Classical music for people that (think they) don't like classical music
My theory is that a lot of people who would like classical music are put off by lack of knowledge, and a sort of fear of the unknown
Firstly, the term ‘classical music’ is about as meaningful as ‘world music’. The term ‘classical music’ actually means Haydn, Mozart, early Beethoven and their contemporaries – music written in a few decades. That is as specific as ‘country and western’. But, the way it is now used, frankly the term really only seems to mean ‘music I think I don’t like’ (as opposed to music I know I don’t like, like reggae).
Secondly, there’s a hell of a lot of it. People have been at it for 800 years. Well, you don’t need to know it all, instantly. I am going to suggest an easy way in.
Thirdly, it’s boring. Well, since it doesn’t bore everyone, that feeling of boredom must be in the listener, not some mysterious attribute of the music itself. The remedy for that is to stay curious. Be interested in it. Give yourself permission not to like, or want to hear that piece again. Certainly, don’t expect it to be ‘beautiful’, though some of it is.
So, my way in is to go for music written since 1900. And, on the whole stick to orchestral music. Here are ten C20 composers whose orchestral music is worth exploring. Works cited are recommendations, not the composers’ entire output.
Bartók
Much influenced by the inflections of his native Hungarian folk music, Bartók’s music is rhythmic and dynamic. He was an excellent pianist and there are three great piano concertos, as well as two violin concertos, viola concerto, concerto for orchestra, two ballets, of which The miraculous mandarin is startling and deeply psychological, as is his only opera, the short Bluebeard’s castle (this is an opera for people who don’t like opera – it is a continuous stream of melody for an hour, but it’s dark, if brilliantly conceived).
Mahler
He started before 1900: the works form 1900 on are the symphonies 5-10, Kindertotenlieder, Rückertlieder, Das Lied von der Erde (not many people realise that Mahler only wrote 17 works in his entire life). If you insist (!) do explore the earlier works.
Nielsen
Danish master. Wrote six symphonies which, like those of Sibelius, show tremendous development as he matured (maybe try 4 first). Violin, flute and clarinet concertos, smaller pieces for orchestra. A very individual tone of voice: fresh, like mountain air; energetic and vigorous, none of yer Straussian lounging about.
Prokofiev
Prokofiev wrote symphonies too, but he was really a man of the stage – some of his symphonies are reworked stage music, though symphonies 5 and 6 are great works. Two great violin concertos. But it is the stage works which really show Prokofiev in his element: Romeo and Juliet, Cinderella. All worth exploring.
Ravel
Not prolific, but his ballet Daphnis et Chloé is fantastic (pass by the suites – go for the whole thing), then there’s Mother goose, Shéhérazade, Rapsodie espagnole, two piano concertos, two fantastic brief operas - L’enfant et les sortilèges and L’heure espagnole (he had a thing about Spain). He also had a dark side which adds interest to the superb orchestration and general Gallic charm. Let us draw a veil over the Bolero.
Shostakovich
A complex character – apparently introverted, but capable of writing big epic scores as well as reflecting his introversion in his music. There’s a strong vein of wit and drollery in his music, too. Altogether a complex, contradictory mix which is very interesting. Immediately obvious works include symphonies 1, 4, 5, 6, 8, 10 – perhaps go for 5 first. He was also a tool of the soviet system and, of necessity, some of his music is propagandist which is why I have put some other symphonies in a second ‘political’ division. Then there are concertos for violin, cello, piano. Film music even.
Sibelius
The great Finnish composer. He started out like a more disciplined Tchaikovsky, without the selfpity (and not being Russian), and gradually evolved to produce lithe athletic masterpieces. Seven symphonies (try 2 and 5 first perhaps), a violin concerto, an early unnumbered choral symphony called Kullervo and in particular, a whole series of short ‘tone poems’ based on stories form myth and legend which he wrote throughout his life. The four Lemminkainen Legends are particularly exciting.
Strauss
Strauss was also active before 1900, and I will cheat and go back five years to include his great symphonic poems, Till Eulenspiegel and Don Quixote. He wrote ten of these, including Also sprach Zarathustra, whose first 3 minutes are without doubt his best known writing! Also lots of good songs with orchestra, including Four last songs, and other works produced towards the end of his life (Metamorphosen, two indulgently long wind serenades. oboe concerto, horn concerto). If you’re brave, lots of operas, from the bloodcurdling Salome to the charming Ariadne auf Naxos.
Stravinsky
Well, there are lots of Stravinskys. In particular go for the big ballets (Firebird, Rite of spring, Petrushka), Les noces [The wedding] – very earthy and Russian, the neo-classical works (symphony in C, Pulcinella, Apollo, Dumbarton Oaks, etc). Possibly the stuff written after 1954 is hard going, but Agon is attractive enough.
Tippett
Great English composer, currently going through the traditional post-death period of neglect. A wonderfully generous and humane man which shows in his music. Maybe start with the Concerto for double string orchestra, the Fantasia concertante on a theme of Corelli (which sounds dry but is actually energetic and engaging reaching an ecstatic climax) and the oratorio A child of our time. Move on to the piano concerto and, if you’re warming to the man by this time, go for the opera The midsummer marriage. These last two are of the period of the Corelli work and they all share a fantastic combination of energy and ecstasy. Then there are four symphonies, some concertos and much else. The later operas can perhaps wait.
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That’s all for now.
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Originally Posted by Beechwoods
