It's the time of year where I feel guilty for having only posted once, and I have decided to give all of you a Christmas "gift." How generous.
Over the past few years I have become a classical music fiend, having gone from not being able to listen to a piece longer than 15 minutes, to regularly listening to 90 minute symphonies. If you had asked me 5 years ago if I liked classical music, I would have said "no," and added, "it's boring."
I think the real deterrent is that I, like many others, was intimidated by the world of "other" music that I had no experience with. I had no real "jumping off point," and that is why after spending an inordinate amount of time exploring the world of classical music I think I am moderately qualified to create a guide to help other's get a taste of it too.
Aside from the issue of not knowing what to listen to, the second major hurdle is learning how to listen to a different type of music.
It would make the most sense, I think, to describe listening to classical music (especially longer symphonies and operas) as being similar to reading books. Some pieces are longer, some pieces are shorter, some are more approachable, some are formidable, just as books vary in those areas as well. And just like novels, pieces of classical music tend to follow established forms (innovating and changing within structure).
Being able to listen actively and critically for extended periods of a time is a skill that needs to be cultivated (at least it was for me), and getting over a short musical attention span won't happen all at once, just as reading your first novel may have taken some willpower. Remember, you can listen to the parts of a piece that appeal to you to find your way and gain your footing, I do it all the time! Throughout this guide I will list areas of the piece that I think are highlights worth listening to, and that just might grab your attention.
For these reasons I have tried to build this guide with maximum approachability, and everything listed is in order from more to less approachable, including each form (Concerto, Symphony, Opera) presented. This guide focuses mainly on listening to "bigger" pieces, because that is the hard part anyway, if you wanted to listen to shorter, lighter works, you could find one of the many "classical music for studying" playlists or YouTube videos.
The Basics
(You can skip this and head to the guide list if you really want.)
Classical music can be broken down into different periods, or "eras." What does this mean?
Well the term "classical music" that is used in conversation, usually is used to refer to a wide range of instrumental and choral music that follows traditional forms and is considered "art music." Now within the long history of music that has been written, this guide will focus on music from two main periods, the Classical period, and the Romantic period.
The Classical period runs from around 1750-1830, and the Romantic period covers roughly between 1830 and the early 1900s. Both periods represent major progress in music making. During the classical period, the symphony was developed as a popular form, and the piano became the standard keyboard instrument. The Romantic period is distinguished by the continued development of these forms, but with more drama and complexity, as such, music from the romantic period and early 20th century tend to be "heavier" and can be sometimes harder to grasp on first listen.
In this guide Beethoven is treated as his own category, as he was at the forefront of the transition from the Classical period to the early Romantic period.
The next thing that will help to demystify classical music is understanding terminology and the significance of interpretation.
What is a movement?
The first thing to understand is the idea of a movement.Quite simply, a movement is a chapter of a piece, much like a chapter in a book. You can think of each movement as its own entity, that has its own theme (musical or conceptual) that progresses throughout the duration of the movement, but is still a member of the work as a whole.
Why does a conductor (or a specific recording) matter?
You may have seen a conductor (the person holding the baton (the stick)) waving their arms around furiously and contorting their body to the music, and you may have thought this seemed unnecessary, maybe even a little silly. If the musicians have the music in front of them, why should they need someone there waving their arms around?
It helps to think about the situation in terms of the conductor playing the orchestra. If you have ever played an instrument, you will know that while the music on the sheet is clearly defined, you still have a fair amount of control over how the music is played, particularly through pacing, phrasing, and dynamics (really what parts you choose to emphasize).
The bulk of the conductor's work takes place before a performance where they shape how the orchestra will play a piece through rehearsals. After extensive rehearsal, most professional orchestras would be able to perform pieces without a conductor, but the conductor still presides over the orchestra providing much needed energy and acts as a check to keep the ensemble on track.
In longer orchestral works there is a fair amount that can vary from one interpretation to another, and it is not uncommon for the performance length of some longer symphonies to vary by as much as 10 minutes.
Recordings
By extension, it also follows that the different recordings of the same piece can vary greatly, not even just through artistic differences, but sound quality and engineering. Some recordings are live and some have been made in a studio, and a good live recording is magical because it captures the energy of a "real" performance while still having good audio quality.
This guide is specifically formatted not just around the pieces that I recommend, but also the recording that I most highly recommend, as I think that a good recording can make a world of difference. It is important to note that these are recordings that resonate with me, and that is really the only information I can go off of. I tend to value recordings that have energy (aren't sluggish), while also retaining a measured approach (not too fast or bombastic), and good sound quality.
In this guide I will typically name a recording by its soloist (if there is one), conductor, and then orchestra, but it will be the easiest to just listen to the album by clicking the link (I will link both Spotify and Apple Music).
Important Note
If you are an Apple Music subscriber I HIGHLY recommend you download the Apple Music "classical" app which you can use at no extra charge, as it makes searching for music by conductor, orchestra, or piece much easier, you can find it in the app store.
If you are a Spotify subscriber, (or for any other streaming service), you may have a difficult time searching for pieces, and Spotify will treat each movement as an individual song, sometimes making the experience awkward.
The Guide
How to use this guide:
I have ordered the categories of approachability, and the leading piece in each is meant to be listened to first. After the first piece in every category, I had a tough time ordering them, so I have ordered them somewhat, but I have also listed attributes about them to help you select from the list. Pick what you find interesting after attempting the first piece.
I will also list a highlighted section (which is just my favorite part) for some of the pieces, if you are intimidated by listening to the whole thing, just try listening to the highlighted part, and if you like it, keep listening!
I will also list a "challenge piece," which is a work that I really like, but should probably not be attempted first.
The List:
First Steps - Two Pieces I recommend to Start:
The Nutcracker, P.I. Tchaikovsky
Recording: Sir Simon Rattle, Berlin Philharmonic
With the holiday season upon us, I decided that The Nutcracker would be a fun choice. Many of you may be familiar with this ballet, or have listened to excerpts from the ever popular "Nutcracker Suite," which, while enjoyable, leaves out some great parts, so I recommend listening to the while thing, which you can put on while relaxing this holiday season.
This excellent recording from Sir Simon Rattle and the Berlin Philharmonic is a great addition to your holiday vibe, with great sound quality and a passionate interpretation.
Lorenzo's Favorite Parts: In the Pine Forest, Waltz of the Flower and Pas de deux
Rhapsody In Blue, George Gershwin
Recording: Leonard Bernstein, Los Angeles Philharmonic
Note: Rhapsody in Blue is just the first track of this album!
This might be seen by some as an "unorthodox" first step, but Rhapsody in Blue was one of the first orchestral pieces I listened to, and remains a favorite of mine to this day.
Turning 100 this year, Rhapsody in Blue was written in 1924 by up-and-coming American composer George Gershwin, and was noted for its combination of both classical and jazz traditions, being considered by some to be a "jazz concerto."
Leonard Bernstein, whom you may be familiar with (they just made the movie "Maestro" about him), will be forever associated with this piece through his landmark 1959 recording with the Columbia Symphony Orchestra where he conducted from the piano. Somewhat controversially, I have not chosen to recommend that recording, and I instead have linked his live 1983 account with the LA Phil, with Bernstein again acting as soloist and conductor. To me this recording has far better sound quality and no loss in the interpretation, which I find to be slightly more mature than his 1959 account.
Concertos:
A concerto is a piece written for a soloist and an orchestra, in which both play together, trading the spotlight. I find that concertos are often some of the most entertaining works in the classical repertoire as they have clearly defined themes through the (usually) easy to follow voice of the featured instrument. The form is usually fairly standard as well, with three movements (an energetic first movement, a quiet middle movement, and an upbeat last movement).
Where to Start:
Piano Concerto 2, Sergei Rachmaninoff
Recording: Krystian Zimerman (Pianist), Seji Ozawa (Conductor), Boston Symphony Orchestra
Period: Late Romantic
For me, this was the piece that grabbed my attention almost five years ago and sent me on my classical music journey. I started out just listening to the first movement, and once I felt comfortable, I moved further into the piece (try doing that).
From the opening toll of "bells" in the Russian winter to the fiery cascade of the final movement, there is so much to enjoy in Rachmaninoff's second concerto. Written in 1901, this concerto is a landmark piece, establishing Rachmaninoff's career as a "serious" composer, and marks a remarkable comeback for the man himself. After the horrible reception of his first symphony in 1897, Rachmaninoff's career was in disarray and he became despondent and unable to compose for several years until neurologist Nikokai Dahl helped restore his confidence and the composer rose from the depths of his depression to produce this masterpiece.
This is an excellent recording from the noted perfectionist Zimerman with great symphonic support from Ozawa's Boston Symphony. The recording quality is excellent, and Zimerman really shines in the powerful third movement.
Piano Concerto 5, Camille Saint-Saens
Recording: Jean-Yves Thibaudet (Pianist), Charles Dutoit (Conductor), Orchestre De La Suisse Romande
Period: Late Romantic
Attributes: Easy listen, thematic
A lesser known work that captured my attention early on, the fifth piano concerto by French composer Camille Saint-Saens (pronounced San-Sohn(ce)) is nicknamed "Egyptian," and takes the listener on a sea voyage to the middle east. This concerto was notable in its day (1896) for "non-western" musical influences (which we might find to be a little gauche today). I put this piece on when I want to relax as it is not too intense and has beautiful moments in all three movements.
This performance by Thibaudet is engaging and brings a flair to the piece, I highly recommend it.
Violin Concerto, P.I. Tchaikovsky
Recording: Itzhak Perelman (Violin), Eugene Ormandy, The Philadelphia Orchestra
Period: Romantic
Attributes: Memorable and pretty
Since it would probably be wrong to have every concerto be a piano concerto, I have added a violin concerto. Tchaikovsky's Violin Concerto is perhaps one of the most basic picks I could have made, but since this is a beginner's guide it doesn't matter and I get to label it an "essential piece," because it is.
Despite being one of the most popular violin concertos today, this piece received a lukewarm critical reception at its premiere in 1881 with one critic claiming that the violin had been"beaten black and blue" throughout the piece. I personally love the piece, and think that the intensity and longing that Tchaikovsky cultivates throughout the piece are its best attributes. You can decide for yourself.
Itzhak Perelman performs well here bringing great intensity and clarity to the piece and he is well supported by veteran conductor Eugene Ormandy and his lush Philadelphia Orchestra.
Piano Concerto 5, Beethoven
Recording: Krystian Zimerman (Piano), Leonard Bernstein (Conductor), Vienna Philharmonic
Period: Beethoven
Attributes: Very geometric in nature, crisp, and great for focusing
A departure from the almost exclusively Romantic suggestions I have been making so far, Beethoven's final piano concerto is more "classical" in nature (while still being considered by some to be at the dawn of romanticism). I have chosen this concerto because I not only enjoy it, but I think it brings balance to the list and provides a great gateway to Beethoven.
While perhaps not as flashy or passionate as the pieces I have previously mentioned, there is beauty in the form and construction of this piece. The first movement is triumphant, the middle movement is somber and pretty, and the closing movement is charged with energy; this piece is the very archetype of the traditional piano concerto.
When this piece premiered, legend has it that a guard standing outside the concert hall exclaimed the concerto was fit for an emperor, and the piece has become known as the "Emperor Concerto."
This concerto is a great all around listen, and won't get in the way when you are trying to do work. This stalwart recording by Zimerman and Bernstein is excellent (I have yet to find one to beat it) with great sound quality and pacing.
Challenge Concerto:
Piano Concerto 3, Sergei Rachmaninoff
Recording: Vladimir Ashkenazy (Piano), Bernard Haitink (Conductor), Royal Concertgebouw Orchestra
Period: Late Romantic
Attributes: Complex, great all the way through
If you liked Rachmaninoff's Piano Concerto 2, but perhaps you wished it "went to eleven," then give his third concerto a try! Probably a good candidate for my favorite piece overall, while some label this piece as "too much," it is for that reason I love it and cannot get tired of it.
Known as one of the hardest pieces in all of the piano repertoire, this is no doubt a more intimidating piece, but through its complexity there is beauty and no part of it is in danger of simply becoming noise. All three movements are captivating, from the mysterious opening which builds to a breaking point through the first movement to the cascade into the third movement which includes an incredible finale. I highly recommend trying this piece.
I have searched for years to find the recording that checks all of the boxes in this concerto and this year I finally found it! Ashkenazy and Haitink take the measured yet passionate approach that this concerto needs, allowing for the lyrical parts to shine through while also respecting the intensity of the piece; the sound quality is good too.
Bonus Concerto:
(I have gone back to add this one). If you wanted something that was a cross between the Beethoven and the late Romantic Concertos, I highly recommend Chopin's piano concertos (both 1 and 2). They are really beautiful pieces, and I particularly enjoy the second movements of each. They are overall upbeat, and not overpowering concerti. Linked here is an excellent performance by Krystian Zimerman, who for this recording hand selected an orchestra, and conducted his own interpretation from the piano. The sound quality is great as well, and if you liked the other concertos, you should certainly try this one (it is one of my personal favorites). (Link: Spotify | Apple Music).
Symphonies:
Now that you've had a taste of classical music, you might want to try a symphony. A symphony is a work for orchestra that consists of several movements (often four in the classical mold). Beethoven is credited with expanding the scope of the symphony making it one of the "highest" forms of composition, and later composers would shed the classical form and begin to write more deeply programmatic works (themed pieces).
Where to Start:
Symphony 5 (and 7), Beethoven
Recording: Carlos Kleiber, Vienna Philharmonic
Period: Beethoven/Classical
Attributes: Relatively quick and easy listen, catchy
Almost everyone knows the beginning of Beethoven's 5th (Dun Dun Dun Dun), but most people have never ventured beyond the opening, now is your chance!
This seemed like the right place to start a symphonic journey as it is hard to think of a better example of a Classical symphony in the archetypal form. From the knocks of fate at the beginning of the symphony, to the flighty inner movements, to the storming conclusion, this work is enjoyable and goes down quite easy.
This is an iconic recording from reclusive conductor Carlos Kleiber. Although Kleiber only has a handful of records to his name he is regarded as a perfectionist and one of the best conductors who ever lived...so you are in good hands with this recording. If you like the 5th symphony, keep listening on this album to hear the 7th, it is great too, especially the haunting second movement.
Symphony 5 (and 6), P.I. Tchaikovsky
Recording: Riccardo Muti, Philharmonia Orchestra
Period: Romantic
Attributes: Easy listen, very lyrical
This is a great symphony, and it is beautiful all the way through. Its "cyclical" structure has recurring themes throughout which result in the last movement that some say signifies victory over fate. The horn solo in the second movement is especially pretty.
This is a great recording, even if it is lesser known, that benefits from the Italianate flair of Riccardo Muti. Because this album includes all of the Tchaikovsky symphonies (and other works), you will have to scroll through to find the 5th symphony.
If you enjoyed the 5th symphony, you may want to continue in the album and try listening to the heavier 6th, which was written around the time of Tchaikovsky's death and some interpret as a suicide note.
Symphony 3, Beethoven
Recording: Riccardo Muti, Philadelphia Orchestra
Period: Romantic?
Attributes: If you liked symphony 5, but wanted more complexity and flair, this is it!
Regarded by many to be one of the most important symphonies ever written, and Beethoven's best, the 3rd symphony is my personal favorite (of the Beethoven 9). Considered by some to be the first Romantic symphony, Beethoven's 3rd broke the boundaries of the Classical symphony, with added complexity, lyricism, and length. I particularly enjoy the drama in the second movement and the energy of the last movement, but the whole symphony fits together quite well.
This symphony is known as "Heroic," and was originally dedicated to Napoleon Bonaparte (although Beethoven later rescinded this).
This recording by Muti in Philadelphia is my current favorite, as I find he is well tempered in his approach, maintaining energy while also bringing out lyricism and complexity that some other performances lack. The recording quality is fairly good, and I find the recording to be immersive.
Symphonie Fantastique, Hector Berlioz
Recording: Sir Colin Davis, The Royal Concertgebouw Orchestra
Period: Romantic
Attributes: An entertaining wild ride and an early program driven symphony
Go to hell! (And have an acid trip while you're at it.) Written in 1830, this piece is considered to be a landmark of the early Romantic period, and is a semi-autobiographical portrait of its composer.
Hector Berlioz, who can best be described as...troubled...wrote this symphony (part of it on an acid trip) after he became infatuated with a Shakespearean actress he had seen (whom he later had an ill fated marriage to). In the first movement an artist becomes infatuated, represented by a haunting passionate melody. The second movement features a waltz theme, where the artist is still haunted by the thought of her, even in a crowded ball. This leads into the third movement which is a scene in the country, pastoral with a suspicious undertone, where the artist reflects in isolation, but is still uneasy. The fourth movement begins abruptly, wherein the artist poisons himself with opium, giving him the horrible vision that he has killed his beloved, and is being marched to execution. In the final movement the artist sees himself at his own funeral surrounded by ghosts and witches, the same theme of the lover repeats itself but in a mocking way as the artist is plunged into the depths.
Those who have found the Beethoven symphonies to be a bit cold might like this one, as it is heavily story driven and well connected through the central theme. Let your passion take hold and try this one out! This recording by Sir Colin Davis (who is frequently associated with this piece), is very well done with excellent sound quality and interpretation.
My favorite parts: Movement 2 and Movement 5
Bonus Symphony:
Symphony 3, Johannes Brahms
Recording: Claudio Abbado, Berlin Philharmonic
Period: Romantic
Attributes: If you liked Beethoven but wanted more weight and sweetness
I wasn't sure if I would include this one, but I decided to since I really like it. Brahms is seen by many to be the logical "successor" to Beethoven in the Romantic era. This symphony has a fair amount of depth to it, which might make it a little tough on first listen (at least it was for me), but the symphony is strong all the way through and I particularly enjoy the third and fourth movements. (If you only listen to one thing try the third movement).
This is a very well regarded recording by Claudio Abbado (I am a big fan of his), who is known for his Brahms, which has great sound quality and interpretation.
Challenge Symphony
Symphony 9, Beethoven
(You will have to scroll down to the 9th on the Spotify album, it is a compilation.)
Recording: Leonard Bernstein, Vienna Philharmonic
Another "essential" piece, Beethoven's 9th is one of the best known pieces of western music (and it's where "ode to joy" comes from). Beethoven's last symphony, the 9th is considered by some to be the best ever written. The symphony reflects much of Beethoven's feeling throughout his life, with the first movement said to be a struggle against adversity and turmoil, the second a fruitless quest for happiness, the third reflective and resigned and the final parts (the ode to joy) erupt in a message of joy and hope for all. To me this symphony is powerful because Beethoven wrote this symphony just 3 years before his death, and by this point he had grown completely deaf, but despite all of the unhappiness in his own life his last major work was the wish for everyone's happiness and unity. (I know, very mushy stuff, but I felt it should be mentioned).
Legend has it that when he conducted the premiere in 1824, it took Beethoven a moment to realize the orchestra had finished playing (he was deaf by this point, remember), and so someone had to turn him around to see the admiration and applause of the audience, and he was greatly moved by this.
Anyway, it is a good symphony, it was unprecedented in length and complexity for its time, and the last movement introduces a choral component, give it a try! This recording by Leonard Bernstein live in Vienna captures great energy and is of fantastic quality.
Bonus Round:
Well this thing has already gotten too long, and I don't really have time to go into the intricacies of opera or Richard Wagner, but here are a few more things you might want to try.
An opera is a bit like a musical (just the OG) and they are usually performed in "acts." Each opera usually has singing throughout except for preludes and introductions. I recommend trying out an opera by starting to listen to just the instrumental parts, and why not go with the best of the best Richard Wagner (who wrote extensive and detailed 4 hour long operas in the late 19th century)?
Do you want to listen to something that is just unapologetically enjoyable and pretty? (Give these a try.)
- Prelude to Act I, Lohengrin (Richard Wagner), (Recording: Claudio Abbado, VPO), this segment is only about 8 minutes long and is very beautiful, if you like it, keep listening and look up the story to Lohengrin. (Link: Spotify | Apple Music)
- Try some more orchestral bits of Wagner operas with this excellent album from Claudio Abbado and the Berlin Philharmonic. (Link: Spotify | Apple Music)
- If you liked some of that, and want to try working through a full opera, try Cavalleria Rusticana by Pietro Mascagni, which is about a violent love triangle in a Sicilian village. Be sure to listen to the opening and the intermezzo (about 3/4 of the way through). This recording linked here by eccentric Italian conductor Giuseppe Sinopoli is well regarded (and my favorite). (Link: Spotify | Apple Music)
The End
Will anyone read all of that? Probably not, but at least it's out there. Getting to discover this world of music has been one of the greatest joys of my (recent) life, and I hope it brings you happiness and joy too if you choose to explore it.
For me classical music has greatly improved my attention span and allowed me to become more comfortable with delayed gratification. Just like woodworking, painting, running, reading, or countless other things that often get passed up these days due to more tempting alternatives (I like my phone too), classical music doesn't always provide the dopamine hit immediately, but it does provide sustained enjoyment once you are immersed in it.
You might know what it's like to get a new song that you enjoy stuck in your head, wanting to listen to it repeatedly just to get the feeling again. For me at least, that feeling fades relatively quickly (and most popular music songs only last around 3 minutes). Now imagine you can enjoy a favorite song for 30 minutes or an hour, and you tire of it much less quickly. That is the biggest aspect of classical music I enjoy.
Sometimes the best things, the most satisfying things, don't come easily.
Anyway, I just wanted to take some time attempting to demystify classical music, not as some snobby purist activity that some people might think it is (and I once did), but instead an additional thing to explore that you might enjoy (or might not enjoy).
I wish you all success and happiness in the new year!
Merry Christmas,
Lorenzo
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