My appalling ignorance of classical music is something I have had occasion to mention before.
A few days ago I happened, in the course of my work, to listen to the Lacrimosa from Mozart's Requiem, and the spiritual effect was immediate and unmistakable -- a sudden plunge into a deeper, stiller level of consciousness. (Yes, I know "higher" consciousness is the standard metaphor, but that's not how I experience things.) I then went about the rest of my working day, returned home, and, as is my wont, put on some music while I did my evening chores -- the same sort of music I usually listen to, which is to say definitely not Mozart. At some point the contrast hit me, and I thought, What am I doing? Having just been touched by music of astonishing spiritual depth, and having basically all the music every recorded at my fingertips, here I am listening to the Temptations sing "Papa Was a Rollin' Stone"! Granted, "Papa Was a Rollin' Stone" is a great song, perfectum in genere, but is it really what I need right now?
So, after thinking about such things for a bit, I've decided to make one more effort to become familiar with classical music, starting with the two composers generally acknowledged to be the greatest of the great, and working my way down from there.
After comparing and collating dozens of "top 10" lists, I've come up with the following shortlists of what are apparently the essential works of Mozart and Beethoven. However, I cannot overstate the depths of my ignorance in this field, so if anything seems strange about these lists, or if anything absolutely essential has been omitted, my more musically literate readers are invited to chime in in the comments.
Mozart
- Clarinet Concerto
- Piano Concerto No. 20
- The Magic Flute
- The Marriage of Figaro
- Symphony No. 40
- Symphony No. 41
- Concerto for Flute, Harp, and Orchestra
- Requiem
- Don Giovanni
- Piano Concerto No. 23
- Sinfonia Concertante for Violin, Viola and Orchestra
- Symphony No. 3
- Symphony No. 9
- Piano Concerto No. 5
- String Quartet No. 14
- Symphony No. 5
- Piano Sonata No. 23
- Missa Solemnis
- Symphony No. 6
- String Quartet No. 15
- Symphony No. 7
- Piano Sonata No. 8
11 comments:
Good lists, especially if you are packing for an extended stay on a desert island.
For the odd moments that day-to-day life allows you, consider sampling the short, sweet, and simple: "Alleluia" from Exsultate, Jubilate; or Eine Kleine Nachtmusik (which means "A Small Serenade": the translation "A Little Night Music" was originally a joke); or Für Elise, or any number of short and simple piano sonatas and sonatinas. In record stores, when there used to be record stores, they often sold compendiums of enough minor works to fill up a disk.
Bruce Charlton says Mozart would not be remembered at all if we had only the trivial works he composed in his youth; but on the other hand, the youthful divertimentos and bagatelles give us an idea of the background against which his later inspirations took shape. Also keep in mind that the easy music is what you might have played at home, or encouraged your wife and daughters to play for you.
Chamber music (string quartets and such) was played by small groups of friends visiting each other's houses. When you listen to it, consider that you are eavesdropping. The only chamber music I see on your list is two late quartets of Beethoven, which is a terrible place to start. I would listen to the early string quartets of Mozart, which are really just serenades for solo violin and accompanists. Then Mozart's later quartets and Beethoven's early and middle ones, which tend towards conversations among equals. Know that Beethoven's late quartets are perhaps the earliest examples in history of a romantic visionary venturing beyond what his public could appreciate: his contemporaries mostly said the late quartets demonstrated he had lost his mind as well as his hearing.
I trust you will enjoy the operas. Since you know German, add Mozart's Die Entführung aus dem Serail, and also Beethoven's Fidelio.
Thanks for the input, Karl.
I'm afraid "Für Elise" has been spoiled for me by the garbage trucks in Taiwan.
Regarding the string quartets, could you recommend a few specific pieces?
By the way, I don't actually know German -- not that I let a little thing like that stop me from translating Nietzsche!
@Wm - The lists are ine as a starting point; but once you have found something that you particularly respond to; then the thing is to follow that lead - perhaps by trying other similar fomrs (eg opera, choral, chamber music, symphony, concerto); and by looking at works from the same period of the composers life (which you can judge from similarity of Opus number - or K number for Mozart).
However... Having said this; Mozart's Requiem is perhaps his most atypical (un Mozartian) piece! Partly because it was unfinished at death, partly because it was finished by other hands. It may be that a special response to Mozart's Requiem would lead you away from Mozart and towards choral music and/ or later composers.
One aspect is that classical music, to be a distinctive experience, requires a high degree of concentration. As a mid teen I sometimes used to borrow musical scores from the library and follow the music on these (as best you can, I am only a mediocre 'reader' of msuic, but it is enough for the purpose) - I found this esepcially helpful with opera (if not a score, then a libretto with original language and translation).
This was how I managed to listen to something as long as Wagner's Ring cycle yet retaining intense focus. I have never been able to do so since; but having done so once does take you to a higher level of appreciation.
Wm, one of my favourite Mozart pieces is the Serenade No 10 which is written for wind instruments, also known as the Gran Partita. It's ranges from soothing without being bland to jaunty without being trite. The 3rd movement Adagio is particularly lovely. Cosi Fan Tutte is a wonderful opera too though the story is a bit dodgy.
Beethoven's 4th and 8th symphonies are as good as the ones you mention I think, well almost. And all his late piano sonatas are extraordinary, that's nos 28-32.
Then you want to move on to Bach (cerebral) and Handel (unequalled in the expression of emotion from joy to pathos)!
Since you asked: Mozart String Quartet #4 in C, K. 157 (early); #19 in C, K. 465. The latter is nicknamed "the Dissonant Quartet" on the strength of some tension in the opening section.
Beethoven, early, middle, and late:
Quartet No. 1 in F, Op.18, No.1
Quartet No. 7 in F, Op.59, No.1
Quartet No. 16 in F, Op. 135
Why was it practically a point of honor for the great composers not to give any titles to their instrumental works? Instead we get just an identification number .. and the key signature, which is a big deal for the players but not salient for the audience. It's too bad.
Bruce, that's exactly my plan. I intend to listen to everything on these lists (plus commenters' recommendations) to get the lay of the land and then pursue whatever resonates with me.
William and Karl, thanks for the suggestions.
When my son was three, he loved Mozart's "Rondo Alla Turca" and some segments of The Magic Flute. We had to play these for him many times a day for a few months. He's nearly eight now and, interestingly enough, cares not one bit for classical music. I certainly hope his interest returns as he gets older.
In any case, it is great to know you are taking an interest in classical music.
Stephen C said: a few suggestions - "Sull amor l'ali rosee" and "Miserere" from Verdi's Il Trovatore, fourth act, share similar wonderful musical ideas with the Benedictus from Mozart's requiem.
A few more times where later composers shared the supreme gifts of Mozart and Beethoven but in their own way ....
Rachmaninoff, 2d piano concerto, first two movements, compare Moonlight Sonata.
Berlioz, L'adieu des burgers from "L'enfance de Jesus", compare the slow movement of the Prague symphony
Saint-Saens, 2d piano concerto, first movement - compare Jupiter symphony, last movement (both tributes to Bach's transcendent use of counterpoint)
Thank you, Stephen!
So far I've listened to Beethoven's Symphony No. 3, which I like very much, particularly the first movement; Mozart's Clarinet Concerto and Piano Concerto No. 20, neither of which made any very deep impression on me; and half of The Magic Flute. (I almost never have three uninterrupted hours of free time, so I have to listen to it in several sittings, the same way I would read a novel.) After listening long enough to get past the ingrained reaction that there is just something completely preposterous about the whole genre of opera, I found it growing on me, and I suspect it is a piece I will come back to.
I second what Bruce said...I tried the same method as you are, and it didn't really stick. It wasn't until I did exactly what you are doing but with violin concertos instead of specific composers that I actually started to listen to classical music on a regular basis. So when you start the next phase throw up another post and I'll share what I have really enjoyed.
As for Beethoven and Mozart? Beethoven's violin concerto is really quite good and should be added to your list. Mozart's 3rd and 5th Violin Concertos should also make the cut (I like 5 over 3).
Also, I have had a similar experience with Opera that you are having. I'm still trying to appreciate it. I've found that the Flower Duet by Delibes and Vide Cor Meum by Patrick Cassidy opened the door.
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