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message 1: by Bentley, Group Founder, Leader, Chief (last edited Jan 25, 2019 05:04PM) (new)

Bentley | 44125 comments Mod
This will be the thread devoted to Classical Music.

Classical music is the art music produced in, or rooted in, the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 9th century to present times.

The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period.

European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.

Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music.

This leaves less room for practices such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music (compare Indian classical music and Japanese traditional music) and popular music.

The term "classical music" did not appear until the early 19th century, in an attempt to "canonize" the period from Johann Sebastian Bach to Beethoven as a golden age.

The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.

Periods of European art music


Medieval (500–1400)
Renaissance (1400–1600)
Baroque (1600–1760)

Common practice

Baroque (1600–1760)
Classical (1730–1820)
Romantic (1815–1910)

Modern and contemporary

20th-century (1900–2000)
Contemporary (1975–present)
21st-century (2000–present)

message 2: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
I am moving over some of the recent posts to the Classical Music thread:

As everyone is aware we have been sampling the 1000 Recordings To Hear Before You Die by Tom Moon.

1,000 Recordings to Hear Before You Die by Tom Moon by Tom Moon

Today I am sampling J.S. Bach, Suites for Cello, Volumes 1 and 2 as performed by Pablo Casals.

According to Moon, the world's most celebrated cellist got his start playing dinner music. Moon states that Casals captures Bach's vaunted structure and uses an array of articulations to illuminate the multi-tiered logic of the themes. As with much baroque music, there are lots of notes, Casals plows through the connective phrases in a way that isolates - and brings to the fore- the less obvious extended melodies.

Also if you like listening to Classical Music - BBC Radio 3 is great to listen to while you are typing away on the computer or even reading for that matter in the background:

message 3: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Who is Pablo Casals?

Here is a video from the Classical Music Library: (Google) -actually an excellent video with wonderful images of his life as well)

He plays Suite for Cello 1.

Wikipedia: Pablo Casals

Tom Moon feels that Casals was the master.

message 4: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Suite No. 1 in G major, BWV 1007 (BACH)

The Prelude, mainly consisting of arpeggiated chords, is probably the best known movement from the entire set of suites and is regularly heard on television and in films. The second Minuet is one of only twelve movements in all six suites that doesn't contain chords other than in the last measure (measure 42). Most students begin with this suite as it is assumed to be easier to play than the others in terms of the technique required.

Rostropovich plays the Prelude from Bach's Cello Suite No. 1

Rostropovich - Bach Cello Suite No.1 - Allemande

Mstislav Rostropovich - Bach suite 1 Courante

Rostropovich plays the Sarabande from Bach's Cello Suite # 1

Mstislav Rostropovich - Bach Cello Suite 1 V. Menuet

Mstislav Rostropovich - Bach Cello Suite 1 VI. Gigue

message 5: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Suite No. 2 in D minor, BWV 1008 (BACH)

The Prelude consists of two parts, the first of which has a strong recurring theme that is immediately introduced in the beginning. The second part is a scale-based cadenza movement that leads to the final, powerful chords. The subsequent Allemande contains short cadenzas that stray away from this otherwise very strict dance form. The first Minuet contains demanding chord shiftings and string crossings.

Mstislav Rostropovich - Bach Cello Suite 2 I. Prelude

Mstislav Rostropovich - Bach Cello Suite 2 II. Allemande

Mstislav Rostropovich - Bach Cello Suite 2 III. Courante

Bach - Cello Suite No.2 iv-Sarabande (with Mischa Maisky - could not find Rostropovich segment)

Mstislav Rostropovich - Bach Cello Suite 2 V. Menuet

Mstislav Rostropovich - Bach Cello Suite 2 VI. Gigue

Regarding Rostropovich who died in 2007:

New York Times Tribute to Rostropovich:

message 6: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Suite No. 3 in C major, BWV 1009 (BACH)

The Prelude of this suite consists of an A-B-A-C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, where the cellist is introduced to thumb position, which is needed[citation needed] to reach the demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement. The Allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second Bourrée, though in C minor, has a 2-flat (or G minor) key-signature. This notation, common in pre-Classical music, is sometimes known as a partial key-signature. The first and second Bourrée of the 3rd suite is sometimes used as solo material for other bass instruments such as tuba, euphonium, and trombone.

Rostropovich playing Bach Cello Suite No. 3 Prelude

This is Janos Starker playing the same piece:

Rostropovich Plays Bach 3-ii: Allemande

(They were recorded (with Rostropovich playing) in Basilique Sainte Madeliene, Vézelay, Yonne, France, March 1991.)

Rostropovich Plays Bach 3-iii: Courante

And for those who like Mischa Maisky (same piece - Courante - Bach 3)

Rostropovich Plays Bach 3-iv: Sarabande

Rostropovich Plays Bach 3-v: Bourrées I and II

Rostropovich Plays Bach 3-vi: Gigue

message 7: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
About Bach's Cello Suites' Structure:

The Suites

The suites are in six movements each, and have the following structure and order of movements.
Galanteries – (Minuets for Suites 1 and 2, Bourrées for 3 and 4, Gavottes for 5 and 6)

Scholars believe that Bach intended the works to be considered as a systematically conceived cycle, rather than an arbitrary series of pieces: Compared to Bach's other suite collections, the cello suites are the most consistent in order of their movements. In addition, to achieve a symmetrical design and go beyond the traditional layout, Bach inserted intermezzo or galanterie movements in the form of pairs between the Sarabande and the Gigue.

It should also be noticed that only five movements in the entire set of suites are completely non-chordal: that means they consist only of a single melodic line. These are the second Minuet of the 1st Suite, the second Minuet of the 2nd suite, the second Bourrée of the 3rd suite, the Gigue of the 4th suite, and the Sarabande of the 5th Suite. It should be noted that the 2nd Gavotte of the 5th Suite has but one prim-chord (the same note played on two strings at the same time), but only in the original scordatura version of the suite — in the standard tuning version it is completely free from chords.

The Suites have been performed and recorded by many renowned cellists such as Pablo Casals, Janos Starker, Mstislav Rostropovich and Yo-Yo Ma. Ma won the 1985 Best Instrumental Soloist Grammy Award for his best selling album "Six Unaccompanied Cello Suites".

Source: Wikipedia

message 8: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
The Six Suites for Unaccompanied Cello by Johann Sebastian Bach are some of the most performed and recognizable solo compositions ever written for cello. They were most likely composed during the period 1717–1723, when Bach served as a Kapellmeister in Cöthen.

The suites contain a great variety of technical devices, a wide emotional range, and some of Bach's most compelling voice interactions and conversations. It is their intimacy, however, that has made the suites amongst Bach's most popular works today, resulting in their different recorded interpretations being fiercely defended by their respective advocates.

The suites have been transcribed for numerous instruments, including the violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, electric bass, french horn, saxophone, bass clarinet, bassoon, trumpet, trombone, euphonium, tuba and ukulele.

The Six Suites are:

Suite No. 1 in G major
Suite No. 2 in D minor
Suite No. 3 in C major
Suite No. 4 in E-flat major
Suite No. 5 in C minor
Suite No. 6 in D major

Source - Wikipedia

message 9: by 'Aussie Rick' (new)

'Aussie Rick' (aussierick) If you enjoy the music above then you might like to have a look at this recent book; "The Cello Suites" by Eric Siblin.

The Cello Suites J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece by Eric Siblin by Eric Siblin
“The ironies of artistic genius and public taste are subtly explored in this winding, entertaining tale of a musical masterpiece. Music critic Siblin parallels short, fluent biographies of composer Johann Sebastian Bach, whose six suites for solo cello were long disparaged as minor student exercises, and cello virtuoso Pablo Casals, whose landmark recording of the pieces catapulted them into the classical canon. Their lives are a study in contrasts: Bach is an obscure workaday musician who feels wasted being merely the cantor of a Lutheran boarding school; Casals, a musical superstar and anti-Fascist exile, is a romantic hero. Siblin intertwines his own story of trying to engage with the suites. He takes cello lessons, savors a rich variety of performances, including one on the marimbas, and embarks on a search for Bach's long-lost manuscript to discover clues to the enigmatic score. (Scholars aren't even certain the suites were written for cello.) Siblin is an insightful writer with an ability to convey the sound and emotional impact of music in words.” – Publishers Weekly

“A former pop-music critic, Siblin was transported to the eighteenth century when his imagination was captured by a performance of Bach’s Six Suites for Solo Cello. He embarked on a journey—part historical, part personal—to discover for himself the music that has remained a pillar of the cello repertoire since Pablo Casals recorded the suites in 1936. Siblin traveled to Leipzig looking for traces of the German composer, and to the Catalonian coast of Spain to trace the steps of the suites’ first modern master. Included in his thorough research are interviews with cellists such as Mischa Maisky and Anner Bylsma, who describe the complexities of the music and the challenges it presents to the soloist. In Siblin’s history of the composer, Bach is far from the stuffy image often applied to classical music; he appears restless, brash, and proud, occasionally landing in jail for upsetting a patron. Siblin’s writing is most inspired when describing the life of Casals, showing a genuine affection for the cellist, who, caught in the throes of the Spanish civil war and World War II, used his instrument and the suites as weapons of protest and pleas for peace.” - Elliot Mandel (Book List)

message 10: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
This really sounds like a great book since I am on my Cello Suites quest.

message 11: by Vicki, Assisting Moderator - Ancient Roman History (new)

Vicki Cline | 3788 comments Mod
People who like music criticism would enjoy Lexicon of Musical Invective Critical Assaults on Composers Since Beethoven's Time by Nicolas Slonimsky by Nicolas Slonimsky. It's a collection of snarky musical reviews, mostly from the 19th century.

message 12: by Garret (new)

Garret (ggannuch) Thanks Vikki,\

There are some amusing anecdotes in this one. Slonimakies writings have garnered a lot of positive response.

message 13: by 'Aussie Rick' (new)

'Aussie Rick' (aussierick) Bentley wrote: "This really sounds like a great book since I am on my Cello Suites quest."

I've got a copy of "The Cello Suites" sitting un-read in my library but I hope to get around to it soon but it does look like a very interesting book.

The Cello Suites J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece by Eric Siblin by Eric Siblin

message 14: by Garret (new)

message 15: by [deleted user] (new)

Garret, here's one that merits two postings: in classical and rock. An awesome performance by Lucia Micarelli on violin playing Aurora by Sibelius and Kashmir by Bonham, Plant and Page. Crank it up.

message 16: by Garret (new)

Garret (ggannuch) Thanks for the great link!

message 17: by Michael (last edited Oct 30, 2010 02:53PM) (new)

Michael Flanagan (loboz) Heres something left of center Prelude from the Cello Suite, No. 1, BWV 1007 performed on a ukulele

Why were on Bach here is another one, Bach Prelude for Lute, from the Suite in D Minor for Cello, BWV 1008.

message 19: by Garret (new)

Garret (ggannuch) [image error]

2010: The Most Memorable Moments in Music by Alex Ross

message 20: by Vicki, Assisting Moderator - Ancient Roman History (new)

Vicki Cline | 3788 comments Mod
One of my favorite pieces is Le Roi S'Amuse by Leo Delibes.

message 21: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Thank you so much Vicki.

message 22: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2834 comments Mod
Wow, I did not know this play by Victor Hugo - even less the music.
Thanks for the introduction, Vicki

message 23: by Vicki, Assisting Moderator - Ancient Roman History (new)

Vicki Cline | 3788 comments Mod
Here's another one that seems in the same genre - Le Tombeau de Couperin by Ravel.

I guess the genre would be "modern interpretions of medieval/Renaissance music." Does that make sense?

message 24: by André, Honorary Contributor - EMERITUS - Music (last edited Sep 14, 2011 12:53PM) (new)

André (andrh) | 2834 comments Mod
To me it seems he "plays" with many different styles, genres, bending them and creating his own in between.

Maurice Ravel

message 25: by Tom (new)

Tom Foolery (tomfoolery) | 35 comments Igudesman and Joo, Remote Control - a litte bit of everything.

message 26: by André, Honorary Contributor - EMERITUS - Music (new)

André (andrh) | 2834 comments Mod
I'll send Woopy, my aria performing rabbit. He'll add a little Verdi

message 27: by André, Honorary Contributor - EMERITUS - Music (new)

message 28: by Bea (new)

Bea | 1830 comments Happy 220th Birthday (or is that 54th Birthday?) Rossini and Happy Leap Day to all!

Gioachino Antonio Rossini(29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini was the most popular opera composer in history.

Placido Domingo singing "Largo al factotum" from Il barbiere di Seviglia

"Rabbit of Seville" (Bugs Bunny)

message 29: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Excellent post Bea. And Andre I had never heard of the school before.

message 30: by André, Honorary Contributor - EMERITUS - Music (last edited Mar 01, 2012 12:32AM) (new)

André (andrh) | 2834 comments Mod
Nice, Bea - especially the WB Bunny!!!.
I once posted two nice songs from a very fine album: "The Unknown Puccini" - also by Placido Domingo - on the Opera thread (Post 40).

I don't know about your French but if you want try Post 38 on the same thread.

message 31: by Jill (new)

Jill Hutchinson (bucs1960) This post is appropriate in the Opera thread as well and I will also add it there.

This is the The Ride of the Valkyries from Die Walkure by Richard Wagner. Directed by the maestro, Wilhelm Furtwanger with the Vienna Philharmonic. This music has such strength and although Wagner can be a bit hard to listen to sometimes, this can move the soul. Unfortunately, some people are only familiar with it in connection with the film Apocalypse Now.

message 32: by 'Aussie Rick' (new)

'Aussie Rick' (aussierick) For those members who love Beethoven here is a new book that is due out in a few months time that may interest you:

Beethoven The Man Revealed by John Suchet by John Suchet
Ludwig van Beethoven remains one of the world's best loved and most influential composers, the creator of such magisterial works as the 'Eroica, ' the famous Fifth Symphony, and the 'Emperor' Piano Concerto, yet also smaller, more intimate pieces like the 'Moonlight' Sonata, and 'Fur Elise.' But few know much of Beethoven's tumultuous personal life, beyond the fact that he is the composer who became deaf.

Beethoven scholar John Suchet has had a lifelong passion for the man and his music. In this book, he illuminates Beethoven's difficult childhood, his struggle to find a wife, his ungovernable temper, his emotional volatility, his tendency to push away those trying to help him, and in middle age his obsessive compulsion to control his nephew's life. In this detailed and absorbing biography, Suchet argues that it is perhaps more true of Beethoven than of any other composer, that if you know what was going on in his life, you listen to his music through different ears.

Beethoven is a full and comprehensive account of a momentous life that takes the reader on an extraordinary journey, from the composer's birth in Bonn to his death in Vienna. Beethoven scholarship is constantly evolving, and Suchet draws on the latest research, as well as using source material (some of which has never before been published in English), to paint the fullest picture yet created of the greatest composer who ever lived.

"I have loved and performed Beethoven since I was very young and have read a good deal about the life and times of this giant among composers, but John Suchet's infectious enthusiasm and fascination, probing the details behind every step of his life, and turning sensitive sleuth when the facts are less clear, opens new vistas and makes for a gripping and thought-provoking read." - Howard Shelley, Pianist and Conductor

"John Suchet offers us a fascinating and touchingly human insight into a great figure who has consumed him for decades. By exercising a genuine authority in identifying how Beethoven, the man, manifests himself in our appreciation of the music, Suchet brings an incisive freshness to an extraordinary life. The results in his 'Beethovenia' are always rigorously researched and accompanied by a child-like passion to communicate the composer's true essence." - Jonathan Freeman-Attwood, Principal of the Royal Academy of Music

"Beethoven's music continues to form one of the cornerstones of the concert repertoire some 200 years after it was written, and its sheer ingenuity and inventiveness never cease to amaze the perceptive listener. Knowing the context in which it was written can aid our understanding of the music, and every biography of Beethoven's unusual life has something new to say. Although some aspects of his life, such as his deafness, and his great love for his only nephew, are well known, this book also includes many details that are less familiar. John Suchet writes with infectious enthusiasm, and his avoidance of technical detail makes this a biography that can be read and understood by anyone interested in the composer." - Professor Barry Cooper, University of Manchester

About the Author:
John Suchet is recognized as a leading authority on the life and works of Ludwig van Beethoven. This is his first full-length biography of the composer. He presents the morning program on Britain's Classic FM, and lives in London.

message 33: by Jill (new)

Jill Hutchinson (bucs1960) Thanks, AR. Looks like a dandy.

message 34: by Jill (last edited Jul 29, 2013 06:51PM) (new)

Jill Hutchinson (bucs1960) My favorite composer of classical music, Frederic Chopin!!!


Chopin by Jim Samson by Jim Samson (no photo)


In this profound look at Chopin, Jim Samson interweaves biographical and musical commentary to produce a well-rounded portrait the man and the musician. Incorporating the most recent research, it succeeds in presenting it without recourse to unduly complex technical language. Samson addresses such questions as pedagogy, musical influences, and pianistic idiom. He examines the composer's mature musical style, considers his unique approach to the genres of nineteenth-century piano music, and investigates the nature of his compositional process as revealed through manuscripts and early printed scores. Readers to understand why this frail and fastidious musician from Warsaw, whose music is so immensely refined and innovatory, has captured the imagination of generations of music lovers the world over.

Here's an extra added attraction: The 77 year old Arthur Rubenstein playing the Chopin Waltz in A Flat Major, Opus 34, No.1.

message 35: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod - usually has some samples to listen to regularly:

Here are the ones that they have now:

Sean Perrin - Everything in its right place

Wolfgang Marder - Handel AM Sonata for Flute and BC

Joshua Newton - Tryptych for Winds II

Jennifer Grassman - One last Time

Luigi Gordon Lovisoni - Al Khachaturian

message 36: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Evgeny Kissin - Chopin Etude No. 1 in C Major, Op.10

Evgeny Kissin was born in Moscow in October 1971 and began to play by ear and improvise on the piano at the age of two. At six years old, he entered a special school for gifted children, the Moscow Gnessin School of Music, where he was a student of Anna Pavlovna Kantor, who has remained his only teacher. At the age of ten, he made his concerto debut playing Mozart’s Piano Concerto K. 466 and gave his first solo recital in Moscow one year later. He came to international attention in March 1984 when, at the age of twelve, he performed Chopin’s Piano Concertos 1 and 2 in the Great Hall of the Moscow Conservatory with the Moscow State Philharmonic under Dmitri Kitaenko. This concert was recorded live by Melodia, and a two-LP album was released the following year. During the next two years, several Kissin performances in Moscow were recorded live and five more LPs were released by Melodia.

Kissin’s first appearances outside Russia were in 1985 in Eastern Europe, followed a year later by his first tour of Japan. In 1987 he made his West European debut at the Berlin Festival. In 1988 he toured Europe with the Moscow Virtuosi and Vladimir Spivakov and also made his London debut with the London Symphony Orchestra under Valery Gergiev. In December of the same year he performed with Herbert von Karajan and the Berlin Philharmonic in a New Year’s concert which was broadcast internationally, with the performance repeated the following year at the Salzburg Easter Festival. Audio and video recordings of the New Year’s concert were made by Deutsche Grammophon.

In 1990 Kissin made his first appearance at the BBC Promenade Concerts in London and that same year made his North American debut, performing both Chopin piano concertos with the New York Philharmonic conducted by Zubin Mehta. The following week he opened Carnegie Hall’s Centennial season with a spectacular debut recital, which was recorded live by BMG Classics.

Musical awards and tributes from around the world have been showered upon Kissin. In 1987 he received the Crystal Prize of the Osaka Symphony Hall for the best performance of the year 1986 (which was his first performance in Japan ). In 1991 he received the Musician of the Year Prize from the Chigiana Academy of Music in Siena, Italy . He was special guest at the 1992 Grammy Awards Ceremony, broadcast live to an audience estimated at over one billion, and became Musical America ’s youngest Instrumentalist of the Year in 1995. In 1997 he received the prestigious Triumph Award for his outstanding contribution to Russia’s culture, one of the highest cultural honors to be awarded in the Russian Republic , and again, the youngest-ever awardee. He was the first pianist to be invited to give a recital at the BBC Proms (1997), and, in the 2000 season, was the first concerto soloist ever to be invited to play in the Proms opening concert. In May 2001 Kissin was awarded an Honorary Doctorate of Music by the Manhattan School of Music. In December 2003 in Moscow, he received the Shostakovich Award, one of Russia ’s highest musical honors. In June 2005, he was awarded an Honorary Membership of the Royal Academy of Music in London . He was recently awarded the 2005 Herbert von Karajan Music Prize.

Mr. Kissin’s recordings have also received numerous awards and accolades, having contributed significantly to the library of masterpieces recorded by the world’s greatest performers. Past awards have included the Edison Klassiek in The Netherlands, Grammy awards, and the Diapason d’Or and the Grand Prix of La Nouvelle Academie du Disque in France.

message 37: by Jill (new)

Jill Hutchinson (bucs1960) This is the first volume of a trilogy about the master, Franz Liszt, and probably the best of the three.

Franz Liszt: The Virtuoso Years, 1811-1847

Franz Liszt The Virtuoso Years, 1811-1847 by Alan Walker by Alan Walker (no photo)


Franz Liszt--child prodigy, virtuoso pianist, co-founder with Chopin and Schumann of the Romantic movement in music--has been the subject of literally hundreds of biographies, but it is only in the last few decades that the importance of Liszt the composer, as opposed to Liszt the Romantic hero, has been recognized. This new perspective has created the need for a fresh, full-scale approach, biographical and critical, to the evaluation of the man and his music.

For more than ten years Alan Walker, a leading authority on nineteenth-century music and the author of important studies of Chopin and Schumann, has traveled throughout Europe discovering unpublished material in museums and private collections, in the parish registries of tiny villages in Austria and Hungary, and in major archives in Weimar and Budapest, seeking out new information and corroborating or correcting the old. He has left virtually no source unexamined--from the hundreds of contemporary biographies (many of them more fiction than fact) to the scores of memoirs, reminisces, and diaries of his pupils and disciples (the list of his students from his Weimar masterclasses reads like a Burke's Peerage of pianists). Dr. Walker's efforts have culminated in a study that will stand as definitive for years to come. A feat of impeccable scholarship, it also displays a strong and compelling narrative impulse and a profound understanding of the complicated man Liszt was.

message 38: by Bentley, Group Founder, Leader, Chief (new)

Bentley | 44125 comments Mod
Thank you Jill.

message 39: by Sitatunga (last edited Aug 31, 2013 04:13AM) (new)

Sitatunga I really do not think the world needs John Suchet to keep on banging on about Beethoven! Surely the composer with the most air time of any, especially among those played on the dreaded Classic FM. You might as well say I like ice-cream, anyone else tried it? I fear Mr. Suchet at times sounds in danger of becoming an obsessive compulsive. His fictionalised biographies, of a life that is sufficiently fascinating in reality, is a case in point. Perhaps someone should press the 'reset' button but then he might start obsessing about Bach and that would be to destroy yet another beloved master.

message 40: by Bentley, Group Founder, Leader, Chief (last edited Aug 31, 2013 06:25AM) (new)

Bentley | 44125 comments Mod
Sitatunga - I can tell you do not like John Suchet. But since he is an author we have to cite him. Like the example below. For an author - always the author's photo and the author's link - in this case there is no photo so we simply put (no photo) at the end.

John Suchet (no photo)

Why do you think he obsesses so much about Beethoven - I guess you would like to hear him be more even handed. And I guess you believe that his biographies are more fiction than fact. Also Beethoven.

Ludwig van Beethoven Ludwig van Beethoven

Whose work would you recommend? Don't forget to add bookcover, author's photo and author's link? Would love to hear your recommendations.

message 41: by Sitatunga (last edited Aug 31, 2013 06:45AM) (new)

Sitatunga I don't dislike John Suchet. He's perfectly harmless. But, as with all Classic FM, one tires of hearing the same old stuff. And he's been going on for ... decades now. As to the fiction, I'm referring to his 3-vol fictionalised account. The Last Master : Passion and Anger vol. 1 and so forth.
I think LvB has been done to death, if you'll pardon the expression. There are a thousand other composers, and at least a hundred of equal interest. As to books, here's one:

The Classical Style

message 42: by Bentley, Group Founder, Leader, Chief (last edited Aug 31, 2013 07:03AM) (new)

Bentley | 44125 comments Mod
Thank you for the response and the clarification Sitatunga. Are you a musician or just like classical music?

Yes, the work you cited was a fictional account. Please try to add the book cover, author's photo and author's link - we will help you along the way.

Note: the following is fiction
The Last Master Passion and Anger vol. 1 by John Suchet by John Suchet (no photo)

The Classical Style Haydn, Mozart, Beethoven by Charles Rosen by Charles Rosen (no photo)

Ludwig van Beethoven Ludwig van Beethoven

I have given examples of the citations which take two seconds once you get the hang of it.

Here is a thread which will help you - called Mechanics of the Board:

Any of the moderators will assist.

message 43: by Jill (new)

Jill Hutchinson (bucs1960) The addition of this book is not meant to imply that people reading this topic are dummies!!! But this book adds all those little known facts that sometimes slip by the music lover. It's fun.

Classical Music for Dummies

Classical Music for Dummies by David Pogue by David Pogue David Pogue


The more you know about classical music, the more you love it. Now, thanks to "Classical Music For Dummies," you can achieve a whole new level of insight into both the composers and the compositions that have made classical music one of the great accomplishments of humankind."Classical Music For Dummies" doesn't assume that you have a degree in musicology -- or even that you took a course in music appreciation. Rather, the multimedially gifted David Pogue and renowned conductor Scott Speck explain classical music in terms you can understand, and they describe musical elements so that you can hear them for yourself.

A reference you can dip into at any point, "Classical Music For Dummies" covers such topics asThe various forms that classical music takes -- from symphonies to string quartetsWhat goes on behind the scenes and on stage to fill a concert hall with great classical musicHow to recognize, by sight and by sound, the many instruments that make up an orchestraThe nuts and bolts of classical music -- from rhythm to harmonic progressionPlus, "Classical Music For Dummies" comes complete with a CD containing over 60 minutes of masterpieces compiled especially for the book.

message 44: by Jill (new)

Jill Hutchinson (bucs1960) The Maestro!!!!

Rachmaninoff: Life, Works, Recording

Rachmaninoff Life, Works, Recordings by Max Harrison by Max Harrison (no photo)


Sergei Rachmaninoff (1873-1943) is now widely regarded as one of the greatest 20th-century composers and pianists. In this illuminating and accessible biography, Max Harrison covers the span of Rachmaninoff's life, taking in his career as composer, pianist and conductor, offering full analyses of his scores and a uniquely detailed treatment of his 1919-1942 recordings. A fascinating account of the man, his life and work, this book sheds much new light on its subject and the ways that Rachmaninoff was viewed during his own time and beyond.

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Bentley | 44125 comments Mod
Great adds Jill

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Jill Hutchinson (bucs1960) One of the most prolific of the giants in classical music.


Tchaikovsky by Roland John Wiley by Roland John Wiley (no photo)


A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker--arguably the most popular ballet currently on the boards--Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture--this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.

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Jill Hutchinson (bucs1960) An insightful biography of the reclusive composer.

Maurice Ravel

Maurice Ravel by Gerald Larner by Gerald Larner (no photo)


From the Pavane pour une Infante defunte to Bolero, much of the music of Maurice Ravel (1875-1937) is among the most accessible of any written during the last 100 years. The man himself, on the other hand, was notoriously difficult to get to know, partly because of his natural modesty and inherent reserve, but partly also because there were aspects of his character which he preferred to conceal even from his closest friends. It is Gerlad Larner's aim in this biography to trace the development of the composer's personality not only through events in his life and in the society around him, but also through his music, which is more revealing in this respect than is generally believed.

message 48: by Jill (last edited Mar 08, 2015 07:04PM) (new)

Jill Hutchinson (bucs1960) My favorite classical pianist, Maestro Arthur Rubinstein, would only play one brand of piano, the Bechstein. The company which still provides beautiful instruments for pianists around the world, was founded in 1853 by Carl Bechstein in Berlin, Germany. The sound and touch of a Bechstein is unforgettable. I actually got to play one which was on consignment at a music store for $136,000. It was a 1956 model. Guess who didn't buy it????

Below is one of their great advertisements from the 1920s.

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Jill Hutchinson (bucs1960) This is a huge and all encompassing reference book of classical music.

The Vintage Guide to Classical Music

The Vintage Guide to Classical Music by Jan Swafford by Jan Swafford Jan Swafford


The most readable and comprehensive guide to enjoying over five hundred years of classical music -- from Gregorian chants, Johann Sebastian Bach, and Wolfgang Amadeus Mozart to Johannes Brahms, Igor Stravinsky, John Cage, and beyond.

The Vintage Guide to Classical Music is a lively -- and opinionated -- musical history and an insider's key to the personalities, epochs, and genres of the Western classical tradition. Among its features:
-- chronologically arranged essays on nearly 100 composers, from Guillaume de Machaut (ca. 1300-1377) to Aaron Copland (1900-1990), that combine biography with detailed analyses of the major works while assessing their role in the social, cultural, and political climate of their times;
-- informative sidebars that clarify broader topics such as melody, polyphony, atonality, and the impact of the early-music movement;
-- a glossary of musical terms, from a cappella to woodwinds;
-- a step-by-step guide to building a great classical music library.

Written with wit and a clarity that both musical experts and beginners can appreciate, The Vintage Guide to Classical Music is an invaluable source-book for music lovers everywhere.

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Thanks Jill for the adds.

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