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Last week, I sent you off to get yourself a CD or two, to listen to it, and see whether you liked what you heard. Most lovers of classical music --even if they're generally happy to hear classical music of any flavor-- do have their particular favorite kinds. Here are my thoughts about each piece (or
work) that I suggested in the previous post, just to give you a (possible) idea why you did or did not like the work, and to supply connections to others. I'm going on the initial assumption that you would probably like pieces with similar attributes, but of course you might like something completely different a lot better! Anyway, for what it's worth:
Chamber Music
I sent you off looking for
Mozart's Clarinet Quintet. This is a piece I really like, and I know I'm not alone. The
second movement, particularly, is just gorgeous: tender, contemplative, melodious, delicate. In contrast, the Rondo movement, with its main Minuet-like theme, is witty and jolly, though it stays within the more or less dignified mood that Minuets are generally associated with. (One episode is very much like a Laendler, the dance featured in the Sound of Music, in which Julie Andrews begins dancing with one of the boys, and ends up dancing with the Baron himself.) Mozart also wrote several wonderful string quartets, including this
String Quartet in G major.
My favorite composer is Bach, and I encourage you to try listening to some Bach chamber music.
Here is a
sonata for violin and harpsichord (being played by a recorder and harpsichord instead);
Here is a
trio sonata from The Musical Offering, one of the most beautiful movements in that collection;
another movement, played by the Kuijken family (notice the viola da gamba, which looks rather like a cello with way too many strings). This is Baroque music. The word Baroque is used to describe a highly ornate style developed around the sixteen hundreds, extending to around 1750. This period is sufficiently removed from the present for the music to sound "dated", which is something to recommend it to some tastes, and a setback to other tastes.
Haydn developed the String Quartet, a sort of very austere sonata for the four very closely-related instruments of two violins, a viola and a cello. Here is one of them (nicknamed "
The Lark"). The plinking sound in some places is gotten by using a technique called pizzicato, where the strings are plucked instead of bowed.
Brahms wrote several amazing
sextets (6 instruments). Mendelssohn wrote some gorgeous music for strings. His
Octet for Strings is one of the miracles of the modern world. Another genre is the Piano Trio (Piano+violin+cello). A famous work in that genre is the
Archduke Trio of Beethoven.
Concertos
The J. S. Bach Concertos:
1041, 1042,
1043. It's hardly possible to dislike these. Here is Anne Sofie Mutter playing the
last movement of the 1041. The rhythm is a gigue (or jig), and boy, does she play it fast. Who said Bach can't be exciting?
The Triple Concerto, 1044 has a wonderfully philosophical
middle movement, played by the soloists alone (sometimes with a cello backing the bass line). Triple concertos have a wonderfully different feeling to them, because the soloists form a team, and the success of the concerto depends as much on the feeling among the soloists as it does on their virtuosity.
[Added later:
Georg Friderik Händel, a German from Halle who settled in England, has written not only some of the most listenable and famous music played today. His more serious music is in the genre of Opera, which he loved. His lighter works, however, have immediate as well as lasting appeal. This piece is one of my greatest favorites: the
Alla Hornpipe from one of the Watermusic Suites. (This music always reminds me of a royal wedding; it is so grand and festive!) Handel's work is utterly musical, even if a little on the solid, foursquare side, far less complex, and a little more forward-looking that that of Bach, tending towards the so-called
galant style that was coming into fashion in the middle years of the 18th century. Even if I neglected to mention Handel in the first post in this series, he is by no means a mere footnote in the panoply of the music of the last four centuries. For example, look at his
concerto for organ.]
Mozart: The 5 violin concertos. These are lighthearted, melodious confections that are immediately attractive to the beginning listener, but lack the depth that will keep one coming back to them. The
A major (no. 5) is one of the most memorable. If you're destined to be a Mozart lover, though, these will signal that fact. The grace of Mozart's string writing is indescribable. This is Monica Huggett, one of the most respected violinist of the last few decades. Here is the first movement from
Concerto No. 1 in B Flat major, being played by an all-women orchestra, except for the director and soloist! (Why not a female soloist, too?)
[Added later: One of the most beloved pieces by Mozart is the famous
Sinfonia Concertante for Violin and Viola. This is an utterly romantic piece which is a nice combination of brilliance and musicality.]
The Piano concertos are entirely another matter. They are serious works, with more to say than the violin concertos, and were intended as vehicles for Mozart himself. Here's
Keith Jarrett playing the first movement of the K488 (no. 23 in A major). Another clip features Zoltan Koscis,
playing the concerto while also playing along in continuo style, something that is coming back in fashion for Mozart concertos. The last movement is fast and exciting, and one of my favorites.
Mozart's
Clarinet Concerto, K 622 is a universal favorite. Here we hear a performance of the slow movement, evoking great tranquility and almost otherworldly stillness. (The slow movement of the Quintet also has a similar feeling in many spots, though the more intimate writing makes the effect more romantic.)
Beethoven: Here's
Concerto no. 4. As you can see, the piano itself plays the opening notes, an enormous innovation. (In
Concerto no. 3, you see how the piano stays silent until almost the middle of the movement, after which it makes its entrance and dominates the remainder of the movement.) These are works with great expressiveness, even if there is a great deal of display of bravura on the part of the soloist.
The violin concerto is a favorite among violinists, for the most part. Here is Itzhak Perlman playing (most of) the
first movement.
Mendelssohn's
Violin Concerto: this is a highly approachable concerto, and will probably make friends for violin concertos in general, and the violin as an instrument, than for Mendelssohn himself. Mendelssohn's music is gaining in importance, but is still on the fringes of the classical repertoire. (This clip is annotated, giving several items of trivia about the work, which keeps up the interest!)
Tchaikovsky's Violin Concerto is interesting because of its uncompromising nature, the almost Beethovenesque willingness to make "ugly sounds", which one forgets in the sheer energy of the work. It is one of the most virtuosic pieces for violin and orchestra, and very, very Russian in flavor. Here is a very youthful
Sarah Chang playing the first movement.
Brahms:
Violin concerto, 2
piano concertos, and a
double concerto for violin and 'cello. The violin concerto is on the monumental side; the first movement goes on for around 20 minutes, most of one side of an LP record. This recording is by Henryk Szeryng. Brahms, though he had his lighter moments, was a serious fellow; to this day, it is a puzzle why I, of all people find his music so satisfying. It's as if Brahms is serious enough for all us, so that we can take a break from it. The piano concerti are simply wonderful, too. (In this excerpt you see how long a shadow Beethoven cast. I would say Brahms is chaneling Beethoven here, if it weren't so impertinent.) And the double concerto is also a gem; probably more beloved by Brahms lovers than by the general classical music world.
Dvorak: here's a tantalizing clip of the
Violin concerto. Dvorak inherited the marvelous repertoire of Mendelssohn and Beethoven, as well an inexhaustible fund of melody from his native land. (If we can judge from the music of Dvorak, the Czechs must be musical indeed.)
[Added later:
Schumann piano concerto: Here is the
last movement being played by Hélène Grimaud. The whole concerto is filled with simple joy, in great contrast to the life of this most literary of musicians, which was plagued with acute psychological problems (which appear, from their description, as caused by a very severe bipolar disorder). A concerto with a very similar mood, often paired with this one, is that of
Edvard Grieg, one of the first Norwegian composers to receive international recognition.]
To proceed:
One thing you have done, we hope, is to get a feel for a composer in the era 1700 - 1900 whose music you can relate to! (If you can't there is still a
huge variety of composers you could connect with, so hold on!)
Johann Sebastian Bach: If you liked the Bach excerpts, there is good news and bad news. Bach wrote lots of concertos, about a dozen, in addition to the famous Brandenburg Concertos, a set of 6 that hearkens back to an earlier style of concerto called a Concerto Grosso written for performance in noble houses, which contrasted a small group of expert musicians with a larger group of (probably part-time) musicians who played essentially easier portions which were repetitive and less intricate. By the time Bach got his hands on this form, there were really no easy portions in the works. One of the most famous Brandenburgs is No. 5 in D major, featuring a virtuoso harpsichord part.
In spite of all this, the major portion of Bach's output was for the Church, in the form of the great Cantatas he wrote for performance at Sunday services. If you like choral music, you should begin to look at Bach's choral music, which set a standard for choral music throughout the modern era (even though Beethoven, Handel, Haydn and Mozart made very important contributions, too). Finally, Bach wrote four fabulous Suites for Orchestra which are grand and brilliant, intended to bring the grandeur of Versailles to the smaller German courts of the 18th century. It is hardly possibly to dislike these Suites, which consist of a grand opening movement, followed by a set of a half-dozen old-time dances.
Here is an example.
Wolfgang Amadeus Mozart: The music of Mozart is puzzling in its mixture of simplicity and complexity. It is possible to love this music, then become bored with it, and then hear it again and fall in love with it a second time, and be completely baffled that you missed things in it all this while.
The Mozart Piano Concertos: these were written just at the time when composers were beginning to see composition as an expressive vehicle, sort of similar to writing a novel: a way of both becoming famous, leaving a legacy, and showing off one's talent. In the case of Piano concertos, the performer was usually Mozart himself (occasionally a special pupil). In his younger days, Mozart was very possibly quite satisfied to write a piece more brilliant than anything written before. As he matured, though, we see thoughts and ideas in those piano concertos approaching those that came out of Beethoven. These are difficult to put into words; they are a distillation of emotions and experiences that transcend words. Some piano concertos have a certain gravity, e.g.
Concerto no. 24 in C minor, played here by Andre Previn, but not sad. In contrast, the A major, no. 23, which is so sunny for most of its length, has spots that simply seem bewilderingly grief-filled. But the grief seems to pass, as if it were simply fleetingly remembered grief.
If you like Mozart, eventually (and I mean possibly months or years in the future) you must look at his operas, most notably the Marriage of Figaro. I'm not giving you a link, simply because you must wait until you really want to move into Mozart opera. Be aware that opera fans aren't often attracted to Mozart opera, but prefer Puccini or Verdi or even Wagner. (And certainly Bizet!)
If you prefer something a little more serious, but without pianos all over the place, try the Mozart Symphonies. The last two or three are the most celebrated, including the amazing "
Jupiter" (no. 41) and the well-loved
g minor (no. 40). (Warning; the "Jupiter" could be seriously underwhelming at first.)
Ludwig van Beethoven wrote in most instrumental forms, but when one hears the name Beethoven, one usually thinks of his symphonies. Symphonies were invented several times over; first by J.C. Bach, then by Haydn, then by Mozart, and then by Beethoven, in such a way that all subsequent developments of the genre had to prove themselves against Beethoven's nine amazing symphonies. A good one to begin with is the famous
Eroica. My personal beginnings in classical music were with the famous
c minor symphony, No. 5.
Felix Mendelssohn, as I said, is highly underrated as a composer, a situation which is aggravated by his very early death, at the age of about thirty, of pneumonia, I believe. Mendelssohn wrote a vast volume of chamber works, the violin concerto, string quartets, quintets (at least one, anyway,) the octet, oratorios, incidental music for plays (especially a Midsummer Night's Dream), overtures, and symphonies. He wrote symphonies for string orchestras as a kid (around 15), and later, full orchestra symphonies, more of which are being discovered in recent times. Try his overtures (
Fingal's Cave) and his
Italian Symphony. All his music has a certain effervescent quality which is very addictive!
Peter IlyichTchaikovsky, of course, is famed for his ballet music. He wrote several symphonies, which are not played as frequently as are his ballets (Sleeping Beauty, Swan Lake, The Nutcracker), and several piano concerti. It's easy to find clips of these on YouTube, to check whether any of them appeal to you. This clip from the
sixth symphony presents a very unusual waltz-like movement in quintuple time. It's hard to believe that it could sound so utterly natural.
Johannes Brahms wrote a large volume of piano music, several symphonies, several concerti, an "inter-denominational" requiem mass (for his mother), chamber music, choral music for a girl's choir, and several other miscellaneous pieces, including works for the organ, which are considered excellent. I'd like to suggest a short work called
Variations on the St Anthony Chorale, which is a suite of variations on a hymn-tune once attributed to Haydn. (This is thought to be Brahm's very first orchestral work.) Here is the famous
Hungarian Dance no 5. The majority of Brahms's works, though, are quite different from this, except for a few pieces such as the finale of the violin concerto which has a Hungarian flavor.
Antonin Dvorak wrote, in addition to his concertos, several symphonies (including
From the New World, inspired by the United States of America). He, too, wrote several
Slavonic Dances, which are really fabulous, and some really unique chamber works, including the
Bagatelles. This one features a harmonium!
[Added later:
If you liked
Robert Schumann, you should definitely listen to his piano miniatures, such as
Kinderschenen. He also wrote a large number of gorgeous, atmospheric Lieder (art songs). Here is
Die Lotosblume sung by Dorotea Roschmann. (I wish she had given us a less dramatic reading of it; it seems to require a more lyrical interpretation...)
[Added still later: Here is Karita Mattila of Finland singing
Die Lotoblume]
Edvard Grieg, unfortunately, is not a composer I know much about. There is a celebrated orchestral suite titled
Peer Gynt, who is a popular Norwegian legendary character. You should have no trouble looking up other piano music by Grieg, as well as a number of songs. I know that Solveigg's Song is a favorite of sopranos.]
Archimedes
