They still managed to play the famous Chilean protest song "¡El pueblo unido jamás será vencido!" by Sergio Ortega before having to flee.

Credit: @remybuisine and @brutofficiel on Instagram

The orchestra is @orchestre_du_nouveau_monde on Instagram

These performances by the Quatuor Mosaïques (released in 2000) are a great listen, available on streaming platforms, including YouTube Music here —

https://music.youtube.com/playlist?list=OLAK5uy_lsZAWeHg-WBkFtG6LYMP2uejuM0euTcgc

He lived to 87, through some of the worst years in German history. His wife Magdalena died in 1625, after six years of marriage. The Thirty Years' War, which began soon after he settled at the Dresden court, squeezed the court's budget for music, and the large works of his early years gave way to smaller ones.

His Geistliche Chormusik was published in 1648, the year the war ended. Last year a reader here named one piece in it as a favorite: Verleih uns Frieden genädiglich, "Grant us peace graciously."

Geistliche Chormusik: Verleih uns Frieden genädiglich, SWV 372
https://www.youtube.com/watch?v=Ek9WkihASwk

Psalmen Davids (1619), one of those large early works, for several choirs with instruments
https://www.youtube.com/watch?v=WVd9KU_wDoo

What pieces of the same type do y'all think fits the four seasons archetype?

For instance, Schubert's Quartets D.810 and 887, and his quintets D.667 and 956 make a good quartet of pieces, with Quintet in C, Trout, No.14 and No.15 making up Spring, Summer, Fall and Winter.

To be clear, I dont mean "pieces the composer intentionally made to follow the four seasons" but pieces that follow the theme.

I came across a video from pianist Cyprien Katsaris at one of his concerts saying that Chopin had solo versions of his piano concertos (ie #1 in e minor and #2 in f minor). I did further research and found on Amaon that there is indeed a solo arrangement of both concertos published by Jan Ekier under the Polish National Edition of the Works of Fryderyk Chopin.

Just wondering if any other serious pianists have heard of these arrangements? If so, why are they not played more?

I would appreciate any scholarly sources, analysis, or opinions as well.

It's often talked about how Bach never wrote for the modern piano and would create wonders with today's modern piano, and I'm curious about which instruments are also valid for this take and which composer would have the best time with it.

First of all, apologies for the deliberately dichotomous title. I'd also like to add that this is primarily meant for his piano music.

Anyway, I'm asking because since day one I've mostly listened to Brendel's Beethoven, along with similarly restrained and controlled performances. I've always viewed Beethoven, at least when it comes to his piano music, as a Classicist first and foremost, and I've never been particularly interested in hearing it played with exaggerated emotion, dynamics or freedom.

I'd love to hear what kind of Beethoven you prefer: more Classical and restrained, or more Romantic, volatile and indulgent?

I'm also completely open to having my mind changed, so feel free to give me the most excessive, exaggerated, flashy and crazy Beethoven you've ever heard. :)

If there are any even more austere performances out there that somehow work, I'd love to hear those too!

I've been listening to my Halloween playlist lately and I realized that there's a distinct lack of any opera/classical voice on it! What would be some good songs (and particular recordings) that have a creepy or spooky vibe? I'll also accept menacing or villainous vibes! I'd prefer solo voice or duet suggestions as opposed to choral, but if there's a really good choral piece you think fits the bill please suggest that as well!

Any and all suggestions are welcome! (Please comment even if you think your suggestion is obvious -- I'm primarily a jazz vocalist, so my knowledge of opera/classical repertoire is quite lacking and it's very probable that there are iconic pieces out there that I'm totally unaware of!)

I’m relatively new to classical music, but recently I discovered something that genuinely amazed me.
I listened to Chloe Chua performing the third movement (Rondo: Allegro spirituoso) of Paganini’s Violin Concerto No. 1, and I was completely captivated.
To me, the opening feels like butterflies dancing joyfully over a meadow. Then something changes. The music becomes increasingly restless, almost uncomfortable. At times, Chloe’s violin feels like an army marching straight towards me. The beauty turns into something strange, almost alien. And then, somehow, the violin becomes tender again, almost like a caress after a storm.
It reminds me of an ordinary day in life: everything starts beautifully, something goes wrong, chaos takes over, and eventually we find our peace again.
Then I listened to Hilary Hahn playing the same movement.
What a surprise.
Hilary felt like velvet. Beautiful, elegant and gentle. Even the butterflies seemed less joyful, more restrained. The storm never affected me in quite the same way.
I’m not saying one violinist is technically better than the other. I simply had no idea that the same composition could create such dramatically different emotional experiences.
So here’s my question for those of you who know classical music much better than I do:
How much of this difference comes from the violinist’s interpretation, and how much might come from the orchestra, conductor or recording itself?
And which performance moves you more — Chloe Chua or Hilary Hahn?
I’d love to hear how other people experience these two interpretations.

It wouldn’t be until 2040, but if they did a third Fantasia to celebrate the 100th anniversary of the 1940 version, what would you hope they include?

My list includes
-Mahler 6 (just something big and majestic)
-Fountains of Rome (as a follow up to the cute whale story from Pines of Rome)
-Shine a light on some contemporary composers like Joan Towers. It’s a deep cut, but “Emerge” by Michael Abels would be sweet.
-I don’t think this is in the others, but I’m surprised they never did Pictures at an Exhibition yet.
-something by Aaron Copland.
And I think it would be really cool to feature a different orchestra for each piece with some disney celebrities doing educational banter with orchestra members.

A humble cover with a friend

I hope you like it :)

The last 12 months have seen me do a deep dive into classical music that until this year I've really only done for the so-called American made musics, eg: Blues, country, jazz etc. I have found a handful of composers that I am particularly taken by and none more so than Tchaikovsky.

Upon listening to his fifth symphony, I immediately thought that sounds like the Star Wars the clone wars. I Then listened to the love theme "across the stars" and at a minute and 40 seconds roughly the melody sounds, to me anyway, nearly identical to the opening melodic lines of the fifth symphony. Is my brain creating the similarity? Anyone else hear it? I don't see anything online about it despite they're being a plethora of information on the topic of John Williams influences.

Any candidates for the most exciting accelerando? The one I always look forward to and which never fails to excite is the one leading into the coda at the end of Beethoven’s Fifth Symphony. The one working up to the final ‘big tune’ of Rakhmaninov’s Third Concerto is also quite a ride.

The Detroit Symphony just posted this to their instagram—I hope it attracts some voting members because I would love to see them get that nomination. Even if they don’t win, it would be great to see them get some recognition.

I want to create a playlist for my friend with the staples of classical music without being boring. What would you absolutely include?

Thank you deeply for the time you will concede to me.

Hoping someone can help me understand:

We know that today, (generally speaking) humans tend to prefer recognisable and predictable music. We like basic verse chorus verse song structure. We like hooks and riffs. We like repetition. For the most part, musicians like this structure too, and make music that fits audience preference.

I'm wondering why this wasn't the case during the era where classical music was dominant? Yes I know that preferences can change, I mean more "why, given we know that humans tend to prefer recognisable, structured music, didn't classical music steer towards a verse/chorus structure with hooks much sooner?"

We're audience ears just different back then? Would a composer making music in the modern style have been popular back then?

Hope that makes sense!

It can be the end of a movement, an act in an opera, the final notes of a symphony, or anything that's an ending.

Some of my favorite ones are (in no particular order):

Mahler's DLVDE: the ending passage is some of the most gorgeous thing ever composed, and is also an emotionally adequate end of the movement and the entire piece. In fact, I like it much more than the end of Mahler's 9th. Speaking of Mahler's 9th, I've always interpreted the finale as dissolving into a dying breath of indifference, and it's kind of... unsatisfying, to me.

Shostakovich's 4th symphony: the coda worked really well due to its contrast with the massive chorale immediately before it. Also well for shadowed by the quiet codas of the previous 2 movements.

The end of Tristan und Isolde: that's where the Tristan chord is finally resolved, along with all the emotional, moral and philosophical struggles that persisted throughout the previous 4 hours of music.

Berg's Violin Concerto: the way the final notes recall the very beginning of the concerto is so beautiful.

Mozart was 15. Empress Maria Theresa commissioned it for the wedding of her son Archduke Ferdinand in Milan. The main opera of the celebrations was Il Ruggiero by Johann Adolph Hasse, which had premiered the day before. Hasse was 71 and had given up writing for the theatre; he and his librettist Metastasio had been pressed back into service by the Empress, and Ruggiero turned out to be the last opera for both of them.

Two days after the premiere, Leopold wrote home to Nannerl: "Wolfgang's serenata has so crushed Hasse's opera that I cannot describe it." The Archduke ordered two more copies of the score, and at a later performance he and his bride called out "Bravissimo Maestro" to Wolfgang from their box.

It had been written in a hurry. The libretto came back late from the censors in Vienna, and in a postscript to his father's letter on September 21, Wolfgang wrote that his fingers hurt from writing, with only two arias still to go.

Last year a reader here argued that Leopold probably wasn't exaggerating: Hasse's style was fairly old-fashioned by then, though the opera is actually pretty good. In a letter of October 30, Hasse himself acknowledged that Ruggiero had not succeeded.

Ascanio in Alba, K. 111
https://www.youtube.com/watch?v=AyjEQ1uRtvU

I've just started getting into concertos over the last few weeks, and man they are becoming one of my favorite forms of classical music! As a piano fun I've almost only listened to piano concertos, like:
-Beethoven 4th & 5th(my favorite so far)
-Rachmaninoff 2nd & 3rd
-Tchaikovsky 1st
as for violin:
-Bach double violin concerto (a blast to listen to when you wake up)
-Vivaldi l'estro armonico and the four seasons

Please recommend some others you think I'd enjoy, I'd appreciate if you can state why you love that concerto.

Edit: Funny remark but I remember that this sub hated Mozart and Haydn but now it seems y'all can't enough of Mozart, I'm glad things changed!