three versions (and four overtures) to get it right.

*Fidelio* is at the same time a love story (a wife disguises herself as a prison guard to get a job at the jail where her husband Florestan is imprisoned, and engineers his release), and a story of freedom triumphing over oppression.

Beethoven was no natural when it came to opera – too high-minded and too idealistic for the grubby world of drama and the shades of human motivation – but Fidelio, his only effort in the genre, has astonishing, blazing periods that more than compensate for its patchy moments. There are certain operatic scenes which never fail to tingle the scalp.

The moment when Fidelio reveals himself to be a woman, heroically saves her husband, and then pulls a pistol on her evil nemesis, is a firecracker to beat them all. The ‘*Prisoners’ Chorus*’ from Act 1 is an unforgettable highlight.

Fidelio/Leonore persuades the chief jailer Rocco to let the prisoners out to feel fresh air and sunlight, so that she can search for her husband. Their chorus *‘O Welche Lust’ (‘O, What Joy’)* is an expression of musical ecstasy, all the more potent for the atmosphere of constraint.

*Fidelio*, Vienna State Opera conducted by *Leonard Bernstein*
Starring Gundula Janowitz as Leonore/Fidelio, and Rene Kollo as Florestan


*LUDWIG VAN BEETHOVEN-FIDELIO-LEONARD BERNSTEIN-
Fidelio 1978-2*


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## pianozach

*180

Beethoven*

*String Quartet No. 14, Op. 131
1826*

This hurts. Five works by *Beethoven* in a row to bring Beethoven up to eighteen entries on this list. 

_A violin concerto_
_A mass
A piano concerto
His only opera, and now,_
_A string quartet._

It hurts because I could easily include five or ten more. Leaving out (or, rather, leaving for later) his *Hammerklavier sonata*, the "*Waldstein*", the "*Kreutzer*", the "*Archduke*", the *Coriolan* and *Egmont Overtures*, and even *Fur Elise* seems, in a way, like an insult.

And this string quartet barely edges out his *Grosse Fuge, Op. 133*, originally the last movement of his *Quartet No. 13 in B♭ major, Op. 130*, written in 1825.

So, how is it that *Beethoven's 14th String Quartet* gets in, while the *Grosse Fuge* doesn't?

Accessibility. The *Grosse Fuge*, now considered to be a masterwork, was originally poorly received. *"An indecipherable, uncorrected horror"* that was roundly condemned by critics and audiences alike, so much so that Beethoven's publisher managed to get him to replace it with an alternate 4th movement.

But the* String Quartet No. 14 in C♯ minor, Op. 131* is the most personal of compositions – it is music reduced to its absolute fundamentals with four players in quasi-spontaneous interaction. Beethoven’s last quartets are an extreme form, far from easy listening and incredibly intense, almost like kind of a conversation with God.

This was the composer’s own favorite, and the music *Schubert* wanted to hear on his deathbed. It took *Beethoven* a lifetime to be able to write this so don’t expect to get it on first hearing – keep at it, however, and its logic and truthfulness will soon dawn.

There are *seven* movements, played without a break, with moments of almost complete musical stasis and other instances that sound as though Bach has been reincarnated. Moods arise and float away… it is seemingly ungraspable, but one knows it’s right.

*I. Adagio ma non troppo e molto espressivo
II. Allegro molto vivace
III. Allegro moderato – Adagio
IV. Andante ma non troppo e molto cantabile – Pi? mosso – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio, ma non troppo e semplice – Allegretto 
V. Presto
VI. Adagio quasi un poco andante
VII. Allegro *

These seven sections, however, are *basically* the _*four*_ conventional movements with a fugal introduction and two connecting interludes.

The set of *variations (4th mvt.*) is incredibly fine . The brooding *Adagio* sixth section introduces the furious finale, the only full sonata form in the Quartet. The second theme is derived from the subject of the opening fugue, the latent anger and energy of which now explodes. *“This is the fury of the world’s dance – fierce pleasure, agony, ecstasy of love, joy, anger, passion, and suffering; lightning flashes and thunder rolls; and above the tumult the indomitable fiddler whirls us on to the abyss,”* *Wagner* wrote. *“Amid the clamor he smiles, for to him it is nothing but a mocking fantasy; at the end, the darkness beckons him away, and his task is done.”*

Um, well, yeah. Transcendent, mysterious, revelatory. A quartet with a lack of precedent. Moving music to a new dimension. Inexhaustible originality. An awful lot has been said about this work, and it's time for you to attempt to hear *why*.

Although this music was not heard publicly until 1835, *Schubert* requested a private performance five days before his death in 1828. After hearing the Quartet he remarked, *“After this, what is left for us to write?”*

Here's the *Jasper String Quartet* at the Soka Performing Arts Center, November 24, 2013.


*Beethoven String Quartet No. 14 Op. 131*


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## pianozach

*BACH, THE FIRST OF THE BIG THREE*

*Johann Sebastian Bach*, along with Mozart and Beethoven: The "Big Three".

Surprisingly, *Bach* has been UNDER-represented on this list.

7. Brandenburg Concerto #6, In B Flat
17. Cello Suite No. 1 in G major
20. Well-Tempered Clavier 2, Prelude in F# minor
58. Brandenburg Concertos
74. Well-Tempered Clavier
90. Toccata and Fugue in D Minor
113. Well-Tempered Clavier 2

Well, actually the two *Well-Tempered Clavier* books have a total of 24 pairs of *Preludes and Fugues*, and there are six *Brandenburg Concertos*.

But in addition to the *Brandenburgs*, Bach is also heralded for his "*Goldberg Variations*" as well as vocal music such as the *St Matthew Passion* and the *Mass in B minor*.

Like his contemporaries *Handel, Telemann* and *Vivaldi*, *Bach* composed concertos, suites, recitatives, da capo arias, and four-part choral music and employed basso continuo. *Bach*'s music was harmonically more innovative than his peer composers, employing surprisingly dissonant chords and progressions, often with extensive exploration of harmonic possibilities within one piece.

So let's explore the next *5 Best of Bach* not already covered. As expected, there is a wealth of choices. And many of them are very long.

So let's start with a little preview, an appetizer.

*181

Bourree in E minor, from the Suite in E minor for Lute, BWV 996 *
J S Bach
composed somewhere between 1708 and 1717

This *Bourree* may sound familiar if you're a Jethro Tull fan, but it's been one of the most famous pieces among guitarists.

Here's *Tom Janes* playing it on a lute guitar (also known as a German Lute, or Lutar)





*Bach - Bourée E minor, played on a Lute Guitar by Tom Janes*










.

But here's *Andreas Martin* actually playing a traditional lute, although he's playing the piece in Db minor rather than E minor. And, sadly, there's a dreadful amount of reverb on this recording.



*Bach, Bourrée (BWV 996), Andreas Martin, Lute, HD*











And I'd be remiss to not include the *Jethro Tull* version


*Jethro Tull - Bourée*


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## pianozach

*Bach*


*“It may well be true that Bach’s Mass in B Minor 
– assembled, no less than created –
has become, 
some two hundred and fifty years after he bound its 27 movements together, 
the most remarkable musical allegory of **human existence 
– its pain, aspiration and promises.”*

*-Robert Shaw, conductor (1998)*​

*182
Mass in B minor BWV 232
1749*

One could, I suppose, consider the *Mass in B minor* as one big sublime extreme *Concerto Grosso*.

In between an awe-inspiring *Kyrie* and the jubilant final *Dona nobis pacem*, there are nine completely unique *arias* and *duets*, fourteen impressive ensemble sections for four, five, six and even eight voices, a broad spectrum of instrumental solos, and an incredible variety of styles.

Nowadays, the *Mass in B minor* is generally regarded as the magnum opus of *Bach*'s vocal works.

*Bach* may have opted for the _Ordinary of the Mass_ because it gave him a lot of freedom. There is a great deal of text and it is not dictated which movements should be sung by the chorus and which should be arias. Neither are there any rules about the number of movements. Furthermore, the words of the *Mass* – unlike those of the cantatas – are universal.

Most researchers believe that *Bach* compiled his *Mass* largely of existing music, coming predominantly from the cantatas of course.

He also did not give the *B minor Mass* a title. Instead, he organized the 1748–49 manuscript into four folders, each with a different title. That containing the *Kyrie and Gloria* he called "*1. Missa*"; that containing the *Credo* he titled *"2. Symbolum Nicenum"*; the third folder, containing the *Sanctus*, he called *"3. Sanctus"*; and the remainder, in a fourth folder he titled *"4. Osanna | Benedictus | Agnus Dei et | Dona nobis pacem"*, probably so that they could be used separately.

The work consists of 27 sections:

*I. Kyrie and Gloria ("Missa")
1. Kyrie eleison (1st)
2. Christe eleison
3. Kyrie eleison (2nd)
4. Gloria in excelsis
5. Et in terra pax
6. Laudamus te
7. Gratias agimus tibi
8. Domine Deus
9. Qui tollis peccata mundi
10. Que sedes ad dexteram patris
11. Quoniam tu solus sanctus
12. Cum Sancto Spiritu

II. Credo ("Symbolum Nicenum")
1. Credo in unum Deum
2. Patrem omnipotentem
3. Et in unum Dominum
4. Et incarnatus est
5. Curcifizus
6. Et resurrexit
7. Et in Spiritum Sanctum
8. Confiteor
9. Et expecto

III. Sanctus
1. Sanctus - Pleni sunt coeli

IV. Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem
1. Osanna
2. Benedictus
3. Osanna (da capo)
4. Agnus Dei
5. Dona nobis pacem*

OK, for an epic work such as this, finding one definitive video is a challenge, especially as it's a film-length work, clocking in at 100 to 110 minutes.

As far as an audio-only, much has been written. But *John Eliot Gardiner*'s version seems to be the go-to for this, but you're always going to get people that disagree on interpretive matters. One of the most popular versions is from *Phillippe Herreweghe* and *Collegium Vocale Gent*.

So here's two versions from which to choose.

Here's the audio recording of the 2015 release of *Johann Sebastian Bach's Mass in B Minor *performed by the *English Baroque Soloists* and the *Monteverdi Choir*, conducted by *John Eliot Gardiner*.



*Bach - Mass in B Minor | John Eliot Gardiner (2015)*

















. . . and a live performance by the *Choir of the English Concert* and *The English Concert* conducted by
*Harry Bicket* at *PROMS 2012*


Part I: 0: 00: 07
Part II: 0: 53: 48
Part III: 1: 25: 15
Part IV: 1: 30: 38


*Bach - Mass in B minor (Proms 2012)*


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## pianozach

*JS Bach*

_"There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself."_
- Johann Sebastian Bach

*183
The Goldberg Variations, BWV 988
1741*

*The Goldberg Variations,* BWV 988, is a musical composition for harpsichord by *Johann Sebastian Bach*, consisting of *an aria and a set of 30 variations*. The work is one of the most important examples of the variation form. It is named after Johann Gottlieb Goldberg, who _may_ also have been the first performer of the work.

*It is often regarded as the most serious and ambitious composition ever written for harpsichord.*

Every third variation in the series of 30 is a canon, following an ascending pattern. Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second (the second entry begins the interval of a second above the first), variation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth. The final variation, instead of being the expected canon in the tenth, is a *quodlibet* (which combines several different melodies—usually popular tunes—in counterpoint, and often in a light-hearted, humorous manner).

Great. A Theme and variations, like a *lot* of variations. What's so great about *Bach's Goldberg Variations*?

The music is constructed symmetrically, beginning with a beautifully tranquil and highly ornamented _*Aria*_, the bass line of which fuels the 30 variations that follow. There is something of a dividing line after variation 15, and the piece ends as it begins, with the return of the _*Aria*_. Again, every third variation is a canon — the melody of each is laid over itself, with the additional complication that the pitch difference between the melodies rises from a canon in unison up to the canon in ninths.

Here's *Jean Rondeau*


*Bach - Aria mit 30 Veränderungen Goldberg Variations BWV 988 - Rondeau | Netherlands Bach Society*


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## pianozach

*"Harmony is next to Godliness" 
Johann Sebastian Bach*​

*184*

*JS BACH*

In his lifetime of 65 years, *Bach* composed an incredible 1128 pieces of music. He left an astonishing musical legacy when he died in 1750 - including the six *Brandenburg Concertos*, the *B-Minor Mass*, the *Well-Tempered Clavier*, and hundreds of sacred *cantatas*. Yet no piece has engendered so much controversy as *Art of Fugue*, Bach’s definitive exploration of the art of fugal counterpoint.

​

*The Art of Fugue, BWV 1080
(Date unknown, likely 1742-1749)

Bach* never specified what instrument or instruments he wanted The Art of Fugue played on; nor did he finish it.

*Johann Sebastian Bach* composed this monothematic cycle of approximately 20 fugues written in the key of D minor, _probably_ for harpsichord. The number and the order of the fugues remain controversial, as does the work’s date of composition. Bach did not indicate which instruments were to be used to perform the work, but experts surmise that he would have chosen the organ and harpsichord or a small string or chamber orchestra. The work has been performed on a wide variety of instruments, including the piano, and by string quartets, chamber orchestras, period instruments, and even saxophone ensembles.

*And perhaps it doesn't matter; after all, it DOES work however you choose to set it.*

So, it starts with a *simple theme*, which undergoes many permutations throughout the *14 fugues* and *four canons* (in baroque terminology, fugues also) which constitute this work. The individual pieces get continually more complex and demanding as it goes on.

For instance, the *3rd fugue* turns the theme upside down. In the *fifth fugue*, we hear it with some intervals filled in with rather jazzy, dotted rhythms.

Later still, we hear it syncopated and in triple time. Starting with the *eighth fugue*, new themes are introduced, but they are all in fact derived from this original theme.

The *final fugue* was the last he was ever to write, and also his longest. Although he had often hidden the BACH motif in his music (in German nomenclature it consists of the notes B flat, A, C and B) here – for the first and only time – he overtly introduces it as the third main theme of this massive fugue.

The *incomplete* state of the final fugue creates a musical, aesthetic, philosophical and even moral quandary for the performer. Most allow the work to trail off at the point where Bach’s manuscript ceases . . . which makes no sense musically, but most certainly deals with existential questions of human existence, while others use endings composed by experts.

Then again, there are others that feel that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.

So, most experts now agree that Bach probably intended the work as a pedagogical work for the harpsichord player, never imagining that someone might mistake it for a concert work. Ah, well, *too late now*.

So . . . which version should I post? Which is the best?

It's all a matter of taste . . . You can find recordings on harpsichord, organ, piano, chamber groups, and orchestras.

The *Art of Fugue* has most certainly a wealth of learned dissertations written about it. But here's a quote from *Peter Gutmann*, _not_ a musicologist, but a music _aficionado_, which says worlds about *Art of Fugue*:

*Why did Bach create the Art of the Fugue? 

Wolff posits a practical concern. In 1737, a former pupil, Johann Scheibe, possibly in retaliation for Bach having passed him over for a coveted appointment, published an attack in which he savaged Bach's style as "turgid and confused," decrying its "beauty darkened by an excess of art" that buried the melody, detracted from the beauty of the harmony, had excessive ornamentation, and was extremely difficult to play. 

In retrospect, we now recognize this as a harbinger of the vast change that was about to forego Bach's counterpoint in favor of the emerging homophonic style, consisting of a dominant melodic line supported by harmony, that persists to this day (and of which, ironically, Bach's sons were in the vanguard of promoting). 

Bach never wrote about his own music, but a colleague, Johann Abraham Birnbaum, came to his defense (and panned the new style), asserting that "one very soon becomes tired of insipid little ditties that consist of nothing but consonances" and that "harmony becomes far more complete if all the voices collaborate to form it." But it was a losing battle - a mere two years after Bach died, Friedrich Wilhelm Marpurg, a respected critic, expressed regret that the fugue (and, by implication, polyphony in general) already had declined into an ancient aberration, even as he saluted the Art of the Fugue as a bulwark against contemporary rubbish. 

Wolff feels that Bach, plunged into the midst of this esthetic debate, felt compelled to memorialize the art to which he had devoted his life and to create a compendium of its range and techniques. As Herbert Parry put it, the Musical Offering had been for the benefit of one king, but Bach created the Art of the Fugue for all musicians.

Although ignored at the time, and for a century to come, the Art of the Fugue is now universally hailed as not only the ultimate treatise on counterpoint and thus the foremost embodiment of Bach's esthetic ideals, but one of the supreme summits of art, in which a wealth of invention is crafted from a single idea (and in that sense serves to exemplify Bach's core belief in the perfect and inviolate order of the universe, structured according to a Divine plan). 

John Stone calls it "tantamount to a sacred text, an artwork so quintessentially perfect in form, so unutterably beautiful from the dual perspectives of the mind and heart, intellect and emotions." 

While many of us enjoy it on a superficial level, perhaps the most meaningful tribute is from those having a lifetime of expertise and the deepest familiarity, who consistently declare their studies and analyses to be incomplete and its depths to be limitless, not only as an encylopedic compilation of past technique but as a visionary guide to inspire the creativity of future generations.*

​

Also up for grabs is the order in which the entire work is presented. As the fugues are in groups, one could present them with the canons inserted between groups, or one could group the canons together somewhere.

The entire *Art of Fugue* runs between 65 and 90 minutes long . . . it does depend on tempi, as well as whether the performer(s) is using a completed final movement, and whether particular movements are omitted (one movement is actually written "a 2", and cannot be played by a single keyboardist without overdubs).

Here's two versions:

First; a wonderful version by the *Juilliard String Quartet* with guests, with an animated video score, which, for those who love following along, is quite interesting.

The second is a chamber version. The use of instrumental colors gives dimension that cannot be given on a keyboard instrument. Robert Kohnen (harpsichord), Barthold Kuijken (flute), Sigiswald Kuijken (violin), and Wieland Kuijken (viola da gamba) 


*BWV 1080 - Art of the Fugue*









*Bach - The Art of Fugue, BWV 1080 - *















Of course, it's quite beautiful and personal with just the setting for harpsichord(s) . . . Here's *Bob van Asperen *(with a little help from Olivier Beumont) performing live. There is some controversy regarding this performance, mostly with the performance practice of adding ornamentation. It was certainly the performance style of the day, and the purists that object to it are merely embracing a literal interpretation of the this beast. They'd probably hate the orchestrations as well. And the piano versions [the *piano* have an advantage over *harpsichords* and *clavichords* by their ability to be far more expressive since each note can be played independently . . . even the *organ* versions have limitations . . . while the sound can be changed, the volume changes affect all of the notes as a group.)


*Bach Die kunst der fuge BWV 1080 The Art of Fugue Bob van Asperen Olivier Baumont harpsichord*


----------



## pianozach

I'm a little bummed that the two versions of *Art of Fugue* I wanted to have linked to the previous post are no longer available on *Youtube*, one a scrolling version by the *Emerson String Quartet*, and one with the *Vienna Philharmonic* conducted by *Bernstein*.

The Emerson String Quartet version is still available for viewing (although it's audio only), but only as individual videos for each section.

So I had to substitute _other_ versions. Such is the mysterious world of Youtube *videos* that come and go.

So here's a "Consolation Prize" of the *Juilliard String Quartet* performing *Contrapuncti 1 - 4* live from *Bach Art of Fugue.*


----------



## Shaughnessy

pianozach said:


> I'm a little bummed that the two versions of *Art of Fugue* are no longer available on *Youtube*, one a* scrolling version by the* *Emerson String Quartet*, and one with the *Vienna Philharmonic* conducted by *Bernstein*.
> 
> *The Emerson String Quartet version is still available for viewing, but as individual videos for each section.*
> 
> So I had to substitute _other_ versions. Such is the mysterious world of Youtube *videos* that come and go.
> 
> So here's a "Consolation Prize" of the *Juilliard String Quartet* performing *Contrapuncti 1 - 4* live from *Bach Art of Fugue.*


I'm probably misunderstanding the reference but is this what you were referring to - 



https://www.youtube.com/playlist?list=OLAK5uy_m34cpTpLgnvyWGVRare0Xgkd93775mFD4


----------



## hammeredklavier

pianozach said:


> *Why did Bach create the Art of the Fugue?
> 
> Wolff posits a practical concern. In 1737, a former pupil, Johann Scheibe, possibly in retaliation for Bach having passed him over for a coveted appointment, published an attack in which he savaged Bach's style as "turgid and confused," decrying its "beauty darkened by an excess of art" that buried the melody, detracted from the beauty of the harmony, had excessive ornamentation, and was extremely difficult to play.
> 
> In retrospect, we now recognize this as a harbinger of the vast change that was about to forego Bach's counterpoint in favor of the emerging homophonic style, consisting of a dominant melodic line supported by harmony, that persists to this day (and of which, ironically, Bach's sons were in the vanguard of promoting).
> 
> Bach never wrote about his own music, but a colleague, Johann Abraham Birnbaum, came to his defense (and panned the new style), asserting that "one very soon becomes tired of insipid little ditties that consist of nothing but consonances" and that "harmony becomes far more complete if all the voices collaborate to form it." But it was a losing battle - a mere two years after Bach died, Friedrich Wilhelm Marpurg, a respected critic, expressed regret that the fugue (and, by implication, polyphony in general) already had declined into an ancient aberration, even as he saluted the Art of the Fugue as a bulwark against contemporary rubbish.
> 
> Wolff feels that Bach, plunged into the midst of this esthetic debate, felt compelled to memorialize the art to which he had devoted his life and to create a compendium of its range and techniques. As Herbert Parry put it, the Musical Offering had been for the benefit of one king, but Bach created the Art of the Fugue for all musicians.
> 
> Although ignored at the time, and for a century to come, the Art of the Fugue is now universally hailed as not only the ultimate treatise on counterpoint and thus the foremost embodiment of Bach's esthetic ideals, but one of the supreme summits of art, in which a wealth of invention is crafted from a single idea (and in that sense serves to exemplify Bach's core belief in the perfect and inviolate order of the universe, structured according to a Divine plan).
> 
> John Stone calls it "tantamount to a sacred text, an artwork so quintessentially perfect in form, so unutterably beautiful from the dual perspectives of the mind and heart, intellect and emotions."
> 
> While many of us enjoy it on a superficial level, perhaps the most meaningful tribute is from those having a lifetime of expertise and the deepest familiarity, who consistently declare their studies and analyses to be incomplete and its depths to be limitless, not only as an encylopedic compilation of past technique but as a visionary guide to inspire the creativity of future generations.*


An interesting story, but slightly exaggerated (a bit too "Bach-centric" in view). There were many contrapuntists still active in the period 1750~80, they just don't get as much spotlight as the famous composers


hammeredklavier said:


> For instance, have a look at the article <I Believe in Mozart: Symphony No. 41 in C Major> 2013/03/18/i-believe-in-mozart-symphony-41-in-c-major/
> 
> 
> 
> 
> 
> 
> 
> 
> _"I'm back baby!"_
> 
> We have been constantly "educated" (or "brainwashed" depending on how you look at it) in this way. _"Thank Bach only, and no one else."_
> What if we had been educated from childhood about, for instance, the complex organ works of Johann Ludwig Krebs and nothing about Bach? Would things have been the same? (I'm just asking).


----------



## pianozach

Shaughnessy said:


> I'm probably misunderstanding the reference but is this what you were referring to -
> 
> 
> 
> https://www.youtube.com/playlist?list=OLAK5uy_m34cpTpLgnvyWGVRare0Xgkd93775mFD4


*Yes! * That's the audio. There used to be one with a scrolling score though, and it was all in one piece, rather than a playlist of 22 separate videos.


----------



## pianozach

hammeredklavier said:


> An interesting story, but slightly exaggerated (a bit too "Bach-centric" in view). There were many contrapuntists still active in the period 1750~80, they just don't get as much spotlight as the famous composers


Funny, but it was a similar story with Antonio Salieri. 

However, unlike Bach, his music wasn't rediscovered and celebrated as genius. Instead it was just gone, and when rediscovered, generally not given first-class status.


----------



## hammeredklavier

pianozach said:


> Funny, but it was a similar story with Antonio Salieri.
> However, unlike Bach, his music wasn't rediscovered and celebrated as genius. Instead it was just gone, and when rediscovered, generally not given first-class status.


Neither are guys before Bach's time, like Purcell, Buxtehude, so it's ok to ignore them, and interpret history as if they didn't exist? What I'm saying is that there's an exaggeration about how Bach "was pretty much alone" in writing in an "old complex style", even though there were many contrapuntists even after Bach's time (who would have been "even more daring than Bach", by the logic "Bach was daring because he was writing in an old complex style"). For example, *Pasterwitz Requiem **www.youtube.com/watch?v=VGIVo31xW8o*


https://en.wikipedia.org/wiki/Georg_von_Pasterwitz


"He composed a large number of short contrapuntal pieces for keyboard: 324 were published between 1790 and 1803, and were the only works published during the composer's lifetime."
*Toccata & Fugue in A Minor: I. Toccata www.youtube.com/watch?v=HngzRAIKuJU
Toccata & Fugue in A Minor: II. Fuga **www.youtube.com/watch?v=udAbUbKCSYg*


https://en.wikipedia.org/wiki/Johann_Ludwig_Krebs


(Sorry about bugging you in this thread, btw, let's try to keep the discussion concise.)








Requiem - Franz Joseph Aumann (1729~1797)


https://en.wikipedia.org/wiki/Franz_Joseph_Aumann Franz Joseph Aumann (also Auman, Aumon; 24 February 1728, Traismauer – 30 March 1797, Sankt Florian) was an Austrian composer. Before his voice broke, he sang in the same Viennese choir as Michael Haydn and Johann Georg Albrechtsberger...




www.talkclassical.com


----------



## pianozach

Thanks for that. I can honestly say I'm not familiar with Krebs, von Pasterwitz, or Aumann. Why do you suppose that is, though?


----------



## pianozach

*Johann Sebastian Bach*

*185

The Musical Offering, BWV 1079
1747*

*The Musical Offering* is possibly the most significant piano composition in history (partly because it's probably the _first_ piano composition in history).

It is a collection of keyboard canons and fugues and other pieces of music by *Johann Sebastian Bach*, all based on a single musical theme given to him by *Frederick the Great* (Frederick II of Prussia), to whom they are dedicated.

The *Ricercar a 6 *(sometimes referred to as the Prussian Fugue), is a *six-voice fugue*, and is regarded as the high point of the entire work.

*Here's the short version of the history of The Musical Offering: *The collection has its roots in a meeting between *Bach* and *Frederick II* on May 7, 1747. The meeting, taking place at the King's residence in Potsdam, came about because Bach's son Carl Philipp Emanuel was employed there as court musician. Frederick wanted to show the elder Bach a novelty, *the fortepiano*, which had been invented some years earlier. The King owned several of the experimental instruments being developed by Gottfried Silbermann. During his anticipated visit to Frederick's palace in Potsdam, Bach, who was well known for his skill at improvising, received from Frederick a long and complex musical theme on which to improvise a three-voice fugue. He did so, but Frederick then challenged him to improvise a six-voice fugue on the same theme. Bach answered that he would need to work the score and send it to the King afterwards. He then returned to Leipzig to write out the *Thema Regium* ("*theme of the king*").

Two months after the meeting, Bach published a set of pieces based on this theme which we now know as *The Musical Offering*. Bach inscribed the piece *"Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta"* (the theme given by the king, with additions, resolved in the canonic style), the first letters of which spell out the word *ricercar*, a well-known genre of the time.


But the longer version is far more interesting. I give you an article from *THE GUARDIAN* by *JAMES GAINES, *dated Thu 13 Jan 2005. It's well written, fascinating and an easy read.

*The Art of Feud*​*
Bach's final work was a tribute to Frederick the Great. Or so the story goes. If you read between the notes, says James Gaines, you will find a devastating attack on everything the king stood for.

Musicologists have long been fascinated by Bach's Musical Offering, one of his last and greatest instrumental works. Its 16 movements are based on a theme given to Bach by Frederick the Great during a visit to the Prussian court in Potsdam. But critical to an understanding of the work, is what Bach buried in the score . . . . 









The art of feud


Bach's final work was a tribute to Frederick the Great. Or so the story goes. If you read between the notes, says James Gaines, you will find a devastating attack on everything the king stood for.




www.theguardian.com




*

So, again, as with many great works, it's long. It may last 48 to 80 minutes, depending on the performance.

But how about a little appetizer? Here's a short three minute excerpt from The Musical Offering . . . specifically the enigmatic *Canon 1 a 2 *. The manuscript depicts a single musical sequence that is to be played front to back and back to front. This video presents it as a Mobius Strip.


*J.S. Bach - Crab Canon on a Möbius Strip*









*Das Musikalische Opfer* BWV 1079 The Musical Offering
*Le Concert des Nations* conducted by *Jordi Savall
Pierre Hanta: harpsichord*

0:00:00 Thema regium
Thematis regii elaborationes canonicae
0:06:36 • Canon perpetuus super thema regium
0:09:02 • Canon 2 a 2 violini in unisono
0 : 10:43 • Canon 1 a 2 cancrizans
0:12:33 • Canon 3 a 2 per motum contrarium
0:14:13 • Ricercar a 6
0 : 21:53 • Canon a 4 per aumentationem, contrario motu (A)
0 : 24:28 Sonata sopr'il soggetto reale a traversa
• Largo
• Allegro
• Andante
• Allegro
Thematis regii elaborationes canonicae
0:42:08 • Canon a 2 quaerondo invenietis (A)
0:43:42 • Canon 5 a 2 per tonos
0 : 46:56 • Canon a 2 quaerondo invenietis (B)
0:48:08 • Fuga canonica in epidiapente
0 : 50:14 • Canon a 2 per aumentationem, contrario motu (B)
0:52:45 • Canon perpetuus per giusti intervalli
0:54:45 • Canon a 4
0:59:06 • Ricercar a 6



*Bach Das Musikalische Opfer BWV 1079 Musical Offering Jordi Savall Concert des Nations*


----------



## pianozach

*Bonus Round*

Oooo . . . a suggestion. I like that.

Someone has recommended *Glenn Gould* playing the *Sarabande* from *Partita No.4 *(BWV 828) by *Johann Sebastian Bach, 1726–1729*.

I don't know _why_ he suggested it, other than it's likely he likes this piece a great deal.

*Glenn Gould* is a legend in the pianists' bookcase. He's certainly an eccentric, and his recordings are both revered and reviled by 'experts'.

His interpretations are often quite different from those of other noted pianists, who will sometimes criticize his unorthodox artistic choices, but he always brings a fresh view to pieces. You're also liable to hear him humming along as he plays.

His piano had to be set at a certain height and would be raised on wooden blocks if necessary. A small rug would sometimes be required for his feet underneath the piano. He had to sit exactly fourteen inches above the floor, and would play concerts only while sitting on an old chair his father had made.

He's renowned internationally as an interpreter of the keyboard works of *Johann Sebastian Bach*. But his technique is superb.

So . . . *The Partitas* are a set of six harpsichord suites, the last of the keyboard suites he composed (the first two being The English Suites, and the French Suites, and, hence, the Partitas are sometimes referred to as The German Suites). The suites usually had 6-7 'movements', most of which were in dance styles.

I've had the pleasure of competing with some selections from these suites when I was a teenager.


*Glenn Gould - Bach - BWV 828 - 5 - Sarabande





*


----------



## pianozach

*186

Bach
Partita for Violin no. 2 in D minor
1717-1720*

This is from Bach's compositional cycle called *Sonatas and Partitas for Solo Violin*.

It's in 5 movements:

*Allemanda
Corrente
Sarabanda
Giga
Ciaccona*

The first four movements are typical dance styles of the time, and the last (_also_ a dance form) is written in the form of _variations_, and lasts approximately as long as the first four movements combined.

The *Chaconne* is one of the longest and most challenging entirely solo pieces ever composed for violin.

*Yehudi Menuhin* called the Chaconne *"the greatest structure for solo violin that exists"*.

Violinist *Joshua Bell* has said the Chaconne is *"not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It's a spiritually powerful piece, emotionally powerful, structurally perfect."*

In Bach’s *Chaconne*, the basic theme is four measures long, short and simple enough to allow for 64 variations. From a stern and commanding mood at the beginning, Bach gradually increases the complexity of his theme, mixing in various compositional effects. Some twists upon the theme are spacious and grand; others flow nimbly. Fast runs and large interval skips are frequent, requiring much dexterity from the performer. Bach also calls forth changes in emotional intensity, as some variations are dominated by long notes and others by many, more urgent short notes. Bach builds up his work over 256 measures, finally restating the theme at the end with new, even stronger harmonies.

As with many works by *Bach*, you can also find version of this transcribed for piano, organ, cello, guitar, harpsichord, piano trio, and orchestra.

But here it is as originally intended.

Here's *Shunske Sato* on violin.

*Bach - Violin Partita No. 2 in D minor BWV 1004 - Sato | Netherlands Bach Society*


----------



## pianozach

JS Bach

So that's five from *Bach*, with a short appetizer, _and_ a “Bonus Bach”:

*181. Bouree from Lute Suite in E minor*

*182. Mass in B minor
183. Goldberg Variations
184. The Art of Fugue
185. The Musical Offering

BONUS. Partita No. 4: Sarabande*

*186. Partita for Violin no. 2 in D minor*


So . . . here's _dessert_.

*187
Air on the G String*, the second movement from *Orchestral Suite #3 In D, BWV 1068 *


As with most *Bach* works, they've been reworked, transcribed for other instruments, re-orchestrated, and shoved into TV episodes and films. You can even hear a bit of it in the *Yellow Submarine* soundtrack and in the James Bond film *The Spy Who Loved Me*.

Overplayed for a good reason: The *Air* is one of the most famous pieces of baroque music.

Naturally, I'm well aware that some Classical Music elitists look upon this little trifle with disdain, but, it's brilliant in its simplicity.

Let's start with the designation of "*Air*", not a dance form, but an instrumental '*aria*', a lyrical and expressive movement. This *Air* (written in an _asymmetrical binary form)_ is often played as an independent work, removed from its 1731 *Orchestral Suite*, which runs a half hour or more, and which the *Air* is only the second of six movements (starting with an Overture, the Air, 2 gavottes, a bourree, and the predictable ending Gigue.

Of course, this isn’t a simple binary piece with just one modulation – Bach takes us through a wide variety of keys in this piece, everything from the original key of D and its dominant A major, to Cm, Bm, Em, G major and beyond. He also strips out all the extraneous instrumentation, leaving only strings and continuo, a musical 'trick' he also used in the slow movements of The Brandenburg Concertos.

The walking bass pattern helps the piece attain a sort of perpetual motion, never stopping except for strong cadences at the ends of sections. And it's remarkable that this short little piece (it's only 18 measures long!) remains so beautiful and interesting centuries later.

But here's the part you may have missed: WHY _is_ it called *Air "on the G string"*?

Well, roughly 150 years after it was written, a German violinist, *August Wilhelmj* made a violin and piano arrangement of the second movement, changing the key from D to C, and transposing the melody down an octave. By doing so, Wilhelmj was able to play the piece on only one string of his violin, the G string.

Here it's played by Early Music ensemble *Voices of Music* on period instruments, with *Hanneke van Proosdij* conducting from the baroque organ. I do enjoy this version, as the rest of the instruments aren't drowned out by the overzealous violins.







.

I think context is an important component of music, and for those that feel as I do, here is the entire

*Orchestral Suite No. 3
Václav Luks Collegium 1704*

00:00 Overture
10:08 Air
14:48 Gavotte I and II
18:08 Bouree
19:10 Gigue

I love the ten minute *'Overture'*, a bouyant, joyous, and rambunctuous rollercoaster of happiness. At 10 minutes, it's practically half the entire *Suite*.









*.*

Oh, and I almost forgot to include my favorite *Air on the G String 'shout out'. *This one's from* George Martin, *in the* Sea Of Monsters *from the* Yellow Submarine soundtrack. *You can hear it at around 2:20, although it's fun hearing it in the context of the short 3:36 track.





 



*.*


And that’s it for the *J.S. Bach Deep Dive / **J.S. Bach Deep Dive*


----------



## Shaughnessy

pianozach said:


> JS Bach
> 
> So that's five from *Bach*, with a short appetizer, _and_ a “Bonus Bach”:
> 
> *181. Bouree from Lute Suite in E minor*
> 
> *182. Mass in B minor
> 183. Goldberg Variations
> 184. The Art of Fugue
> 185. The Musical Offering
> 
> BONUS. Partita No. 4: Sarabande*
> 
> *186. Partita for Violin no. 2 in D minor*
> 
> 
> So . . . here's _dessert_.
> 
> *187
> Air on the G String*, the second movement from *Orchestral Suite #3 In D, BWV 1068 *
> 
> 
> As with most *Bach* works, they've been reworked, transcribed for other instruments, re-orchestrated, and shoved into TV episodes and films. You can even hear a bit of it in the *Yellow Submarine* soundtrack and in the James Bond film *The Spy Who Loved Me*.
> 
> Overplayed for a good reason: The *Air* is one of the most famous pieces of baroque music.
> 
> Naturally, I'm well aware that some Classical Music elitists look upon this little trifle with disdain, but, it's brilliant in its simplicity.
> 
> Let's start with the designation of "*Air*", not a dance form, but an instrumental '*aria*', a lyrical and expressive movement. This *Air* (written in an _asymmetrical binary form)_ is often played as an independent work, removed from its 1731 *Orchestral Suite*, which runs a half hour or more, and which the *Air* is only the second of six movements (starting with an Overture, the Air, 2 gavottes, a bourree, and the predictable ending Gigue.
> 
> Of course, this isn’t a simple binary piece with just one modulation – Bach takes us through a wide variety of keys in this piece, everything from the original key of D and its dominant A major, to Cm, Bm, Em, G major and beyond. He also strips out all the extraneous instrumentation, leaving only strings and continuo, a musical 'trick' he also used in the slow movements of The Brandenburg Concertos.
> 
> The walking bass pattern helps the piece attain a sort of perpetual motion, never stopping except for strong cadences at the ends of sections. And it's remarkable that this short little piece (it's only 18 measures long!) remains so beautiful and interesting centuries later.
> 
> But here's the part you may have missed: WHY _is_ it called *Air "on the G string"*?
> 
> Well, roughly 150 years after it was written, a German violinist, *August Wilhelmj* made a violin and piano arrangement of the second movement, changing the key from D to C, and transposing the melody down an octave. By doing so, Wilhelmj was able to play the piece on only one string of his violin, the G string.
> 
> Here it's played by Early Music ensemble *Voices of Music* on period instruments, with *Hanneke van Proosdij* conducting from the baroque organ. I do enjoy this version, as the rest of the instruments aren't drowned out by the overzealous violins.
> 
> 
> 
> 
> 
> 
> 
> .
> 
> I think context is an important component of music, and for those that feel as I do, here is the entire
> 
> *Orchestral Suite No. 3
> Václav Luks Collegium 1704*
> 
> 00:00 Overture
> 10:08 Air
> 14:48 Gavotte I and II
> 18:08 Bouree
> 19:10 Gigue
> 
> I love the ten minute *'Overture'*, a bouyant, joyous, and rambunctuous rollercoaster of happiness. At 10 minutes, it's practically half the entire *Suite*.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *.*
> 
> Oh, and I almost forgot to include my favorite *Air on the G String 'shout out'. *This one's from* George Martin, *in the* Sea Of Monsters *from the* Yellow Submarine soundtrack. *You can hear it at around 2:20, although it's fun hearing it in the context of the short 3:36 track.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *.*
> 
> 
> And that’s it for the *J.S. Bach Deep Dive / **J.S. Bach Deep Dive*


Superb instructional writing - Can be comprehended without difficulty by beginners, offers an engaging challenge for the intermediate, and yet manages to keep the interest of advanced level audiences.

A definite credit to the forum - One that should be made mandatory reading tor those new members who express being intimidated by the contents of the forum.


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## Shaughnessy

Nice layout - Good use of type fonts and spacing - Font colors need to adjusted to darker hue.


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## pianozach

*188*
*Allegro barbaro*
*Béla Bartók**
1911*

Well, then, _here's_ a short piece, the *Allegro barbaro* from *Béla Bartók*, that may sound familiar to fans of *Emerson, Lake & Palmer*, who used this piece wholesale in the opening track, *The Barbarian*, from their self-titled debut album in 1970, initially without giving credit to the composer.

Now, even though it was composed in 1911, it wasn't premiered until ten years later.

For the Music Theory geeks (of which I am one), the opening melody of _Allegro barbaro_ is largely pentatonic, and the opening melody uses a Phrygian mode subset.

As a composer he is best known for his use of Hungarian, Slavic and Romanian folk music. He collected and made arrangements of these folk songs, combining the spirit of folk music with the discipline of European art music. 










.

And *Emerson, Lake & Palmer* performing their cover, *The Barbarian*, live. They used Bartok's Allegro barbaro as the central part of the their version, tagging a 90 second heavy metal intro onto the front and back of it based on Bartok's harmonic progression.


----------



## pianozach

*189. 
*
*Symphony No. 1 in E minor, Op. 39
Jean Sibelius
1899 (rev. 1900)*

_Music is, 
for me, 
like a beautiful mosaic which God has put together. 
He takes all the pieces in his hand, 
throws them into the world, 
and we have to recreate the picture from the pieces.

-Jean Sibelius_​

This turn-of-the-century four movement work has some quirky moments, most notable of which may be in the *fourth movement*, when a number of tones that lead to a rumbling effect due to intermodulation distortion.

The "*slow" movement (the second*) starts quietly with tragic themes. And expands into a large and furious passage, with the original themes returning at the end and ending calmly.

And the *third movement*, tucked in between these two is certainly a thrill ride.

_I. Andante, ma not troppo - Allegro energico
II. Andante (ma non troppo lento)
III. Scherzo: Allegro
IV. Finale (Quasi una fantasia): Andante – Allegro molto – Andante assai – Allegro molto come prima – Andante (ma non troppo)_

While I love *Bernstein*'s version of this, today we'll go with *Orchestre de Paris, Paavo Järvi*, conductor, for a live version.










However, I do recommend this video of *Bernstein*'s 1992 performance for the wonderful patriotic (and often anachronistic) visuals. The visuals bring a new dimension to the work, even though there seems to have been some _re-orchestrations_ in this version.


----------



## pianozach

*190
*
*String Quartet No. 8
Dmitri Shostakovich*
*1960*

And we jump forward 60 years, to 1960, to *String Quartet No. 8 in C minor, Op. 110*, which reputedly was written in three days, not too long after he was forced to join the Communist Party.

According to the score, it is dedicated *"to the victims of fascism and the war"*; *Shostakovich*’s son Maxim interprets this as a reference to the victims of all totalitarianism, while his daughter Galina says that he dedicated it to himself, and that the _published_ dedication was _imposed_ by the Russian authorities.

*Shostakovich*'s friend, Lev Lebedinsky, said that Shostakovich thought of the work as his epitaph and that he planned to commit suicide around this time.

*Shosty*’s *String Quartet No. 8* quotes liberally from Shostakovich’s own music and uses his personal motto theme (a four-note theme built on an abbreviation of the composer's name, DSCH, which becomes D-Eflat-C-B in German nomenclature, which he'd previously used in his *10th Symphony*), suggesting that it is autobiographical, that is, about Shostakovich himself.

This highly popular quartet, extremely compact and focused, is in five interconnected movements and only lasts about 20 minutes:

*I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo

Good*. Let's start with a very short course about *Shostakovich*, his music, and the 8th Quartet.










*"I was shaken . . . and I cried."*

And now . . .

. . . what all the _fuss_ is about.



_*THIS*_ . . . is how music can touch your *soul*.


*Dmitri Shostakovich
String Quartet No. 8 in C minor

The David Oistrakh Quartet* (four Russian musicians) gives an incredible performance at the Glafsfjorden Festival 25 January 2019 in The Great Hall of Ingesund School of Music in Arvika, Sweden.
* 




 

*
_By the way_, judging by the comments under the video, there are many that feel that the *Olstrakh Quartet* is playing the 2nd movement too fast.

Those people are _wrong_.
* 




Here's a heavy metal version of the 2nd movement. I think that Dmitri would have nodded approvingly.

Connor Gallagher







 

*
Oh, and just one more thing . . . This string quartet, having been premiered in 1960, is still protected under *copyright*.

*Mr. Gallagher* is able to present this performance by citing that under _"Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by Copyright Statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use."_


----------



## Floeddie

Chilham said:


> I was asked a few pages back for, "Which versions", I'd recommend to a beginner. For the most part, whilst I have versions that I enjoy, I'll refrain from making specific recommendations. Let me explain.
> 
> Now I am not saying that Young is better than Furtwangler, or Wand. But recommend a bunch of guys without a heartbeat to beginners, excluding more modern interpretations, and you risk taking the freshness out of the journey they're starting. Give them options and let them decide.


I appreciate the work that both Chilham and Pianozach have done in their respective threads, and to both of you, I say *thank you!* Your approaches are clearly different (I think someone said "target market" to describe ones efforts?) so I felt the need to express where I am in the middle of all of this.

Without a lengthy explanation confuddled with backstory, I am an Intermediate lover of CM. I am following both of your threads, in an effort to glean what it is that I have been missing all of these years. It is clear that all the members love their CM choices, and I sense a true sense of community in this forum. I am in the process of building my CM library by researching and participating here, because although I still love Rock, Pop, Prog Rock, Jazz, Classic Country Western, and Blues, I am a Septuagenarian who is saturated with those music forms. This place is my "final frontier", and what a great place it is!

Sadly, there are no "do-overs", and with most people, some of my choices were counterproductive & detrimental to my well being. Oh well, I gotta be me!!!  One of the biggest mistakes I made is that I did not lead my family into CM as my primary direction. Sadly, I am sensing resistance & disinterest from them in sharing my interests today. I am, however, one of the most goal oriented individuals you will meet! Perhaps I'm a dope who doesn't always get it right immediately, so it is my plan to continue to drag my wife & child into my quest for tranquility, peace, and hope, with shared benefits with my loved ones 

As I flounder about here at TC, I perceive the need for a thread to present my point of view as an "Intermediate" seeking knowledge as to how to go about it. My journey is my thirst of CM, but that is well into the future. But, I hope to be around here for a long time, so someday, I hope to make that presentation. Perhaps others like me will come to appreciate it & I really do want to share. Someday? Somewhere... there is always hope.

Cheers!
Ray Jay


----------



## pianozach

Floeddie said:


> I appreciate the work that both Chilham and Pianozach have done in their respective threads, and to both of you, I say *thank you!* Your approaches are clearly different (I think someone said "target market" to describe ones efforts?) so I felt the need to express where I am in the middle of all of this.
> 
> Without a lengthy explanation confuddled with backstory, I am an Intermediate lover of CM. I am following both of your threads, in an effort to glean what it is that I have been missing all of these years. It is clear that all the members love their CM choices, and I sense a true sense of community in this forum. I am in the process of building my CM library by researching and participating here, because although I still love Rock, Pop, Prog Rock, Jazz, Classic Country Western, and Blues, I am a Septuagenarian who is saturated with those music forms. This place is my "final frontier", and what a great place it is!
> 
> Sadly, there are no "do-overs", and with most people, some of my choices were counterproductive & detrimental to my well being. Oh well, I gotta be me!!!  One of the biggest mistakes I made is that I did not lead my family into CM as my primary direction. Sadly, I am sensing resistance & disinterest from them in sharing my interests today. I am, however, one of the most goal oriented individuals you will meet! Perhaps I'm a dope who doesn't always get it right immediately, so it is my plan to continue to drag my wife & child into my quest for tranquility, peace, and hope, with shared benefits with my loved ones
> 
> As I flounder about here at TC, I perceive the need for a thread to present my point of view as an "Intermediate" seeking knowledge as to how to go about it. My journey is my thirst of CM, but that is well into the future. But, I hope to be around here for a long time, so someday, I hope to make that presentation. Perhaps others like me will come to appreciate it & I really do want to share. Someday? Somewhere... there is always hope.
> 
> Cheers!
> Ray Jay


Thanks for the comments!

My *Beginner's Guide*, while geared to 'beginners' is likely also useful to intermediates, advanced, and beyond. An 'intermediate' listener may find joy in revisiting a work, or find joy in listening to a different version of that work. 

One can pick and choose . . . You may think that #s 1-4 look worthwhile, but have no interest in # s 5 & 6. That's fine.

*BUT* . . . about the videos I pick: I generally pick *live videos*, with the best *sound quality* of those available on Youtube. I might lean a bit towards picking something conducted by *Bernstein*, or played by *Hillary Hahn* (I know I can count on their interpretations to be thoughtful, and exciting), but if the sound sucks, I'll go with a different video. 

I'm really not all that picky about which *version* of a work I chose . . . that is really a subjective matter. I mean, of the dozens of versions of *Beethoven's 3rd Symphony* available on Youtube, whose version is the *best*? Sometimes a conductor will conduct a work again, but twenty years later will have an entirely different interpretation. So . . . Andrés Orozco-Estrada? Herbert von Karajan? Leonard Bernstein? Daniel Barenboim? Alondra de la Parra? Claudio Abbado? Michael Boder? Paavo Jarvi? *Does it really matter?* They'll all be somewhat different, yet not a single one of these conductors will ruin the piece. Give me a _well-recorded_ version, where the individual instruments aren't all buried by a massive string section. Are the blends good? Is there a full sound frequency? Is there some great _bottom_?

Somehow, a *live video* seems more special . . . watching the musicians play is more intimate and warm. Sometimes it's wonderfully fascinating. 

And sometimes a video I had chosen long ago is no longer available, so I'll simply find another.

As for your own personal journey . . . I understand that your family doesn't love CM as you do. It's a similar situation with _my_ wife as well. She'll hear some Classical Music, and her mind often makes the association with children's animated cartoons.


----------



## Floeddie

pianozach said:


> Thanks for the comments!
> 
> Sometimes a video I had chosen long ago is no longer available, and I'll find another.
> 
> As for your own personal journey . . . I understand that your family doesn't love CM as you do. It's a similar situation with _my_ wife as well. She'll hear some Classical Music, and her mind often makes the association with children's animated cartoons.


Actually, I came back to share that I will put my wife onto your thread first!  It is clear, concise, and easy to follow, and my wife will put on the earbuds and sit in front of her PC to watch, learn and listen. I've already sent her a number of your YouTube shares, and they are excellent! We were totally wowed by the Mozart Clarinet Concerto you put up!  You are showing me how to fill in my Baroque/Classical/Romantic collections, and that is very much appreciated. Chilham's thread is more pointed at the knowledgeable listener with a stronger listening background than I currently have, but the input from the membership there is a great read, so I know that it is worth the effort as well 

On the other hand, my son represents a greater challenge for a couple of reasons, some of is sociological, and some of it is that he is a listener first, and a watcher second when it comes to any music. Being a GenExer, his likes lean to Prog as well as Jazz Fusion, along with Visual Kei, which is not my cup of tea. He likes minimalism, soundscapes, and video games as well. He is a Robert Fripp follower of the first order, as well as David Bowie,,,. at least I am not tortured with Heavy Metal, angry Goth, and the likes... I am so glad 

We have our HDTV hooked up with a ROKU streaming device, but the ROKU YouTube app is not enjoyable, unless you pay for the service to avoid their excessive advertising. For that reason, I am using *Spotify* for that kind of session with my son. The TV is hooked up to a very good stereo system with a separate amplifier, so I can get his attention for a full listening session, one album at a time. His interests lie in the 20th century composers from Stravinsky & Bartok, going forward to Glass & Reich, etc. My collection and experience is weak in that area, so I've been hitting the 50% off Naxos sale at Presto Music grabbing up a lot of works that I sampled. I really wish people around here would post more Spotify examples of their loves when possible everywhere in this forum! If I listen & like a work I can save it to my *Spotify* library for further review. *Spotify* is a great research tool, but it has it's weaknesses as well. But I digress...

I found my way into the current composer offerings at Presto from spending time the Current Listening Vol VIII thread, & I am finding the cream of the crop from across the full spectrum, but I do plan on spending time to "rock his world" to light his fire!!! So again, thank you for what you do. It is clearly a labor of love.


----------



## pianozach

*191
*
*String Quintet No. 5 in D major, K. 593
WA Mozart
1790 (published 1793)*

That's right, a *quintet*, not a _quartet_. It is scored for string quartet and an _*extra* _*viola* (two violins, two violas and cello), sometimes referred to as a "Viola Quintet".


The work is in standard (although modified) four movement form:

*I. Larghetto - Allegro 
II. Adagio 
III. Menuetto: Allegretto 
IV. Allegro *

The opening *Larghetto* is considered quite unusual for Mozart, even more so since it's in 3/4 time. Even more surprisingly a modified version of this opening is brought back after the main section, then dismissed abruptly.

But most people cite the *Adagio* as being what makes this quintet so wonderful . . .

There's also a great *fugal finale*, so good, here's a music nerd score version of that *4th movement* that points out just how clever Mozart could be.

This late work exemplifies just how cheeky Mozart's music is; there's just enough smartassiness in most of his works to make them lovable (rather than spiteful). Here, you can hear the violin written deliberately a beat behind the others, or themes that are made up mostly on upbeats rather than downbeats. I love how he lands on deceptive cadences, which tell me that Mozart thought the journey was better than the destination.










.

And here's the whole thing, played by the *Kodaly Quartet* with *Avishai Chaimedes *on 2nd viola for this performance for opening night of the *2016 Indian Summer in Levoca Festival*. Concert given with the support of the Hungarian Institute in Bratislava.












••••••••••


----------



## pianozach

*192
*
*Concerto for Percussion Solo and Orchestra
Joseph Schwantner
1994 *

That's right; *1994*. For me, that's practically yesterday. And for Classical Music, it's _also_ practically yesterday.

So . . . It's in a standard three movement format.

*I Con forza
II 'In Memoriam': Misterioso
III Ritmico con moto (with restrained energy) con forza*

I'll let composer *Joseph Schwantner* describe his own work:

_"The *Concerto*, cast in a three-movement arch-like design, opens with the soloist stationed near the other percussionists. A collaborative relationship develops between the soloist and his or her colleagues in an expanded ensemble that also includes the piano and the harp. The marimba and drums are most prominently featured in this *first movement*.

"Throughout the *second movement*, *In Memoriam*, a slow, dark-hued elegy, the soloist is placed center stage while the other percussionists remain silent. Two principal ideas appear: a pair of recurrent ringing sonorities played on the vibraphone and an insistent “heartbeat” motif articulated on the bass drum.

"The second movement leads directly into the fast and rhythmic *third movement*, which begins with an improvisatory section for the soloist. While continuing to improvise, the soloist walks back to the initial performance position of the first movement. As in that movement, the amplified marimba is again prominently featured. The final section, drawn from the drum motives of the first movement, proceeds to a high-energy cadenza and conclusion.

"The score bears the dedication *“To the memory of Stephen Albert,”* and was commissioned by Philharmonic-Symphony Society of New York. The premiere was given by the New York Philharmonic, Leonard Slatkin conducting. Christopher Lamb was the soloist. The wind transcription was done by Andrew Boysen Jr."_

- Program Note by *Joseph Schwantner*

The University of Texas Wind Ensemble
*Thomas Burritt*, Soloist
Jerry Junkin, conductor

Live in Bates Recital Hall - Austin, Texas
May 1, 2016


----------



## pianozach

*00:00 I Con forza
07:00 II 'In Memoriam': Misterioso
18:50 III Ritmico con moto (with restrained energy) con forza

I didn't want to give away too much prior to y'all getting to experience a rather "new" piece, probably for the first time. *

So . . . there is a Primary Percussionist (the soloist), and four additional supporting percussionists (the fifth percussionist is 'stage left', behind 5 timpani). Jeez, that's an awful lot of marimbas. I'm still confused at the 1st Percussionist, during the *1st mvt*. seems to switch from Marimba to another Marimba at one point . . . I'm guessing that it's a xylophone, but I'm fairly clueless here. There's a few shots where you can see four percussionists all in synch on marimbas . . . quite impressive. I will say that the first few minutes reminded me more of film music, but I suppose that since Classical and Film music are twin sons from different mothers, I shouldn't be all that surprised.

I love the rack of bells in the *2nd movement*, and the very subtle gong partially submerged in a tub of water. Oh, that rack of triangular bells is a set of *Bianzhong*, an ancient Chinese musical set of bronze bells. Even the fact that the percussionist has two triangles (of different sizes) is pretty nifty.

The *3rd mvt* is really sweet, with the time shifts between 5/8 and 9/8 (or four counts of 5, followed by a count of 3) for awhile. I really love that kind of ****.

Given my own personal musical tastes, I'm actually somewhat surprised to find a recent Classical work that I'm actually excited about.


----------



## pianozach

*193
*
*String Quintet in E major, Op. 11, No. 5 (G 275) 
Luigi Boccherini** 
1771*

This *quintet* is famous for its minuet third movement (often referred to as *"The Celebrated Minuet"*) which is often played as a standalone piece outside of the context of the full quintet.

The minuet has been used extensively in popular media including movies, television and video games. It has often been used to depict late 18th / early 19th century society in the United States, most especially during the Revolutionary War. It was most notably used in *The Time of Their Lives* (1946), the British black comedy *The Ladykillers* (1955) with Sir Alec Guinness and Peter Sellers, and as the music box music in *Two Rode Together*.

It was also used in *The Magnificent Ambersons* (1942), and even more famously, in *Ferris Bueller's Day Off*.

And it's also a piece I played as a kid, in a piano transcription.

Unlike the _Mozart Quintet in D_, this quintet adds an _*extra cello*_ instead of an extra viola.

It should be pointed out that *Boccherini* wrote more than 120 string quintets. This *Quintet* is the fifth of a set of six from his Op.11 composed in 1771 (but was for quite some time known as Op.13 No.5).

It's in four movements

*I. Andante mosso, amoroso
II. Allegro con spirito
III. Minuetto
IV. Rondo. Andante*

The famous *minuet* starts at 12:30

*Luigi Boccherini, Quintetto per archi in mi maggiore Op.11, No.5, G275*
*Lukas Stepp, Tobias Feldmann, Philipp Bonhoeffer, Jakob Stepp, & Kristaps Bergs*


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## pianozach

*194*
*
Concerto for Bassoon in F Major, Op. 75 (J. 127)
Carl Maria von Weber**
1811/revised 1822*

Two "*Firsts*" here . . . . the first time this list has featured the *bassoon*, and the first piece on the list by *Weber* (1786 - 1826).

*Weber* was one of the first significant composers of the Romantic era. He was born in the Prince-Bishopric of Lubeck, an ecclesiastical principality of the Holy Roman Empire until 1803. Oh, _yeah_. Where's *that*?

That would put it in the mid-1900s Prussia, or in today's north Germany, with a coastline on the southwestern *Baltic Sea.

Weber*'s *bassoon concerto* is among the most frequently played by bassoonists.

The *concerto* consists of three movements in the standard fast-slow-fast pattern:

*I. Allegro ma non troppo 
II. Adagio 
III. Rondo: Allegro *

What's of note here, though, is the bassoon itself, which is capable of a wide range of characters and emotions, which Weber capitalizes upon.

After exploring the many different capabilities, at the end of the piece after the final statement of the theme, the bassoonist engages in a tornado of scales and arpeggios, showing off in one of the bassoon repertoire's flashiest and most virtuosic finales.

Here's bassoonist *Drew Pattison*, with *Raphael Jimenez* conducting the *Oberlin Orchestra

*


----------



## pianozach

*195
*
*"Un Bel Di Vedremo", Madame Butterfly, Act II
Giacomo Puccini
1904*

The libretto of the opera is based in part on the short story "*Madame Butterfly*" (1898) by John Luther Long – which in turn was based partially on stories told to Long by his sister Jennie Correll and partially on the semi-autographical 1887 French novel Madame Chrysanth?me by Pierre Loti.

*"Un bel di vedremo"* _("One fine day we’ll see")_ is a soprano aria from the opera when she imagines and performs the return of Pinkerton on a white ship, signaled by a thread of smoke on the far horizon.

The context: In the first act of *Madama Butterfly*, Lieutenant Pinkerton is a soldier from the United States stationed in Japan, who rents a house from a real estate agent/marriage broker. Along with the house, three servants and a geisha that is to be Pinkerton's wife are supplied. Pinkerton tells his friend that he lives from moment to moment and that he ultimately dreams of marrying a U.S. woman instead.

Despite his future plans, Pinkerton signs the contract and agrees to marry Cio-Cio San, the geisha called Madama Butterfly. Cio-Cio San falls deeply in love with Pinkerton, going so far as to denounce her own Japanese faith, converting to Christianity for Pinkerton. Little does she know that Pinkerton shares similar feelings. Shortly after their marriage ceremony, Pinkerton is called out of Japan.

The second act begins three years later during which time Madama Butterfly prayed for his return. Her servant Suzuki pities her and repeatedly tells her that Pinkerton is never going to come back, but Madama Butterfly believes differently. She sings "Un bel di, vedremo" as she envisions that day Pinkerton's ship arrives into port, and how she'll see it through the window in their home that sits high atop a hill.

_One good day, we will see
Arising a strand of smoke
Over the far horizon on the sea
And then the ship appears
And then the ship is white
It enters into the port, it rumbles its salute.

Do you see it? He is coming!
I don't go down to meet him, not I.
I stay upon the edge of the hill
And I wait a long time
but I do not grow weary of the long wait.

And leaving from the crowded city,
A man, a little speck
Climbing the hill.
Who is it? Who is it?
And as he arrives
What will he say? What will he say?
He will call Butterfly from the distance

I without answering
Stay hidden
A little to tease him,
A little as to not die.

At the first meeting,
And then a little troubled
He will call, he will call
"Little one, dear wife
Blossom of orange"
The names he called me at his last coming.

All this will happen,
I promise you this
Hold back your fears -
I with secure faith wait for him._


*Maria Callas* sings. Movie scenes - Memoirs of a Geisha, a historical novel by American author Arthur Golden, published in 1997.


----------



## pianozach

*196*
*Solemn Vespers (Vesperae solennes de confessore) K. 339
W.A. Mozart
1780

"Solemn Vespers for a Confessor"* is a sacred choral composition for choir, vocal soloists and small chamber orchestra, written by *Wolfgang Amadeus Mozart* in 1780 in Salzburg. The Text is from Psalms 110–113, 117; Magnificat.

It's divided into six movements, which could be separated to accommodate the needs of the mass, which makes them also function well as stand-alone works:

_Dixit Dominus_ (Psalm 110)
_Confitebor tibi Domine_ (Psalm 111)
_Beatus vir qui timet Dominum_ (Psalm 112)
_Laudate pueri Dominum_ (Psalm 113)
_Laudate Dominum omnes gentes_ (Psalm 117)
_Magnificat_ (Canticle for Vespers)

Definitely written in an older church style, yet with some modern homophonic and melodic stylings.

There's nothing really groundbreaking here, but what you do get is some of the most _beautiful and divine music_ of the late 1700s, especially the sublimely gorgeous _Laudate Dominum _for soprano and chorus, a piece that was so popular in the nineteenth century.

Here's a 2016 performance from the *Tucson Masterworks Chorale* led by Artistic Director *Jonathan Kim*, and Soloists Soprano Dori Scholer, Mezzo-Soprano Susan Stokes, Tenor Hugo Vera, and Baritone Mark Hockenberry. 

Twenty-eight minutes of joy. Starts at about the 1:00 mark.

If you don't have the 30 minutes to spare, you might want to hear the _Laudate Dominum_, which starts at 20:22.


----------



## pianozach

*197*

*“Non ti scordar di me” 
Ernesto de Curtis
1912*


Well, for most folks, even those that are fans of Classical music, the name of Italian composer *Ernesto de Curtis* won’t ring a bell. He was born in 1875 and died in 1937, and was a great-grandson of composer *Saverio Mercadante* and the brother of poet *Giambattista De Curtis*.

He is mostly known as a Classical “songwriter”, although he was an accomplished pianist.

This may very well be the most beautiful song you will hear today.

*Ernesto de Curtis - “Non ti scordar di me” - Luciano Pavarotti*


----------



## pianozach

198 
*The Poem of Ecstasy* (_Le Poème de l'extase_), Op. 54,
Alexander Scriabin
1908

*Scriabin*, a Russian synæsthete, sometimes referred to his *Poem of Ecstasy* as his *Fourth Symphony*, although it probably falls under the description of _Tone Poem_, as it avoids the conventional divisions of individual movements.

*Scriabin* approved the following text for the program notes at the premiere of the symphony:

_The Poem of Ecstasy is the Joy of Liberated Action. The Cosmos, i.e., Spirit, is Eternal Creation without External Motivation, a Divine Play of Worlds. The Creative Spirit, i.e., the Universe at Play, is not conscious of the Absoluteness of its creativeness, having subordinated itself to a Finality and made creativity a means toward an end. The stronger the pulse beat of life and the more rapid the precipitation of rhythms, the more clearly the awareness comes to the Spirit that it is consubstantial with creativity itself. When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall arrive._​
There is an awful lot to unpack here, notably *Scriabin*’s use of the “_Mystic Chord_” (or, as it called it, the _Chord of the Pleroma_), based on a 6-note whole tone scale, and his brilliant skill avoiding tonal resolution. He described this chord as being _"designed to afford instant apprehension of -that is, to reveal- what was in essence beyond the mind of man to conceptualize. Its preternatural stillness was a Gnostic intimation of a hidden otherness."_

There are three thematic elements he utilizes, first separately, then together in varying configurations, developed in ingenious ways.

He also wrote a 300-line poem to accompany the piece (as an explanation, not as part of the work).

And once the second (and final) climax hits, he adds bells and organ to help wrap it all up.

If you find this to your liking, there is an awful lot of analysis available to lead you down a rather satisfying rabbit hole.


----------



## pianozach

*199*

*Becoming Ocean
John Luther Adams
2013*


It's rather difficult to judge modern Classical Music, as it's really too close to determine a work's worth. Is it considered a significant work today, and how will it be regarded a hundred years from now?

This work was commissioned by the *Seattle Symphony Orchestra*, which premiered the lengthy single movement piece, with *Ludovic Morlot* conducting, in 2013.

The work won a *Pulitzer Prize for Music* in 2014 and a *Grammy* for the *Best Classical Contemporary Composition*. 

*Adams* is also known for his work for environmental causes, and this work bears the following inscription: 

_“Life on this earth first emerged from the sea. As the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.”_

The work is functionally a giant sound wash, or an auditory impressionistic work, meant to convey the intense massiveness of the ocean. This is accomplished partly through the use of a massive orchestra placed spatially on the stage in three distinct groups: The Woodwinds and some tuned percussion and 2 harps are placed upstage right, while the brass (also with some tuned percussion and harps) are upstage left; The strings, piano, celeste and untuned percussion like timpani are all center.

The groups are given slow moving sound washes which reaches a second climax halfway through the piece, at which point the music is played in reverse, making this a musical palindrome. In effect, in ends precisely where it began.

Here's *Leonard Slatkin* and the *Detroit Symphony Orchestra*. The 42 minute piece starts around the 7:00 mark in this video, but the music is preceded by a short description of the work from *Slatkin* that is actually worth sticking around for.


----------



## pianozach

*200*
*Das Lied von der Erde ("The Song of the Earth") 
“A Symphony for Tenor, Alto (or Baritone) Voice and Orchestra”
Gustav Mahler
1909*


*Mahler* has been somewhat of a scarcity on this list, first appearing at *#82* with his 1894 *Symphony No. 2 (“Resurrection”),* and again at *#139* with *Symphony No. 1* (1888), and *#143* with *Symphony No. 4 *(1900).

As I pointed out when trotting out Mahler’s _First Symphony_, *“Approaching Mahler's music is daunting, as he's written some of history's most incredible and bombastic symphonies and staggeringly poignant vocal works.”*

And while one might use the word “*Epic*” to describe those 19th Century Symphonies, one needs a new word to describe how *Das Lied von der Erde* out-epics those epics, in spite of the orchestrations that lean towards a stripped-down chamber-like approach. This 20th Century composition was originally described as a symphony *[“A Symphony for Tenor, Alto (or Baritone) Voice and Orchestra”]* when first published, and often still referred to as a symphony or "song-symphony". We know that Mahler feared the “curse of the ninth” symphony (no major composer since Beethoven had successfully completed more than nine symphonies). Ironically, *Mahler* died soon after he titled his tenth symphony "Symphony No. 9".

In reality, though, *Das Lied von der Erde* is more of a collection of six songs for two voices and orchestra. Mahler's source for the text was Hans Bethge's _Die chinesische Flöte _(1907), a collection of free adaptations ("Nachdichtungen") of classical Chinese poetry, which he became enamored with upon its publication. 1907 saw the death of his five year old daughter from scarlet fever and diptheria, his forced resignation from the Royal and Imperial Court Opera in Vienna, and a diagnosis of a cardiac valvular defect.

It’s very likely that Mahler was struggling to come to terms of his own mortality

*1. Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Sorrow)
2. Der Einsame im Herbst (The Solitary One in Autumn)
3. Von der Jugend (Of Youth)
4. Von der Schönheit (Of Beauty)
5. Der Trunkene im Frühling (The Drunkard in Spring)
6. Der Abschied (The Farewell)*

While the overall gist of the symphony is rather bleak, the _30 minute_ *6th movement* may give one the most pause. This one is based on two of the poems, and does seem very much like a Farewell from the composer himself.

His colleague Bruno Walter later recounted:
​_"I returned it [the manuscript], almost unable to say anything about it, he opened the ‘Abschied’ and said: ‘What do you think? Isn’t it unbearable? Won’t people commit suicide after this?’ He then pointed out its difficult time-beating patterns and asked jokingly: ‘Can you think of a way of conducting that? Because I can’t.’ "_​

Indeed, *Der Abschied* is written in such a way that it’s not entirely clear where the beat is falling, with many instruments playing long, almost solo-like lines.

So. Let the one of the greatest composers transport you to an inner world.

Here’s *Leonard Bernstein* conducting the *Israel Philharmonic Orchestra* in Tel Aviv (1972) with soloists *Christa Ludwig*, mezzo-soprano and *René Kollo*, tenor. This version has English subtitles. 65 minutes.







_0:00 Das Trinklied von Jammer der Erde
8:35 Der Einsame im Herbst
19:05 Von der Jugend
22:15 Von der Schönheit
30:04 Der Trunkene im Frühling
34:32 Der Abschied_


----------



## pianozach

Shaughnessy said:


> Nice layout - Good use of type fonts and spacing - Font colors need to adjusted to darker hue.


Thanks for your suggestion. I was earlier informed by one of our esteemed *moderators* that using the darker hue makes it difficult to see the text when viewing in *"dark mode"*. So, I opted for a brownish-orange color that is OK on both backgrounds.

In "regular mode" I'd been using a *Cobalt Blue*, which really "pops" on a white background, but is not good with a black background.


----------



## pianozach

*The Top 100*

Holst – *The Planets*, Op. 32 [1918]
Dvorak - *"New World" Symphony* No.9 in E minor “From the New World”, Op 95 [1893]
Beethoven - *Symphony* No. 3 in Eb Major, Op. 55 "*Eroica*" [1804]
Stravinsky – The *Firebird* [1910]
Tchaikovsky – *1812* Festival *Overture*, Op. 49 [1882]
Vivaldi - Summer, *The Four Seasons* [1723]
JS Bach – *Brandenburg Concerto #6,* In B Flat, BWV 1051 [1721]
WA Mozart – *Symphony* 41 in C “*Jupiter*”, K. 551. [1788]
Borodin - *In the Steppes of Central Asia*. [1880].
WA Mozart - *Overture* from *The Marriage of Figaro*, K492 [1786]

Grieg - *Peer Gynt*: Suite No. 1, Op. 46, and Suite No. 2, Op. 55 /Op. 23 [1876]
Frederic Chopin - *Polonaise in Ab Major, Op. 53 *[1842]
Mussorgsky - *Pictures at an Exhibition* (Ravel orchestration). [1874/1922]
Gershwin - *Rhapsody in Blue* [1924]
Stravinsky - *The Rite of Spring* [1913]
Beethoven – *Symphony No.5 *in C minor, Op. 67. [1808]
JS Bach - *Cello Suite No. 1 *in G major, BWV 1007 [1720]
Carl Orff - *O Fortuna* from Carmina Burana [1937]
Mussorgsky - *Night On Bald Mountain* (Rimsky-Korsokov arrangement). [1867/1886]
Johann Sebastian Bach - *Well-Tempered Clavier* 2, Prelude F Sharp minor [1742]

Claude Debussy - *The Sunken Cathedral, *from* Préludes* [1910]
Sergei Rachmaninoff - *Prelude Op. 23 No. 5 *[1901]
Franz Liszt - *Consolation No. 3 *[1850]
Richard Strauss - *Also Sprach Zarathustra *[1896]
Ravel – *Bolero* [1928]
George Martin – *Pepperland *[1968]
Chopin – *Prelude* in Db “*Raindrop*” [1838]
Beethoven - Piano Sonata No. 14 in C♯ minor (“*Moonlight Sonata*”) [1801]
Antonio Vivaldi – *The Four Seasons *[1720]
Rossini – *Overture* to “*The Barber of Seville*” [1816]

Wagner – *Ride of the Valkyries, Die Walküre, Der Ring des Nibelungen* [1856]
Mozart – *Symphony No.40 *in G minor [1788]
Vivaldi – *The Four Seasons* “Spring” [1720]
Beethoven’s *"Pastoral" Symphony* No. 6 in F major, Op. 68 [1808]
Mozart – *Requiem* in D minor [1792]
Johann Strauss II – *The Blue Danube*, Op.314 [1866]
Tchaikovsky – *Capriccio Italien *[1880]
Paul Dukas – *The Sorcerer’s Apprentice* [1897]
Beethoven - *"Choral" Symphony* No. 9 in D minor, Op. 125 [1824]
Schubert – *Ave Maria *from _Liederzyklus vom Fräulein vom See, Op. 52 _[1825]

Ottorino Respighi - *The Pines of Rome* [1924]
Beethoven’s *Symphony No. 7 *in A major, Op. 92 [1812]
Beethoven’s *Piano Concerto No. 4 *in G Major, Op.58 [1806]
Tallis - *Spem in Alium* (40-voice motet) [1570]
Beethoven’s *Piano Sonata No.21 *in C Major Op.53 (The *Waldstein*) [1804]
Dvorak – *Slavonic Dance No. 7,* Op. 46 [1878]
Josquin des Prez - *Missa L’Homme armé super voces musicales *[1495]
Palestrina - *Missa Aeterna Christi munera *[1590]
Allegri – *Miserere *[1638]
Beethoven’s String Quartet in F Major Op.59, no.1 [1806]

Beethoven – “Razumovsky” String Quartets, Op. 59 [1806]
Monteverdi - The Vespers [1610]
Mozart – Piano Concerto No. 20 in D minor, K466 [1785]
Tchaikovsky – Sixth Symphony in B minor, Op. 74 “Pathetique” [1893]
Beethoven – Piano Sonata No. 8 in C minor, Op. 13 “Pathetique” [1798]
William Byrd - Mass for 4 & 5 voices [1593 / 1595]
Bach – Brandenburg Concertos [1721]
Brahms – Piano Trio No. 1 in B major, Op. 8 “Eroica” [1854]
Schubert –String Quartet No. 14 in D minor “Death and the Maiden” [1824]
Mozart – Piano Concerto No. 21 in C major, Andante (“Elvira Madigan”) [1785]

Haydn – Mass No. 11 in D minor “Lord Nelson Mass” [1798]
Bizet – Carmen [1875]
Schubert - Symphony No. 8 “Unfinished” [1822]
Monteverdi - Madrigals, book 5 [1605]
Bach – Goldberg Variations [1741]
Dvorak's Carnival Overture, Op. 92 [1891]
Handel – Messiah [1741]
Mozart - Symphony 35 [1782]
Strauss - Salomé – “Dance of the Seven Veils” [1905]
Shostokovich – Piano Trio No. 2 in E minor [1944]

Debussy - String Quartet in G , Op. 10 [1893]
Aaron Copland - Appalachian Spring, [1944]
Ravel – Miroirs, No. 5 “La vallee des cloches” [1905]
Ravel – String Quartet in F [1903]
JS Bach – Well-Tempered Clavier [1722]
Beethoven – Sonata no. 28 in A major, Op. 101 [1816]
Schubert – String Quartet in C major [1828]
Smetana – Vltava from Ma Vlast [1874]
Verdi – Requiem [1874]
Steve Reich – Music for 18 Musicians [1976]

Stockhausen – Gesang der Jünglinge [1956]
Mahler – Symphony No 2 “Resurrection” [1894]
Mozart – Symphony 36 in C major, K425 “Linz” [1783]
Legeti – Requiem [1965]
Elgar – Enigma Variations [1899]
Krzysztof Penderecki – Threnody for the Victims of Hiroshima [1960]
Machaut – Messe de Nostre Dame [1365]
Perotin – Viderunt omnes [1198]
Palestrina – Missa Papae Marcelli [1562]
Bach - Toccata and Fugue in D Minor [1708]

Handel - Water Music [1717]
Vivaldi – Gloria [1715]
Haydn - Symphony No. 104 “London” [1795]
Haydn - String Quartet Op.76, No.3 “Emperor” [1797]
Mozart – Overture from The Magic Flute [1791]
Beethoven – Piano Concerto No. 5 in Eb major, Op. 73 [1811]
Berlioz - Symphonie Fantastique, Op. 14 [1830]
Chopin – Nocturne in Eb, Op.9 No.2 [1832]
Chopin - Revolutionary Etude, Op. 10, No. 12 [1831]
Aaron Copland - Fanfare for the Common Man [1943]

101-200

#101. Brahms - Symphony No. 4 in E minor, Op. 98 (1885)
#102. Mendelssohn - Symphony No. 3 in A minor, Op. 56 “Scottish” (1842)
#103. Rossini - Thieving Magpie Overture (1817)
#104. Rossini - William Tell Overture (1829)
#105. Schubert - Trout Quintet (1819 / 1829)
#106. Michael Haydn - Symphony 37 in G Major, Perger 16, Sherman 25, MH 334 (1783)
#107. Schubert - Symphony No. 5 in Bb major (1816)
#108. Schumann - Kinderszenen, Op. 15 (1838)
#109. Richard Strauss - Till Eulenspiegels Lustige Streiche, Op. 28 (1895)
#110. Mendelssohn - Violin Concerto in E minor, Op. 64 (1845)

#111. Richard Strauss - Don Juan, Op. 20 (1888)
#112. Ralph Vaughan Williams - The Lark Ascending (1914/1921)
#113. Bach - The Well Tempered Klavier, Book 2 (1742)
#114. Britten - Cello Symphony (Symphony for Cello and Orchestra), Op. 68 (1963 /1964)
#115. Debussy - Prelude a l'apres-midi d'un faune (1894)
#116. Brahms - Academic Festival Overture, Op. 80 / Tragic Overture, Op. 81 (1880)
#117. Dvorak - Cello Concerto in B minor (1895)
#118. Grieg - Piano Concerto (1868)
#119. Mendelssohn - Symphony No 4 in A major, Op. 90 “Italian” (1833/1834)
#120. Dvorak - String Quartet No.12 in F, Op. 96 - The "American Quartet" (1893)

#121. Copland - Billy the Kid (1938)
#122. Britten - A Boy was Born, Op. 3 (1934)
#123. Johann Strauss II - Die Fledermaus: Overture (1874)
#124. Tchaikovsky - Symphony No. 4 in F minor, Op. 36 (1878)
#125. Liszt – Totentanz (1849 / 1859 / 1865)
#126. Saint-Saens - Danse Macabre, Op. 40 (1874)
#127. Bruckner - Symphony No.4 in E-flat major (1874 / 1880 / 1881 / 1888)
#128. Tchaikovsky - Piano Concerto No. 1 (1875/1879/1888)
#129. Mozart - Symphony 38 in D Major (1787)
#130. Schubert - Piano Sonata in Bb (1828)

#131. Brahms - Symphony No. 3 in F major, Op. 90 (1883)
#132. Liszt - Les Preludes (1854)
#133. Tchaikovsky - Swan Lake, Op. 20 (1876)
#134. Rimsky-Korsakov - Scheherazade , Op. 35 (1888)
#135. Saint-Saens - The Carnival of the Animals (1886)
#136. Tchaikovsky - The Nutcracker, Op. 71 (1892)
#137. Sibelius - Karelia Suite, Op. 11 (1893)
#138. Rachmaninoff - Symphony No. 2, Op. 27 (1907)
#139. Mahler - Symphony No. 1 in D (1888)
#140. Elgar - Cello Concerto in E minor, Op. 85 (1919)

#141. Sibelius - Symphony No. 2 in D major, Op. 43 (1902/1903)
#142. Faure - Requiem in D minor, Op. 48 (1888 / 1890 )
#143. Mahler - Symphony No 4 in G Major (1900)
#144. Beethoven - Grosse Fugue, Op. 133 (1825)
#145. Messiaen - Quatuor pour la fin du temps (Quartet for the End of Time) (1941)
#146. Sibelius - Symphony No. 5 in E-flat Major, Op. 82 (1915 / 1916 / 1919)
#147. Copland – Rodeo (1942)
#148. Mendelssohn - String Octet in E-flat Major, Op. 20 (1825)
#149. Dvorak - Piano Trio No. 4 in E minor Op. 90 "Dumky" (1891)
#150. Sibelius - Finlandia (1899)

#151. Ives - The Unanswered Question (1908 / 1935)
#152. Rodrigo - Concierto De Aranjuez (1939)
#153. Shostakovich - Symphony No.5 (1937)
#154. Ligeti - Atmospheres (1961)
#155. Mozart - Symphony No. 39 (1788)
#156. Stockhausen – Kontakte (1960)
#157. Glass – Glassworks (1981)
#158. Schumann - Symphony No. 4 (1841/ 1851)
#159. Mozart - Horn Concerto No. 3 in E-flat major (1787)
#160. Prokofiev - Symphony No. 1 "Classical" (1917)

#161. Gilbert & Sullivan - The Pirates of Penzance (1879)
#162. Gilbert & Sullivan - The Mikado (1885)
#163. Gershwin - Porgy and Bess (1935)
#164. Mozart - Don Giovanni (1787/1788)
#165. Wagner - Tristan und Isolde (1860 / 1865)
#166. Rachmaninoff - Piano Concerto No. 2 (1901)
#167. Schumann - Piano Concerto in A minor, Op. 54 (1845)
#168. Brahms - Piano Concerto No. 1 in D minor, Op. 15 (1858)
#169. Ravel - Piano Concerto in G major (1932)
#170. Shostakovich - Piano Concerto No. 2 in F major, Op. 102 (1957)

*#171. Mozart - The Marriage of Figaro (1786)
#172. Mozart - Die Zauberflaute (The Magic Flute) (1791)
#173. Mozart - Concerto for Flute and Harp, K. 299/297c (1778)
174. Mozart - Clarinet Concerto In A Major, K. 622 (1791)
175. Mozart - Piano Sonata No. 11 In A, K331/K300I ("Alla Turca") (1783)
176. Beethoven - Violin Concerto in D, Op. 61 (1806)
177. Beethoven - Missa Solemnis, Op. 123 (1823)
178. Beethoven - Piano Sonata No. 23 in F minor, Op. 57 “Appassionata” (1807)
179*. *Beethoven - Fidelio, Op 72* (*1805/1814)
180. Beethoven* - *String Quartet No. 14, Op. 131 (1826)

181. JS Bach - Bouree from Lute Suite in E minor (c.1708-1717)
182. JS Bach - Mass in B minor (1749)
183.  JS Bach - Goldberg Variations (1741)
184. JS Bach - The Art of Fugue (c. 1742-1749)
185. JS Bach - The Musical Offering (1747)
BONUS.  JS Bach - Partita No. 4: Sarabande (c. 1726-1729)
186.  JS Bach - Partita for Violin no. 2 in D minor (c. 1717-1720)
187.  JS Bach - Air on the G String (1731)
BONUS.  JS Bach - Orchestral Suite No. 3 (1731)
BONUS. George Martin – Sea of Monsters (1968)
188. Béla Bartók - Allegro barbaro* (*1911)
189. Jean Sibelius - Symphony No. 1 in E minor, Op. 39 (1899 (rev. 1900))
190. Dmitri Shostakovich - String Quartet No. 8 (1960)

191. WA Mozart - String Quintet No. 5 in D major, K. 593 (1790 (publ. 1793))
192. Joseph Schwantner - Concerto for Percussion Solo and Orchestra (1994) 
193. Luigi Boccherini - String Quintet in E major, Op. 11, No. 5 (G 275) (1771)
194. Carl Maria von Weber - Concerto for Bassoon in F Major, Op. 75 (J. 127) (1811/rev. 1822)
195. Giacomo Puccini - "Un Bel Di Vedremo", Madame Butterfly, Act II (1904)
196. W.A. Mozart - Solemn Vespers (Vesperae solennes de confessore) K. 339 (1780)
197. Ernesto de Curtis* - *“Non ti scordar di me” (1912)
198. Alexander Scriabin - The Poem of Ecstasy (Le Poème de l'extase), Op. 54 (1908)
199. John Luther Adams - Becoming Ocean (2013)

200. Gustav Mahler - Das Lied von der Erde ("The Song of the Earth") (1909)*


----------



## Floeddie

pianozach said:


> *The Top 100*
> 
> Holst – *The Planets*, Op. 32 [1918]
> Dvorak - *"New World" Symphony* No.9 in E minor “From the New World”, Op 95 [1893]
> Beethoven - *Symphony* No. 3 in Eb Major, Op. 55 "*Eroica*" [1804]
> Stravinsky – The *Firebird* [1910]
> Tchaikovsky – *1812* Festival *Overture*, Op. 49 [1882]
> Vivaldi - Summer, *The Four Seasons* [1723]
> JS Bach – *Brandenburg Concerto #6,* In B Flat, BWV 1051 [1721]
> WA Mozart – *Symphony* 41 in C “*Jupiter*”, K. 551. [1788]
> Borodin - *In the Steppes of Central Asia*. [1880].
> WA Mozart - *Overture* from *The Marriage of Figaro*, K492 [1786]
> 
> Grieg - *Peer Gynt*: Suite No. 1, Op. 46, and Suite No. 2, Op. 55 /Op. 23 [1876]
> Frederic Chopin - *Polonaise in Ab Major, Op. 53 *[1842]
> Mussorgsky - *Pictures at an Exhibition* (Ravel orchestration). [1874/1922]
> Gershwin - *Rhapsody in Blue* [1924]
> Stravinsky - *The Rite of Spring* [1913]
> Beethoven – *Symphony No.5 *in C minor, Op. 67. [1808]
> JS Bach - *Cello Suite No. 1 *in G major, BWV 1007 [1720]
> Carl Orff - *O Fortuna* from Carmina Burana [1937]
> Mussorgsky - *Night On Bald Mountain* (Rimsky-Korsokov arrangement). [1867/1886]
> Johann Sebastian Bach - *Well-Tempered Clavier* 2, Prelude F Sharp minor [1742]
> 
> Claude Debussy - *The Sunken Cathedral, *from* Préludes* [1910]
> Sergei Rachmaninoff - *Prelude Op. 23 No. 5 *[1901]
> Franz Liszt - *Consolation No. 3 *[1850]
> Richard Strauss - *Also Sprach Zarathustra *[1896]
> Ravel – *Bolero* [1928]
> George Martin – *Pepperland *[1968]
> Chopin – *Prelude* in Db “*Raindrop*” [1838]
> Beethoven - Piano Sonata No. 14 in C♯ minor (“*Moonlight Sonata*”) [1801]
> Antonio Vivaldi – *The Four Seasons *[1720]
> Rossini – *Overture* to “*The Barber of Seville*” [1816]
> 
> Wagner – *Ride of the Valkyries, Die Walküre, Der Ring des Nibelungen* [1856]
> Mozart – *Symphony No.40 *in G minor [1788]
> Vivaldi – *The Four Seasons* “Spring” [1720]
> Beethoven’s *"Pastoral" Symphony* No. 6 in F major, Op. 68 [1808]
> Mozart – *Requiem* in D minor [1792]
> Johann Strauss II – *The Blue Danube*, Op.314 [1866]
> Tchaikovsky – *Capriccio Italien *[1880]
> Paul Dukas – *The Sorcerer’s Apprentice* [1897]
> Beethoven - *"Choral" Symphony* No. 9 in D minor, Op. 125 [1824]
> Schubert – *Ave Maria *from _Liederzyklus vom Fräulein vom See, Op. 52 _[1825]
> 
> Ottorino Respighi - *The Pines of Rome* [1924]
> Beethoven’s *Symphony No. 7 *in A major, Op. 92 [1812]
> Beethoven’s *Piano Concerto No. 4 *in G Major, Op.58 [1806]
> Tallis - *Spem in Alium* (40-voice motet) [1570]
> Beethoven’s *Piano Sonata No.21 *in C Major Op.53 (The *Waldstein*) [1804]
> Dvorak – *Slavonic Dance No. 7,* Op. 46 [1878]
> Josquin des Prez - *Missa L’Homme armé super voces musicales *[1495]
> Palestrina - *Missa Aeterna Christi munera *[1590]
> Allegri – *Miserere *[1638]
> Beethoven’s String Quartet in F Major Op.59, no.1 [1806]
> 
> Beethoven – “Razumovsky” String Quartets, Op. 59 [1806]
> Monteverdi - The Vespers [1610]
> Mozart – Piano Concerto No. 20 in D minor, K466 [1785]
> Tchaikovsky – Sixth Symphony in B minor, Op. 74 “Pathetique” [1893]
> Beethoven – Piano Sonata No. 8 in C minor, Op. 13 “Pathetique” [1798]
> William Byrd - Mass for 4 & 5 voices [1593 / 1595]
> Bach – Brandenburg Concertos [1721]
> Brahms – Piano Trio No. 1 in B major, Op. 8 “Eroica” [1854]
> Schubert –String Quartet No. 14 in D minor “Death and the Maiden” [1824]
> Mozart – Piano Concerto No. 21 in C major, Andante (“Elvira Madigan”) [1785]
> 
> Haydn – Mass No. 11 in D minor “Lord Nelson Mass” [1798]
> Bizet – Carmen [1875]
> Schubert - Symphony No. 8 “Unfinished” [1822]
> Monteverdi - Madrigals, book 5 [1605]
> Bach – Goldberg Variations [1741]
> Dvorak's Carnival Overture, Op. 92 [1891]
> Handel – Messiah [1741]
> Mozart - Symphony 35 [1782]
> Strauss - Salomé – “Dance of the Seven Veils” [1905]
> Shostokovich – Piano Trio No. 2 in E minor [1944]
> 
> Debussy - String Quartet in G , Op. 10 [1893]
> Aaron Copland - Appalachian Spring, [1944]
> Ravel – Miroirs, No. 5 “La vallee des cloches” [1905]
> Ravel – String Quartet in F [1903]
> JS Bach – Well-Tempered Clavier [1722]
> Beethoven – Sonata no. 28 in A major, Op. 101 [1816]
> Schubert – String Quartet in C major [1828]
> Smetana – Vltava from Ma Vlast [1874]
> Verdi – Requiem [1874]
> Steve Reich – Music for 18 Musicians [1976]
> 
> Stockhausen – Gesang der Jünglinge [1956]
> Mahler – Symphony No 2 “Resurrection” [1894]
> Mozart – Symphony 36 in C major, K425 “Linz” [1783]
> Legeti – Requiem [1965]
> Elgar – Enigma Variations [1899]
> Krzysztof Penderecki – Threnody for the Victims of Hiroshima [1960]
> Machaut – Messe de Nostre Dame [1365]
> Perotin – Viderunt omnes [1198]
> Palestrina – Missa Papae Marcelli [1562]
> Bach - Toccata and Fugue in D Minor [1708]
> 
> Handel - Water Music [1717]
> Vivaldi – Gloria [1715]
> Haydn - Symphony No. 104 “London” [1795]
> Haydn - String Quartet Op.76, No.3 “Emperor” [1797]
> Mozart – Overture from The Magic Flute [1791]
> Beethoven – Piano Concerto No. 5 in Eb major, Op. 73 [1811]
> Berlioz - Symphonie Fantastique, Op. 14 [1830]
> Chopin – Nocturne in Eb, Op.9 No.2 [1832]
> Chopin - Revolutionary Etude, Op. 10, No. 12 [1831]
> Aaron Copland - Fanfare for the Common Man [1943]
> 
> 101-200
> 
> #101. Brahms - Symphony No. 4 in E minor, Op. 98 (1885)
> #102. Mendelssohn - Symphony No. 3 in A minor, Op. 56 “Scottish” (1842)
> #103. Rossini - Thieving Magpie Overture (1817)
> #104. Rossini - William Tell Overture (1829)
> #105. Schubert - Trout Quintet (1819 / 1829)
> #106. Michael Haydn - Symphony 37 in G Major, Perger 16, Sherman 25, MH 334 (1783)
> #107. Schubert - Symphony No. 5 in Bb major (1816)
> #108. Schumann - Kinderszenen, Op. 15 (1838)
> #109. Richard Strauss - Till Eulenspiegels Lustige Streiche, Op. 28 (1895)
> #110. Mendelssohn - Violin Concerto in E minor, Op. 64 (1845)
> 
> #111. Richard Strauss - Don Juan, Op. 20 (1888)
> #112. Ralph Vaughan Williams - The Lark Ascending (1914/1921)
> #113. Bach - The Well Tempered Klavier, Book 2 (1742)
> #114. Britten - Cello Symphony (Symphony for Cello and Orchestra), Op. 68 (1963 /1964)
> #115. Debussy - Prelude a l'apres-midi d'un faune (1894)
> #116. Brahms - Academic Festival Overture, Op. 80 / Tragic Overture, Op. 81 (1880)
> #117. Dvorak - Cello Concerto in B minor (1895)
> #118. Grieg - Piano Concerto (1868)
> #119. Mendelssohn - Symphony No 4 in A major, Op. 90 “Italian” (1833/1834)
> #120. Dvorak - String Quartet No.12 in F, Op. 96 - The "American Quartet" (1893)
> 
> #121. Copland - Billy the Kid (1938)
> #122. Britten - A Boy was Born, Op. 3 (1934)
> #123. Johann Strauss II - Die Fledermaus: Overture (1874)
> #124. Tchaikovsky - Symphony No. 4 in F minor, Op. 36 (1878)
> #125. Liszt – Totentanz (1849 / 1859 / 1865)
> #126. Saint-Saens - Danse Macabre, Op. 40 (1874)
> #127. Bruckner - Symphony No.4 in E-flat major (1874 / 1880 / 1881 / 1888)
> #128. Tchaikovsky - Piano Concerto No. 1 (1875/1879/1888)
> #129. Mozart - Symphony 38 in D Major (1787)
> #130. Schubert - Piano Sonata in Bb (1828)
> 
> #131. Brahms - Symphony No. 3 in F major, Op. 90 (1883)
> #132. Liszt - Les Preludes (1854)
> #133. Tchaikovsky - Swan Lake, Op. 20 (1876)
> #134. Rimsky-Korsakov - Scheherazade , Op. 35 (1888)
> #135. Saint-Saens - The Carnival of the Animals (1886)
> #136. Tchaikovsky - The Nutcracker, Op. 71 (1892)
> #137. Sibelius - Karelia Suite, Op. 11 (1893)
> #138. Rachmaninoff - Symphony No. 2, Op. 27 (1907)
> #139. Mahler - Symphony No. 1 in D (1888)
> #140. Elgar - Cello Concerto in E minor, Op. 85 (1919)
> 
> #141. Sibelius - Symphony No. 2 in D major, Op. 43 (1902/1903)
> #142. Faure - Requiem in D minor, Op. 48 (1888 / 1890 )
> #143. Mahler - Symphony No 4 in G Major (1900)
> #144. Beethoven - Grosse Fugue, Op. 133 (1825)
> #145. Messiaen - Quatuor pour la fin du temps (Quartet for the End of Time) (1941)
> #146. Sibelius - Symphony No. 5 in E-flat Major, Op. 82 (1915 / 1916 / 1919)
> #147. Copland – Rodeo (1942)
> #148. Mendelssohn - String Octet in E-flat Major, Op. 20 (1825)
> #149. Dvorak - Piano Trio No. 4 in E minor Op. 90 "Dumky" (1891)
> #150. Sibelius - Finlandia (1899)
> 
> #151. Ives - The Unanswered Question (1908 / 1935)
> #152. Rodrigo - Concierto De Aranjuez (1939)
> #153. Shostakovich - Symphony No.5 (1937)
> #154. Ligeti - Atmospheres (1961)
> #155. Mozart - Symphony No. 39 (1788)
> #156. Stockhausen – Kontakte (1960)
> #157. Glass – Glassworks (1981)
> #158. Schumann - Symphony No. 4 (1841/ 1851)
> #159. Mozart - Horn Concerto No. 3 in E-flat major (1787)
> #160. Prokofiev - Symphony No. 1 "Classical" (1917)
> 
> #161. Gilbert & Sullivan - The Pirates of Penzance (1879)
> #162. Gilbert & Sullivan - The Mikado (1885)
> #163. Gershwin - Porgy and Bess (1935)
> #164. Mozart - Don Giovanni (1787/1788)
> #165. Wagner - Tristan und Isolde (1860 / 1865)
> #166. Rachmaninoff - Piano Concerto No. 2 (1901)
> #167. Schumann - Piano Concerto in A minor, Op. 54 (1845)
> #168. Brahms - Piano Concerto No. 1 in D minor, Op. 15 (1858)
> #169. Ravel - Piano Concerto in G major (1932)
> #170. Shostakovich - Piano Concerto No. 2 in F major, Op. 102 (1957)
> 
> *#171. Mozart - The Marriage of Figaro (1786)
> #172. Mozart - Die Zauberflaute (The Magic Flute) (1791)
> #173. Mozart - Concerto for Flute and Harp, K. 299/297c (1778)
> 174. Mozart - Clarinet Concerto In A Major, K. 622 (1791)
> 175. Mozart - Piano Sonata No. 11 In A, K331/K300I ("Alla Turca") (1783)
> 176. Beethoven - Violin Concerto in D, Op. 61 (1806)
> 177. Beethoven - Missa Solemnis, Op. 123 (1823)
> 178. Beethoven - Piano Sonata No. 23 in F minor, Op. 57 “Appassionata” (1807)
> 179*. *Beethoven - Fidelio, Op 72* (*1805/1814)
> 180. Beethoven* - *String Quartet No. 14, Op. 131 (1826)
> 
> 181. JS Bach - Bouree from Lute Suite in E minor (c.1708-1717)
> 182. JS Bach - Mass in B minor (1749)
> 183.  JS Bach - Goldberg Variations (1741)
> 184. JS Bach - The Art of Fugue (c. 1742-1749)
> 185. JS Bach - The Musical Offering (1747)
> BONUS.  JS Bach - Partita No. 4: Sarabande (c. 1726-1729)
> 186.  JS Bach - Partita for Violin no. 2 in D minor (c. 1717-1720)
> 187.  JS Bach - Air on the G String (1731)
> BONUS.  JS Bach - Orchestral Suite No. 3 (1731)
> BONUS. George Martin – Sea of Monsters (1968)
> 188. Béla Bartók - Allegro barbaro* (*1911)
> 189. Jean Sibelius - Symphony No. 1 in E minor, Op. 39 (1899 (rev. 1900))
> 190. Dmitri Shostakovich - String Quartet No. 8 (1960)
> 
> 191. WA Mozart - String Quintet No. 5 in D major, K. 593 (1790 (publ. 1793))
> 192. Joseph Schwantner - Concerto for Percussion Solo and Orchestra (1994)
> 193. Luigi Boccherini - String Quintet in E major, Op. 11, No. 5 (G 275) (1771)
> 194. Carl Maria von Weber - Concerto for Bassoon in F Major, Op. 75 (J. 127) (1811/rev. 1822)
> 195. Giacomo Puccini - "Un Bel Di Vedremo", Madame Butterfly, Act II (1904)
> 196. W.A. Mozart - Solemn Vespers (Vesperae solennes de confessore) K. 339 (1780)
> 197. Ernesto de Curtis* - *“Non ti scordar di me” (1912)
> 198. Alexander Scriabin - The Poem of Ecstasy (Le Poème de l'extase), Op. 54 (1908)
> 199. John Luther Adams - Becoming Ocean (2013)
> 
> 200. Gustav Mahler - Das Lied von der Erde ("The Song of the Earth") (1909)*


Good Show!


----------



## Shaughnessy

Floeddie said:


> Good Show!


Dude's the forum's resident James Brown -"the hardest working man in show business".


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## Shaughnessy

I both was and wasn't kidding - but full props for going above and beyond the call of duty - 200 plus extensive entries - Analysis, insight, explanation, curated video clips - (which, by the way, have been uniformly superb - good eye for visuals) - They've been paired perfectly with the text. You do have a knack for selecting the appropriate music to use - The live performances add a great deal to the overall concept - Add this all together and you should be someone that I would normally just hate -  - but you have to admire talent.


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## pianozach

#201

200 down, only a thousand to go . . . .

Just kidding.

I've had a few focused forays into Bach, Mozart, Beethoven, and opera.

201-210 will be a focus on *Chamber Music and String Quartets*.

Granted, there's already been quite a few entries here that qualify:

*17. JS Bach - Cello Suite No. 1 in G major, BWV 1007
50. Beethoven - String Quartet in F Major Op.59, No.1

51. Beethoven – “Razumovsky” String Quartets
58. Brahms – Piano Trio No. 1 Eroica Trio
71. Debussy - String Quartet in G 
74. Ravel – String Quartet in F
77. Schubert – String Quartet in C
94. Haydn - String Quartet Op.76, No.3 “Emperor”

105. Schubert - Trout Quintet
120. Dvorak - String Quartet No.12 in F, “American Quartet”
144. Beethoven - Grosse Fugue
145. Messiaen – Quartet for the End of Time
148. Mendelssohn – String Octet
149. Dvorak's Piano Trio No. 4 in E minor Op. 90 "Dumky".

180. Beethoven - String Quartet No. 14, Op. 131
190. Shostakovich - String Quartet No.8
191. Mozart: String Quartet No. 5 in D major
193. Boccerini's String Quintet in E - (Ferris Bueller's Day Off)*

So, just to be pedantic, *String Quartets* (almost always comprised of two violins, a viola, and a cello) are *Chamber* works. And what is a Chamber work? Well, broadly, it's any "Art Music" composed for a small ensemble, usually with only one player per part. The "Chamber" in Chamber Music is a nod to the notion that these are pieces that could be played in a palace or castle chamber. Some folks feel that solo music shouldn't be in the same barrel, but I think that's just being nit-picky.

Most folks generally accept that the origin of Classical Chamber Music lies with *Joseph Haydn*_ ("The father of the string quartet"_), who wrote over five dozen string quartets, 45 piano trios, and established the traditional form which lasted a good two centuries. That "form" would, for the most part, consist of four movements:

1. An Opening movement in sonata form,
2. A slower, more lyrical movement (or perhaps a set of theme and variations)
3. A minuet or scherzo, most likely in 3/4 time (or a variation such as 9/8 or 6/8 time).
4. A fast rondo with contrasting sections.

Chamber music did evolve, starting as early as *Mozart*. Surprisingly, the Chamber Works already on this list include only one each from *Haydn* and *Mozart*.



*#201*

*String Quartet No 14, 'Death and the Maiden' 
Franz Schubert*
*1824

Schubert*'s *Death and the Maiden String Quartet* is considered one of the pillars of chamber repertoire. It has a great deal of dynamic diversity, and ranges stylistically from lyrical to dramatic. *Schubert* brilliantly develops musical material deliberately, but slowly, which allows the listener to savor the melodies and harmonic structure in an almost meditative way. All four movements are in minor keys

The *second movement* is a Theme and Five Variations, the *third movement* a scherzo, and the *final movement* is a tarantella in rondo form.

Here's the *Alban Berg Quartet*, live. A first-rate performance.






*00:05 I. Allegro*
_*11:28 II. Andante con moto
22:11 III. Scherzo: Allegro moto*_
* IV. Presto *


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## Otis B. Driftwood

pianozach said:


> The Top 100


Wow! My hat goes off to you. I'm sure you have enough material to cover already, but I think these works deserve a mention;
Saint-Saëns - Symphony No. 3 in C Minor, Op. 78 "Organ"
César Franck - Symphony in D Minor, CFF 130


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## Shaughnessy

Otis B. Driftwood said:


> Wow! *My hat goes off to you*. I'm sure you have enough material to cover already, but I think these works deserve a mention;
> Saint-Saëns - Symphony No. 3 in C Minor, Op. 78 "Organ"
> César Franck - Symphony in D Minor, CFF 130


Yet another hat for Zach to add to his collection - Well done!


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## pianozach

*202*
*String Quartet No 13, Op 130
Beethoven *
*(1826)*



Ah. Here’s the fun part. *Beethoven*’s *Quartet No. 13* is actually his 14th string quartet; it’s just that the quartets are numbered by publication date.

But that’s just coincidental numerology. The real dirt is that the original version of the quartet featured a rather unusually dissonant finale, a “*Große Fuge*”, that was later replaced by a more pleasing finale at the insistence of Beethoven’s publisher.

The work is also unusual in that it contains six movements:


_Adagio, ma non troppo – Allegro (B♭ major)_
_Presto (B♭ minor)_
_Andante con moto, ma non troppo. Poco scherzoso (D♭ major)_
_Alla danza tedesca. Allegro assai (G major)_
_Cavatina. Adagio molto espressivo (E♭ Major)_
_Große Fuge (Grande Fugue op.133): Ouverture. Allegro – Meno mosso e moderato – Allegretto – Fuga. [Allegro] – Meno Mosso e moderato – Allegro molto e con brio – Allegro (B♭)_

After the *Große Fuge* was excised it received its own opus number (Op. 133), but depending on the recording or performance of the Op. 130 quartet, it’s somewhat of a toss-up whether you’ll hear the originally intended quartet, or the amended one. It’s also possible you’ll hear a 7 movement quartet, with both finales included.

Here’s the *Alban Berg Quartet* performing the amended 1827 version live.







So . . . the new finale is a wonderful replacement, but if Beethoven had his druthers, would he have rather the quartet retained its original "incomprehensible" ending?

You can make up your own mind, I guess. I cannot decide.

Here's the *Quatuor Ebène*, performing *Beethoven's "13th" Quartet*, as it was premiered in 1826, with the *Grosse Fugue* intact.


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## hammeredklavier

pianozach said:


> Most folks generally accept that the origin of Classical Chamber Music lies with *Joseph Haydn*_ ("The father of the string quartet"_)


What do you mean by "accept"? Are you saying it's some sort of objective truth or fact to be "accepted"?


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## hammeredklavier

pianozach said:


> the origin of Classical Chamber Music


*"In its original sense, “chamber music” simply meant music which belonged to the nobility at court as opposed to music of the church or theater.* This is confirmed in the contemporary writings of Johann Walter (Musicalisches Lexikon, 1732), Meinrado Spiess (Tractatus Musicus Compositorio-Practicus, 1745), and Heinrich Koch (Musikalisches Lexikon, 1802). By the mid-eighteenth century, it also was heard in the common household and served as a form of relatively inexpensive private entertainment. *Although our current convention is to use the term to designate a medium which requires but one person to a part, during the 1700s, “chamber music” denoted something different.* Eighteenth-century musicians and theorists recognized three functions of music: to enhance worship in church (ecclesiasticus), to heighten the drama in the theater (itheatralis), and to provide entertainment in the court or chamber (cubicularis). This distinction was maintained well into the last quarter of the eighteenth-century, not only amongst theorists but by the general public as well."
(The _String Quartet_, 1750-1797 : _Four Types_ of Musical Conversation by Parker, _Mara)_


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## Chilham

hammeredklavier said:


> What do you mean by "accept"? Are you saying it's some sort of objective truth or fact to be "accepted"?


I suspect that's not what pianozach is saying at all.


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## pianozach

hammeredklavier said:


> What do you mean by "accept"? Are you saying it's some sort of objective truth or fact to be "accepted"?


No, of course not. It's simply a commonly accepted notion based on a few basic observations, mostly based on the quality of his chamber works, the volume of his chamber works, and his eduring popularity. You're welcome to dispute that commonly held notion. 

You could dispute all the other commonly held titles in pop music as well, like Aretha being the Queen of Soul, or Jackson being the King of Pop.

So, yes, of course, you can dig as hard as you like to find some lesser known composer that perhaps has a more valid claim on such a meaningless title, but it's quite likely that you're not going to dispel this idea that's endured for well over a hundred years.


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## hammeredklavier

pianozach said:


> No, of course not. It's simply a commonly accepted notion based on a few basic observations, mostly based on the quality of his chamber works, the volume of his chamber works, and his eduring popularity. You're welcome to dispute that commonly held notion.
> 
> You could dispute all the other commonly held titles in pop music as well, like Aretha being the Queen of Soul, or Jackson being the King of Pop.
> 
> So, yes, of course, you can dig as hard as you like to find some lesser known composer that perhaps has a more valid claim on such a meaningless title, but it's quite likely that you're not going to dispel this idea that's endured for well over a hundred years.


It's a "myth" started by 19th century Haydn-favoring writers like C.F. Pohl. Hence the reason why there are no actual first-hand evidence or account from the 18th century (of composers, musicians, critics saying "Haydn invented things", in Haydn's own time).
The argument of "commonly held notions" sound more like "argumentum ad populum" to me, in this case.
What most folks think aren't objective truth cause they only ever listen to Haydn and Mozart (as they've been taught to) when it comes to this period of music history. Just like how most people in the world don't need Bach, Mozart, Beethoven -- by "common consensus" in this context, they would be stuffy, outdated music.
And revival of Classical period music had been minimal throughout 19th and 20th century history, and people's knowledge of it had been also limited as a result (and still is, to this day).


----------



## pianozach

hammeredklavier said:


> It's a "myth" started by 19th century Haydn-favoring writers like C.F. Pohl. Hence the reason why there are no actual first-hand evidence or account from the 18th century (of composers, musicians saying "Haydn invented things", in Haydn's own time).
> The argument of "commonly held notions" sound more like "argumentum ad populum" to me, in this case.
> What most folks think aren't objective truth cause they only ever listen to Haydn and Mozart (as they've been taught to) when it comes to this period of music history. Just like how most people in the world don't need Bach, Mozart, Beethoven -- by "common consensus" in this context, they would be stuffy, outdated music.
> And revival of Classical period music had been minimal throughout 19th and 20th century history, and people's knowledge of it had been also limited as a result (and still is, to this day).


Again, when bestowing populist titles on singers, songwriters, composers, etc. it is, by definition, largely an _"argumentum ad populum"_. 

If YOU were to bestow the "title" of "Father of Chamber Music" to a single composer, who would you choose? And how many would disagree with you?

It is what it is. Most people buy into the notion that *Haydn* is the *Father of Chamber Music*. It's a popularity thing. I was merely pointing that out, and a debate over whether or not his "title" is _deserved_ should be moved to its own thread.


----------



## hammeredklavier

pianozach said:


> Again, when bestowing populist titles on singers, songwriters, composers, etc. it is, by definition, largely an _"argumentum ad populum"_. If YOU were to bestow the "title" of "Father of Chamber Music" to a single composer, who would you choose? And how many would disagree with you?


"Being popular today" and "being a father/progenitor in a (bygone) era" are two very different things. Composers who didn't have their music printed or published wouldn't have been widely-known through history. What if I say - what the majority thinks doesn't matter because they haven't spent enough time with the lesser-known composers (ie. listen to the same works multiple times and try various performances/interpretations, over a long period) to make an insightful judgement. And for example, what if I say - I'll only take seriously the opinions of those who can identify the unidentified excerpts of Haydn (M) pieces (which I posted in another thread) regarding Haydn (M)?
Maybe there was no such thing as the "father of (Classical or whatever) chamber music" (the concept sounds nonsensical to me as "the father of Baroque liturgical music"), it's not something one guy came along and suddenly "invented". Please look back at my post, #412.



pianozach said:


> Most people buy into the notion that *Haydn* is the *Father of Chamber Music*. It's a popularity thing. I was merely pointing that out, and a debate over whether or not his "title" is _deserved_ should be moved to its own thread.


The statement "I like/enjoy [something]" is overused in a vague manner by everyone all the time. We have to look at the what/how/why on case by case basis. The attitude _"I don't really care very much for that era anyway, all I need is Haydn's Happy Humor, and that's it."_ (Maybe many people are thinking and saying that, deep down. "Maybe".) should not be passed as _deep insight_ into matters of what's good and what's not from that era. Just cause many people are into Haydn today, it doesn't mean he actually _invented genres_ in his own time. (I'm not trying to argue Haydn is overrated in any way). It could be subjectively thought that Beecke simply sounds different. One could say he lacks the inventively intellectual wackiness of Haydn, but has greater sadness, graceful serenity-


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## pianozach

So . . . are you seriously trying to make a case that *Franz Ignaz von Beecke* was the "*Father of Chamber Music*"?


----------



## hammeredklavier

pianozach said:


> the "*Father of Chamber Music*"


There was no such thing.


----------



## pianozach

Sez you.

My original quote was . . . 

"Most folks generally accept that the origin of Classical Chamber Music lies with *Joseph Haydn*_ ("The father of the string quartet"_), who wrote over *five dozen string quartets*, 45 piano trios, and established the traditional form which lasted a good two centuries."

Over the course of his life, he composed sixty-eight quartets, through which *he established the form's structural and musical hallmarks*. It's that simple.


----------



## hammeredklavier

pianozach said:


> *he established the form's structural and musical hallmarks*.


No. This-


pianozach said:


> That "form" would, for the most part, consist of four movements:
> 1. An Opening movement in sonata form,
> 2. A slower, more lyrical movement (or perhaps a set of theme and variations)
> 3. A minuet or scherzo, most likely in 3/4 time (or a variation such as 9/8 or 6/8 time).
> 4. A fast rondo with contrasting sections.


was something that pretty much everyone was doing in the 1760s-70s. What evidence is there they all learned it from Haydn?
And writing a string quartet didn't really require a very different technique from writing a symphony, serenade, divertimento, notturno, or other string ensemble works (in terms of part-writing and form). Please reconsider my post, #412.

Mara Parker, who claims to have examined over 650 string quartet works from 1750-1797 (and is much better than the overrated Charles Rosen) -








(2018)

"As so much scholarship is devoted to Mozart and Haydn at the expense of other composers, I wanted to avoid this pitfall as much as possible."

"Hickman criticizes the developmental approach, stating that *the idea that Haydn invented the string quartet and single-handedly advanced the genre is based on only a vague notion of the true history of the eighteenth-century genre.* In a number of articles, Hickman argues for the recognition of various types of quartet, each of which can be related to and distinguished from each other, and whose popularity and prominence rises and falls."

"The string quartet of the second half of the eighteenth century is often presented as a medium which underwent a logical progression from first-violin dominated homophony to the conversation among four equal participants. To a certain extent, this holds true if one restricts oneself to the works of Haydn and Mozart, and some of their contemporaries. My own research initially led to me believe this be to a provable and convincing argument. Once I began examining the actual works, however, I realized my assumptions were continuously being challenged, and that things were not nearly as nice and tidy as I had expected. Increasingly, I found numerous exceptions to my model and it was not long before I realized that my hypothesis was simply wrong."








hammeredklavier said:


> I still don't know why they do that. (Maybe to make some composers seem more "significant" than others?)
> Cliff Eisen wrote that, - in the dedication letter of certain works Mozart dedicated to a certain contemporary of his, Mozart wrote "They are, indeed, the fruit of a long and laborious *study*".
> Actually, the dedication letter was originally written by Mozart in Italian, and Mozart's original writing for that part reads "Essi sono, è vero il frutto di una lunga, e laboriosa *fatica*". ("fatica" means "endeavor" or "effort"). So Eisen cleverly twisted Mozart's word, "endeavor", to "study", to make it seem like Mozart actually seriously studied the contemporary's works (as a crucial step before writing his own), even though there's no actual evidence of that. (Eisen, in his writing, actually uses the twisted sentence to support his claim Mozart did.)
> There are other similar writings by guys like Landon (titled "What X Taught Mozart"), Greenberg. They fabricate at every opportunity - "Mozart always said he learned how to write [works of a certain genre] from X", and similarly nonsensical fantasies such as "Mozart never had grasp on 'independence of 4-part voices' in instrumental music before he studied X's works."


----------



## pianozach

*203*
*String Quartet No 2 in D Major
Alexander Borodin*
*(1881)*


_Allegro moderato_
_Scherzo (Allegro)_
_Notturno (Andante)_
_Finale: Andante - Vivace_
While the _nocturne_ is likely the most popular and recognizable movement of this quartet, it’s the _finale_ that demonstrates *Borodin*’s mastery of counterpoint.

If you’re familiar with the 1953 musical *Kismet* you may also recognize several sections.

Here’s the *Esmé Quartet* performing live on 2 June 2022.


----------



## Shaughnessy

pianozach said:


> *203*
> *String Quartet No 2 in D Major
> Alexander Borodin*
> *(1881)*
> 
> 
> _Allegro moderato_
> _Scherzo (Allegro)_
> _Notturno (Andante)_
> _Finale: Andante - Vivace_
> While the _nocturne_ is likely the most popular and recognizable movement of this quartet, it’s the _finale_ that demonstrates *Borodin*’s mastery of counterpoint.
> 
> If you’re familiar with the 1953 musical *Kismet* you may also recognize several sections.
> 
> Here’s the *Esmé Quartet* performing live on 2 June 2022.


Right back on track, Zach, well done - The Borodin string quartets are uniformly superb - Highly recommended.


----------



## pianozach

*204 *
*String Quartet in G Minor, Op 10 
Claude Debussy 
(1893)*

*Claude Debussy*’s *String Quartet* was published only 12 years after *Borodin’s 2nd String Quartet*. It was the only one *Debussy* was to complete, although he had planned on writing two. This quartet foreshadows the equally groundbreaking _Prelude à l'après-midi d'un faune _that would come the following year.

The differences between *Debussy’s Quartet* and *Borodin’s* are striking. *Debussy* is, of course, an *Impressionist*, and this quartet is full of unusual (for the day) sonorities and textures, and eschews the traditional Romantic (and Germanic) harmonic structures that had been firmly in place only a decade earlier. Well, _except_ that Debussy did still embrace the traditional quartet _format_. However, overlaid on this conventional form *Debussy* also interlaced a cyclic design, where a musical theme (in this case the opening theme) occurs in every movement.


_Animé et très décidé_
_Assez vif et bien rythmé_
_Andantino, doucement expressif_
_Très modéré – En animant peu à peu – Très mouvementé et avec passion_
There’s one other adjective that keeps popping up in pretty much every article about this quartet I’ve read: “Sensual”. It’s an apt, yet wildly subjective way to describe it.

That’s not to say that this bold foray into uncharted musical tonal territory was warmly embraced by everyone at the time.

The time period between 1875 to 1920 was really something, from the extraordinary technological developments to the changes in art and culture. The telephone, the wireless ship-to-ship telegraph, motion pictures, aerial flight, the automobile, recordings on disc, radio . . .

. . . And here, in music, a very new Impressionism that expanded the musical palette into new and exciting exoticism.

Here, again is the *Esmé Quartet*.


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## pianozach

*205*
*String Quartet No 2, 'Lettres Intimes'
Leoš Janáček 
1928*

*Janáček * wrote only two quartets, his first in 1923, and this one, his second. *Lettres Intimes (Intimate Letters)* is often referred to as Janáček’s ‘Love Manifesto’. The work premiered a month after his death.

The inspiration for the quartet was the 700+ love letters exchanged between himself and a Czech woman almost 40 years his junior. Both were married, and though he was smitten with her, that deep love was not mutual.

The viola is allegedly a stand-in for his love *Kamila*, and each movement is a metaphor for one of those letters. My guess is that he uses the cello as his own voice, although I’ve not seen that elsewhere. The work _is_ tonal, although not particularly so.


_Andante - Con moto - Allegro_
_Adagio - Vivace_
_Moderato - Andante - Adagio_
_Allegro - Andante - Adagio_

Here’s a lovely live version from the *2016 Cleveland ChamberFest*.


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## pianozach

*206*
*Piano Trio No. 7 "Archduke"
Ludwig van Beethoven*
*1811*

The *Piano Trio* *in Bb major, Op. 97*, is commonly referred to as the *Archduke Trio*, because it was dedicated to amateur pianist and patron Archduke Rudolph of Austria.

Frankly, in a way, it’s just another brilliant piano trio from Beethoven (in a standard four movement format, with a 2nd movement *scherzo*, and a 4th movement *rondo*): However, as it was to be his last piano trio it’s a fitting final contribution from him to the genre. Absent are the “Beethovenisms” that might be expected; there are no epic fugal movements or passages, no jarring changes or changes, not even his brilliant mid-movement deconstructions, although the *Rondo* is a bit of a joyride. Instead there is humor, beauty, and a pleasant sense of joy.

The *third movement* is a series of five variations.

Here’s two different performances of the work. First off is a 2021 performance from *Gilles Vonsattel, Paul Huang & Ani Aznavoorian*. It’s a vibrant, dynamic, yet warm interpretation. They really get a lot of mileage out of the last movement. The audio here is also superb.

_I. Allegro Moderato
II. Scherzo (Allegro)
III. Andante cantabile, ma però con moto
IV. Allegro moderato_








. . . And for comparison’s sake, a 1974 performance from masters *Yehudi Menuhin, Mstlav Rostropovich*, and *Wilhelm Kempff*.


----------



## Shaughnessy

pianozach said:


> *206*
> *Piano Trio No. 7 "Archduke"
> Ludwig van Beethoven*
> *1811*
> 
> The *Piano Trio* *in Bb major, Op. 97*, is commonly referred to as the *Archduke Trio*, because it was dedicated to amateur pianist and patron Archduke Rudolph of Austria.
> 
> Frankly, in a way, it’s just another brilliant piano trio from Beethoven (in a standard four movement format, with a 2nd movement *scherzo*, and a 4th movement *rondo*): However, as it was to be his last piano trio it’s a fitting final contribution from him to the genre. Absent are the “Beethovenisms” that might be expected; there are no epic fugal movements or passages, no jarring changes or changes, not even his brilliant mid-movement deconstructions, although the *Rondo* is a bit of a joyride. Instead there is humor, beauty, and a pleasant sense of joy.
> 
> The *third movement* is a series of five variations.
> 
> Here’s two different performances of the work. First off is a 2021 performance from *Gilles Vonsattel, Paul Huang & Ani Aznavoorian*. It’s a vibrant, dynamic, yet warm interpretation. They really get a lot of mileage out of the last movement. The audio here is also superb.
> 
> _I. Allegro Moderato
> II. Scherzo (Allegro)
> III. Andante cantabile, ma però con moto
> IV. Allegro moderato_
> 
> 
> 
> 
> 
> 
> 
> 
> . . . And for comparison’s sake, a 1974 performance from masters *Yehudi Menuhin, Mstlav Rostropovich*, and *Wilhelm Kempff*.


Kudos for including the Menuhin, Rostropovich, and Kempff version for comparison and after listening I hope others will be able to hear the difference between "craft" and true "artistry". Each of the three was closer to retirement than their prime but that sense of pure intuitive "musicianship" can be clearly heard.


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## hammeredklavier

A fine recording of the trio  www.youtube.com/watch?v=FGqhWVC71MI


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## pianozach

hammeredklavier said:


> A fine recording of the trio  www.youtube.com/watch?v=FGqhWVC71MI


I do love me a score video. This performance is credited to the *Beaux Arts Trio* (Menahem Pressler, Piano; Isidore Cohen, Violin; Bernard Greenhouse, Cello)


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## pianozach

*207*
*String Quartet No 19, K465, 'Dissonance’
Mozart 
1785*

As an amateur history buff, I like to place music in historical context. As an Austrian, I don’t really know how much ‘_News of the World’_ *Mozart* would have been aware of, or if he were aware, how much he would have cared.

As an American, I’m far more familiar with American History (our educational system is rather Ameri-centric). Our Declaration of Independence was ratified in 1776, but we operated under the Articles of Confederation until 1789. In fact, John Hancock became the 4th President of the Continental Congress in 1785, and later served as its 13th President as well. In fact, we had 17 Presidents before George Washington became our first President of the United States in 1789. Between 1776 and 1789 we were just a loose confederation of 13 republics. Louis XVI was the King of France, and Joseph II (Marie Antoinette’s brother) was Holy Roman Emperor (which would make him King of Germany, Bohemia, Hungary, Croatia, _and_ the Archduke of Austria).

Oh, the *Quartet*. Yes, well, it was the last of a set of six dedicated to *Joseph Haydn*, and was dubbed the “*Dissonance*” quartet because of its unusually ominous slow introduction that avoids defining the tonic (the key) until it finally settles on a suspended dominant resolving to a dominant seventh chord, which then plops into a happy and bright allegro in the key of C Major. But that opening *adagio* has every note of the chromatic scale in it, making Mozart the original 12-tone composer. And while this introduction doesn’t sound all that odd today, one can only imagine the listeners in the 18th Century thinking that Mozart had lost his mind.

I. Adagio - Allegro
II. Andante cantibile
III. Menuetto. Allegro
IV. Allegro molto

Here's a 'score' video. The 40 minute performance is from *Quatuor Mosaïques*. 






As I also like live performances, here's a lively 30 minute 2005 performance from *Gewandhaus Quartet*. The sound is excellent; I'm guessing that it's partly due to the excellent acoustics of the Rammenau Baroque Castle.


----------



## hammeredklavier

pianozach said:


> dubbed the “*Dissonance*” quartet because of its unusually ominous slow introduction that avoids defining the tonic (the key) until it finally settles on a suspended dominant resolving to a dominant seventh chord, which then plops into a happy and bright allegro in the key of C Major. But that opening *adagio* has every note of the chromatic scale in it, making Mozart the original 12-tone composer. And while this introduction doesn’t sound all that odd today, one can only imagine the listeners in the 18th Century thinking that Mozart had lost his mind.


Classicism is all about keeping the rules of good taste, there's nothing that sounds "odd" to us today in that respect. But the sense of "thirst for resolution" is something atonal music lacks. With that in mind, I don't think it's really comparable to anything of today in terms of dissonant harmony.
Schoenberg called Bach the first 12-tone composer, by pointing to the B minor fugue from WTC 1. I like to think that all this harmonic practice is the extreme variants of the 18th century Germanic tradition. It's not like 'Mozart was the only guy who lost his mind'.
Try the C major quartet of Beecke (cir. 1780), which I posted earlier (Post#417). It also has a dissonant slow introduction. But the one who really shared this sort of language with Mozart (I mean, 'employed dissonance in a similar fashion')-




MH405/iii (which happened to be contemporaneous with the Mozart quartet, 1785)


----------



## pianozach

hammeredklavier said:


> Classicism is all about keeping the rules of good taste, there's nothing that sounds "odd" to us today in that respect. But the sense of "thirst for resolution" is something atonal music lacks. With that in mind, I don't think it's really comparable to anything of today in terms of dissonant harmony.
> Schoenberg called Bach the first 12-tone composer, by pointing to the B minor fugue from WTC 1. I like to think that all this harmonic practice is the extreme variants of the 18th century Germanic tradition. It's not like 'Mozart was the only guy who lost his mind'.
> Try the C major quartet of Beecke (cir. 1780), which I posted earlier (Post#417). It also has a dissonant slow introduction. But the one who really shared this sort of language with Mozart (I mean, 'employed dissonance in a similar fashion')-
> 
> 
> 
> 
> MH405/iii (which happened to be contemporaneous with the Mozart quartet, 1785)


I think that someday *M Haydn* will finally be recognized for being a master of composition and orchestration. He's been underrated because of "Great Masters" (like *Mozart*) hogging the spotlight for centuries.


----------



## pianozach

*So*, there you have it, seven significant *Chamber works*. Six of the seven were string quartets, and only one _wasn’t_ pre-20th Century, namely *Leoš Janáček String Quartet No 2, 'Lettres Intimes', *from *1928*.

Perhaps you might be wondering just where Chamber music was traveling in the 20th Century and beyond.

Let’s explore some *CHAMBER MUSIC 20th & 21st Centuries *of interest, starting with . . .



*208*
*String Quartet No. 2 
Morton Feldman
1983*

Well, as string quartets go, *Feldman’s Second Quartet* is likely the longest I’ve ever seen, clocking in at five to six hours. It’s a mostly _quiet_ piece, and the players do not get a break. Between having to play somewhat quietly (there are passages marked for ‘_ppppp’_ in places, and an overindulgence in the use of harmonics and pizzicato) for over five hours, the work requires a grand dose of *stamina*, whether you’re playing it, or simply listening.

*Feldman* is considered to be one of the most significant composers of the latter 20th century. He was associated with the experimental New York school that also included John Cage. Later in his life he began to compose very long, very quiet pieces, and the longest of all is the *String Quartet No. 2*.

Just as *John Cage’s 4’33”* may have been about the sound that does or doesn’t happen when an audience is confronted with ‘silence’, then perhaps *this* piece is about the effects of time passing for the listener.

Oddly enough, the work seems more of a collection of sound pastiches, and the slow, steady progress the progression from one to the next has on the listener. Most are quite interesting, and when they aren’t, you can rest assured that something different will come along in just a couple of minutes or less.

The *Quartet* is divided into 124 pages, with three systems per page, each system consisting of nine measures of music. Feldman uses four or five _dozen_ repeated motifs, and around a hundred ‘_patterns’_ of notes. While there is certainly a copious use of *repetition*, there are also subtle _variations_ of these repetitions.

_In a way it’s a bit like a complex mobile hanging on the veranda, while a gentle breeze changes its look subtly from moment to moment._

The ultimate result is one of the listener being transported in the time and space, with slowly changing music that may tend to _force_ the listener into a meditative state.

*If you’re brave*, here’s the *Flux Quartet*, from a live performance of the entire piece in 2016. *Five hours thirty-two minutes* long.







*For those less brave*, or simply don’t have that sort of expendable time, the *Kronos Quartet* performed a extremely edited live version in 1982, lasting a mere 94 minutes.


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## pianozach

*209*
*Pléïades, for six percussionists
Iannis Xenakis
1978*

The title likely derives from the Greek myth regarding the *Seven Sisters*, the daughters of Atlas. However, it’s likely it directly references the constellation of the *Pleiades*, of which only six of the seven stars are visible now to the naked eye, thus, the work is for six, rather than seven percussionists. *Merope (The Lost Sister* , or the ‘*lost Pleiad’)* is that missing star/sister, as it was the last star to be mapped by astronomers, and is the dimmest star in the constellation. (Various legends hint that she got lost because she felt disgraced about marrying a mortal, King Sisyphus.)

*Pléïades* is also notable for its use of the *sixxen*, an instrument *Xenakis* had constructed specifically for the piece. The sixxen is made of nineteen bars of aluminum, or bronze and steel, and tuned to an unequal 21-note scale built from quarter tones or third tones, and laid out keyboard-style, and played with metal hammers.

The work is in four movements, although the order in which they are played seem to be left to the discretion of the musicians. *Xenakis* himself proposed two different orders. The four movements are titled *Métaux* (_Metals_), *Claviers* (_keyboards_), *Peaux* (_Skins_), and *Mélanges* (_mixtures_). _Métaux_ has all six percussionists playing the sixxen, _Claviers_ utilizes vibraphone, marimba, xylophone, and xylorimba, _Peaux_ uses only percussion instruments with skins (timpani, bass drum, congas, bongos and tom-toms), and Mélanges uses all of the aforementioned percussion instruments.

Here’s the *PERCURAMA Percussion Ensemble*, conducted by Gert Mortensen. Their order is

_Métaux
Claviers
Peaux
Mélanges_







And for us nerds, a “Score” version, performed by *Percussions de Strasbourg*. They perform it in the following order:

_Mélanges – 0:00
Métaux – 8:30 
Claviers – 21:57 
Peaux – 32:00_


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## pianozach

*210 *
*Fantasia for Theremin, Oboe, String Quartet and Piano, H. 301 
Bohuslav Martinů
1944*

Prolific Czech composer *Bohuslav Jan Martinů *(1890-1959) was born in a church tower apartment in Bohemia, where his family lived, as his father was church sexton, town fire watchman, and shoemaker.

*Martinů* finished this *Fantasia for Theremin, Oboe, Sting Quartet and Piano* in 1944, and dedicated it to *Lucie Bigelow* *Rosen*, who had commissioned it and was the theremin soloist at its premiere at New York’s Town Hall in 1945.

A quirky characteristic of the theremin is that in experienced hands it can mimic a violin , or a human voice, quite well.

But the addition of the theremin to a quite ‘normal’ sextet of piano, oboe, and string quartet was a somewhat brilliant move for the _Neoclassicist_ (or was he ‘_avant-garde_’?). The instrument was brand spankin’ new (well, invented in 1919, and patented in the USA in 1928). The first orchestral composition written for theremin was Andrei Pashchenko’s _Symphonic Mystery_, which premiered in 1924, and *Edgard Veresé* composed ‘’*Equatorial*’’ for two Theremin Cellos and percussion in 1934.

As for an analysis of this work, it’s . . . well . . . it’s often reminiscent of *Stravinsky*, yet at the same time quite unique. In any event it’s actually fascinating to watch a theremin being played.

Here’s the *Apollo Chamber Players* in 2019.


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## Shaughnessy

pianozach said:


> *210 *
> *Fantasia for Theremin, Oboe, String Quartet and Piano, H. 301
> Bohuslav Martinů
> 1944*
> 
> Prolific Czech composer *Bohuslav Jan Martinů *(1890-1959) was born in a church tower apartment in Bohemia, where his family lived, as his father was church sexton, town fire watchman, and shoemaker.
> 
> *Martinů* finished this *Fantasia for Theremin, Oboe, Sting Quartet and Piano* in 1944, and dedicated it to *Lucie Bigelow* *Rosen*, who had commissioned it and was the theremin soloist at its premiere at New York’s Town Hall in 1945.
> 
> A quirky characteristic of the theremin is that in experienced hands it can mimic a violin , or a human voice, quite well.
> 
> But the addition of the theremin to a quite ‘normal’ sextet of piano, oboe, and string quartet was a somewhat brilliant move for the _Neoclassicist_ (or was he ‘_avant-garde_’?). The instrument was brand spankin’ new (well, invented in 1919, and patented in the USA in 1928). The first orchestral composition written for theremin was Andrei Pashchenko’s _Symphonic Mystery_, which premiered in 1924, and *Edgard Veresé* composed ‘’*Equatorial*’’ for two Theremin Cellos and percussion in 1934.
> 
> As for an analysis of this work, it’s . . . well . . . it’s often reminiscent of *Stravinsky*, yet at the same time quite unique. In any event it’s actually fascinating to watch a theremin being played.
> 
> Here’s the *Apollo Chamber Players* in 2019.


A genuinely lovely piece - A well-curated selection - but whenever I hear a theremin, I keep waiting to hear the chorus kick in - 

"I'm pickin' up good vibrations
She's giving me the excitations (oom bop bop)
I'm pickin' up good vibrations (good vibrations, oom bop bop)
She's giving me the excitations (excitations, oom bop bop)
I'm pickin' up good vibrations (oom bop bop)
She's giving me the excitations (excitations, oom bop bop)
I'm pickin' up good vibrations (oom bop bop)
She's giving me the excitations (excitations)"



Spoiler: Good Vibrations - The Beach Boys











And if it's not that, it's this - the "Doctor Who Theme Song" -



Spoiler: Doctor Who - Original Theme Song


----------



## pianozach

*211*
*Septet for Winds, Strings and Piano
Chick Corea 
1983*

Ah, so, what have we here?

A-list jazz pianist *Chick Corea* actually has an impressive background in Classical music, having studied, as a teenager, with concert pianist *Salvatore Sullo*, who had studied with the great pianist-pedagogue and conductor *Alfred Cortot*, through whom he could trace a pedagogical lineage to *Frédéric Chopin*.

But *Corea* was also a _percussionist_, which is reflected in both his jazz and classical works. This is reflected in his piano performances in both Jazz, and in his forays into Classical music.

In fact, you can clearly hear that percussive element in his *Septet for Winds, Strings and Piano*, which is scored for traditional string quartet, piano, flute, and French horn. *Septet* was originally written for the _Chamber Music Society of Lincoln Center_, who asked Corea to compose some music for the _New World Festival_ held in Miami in 1982. In 1984 *Septet* was recorded and released on the ECM label, and received a _Grammy nomination_ for _Best Contemporary Composition_.

I detect *Corea*’s jazz influences in the harmonic structures, which seem to gravitate more to jazz structures than typical classical harmonic theory. But, _hey!,_ it’s the 1980s, and there really isn’t any “_typical_” or “_normal_” anymore anyway.

But here’s the entire five movement work, performed Live from the *Russian National Museum of Music* in 2018. The performers are Anton Baronin (piano), Arkady Shilkloper (horn), Victor Khotulev (flute), Eugene Subbotin (violin), Artur Adamyan (violin), Shamil Saidov (viola), and Nikolay Solonovich (cello).


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## pianozach

*212*
*Three Whistler Miniatures for Piano Trio
Helen Grime*
*2011*

_Tha! Sgrìobhadair Albannach!_

_Agus obair a tha nas lugha na fichead bliadhna a dh'aois!_

Let’s start with the fact that this is a rather recent work, from a composer that’s still living. In fact, Scottish composer *Helen Grime* was born in 1981. And she’s a well respected composer at that, having received her MBE for services to music in 2020.

*The Three Whistler Miniatures for Piano, Violin and Cello* is, obviously, a three movement piece:

_I: The Little Note in Yellow and Gold (Tranquillo)
II: Lapis Lazuli (Presto)
III: The Violet Note (Lontano, molto flessibile)_

The titles are loosely based on three chalk and pastel miniatures, which are displayed in the Veronese Room of the Isabella Stewart Gardner Museum in Boston.

The *first movement* unfolds gradually, with an ethereal piano melody opening the movement, only to be joined by the strings, slowly at first, then developing into some sort of overlapping melody. It reminds me of a conversation by some bar patrons, which turns into a debate, then an argument, then a fistfight between the noisy piano and the less drunk string players.

I think the real gold is the *second movement*. After a jagged opening, a melody is cleverly passed between the cello and violin, ultimately with the complete melody being being saved as a climax.

The *final movement* is rather clever in how it revisits, in a twisted fashion, themes from the first movement.

The composer herself gives a more detailed explanation and analysis of the work and movements here: http://www.lifesci.sussex.ac.uk/home/Chris_Darwin/WebProgNotes/pdfs/GrimeMiniatures.pdf

If you like the piece, you may enjoy her most popular orchestral work, *Virga*, which premiered in 2007.

Here’s the *Claremont Trio* performing *The Three Whistler Miniatures for Piano Trio* in 2019 (They also co-commissioned the work in 2011, and premiered it in 2012).

_00:01 I: The Little Note in Yellow and Gold (Tranquillo)
03:23 II: Lapis Lazuli (Presto)
07:13 III: The Violet Note (Lontano, molto flessibile)_


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## Shaughnessy

^^^^^^ Genuinely enjoyed that selection - Will definitely be exploring further Helen Grime compositions - _tapadh leat_


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## pianozach

*213*
*The Named Angels
Mohammed Fairouz*
*2015*


American composer *Mohammed Fairouz’* string quartet, *The Named Angels*, was written for the Borromeo String Quartet. The work is about the mythology of angels in Middle Eastern Folklore.

I do appreciate how he 'eases' the listener into the more atonal and bolder sounds, by starting with some tonal stuff.

Fairouz began composing at an early age and studied at the New England Conservatory of Music and the Curtis Institute of Music. His teachers included Gunther Schuller, Halim El-Dabh, and John Heiss. Fairouz has written four symphonies, four concertos, and a couple of operas.

*I. Mikhael's Thunder
II. Azrael Malak al-Maut*

*Del Sol String Quartet* from the Sono Luminus album *'Scrapyard Exotica'*
Show less












*III. Jibreel at Hira*

*The BAMA Players*

Sarah Nordlund Dennis, violin; Pei-Ju Wu, violin; Rene Reder, viola; Andrew Dunn, cello







*IV. Israfel's Spell

Del Sol String Quartet* from the album *'Scrapyard Exotica'*


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## pianozach

*214*
*Aproximações Áureas 
Caio Facó*
*2016*

30 year old Brazilian composer *Caio* *Facó*’s catalog of works begins in 2013. He earned his Masters from Federal University of Rio Grande do Sul in 2018 and his PhD in 2022. He currently works as a Professor of Composition and Harmony at the Federal University of Rio Grande do Norte.

Being somewhat new to the music scene, his Youtube presence is slim, although you can find a great deal of his works on Soundcloud.

*Aproximações Áureas (Golden Approximations)* is written for large orchestra.


----------



## pianozach

*FILM SCORES*


The artistic merits of *film music* are frequently debated. Some critics value it highly, pointing to music such as that written by *Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, John Williams*, and many others.

Some consider film music to be a defining _genre_ of *classical music* in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes and scores have become accepted into the canon of Classical Music. These are mostly works from already noted composers who have done scores, but there are plenty of exceptions to this.

Others see the great bulk of film music as _meritless_. They consider that much film music is _derivative_, lacking in form, and borrowing heavily from previous works.

But it’s _here_, and cannot (and _should not_) be ignored.

*Film scores* have been around almost as long as feature length films, with records of a pianist accompanying films as early as 1895. As early as 1914 full scores were being sent with some films.

Though the number isn’t known, it *has been* estimated that there are approximately 500,000 *movies* (or, _narrative fiction feature-length, theatrical-_*cinema films*) currently in existence.

So where does one begin with exploring the *Alt-Classical* world of film scores? This is _easier_ than one would expect in the Digital Age; many reputable organizations, including the American Film Institute (AFI), the Academy of Motion Picture Arts and Sciences (The Oscars), the Recording Academy of the United States (The Grammys), and others, have cobbled together lists of notable film scores. And I’ve studied many of the scores, and many of the lists, and am prepared to offer my own list of noteworthy film scores.

I’m also aware that presenting *Suites*, or *Themes*, or *Overtures* (common in older films) from a film score is a bastardization of the full score, but presenting a full score also has some serious drawbacks as well. And these *Suites* for films can vary greatly in terms of time; so, _"tough,"_ that’s the way it goes.

In fact, there may be more than one suite from which to choose; e.g. the first film I've highlighted has a choice between Suites of 10, 14, 20 and 30 minutes. And some film’s most engaging moments may be neither *Theme* nor *Overture*, such as the Shower scene from *Psycho*, or the _Cantina band_ from *Star Wars*.

*So it is what it is. Enjoy.*


∏ ∏ ∏ ∏ ∏ ∏ ∏​

*215*
*Citizen Kane *
*Bernard Herrmann *
*1941

Citizen Kane *was* Bernard Herrmann’s *first film score, and established *Herrmann* as an important new composer of film soundtracks. Herrmann formatted his score much like he did with radio shows (he’d worked with director *Orson Welles* previously in radio), notably short snippets of music to link scenes. His _arrangements_ differed however, in that he discovered that he was free to hire combinations of musicians to service the score rather than molding his music to suit some pre-existing ensemble.

For example, this meant that he was free to score his opening sequence to include a trio of alto flutes.

His score was respected and admired enough to earn him an Oscar nomination for _Best Score of a Dramatic Picture_ (one of eight nominations for the film) [NB: Scores for Musicals were a separate category]. Ironically, *Herrmann* _DID_ win the *Best Score* Oscar, but for a different film, the now obscure *All That Money Can Buy*, a fantasy based on the story _The Devil and Daniel Webster_. It should be noted that in 1941 every film studio could submit a film score, so the field that year was 20 deep.

*Hermann* would later be known for his collaborations with director *Alfred Hitchcock* on such films as *Psycho, North By Northwest, Vertigo*, and *The Man Who Knew Too Much*. After his 'breakup' with Hitch, Herrmann would go on to score a series of notable mythically themed fantasy films, including several films for noted stop-motion master *Ray Harryhausen*.

But *Citizen* *Kane*’s score is a masterpiece. *Hermann* weaves together a myriad of different techniques and styles, from waltzes to ragtime, even including an _aria_ from a fictional opera. He also concentrated more on evoking mood rather than simply commenting loudly on the screen action as if it were simply a sound effect. *Hermann*'s score also punctuated the onscreen action to create an interplay between the visuals and the background music that was unlike anything else at the time.

Here’s the short *Overture* from *Citizen Kane*, played by *The City of Prague Philharmonic Orchestra*. I’m surprised at the influences I can hear in this short edit from the score; everything from *Gershwin* to *Victor Herbert* and *Aaron Copland*.

*Whose influences do YOU hear here?*







This next scene is quite memorable, and the restraint *Herrmann* shows in _NOT_ underscoring it was actually fairly progressive at the time. Silence can speak far clearer at times. _“Observe the rests,”_ I often tell the students in the choirs I accompany. Those silences are as important as the music, indeed, they are an important part of the music. In the case of this scene, the absence of music serves the scene far better than some violent musical jumble that mimics the pointless violence.







_This_ ten minute *Suite* from the film starts with the *Prelude* I alluded to earlier, as well as the sumptuous and transcendent *Aria* from the film's fictional opera, *Salammbô*.







Finally, a 30 minute *Suite*, suitably titled *“Prelude / The Inquirer (Polka) / Finale / End Cast (from Citizen Kane)”*.


----------



## pianozach

*216*
*Ben-Hur
Miklós Rózsa*
*1959

Miklós Rózsa *Is one of the handful of film composers that led a double life compositionally, maintaining a steadfast allegiance to absolute concert music even while being responsible for scores for nearly a hundred films.



https://en.wikipedia.org/wiki/List_of_compositions_by_Mikl%C3%B3s_R%C3%B3zsa



Rósza received 17 Academy Award nominations over his lifetime, and was awarded Oscars for three films, including *Ben-Hur*, widely considered to be Rózsa's cinemusical masterpiece, and is one of the longest film scores ever composed (over three hours were recorded, with well over two hours of it used in the film), a record held until 2021. In fact, the score was so lengthy that it had to be released in 1959 on three LPs.

Rósza himself arranged a _Ben-Hur Suite_ to provide a more “listenable” album, which was also released in 1959.

Its intricate Wagnerian web of leitmotifs has received extensive study.

The film was Hollywood's greatest success since _Gone with the Wind_, and Rózsa's Academy Award was one of its record total of eleven (when there were only 12 categories). The _"Parade of the Charioteers"_ became popular with bands across the country.

This is an exemplary example of a score that complements the film perfectly, yet can stand alone with it.

Here’s four selections, starting with Rósza conducting the *Ben-Hur Suite, *which begins with a two minute edit of the seven minute* Overture*.







Next up is the aforementioned *Parade of the Charioteers*. This is a four minute re-recording with *Rósza* conducting the National Philharmonic Orchestra in 1977.







Next is the seven minute _“Love Theme”_ appropriately titled _*Judah meets Esther / Love Scene.*_







Decades ago films would often have _Overtures_ (and sometimes an _Entr’acte_), especially the epic films being produced then. Here’s the original *Overture* from the Motion Picture soundtrack.


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