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The Classical Music Portal

The Dublin Philharmonic Orchestra performing Tchaikovsky's Symphony No. 4 in Charlotte, North Carolina, USA
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Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" can also be applied to non-Western art musics. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history. (Full article...)

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  • Image 1 Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette. A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony. A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
    A distinguished-looking man in his forties with medium-length hair, aquiline nose, and circa-1850 formal high collar
    Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette.


    A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.

    A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg. (Full article...)
  • Image 2 Beethoven with the Manuscript of the Missa Solemnis (1820) Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. He is one of the most revered figures in the history of Western music; his works rank among the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterised as heroic. During this time, Beethoven began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression. Born in Bonn, Beethoven displayed his musical talent at a young age. He was initially taught intensively by his father, Johann van Beethoven, and later by Christian Gottlob Neefe. Under Neefe's tutelage in 1783, he published his first work, a set of keyboard variations. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and was soon patronised by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795. (Full article...)

    Beethoven with the Manuscript of the Missa Solemnis (1820)

    Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. He is one of the most revered figures in the history of Western music; his works rank among the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterised as heroic. During this time, Beethoven began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.

    Born in Bonn, Beethoven displayed his musical talent at a young age. He was initially taught intensively by his father, Johann van Beethoven, and later by Christian Gottlob Neefe. Under Neefe's tutelage in 1783, he published his first work, a set of keyboard variations. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and was soon patronised by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795. (Full article...)
  • Image 3 Second page of O dolcezz'amarissime d'amore, written for the concerto by Luzzasco Luzzaschi. The excerpt displays the fast-moving virtuosic passages in which the group specialized. The concerto delle donne (lit. 'consort of ladies') was an ensemble of professional female singers of late Renaissance music in Italy. The term usually refers to the first and most influential group in Ferrara, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos Laura Peverara, Livia d'Arco and Anna Guarini. The Duke of Ferrara Alfonso II d'Este founded a group of mostly female singers for his chamber music series, musica secreta (lit. 'secret music'). These singers were exclusively noble women, such as Lucrezia and Isabella Bendidio. In 1580, Alfonso formally established the concerto delle donne for both his wife Margherita Gonzaga d'Este and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers Luzzasco Luzzaschi and Ippolito Fiorini. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as Lodovico Agostini, Carlo Gesualdo and Claudio Monteverdi. (Full article...)
    Second page of O dolcezz'amarissime d'amore, written for the concerto by Luzzasco Luzzaschi. The excerpt displays the fast-moving virtuosic passages in which the group specialized.


    The concerto delle donne (lit. 'consort of ladies') was an ensemble of professional female singers of late Renaissance music in Italy. The term usually refers to the first and most influential group in Ferrara, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos Laura Peverara, Livia d'Arco and Anna Guarini.

    The Duke of Ferrara Alfonso II d'Este founded a group of mostly female singers for his chamber music series, musica secreta (lit. 'secret music'). These singers were exclusively noble women, such as Lucrezia and Isabella Bendidio. In 1580, Alfonso formally established the concerto delle donne for both his wife Margherita Gonzaga d'Este and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers Luzzasco Luzzaschi and Ippolito Fiorini. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as Lodovico Agostini, Carlo Gesualdo and Claudio Monteverdi. (Full article...)
  • Image 4 Mozart c. 1783 Symphony No. 40 in G minor, K. 550 was written by Wolfgang Amadeus Mozart in 1788. It is sometimes referred to as the "Great G minor symphony", to distinguish it from the "Little G minor symphony", No. 25. The two are the only extant minor key among Mozart's symphonies. (Full article...)

    Mozart c. 1783

    Symphony No. 40 in G minor, K. 550 was written by Wolfgang Amadeus Mozart in 1788. It is sometimes referred to as the "Great G minor symphony", to distinguish it from the "Little G minor symphony", No. 25. The two are the only extant minor key among Mozart's symphonies. (Full article...)
  • Image 5 Abraham Bloemaert playing a bagpipe. A musical instrument is a device created or adapted to make musical sounds. In principle, any object that produces sound can be considered a musical instrument—it is through purpose that the object becomes a musical instrument. A person who plays a musical instrument is known as an instrumentalist. The history of musical instruments dates to the beginnings of human culture. Early musical instruments may have been used for rituals, such as a horn to signal success on the hunt, or a drum in a religious ceremony. Cultures eventually developed composition and performance of melodies for entertainment. Musical instruments evolved in step with changing applications and technologies. (Full article...)
    Abraham Bloemaert playing a bagpipe.

    A musical instrument is a device created or adapted to make musical sounds. In principle, any object that produces sound can be considered a musical instrument—it is through purpose that the object becomes a musical instrument. A person who plays a musical instrument is known as an instrumentalist.

    The history of musical instruments dates to the beginnings of human culture. Early musical instruments may have been used for rituals, such as a horn to signal success on the hunt, or a drum in a religious ceremony. Cultures eventually developed composition and performance of melodies for entertainment. Musical instruments evolved in step with changing applications and technologies. (Full article...)
  • Image 6 Rita Sangalli as Sylvia in the 1876 production of the ballet Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length classical ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes. The ballet's premiere took place on 14 June 1876 at the Palais Garnier, but was largely unnoticed by the critics. The first seven productions were commercially unsuccessful, but the 1952 revival, choreographed by Frederick Ashton, popularized the work. Productions in 1997, 2004, 2005, and 2009 productions were all based on Ashton's choreography. (Full article...)
    Rita Sangalli as Sylvia in the 1876 production of the ballet

    Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length classical ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes.

    The ballet's premiere took place on 14 June 1876 at the Palais Garnier, but was largely unnoticed by the critics. The first seven productions were commercially unsuccessful, but the 1952 revival, choreographed by Frederick Ashton, popularized the work. Productions in 1997, 2004, 2005, and 2009 productions were all based on Ashton's choreography. (Full article...)
  • Image 7 Harpsichord with double keyboard. The inside of the lid is decorated with two original paintings depicting the battle between Apollo and Pan based on The Judgment of Midas by Hendrick Goltzius (1590). The front cover shows Apollo and the Muses on Mount Helicon. The exterior was repainted with red chinoiserie decoration in the 18th century. A harpsichord is a musical instrument played by means of a keyboard. Depressing a key raises its back end within the instrument, which in turn raises a mechanism with a small plectrum made from quill or plastic that plucks one or more strings. The strings are under tension on a soundboard, which is mounted in a wooden case; the soundboard amplifies the vibrations from the strings so that the listeners can hear it. Like a pipe organ, a harpsichord may have more than one keyboard manual, and even a pedal board. Harpsichords may also have stop levers which add or remove additional octaves. Some harpsichords may have a buff stop, which brings a strip of buff leather or other material in contact with the strings, muting their sound to simulate the sound of a plucked lute. The term denotes the whole family of similar plucked-keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was widely used in Renaissance and Baroque music, both as an accompaniment instrument and as a soloing instrument. During the Baroque era, the harpsichord was a standard part of the continuo group. The basso continuo part acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the fortepiano (and then the increasing use of the piano in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically informed performances of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g., Baroque pop). (Full article...)
    Harpsichord with double keyboard. The inside of the lid is decorated with two original paintings depicting the battle between Apollo and Pan based on The Judgment of Midas by Hendrick Goltzius (1590). The front cover shows Apollo and the Muses on Mount Helicon. The exterior was repainted with red chinoiserie decoration in the 18th century.


    A harpsichord is a musical instrument played by means of a keyboard. Depressing a key raises its back end within the instrument, which in turn raises a mechanism with a small plectrum made from quill or plastic that plucks one or more strings. The strings are under tension on a soundboard, which is mounted in a wooden case; the soundboard amplifies the vibrations from the strings so that the listeners can hear it. Like a pipe organ, a harpsichord may have more than one keyboard manual, and even a pedal board. Harpsichords may also have stop levers which add or remove additional octaves. Some harpsichords may have a buff stop, which brings a strip of buff leather or other material in contact with the strings, muting their sound to simulate the sound of a plucked lute.

    The term denotes the whole family of similar plucked-keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was widely used in Renaissance and Baroque music, both as an accompaniment instrument and as a soloing instrument. During the Baroque era, the harpsichord was a standard part of the continuo group. The basso continuo part acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the fortepiano (and then the increasing use of the piano in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically informed performances of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g., Baroque pop). (Full article...)
  • Image 8 Nixon in China is an opera in three acts by John Adams with a libretto by Alice Goodman. Adams's first opera, it was inspired by U.S. president Richard Nixon's 1972 visit to the People's Republic of China. The work premiered at the Houston Grand Opera on October 22, 1987, in a production by Peter Sellars with choreography by Mark Morris. When Sellars approached Adams with the idea for the opera in 1983, Adams was initially reluctant, but eventually decided that the work could be a study in how myths come to be, and accepted the project. Goodman's libretto was the result of considerable research into Nixon's visit, though she disregarded most sources published after the 1972 trip. To create the sounds he sought, Adams augmented the orchestra with a large saxophone section, additional percussion, and electronic synthesizer. Although sometimes described as minimalist, the score displays a variety of musical styles, embracing minimalism after the manner of Philip Glass alongside passages echoing 19th-century composers such as Wagner and Johann Strauss. With these ingredients, Adams mixes Stravinskian 20th-century neoclassicism, jazz references, and big band sounds reminiscent of Nixon's youth in the 1930s. The combination of these elements varies frequently, to reflect changes in the onstage action. (Full article...)
    Nixon in China is an opera in three acts by John Adams with a libretto by Alice Goodman. Adams's first opera, it was inspired by U.S. president Richard Nixon's 1972 visit to the People's Republic of China. The work premiered at the Houston Grand Opera on October 22, 1987, in a production by Peter Sellars with choreography by Mark Morris. When Sellars approached Adams with the idea for the opera in 1983, Adams was initially reluctant, but eventually decided that the work could be a study in how myths come to be, and accepted the project. Goodman's libretto was the result of considerable research into Nixon's visit, though she disregarded most sources published after the 1972 trip.

    To create the sounds he sought, Adams augmented the orchestra with a large saxophone section, additional percussion, and electronic synthesizer. Although sometimes described as minimalist, the score displays a variety of musical styles, embracing minimalism after the manner of Philip Glass alongside passages echoing 19th-century composers such as Wagner and Johann Strauss. With these ingredients, Adams mixes Stravinskian 20th-century neoclassicism, jazz references, and big band sounds reminiscent of Nixon's youth in the 1930s. The combination of these elements varies frequently, to reflect changes in the onstage action. (Full article...)
  • Image 9 A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice. The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice that is denoted by the term today. This is partly because of changes in human physiology (increase in body height) and partly because of fluctuations in pitch. (Full article...)
    A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

    The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice that is denoted by the term today. This is partly because of changes in human physiology (increase in body height) and partly because of fluctuations in pitch. (Full article...)
  • Image 10 Portrait of Haydn by Thomas Hardy, c. 1791 Franz Joseph Haydn (/ˈhaɪdən/ HY-dən; German: [ˈfʁants ˈjoːzɛf ˈhaɪdn̩] ⓘ; 31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String quartet". Haydn spent much of his career as a court musician for the wealthy Esterházy family at their Eszterháza Castle. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe. (Full article...)
    Portrait of Haydn by Thomas Hardy, c. 1791


    Franz Joseph Haydn (/ˈhaɪdən/ HY-dən; German: [ˈfʁants ˈjoːzɛf ˈhaɪdn̩] ⓘ; 31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String quartet".

    Haydn spent much of his career as a court musician for the wealthy Esterházy family at their Eszterháza Castle. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe. (Full article...)
  • Image 11 The clarinet is a single-reed musical instrument in the woodwind family, with a nearly cylindrical bore and a flared bell. Clarinets comprise a family of instruments of differing sizes and pitches. The clarinet family is the largest woodwind family, ranging from the BB♭ contrabass to the E♭ soprano. The B♭ soprano clarinet is the most common type, and is the instrument usually indicated by the word "clarinet". (Full article...)

    The clarinet is a single-reed musical instrument in the woodwind family, with a nearly cylindrical bore and a flared bell.

    Clarinets comprise a family of instruments of differing sizes and pitches. The clarinet family is the largest woodwind family, ranging from the BB♭ contrabass to the E♭ soprano. The B♭ soprano clarinet is the most common type, and is the instrument usually indicated by the word "clarinet". (Full article...)
  • Image 12 Facade of the National Conservatory of Music of America (Jeannette Meyers Thurber's) at 47-49 West 25th Street. The National Conservatory of Music of America was an institution for higher education in music founded in 1885 in New York City by Jeannette Meyers Thurber. The conservatory was officially declared defunct by the state of New York in 1952, although for all practical pedagogical purposes, it had ceased to function much earlier than that. Between its founding and about 1920, however, the conservatory played an important part in the education and training of musicians in the United States, and for decades Thurber attempted to turn it into a federally-supported national conservatory in a European style. A number of prominent names are associated with the institution, including that of Victor Herbert and Antonín Dvořák, director of the conservatory from September 27, 1892 to 1895. (It was at the conservatory that Dvořák composed his famous E minor Symphony and subtitled it, at Thurber's suggestion, From the New World.) (Full article...)
    Facade of the National Conservatory of Music of America (Jeannette Meyers Thurber's) at 47-49 West 25th Street.

    The National Conservatory of Music of America was an institution for higher education in music founded in 1885 in New York City by Jeannette Meyers Thurber. The conservatory was officially declared defunct by the state of New York in 1952, although for all practical pedagogical purposes, it had ceased to function much earlier than that. Between its founding and about 1920, however, the conservatory played an important part in the education and training of musicians in the United States, and for decades Thurber attempted to turn it into a federally-supported national conservatory in a European style. A number of prominent names are associated with the institution, including that of Victor Herbert and Antonín Dvořák, director of the conservatory from September 27, 1892 to 1895. (It was at the conservatory that Dvořák composed his famous E minor Symphony and subtitled it, at Thurber's suggestion, From the New World.) (Full article...)
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  • Image 1 Stanford in 1921 Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it. While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also Professor of Music at Cambridge. As a teacher, Stanford was sceptical about modernism, and based his instruction chiefly on classical principles as exemplified in the music of Brahms. Among his pupils were rising composers whose fame went on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, Stanford held posts with the Bach Choir and the Leeds Triennial Music Festival. (Full article...)
    head and shoulders shot of an elderly man with full head of hair, moustache and pince-nez
    Stanford in 1921

    Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.

    While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also Professor of Music at Cambridge. As a teacher, Stanford was sceptical about modernism, and based his instruction chiefly on classical principles as exemplified in the music of Brahms. Among his pupils were rising composers whose fame went on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, Stanford held posts with the Bach Choir and the Leeds Triennial Music Festival. (Full article...)
  • Image 2 Guto Pryderi Puw (2018) Guto Pryderi Puw (born 1971) is a Welsh composer, university lecturer and conductor. He is considered to be one of the most prominent Welsh composers of his generation and a key figure in current Welsh music. Puw's music has been broadcast on BBC Radio 3 and been featured on television programmes for the BBC and S4C. He has twice been awarded the Composer's Medal at the National Eisteddfod. Puw's works include pieces for unusual combinations of instruments, such as a tuba quartet or a trio consisting of harp, cello and double-bass, as well as more traditional forces such as solo baritone and piano, choir or orchestra. He was associated with the BBC National Orchestra of Wales as its Resident Composer, the first holder of this title, from 2006 to 2010. Puw's own Welsh identity is a recurrent theme in his music: some of his pieces set Welsh-language poetry to music and one of his pieces, Reservoirs, is written about the flooding of Welsh valleys to provide water for England. (Full article...)

    Guto Pryderi Puw (2018)

    Guto Pryderi Puw (born 1971) is a Welsh composer, university lecturer and conductor. He is considered to be one of the most prominent Welsh composers of his generation and a key figure in current Welsh music. Puw's music has been broadcast on BBC Radio 3 and been featured on television programmes for the BBC and S4C. He has twice been awarded the Composer's Medal at the National Eisteddfod.

    Puw's works include pieces for unusual combinations of instruments, such as a tuba quartet or a trio consisting of harp, cello and double-bass, as well as more traditional forces such as solo baritone and piano, choir or orchestra. He was associated with the BBC National Orchestra of Wales as its Resident Composer, the first holder of this title, from 2006 to 2010. Puw's own Welsh identity is a recurrent theme in his music: some of his pieces set Welsh-language poetry to music and one of his pieces, Reservoirs, is written about the flooding of Welsh valleys to provide water for England. (Full article...)
  • Image 3 Mitsuda in 2019 Yasunori Mitsuda (光田 康典, Mitsuda Yasunori, born January 21, 1972) is a Japanese composer and musician. He is best known for his work in video games, primarily for the Chrono, Xeno, Shadow Hearts, and Inazuma Eleven franchises, among various others. Mitsuda began composing music for his own games in high school, later attending a music college in Tokyo. While still a student, he was granted an intern position at the game development studio Wolf Team. Mitsuda joined Square upon graduation in 1992 and worked there as a sound effects designer for two years before telling Square's vice president Hironobu Sakaguchi he would quit unless he could write music for their games. Shortly after, Sakaguchi assigned him to work on the soundtrack for Chrono Trigger (1995), whose music has since been cited as among the best in video games. (Full article...)

    Mitsuda in 2019
    Yasunori Mitsuda (光田 康典, Mitsuda Yasunori, born January 21, 1972) is a Japanese composer and musician. He is best known for his work in video games, primarily for the Chrono, Xeno, Shadow Hearts, and Inazuma Eleven franchises, among various others. Mitsuda began composing music for his own games in high school, later attending a music college in Tokyo. While still a student, he was granted an intern position at the game development studio Wolf Team.

    Mitsuda joined Square upon graduation in 1992 and worked there as a sound effects designer for two years before telling Square's vice president Hironobu Sakaguchi he would quit unless he could write music for their games. Shortly after, Sakaguchi assigned him to work on the soundtrack for Chrono Trigger (1995), whose music has since been cited as among the best in video games. (Full article...)
  • Image 4 Top: Pyotr Ilyich Tchaikovsky. Bottom (left to right): Nikolai Rimsky-Korsakov, Alexander Glazunov and Anatoly Lyadov Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov's work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once frowned upon by the group. As a result of the time Tchaikovsky spent with the Belyayev circle's leading composers—Glazunov, Anatoly Lyadov and Rimsky-Korsakov—the somewhat fraught relationship he had previously endured with The Five would eventually meld into something more harmonious. Tchaikovsky's friendship with these men gave him increased confidence in his own abilities as a composer, while his music encouraged Glazunov to broaden his artistic outlook past the nationalist agenda and to compose along more universal themes. This influence grew to the point that Glazunov's Third Symphony became known as the "anti-kuchist" symphony of his oeuvre ("kuchist" refers to "kuchka", the shortened Russian name for The Five) and shared several stylistic fingerprints with Tchaikovsky's later symphonies. Nor was Glazunov the only composer so influenced. Rimsky-Korsakov wrote about the Belyayev composers' "worship of Tchaikovsky and ... tendency toward eclecticism" that became prevalent during this period, along with a predilection toward "Italian-French music of the time of wig and farthingale" (that is, of the 18th Century) typified in Tchaikovsky's late operas The Queen of Spades and Iolanta. (Full article...)
    A large portrait of a man with grey hair and a beard, above three smaller portraits of a middle-aged man with glasses and a long bears, a young man with reddish brown hair, and a man with balding hair and a mustache. The portraits in this image are part of the full portraits shown later in the article.
    Top: Pyotr Ilyich Tchaikovsky. Bottom (left to right): Nikolai Rimsky-Korsakov, Alexander Glazunov and Anatoly Lyadov


    Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov's work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once frowned upon by the group.

    As a result of the time Tchaikovsky spent with the Belyayev circle's leading composers—Glazunov, Anatoly Lyadov and Rimsky-Korsakov—the somewhat fraught relationship he had previously endured with The Five would eventually meld into something more harmonious. Tchaikovsky's friendship with these men gave him increased confidence in his own abilities as a composer, while his music encouraged Glazunov to broaden his artistic outlook past the nationalist agenda and to compose along more universal themes. This influence grew to the point that Glazunov's Third Symphony became known as the "anti-kuchist" symphony of his oeuvre ("kuchist" refers to "kuchka", the shortened Russian name for The Five) and shared several stylistic fingerprints with Tchaikovsky's later symphonies. Nor was Glazunov the only composer so influenced. Rimsky-Korsakov wrote about the Belyayev composers' "worship of Tchaikovsky and ... tendency toward eclecticism" that became prevalent during this period, along with a predilection toward "Italian-French music of the time of wig and farthingale" (that is, of the 18th Century) typified in Tchaikovsky's late operas The Queen of Spades and Iolanta. (Full article...)
  • Image 5 Lutosławski in 1992 Witold Roman Lutosławski (Polish: [ˈvitɔld lutɔˈswafski] ⓘ; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970). During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renown—and Dance Preludes (1955), which he described as a "farewell to folklore". From the late 1950s he began developing new, characteristic composition techniques. He introduced limited aleatoric elements, while retaining tight control of his music's material, architecture, and performance. He also evolved his practice of building harmonies from small groups of musical intervals. (Full article...)

    Lutosławski in 1992

    Witold Roman Lutosławski (Polish: [ˈvitɔld lutɔˈswafski] ⓘ; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970).

    During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renown—and Dance Preludes (1955), which he described as a "farewell to folklore". From the late 1950s he began developing new, characteristic composition techniques. He introduced limited aleatoric elements, while retaining tight control of his music's material, architecture, and performance. He also evolved his practice of building harmonies from small groups of musical intervals. (Full article...)
  • Image 6 Smetana, c. 1878 Bedřich Smetana (/ˌbɛdərʒɪx ˈsmɛtənə/ BED-ər-zhikh SMET-ə-nə; Czech: [ˈbɛdr̝ɪx ˈsmɛtana] ⓘ; 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his people's aspirations to a cultural and political "revival". He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his 1866 opera The Bartered Bride and for the symphonic cycle Má vlast ("My Fatherland"), which portrays the history, legends and landscape of the composer's native Bohemia. It contains the famous symphonic poem "Vltava", also popularly known by its German name "Die Moldau" (in English, "The Moldau"). Smetana was naturally gifted as a composer, and gave his first public performance at the age of six. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. (Full article...)
    Portrait of middle-aged man
    Smetana, c. 1878signature written in ink in a flowing script


    Bedřich Smetana (/ˌbɛdərʒɪx ˈsmɛtənə/ BED-ər-zhikh SMET-ə-nə; Czech: [ˈbɛdr̝ɪx ˈsmɛtana] ⓘ; 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his people's aspirations to a cultural and political "revival". He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his 1866 opera The Bartered Bride and for the symphonic cycle Má vlast ("My Fatherland"), which portrays the history, legends and landscape of the composer's native Bohemia. It contains the famous symphonic poem "Vltava", also popularly known by its German name "Die Moldau" (in English, "The Moldau").

    Smetana was naturally gifted as a composer, and gave his first public performance at the age of six. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. (Full article...)
  • Image 7 1763 portrait Frederick II (German: Friedrich II.; 24 January 1712 – 17 August 1786) was the monarch of Prussia from 1740 until his death in 1786. He was the last Hohenzollern monarch titled King in Prussia, declaring himself King of Prussia after annexing Royal Prussia from the Polish–Lithuanian Commonwealth in 1772. His most significant accomplishments include military successes in the Silesian wars, reorganisation of the Prussian Army, the First Partition of Poland, and patronage of the arts and the Enlightenment. Prussia greatly increased its territories and became a major military power in Europe under his rule. He became known as Frederick the Great (German: Friedrich der Große) and was nicknamed "Old Fritz" (German: der Alte Fritz). In his youth, Frederick was more interested in music and philosophy than war, which led to clashes with his authoritarian father, Frederick William I of Prussia. However, upon ascending to the throne, he attacked and annexed the rich Austrian province of Silesia in 1742, winning military acclaim. He became an influential military theorist, whose analyses emerged from his extensive personal battlefield experience and covered issues of strategy, tactics, mobility and logistics. (Full article...)

    1763 portrait

    Frederick II (German: Friedrich II.; 24 January 1712 – 17 August 1786) was the monarch of Prussia from 1740 until his death in 1786. He was the last Hohenzollern monarch titled King in Prussia, declaring himself King of Prussia after annexing Royal Prussia from the Polish–Lithuanian Commonwealth in 1772. His most significant accomplishments include military successes in the Silesian wars, reorganisation of the Prussian Army, the First Partition of Poland, and patronage of the arts and the Enlightenment. Prussia greatly increased its territories and became a major military power in Europe under his rule. He became known as Frederick the Great (German: Friedrich der Große) and was nicknamed "Old Fritz" (German: der Alte Fritz).

    In his youth, Frederick was more interested in music and philosophy than war, which led to clashes with his authoritarian father, Frederick William I of Prussia. However, upon ascending to the throne, he attacked and annexed the rich Austrian province of Silesia in 1742, winning military acclaim. He became an influential military theorist, whose analyses emerged from his extensive personal battlefield experience and covered issues of strategy, tactics, mobility and logistics. (Full article...)
  • Image 8 Rossini as a young man, c. 1810–1815 Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. (Full article...)
    oil painting of head and torso of young white man with medium length dark hair
    Rossini as a young man, c. 1810–1815


    Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.

    Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. (Full article...)
  • Image 9 Cabinet card of Massenet by Eugène Pirou, 1895 Jules Émile Frédéric Massenet (French pronunciation: [ʒyl emil fʁedeʁik masnɛ]; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries. (Full article...)
    Middle-aged man, receding hair, neatly moustached, looking slightly away from the camera, in a cabinet card mount
    Cabinet card of Massenet by Eugène Pirou, 1895


    Jules Émile Frédéric Massenet (French pronunciation: [ʒyl emil fʁedeʁik masnɛ]; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music.

    While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries. (Full article...)
  • Image 10 Map showing the Grand Tour, 1763–1766. Black line shows outward journey to London, 1763–1764. Red line shows homeward journey to Salzburg, 1765–1766. Occluded line shows travel in each direction. The Mozart family grand tour was a journey through western Europe, undertaken by Leopold Mozart, his wife Anna Maria, and their children Maria Anna (Nannerl) and Wolfgang Theophilus (Wolferl) from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress Maria Theresa at the Imperial Court. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy Kapellmeister to the Prince-Archbishopric of Salzburg. Throughout the subsequent tour, the children's Wunderkind status was confirmed as their precocious performances consistently amazed and gratified their audiences. The first stage of the tour's itinerary took the family, via Munich and Frankfurt, to Brussels and then on to Paris where they stayed for five months. They then departed for London, where during a stay of more than a year Wolfgang made the acquaintance of some of the leading musicians of the day, heard much music, and composed his first symphonies. The family then moved on to the Netherlands, where the schedule of performances was interrupted by the illnesses of both children, although Wolfgang continued to compose prolifically. The homeward phase incorporated a second stop in Paris and a trip through Switzerland, before the family's return to Salzburg in November 1766. (Full article...)
    Simplified chart of a sector of western Europe and southern England. A green arrowed line shows the party's outward journey from Salzburg to London via Mannheim, Cologne, Liege, Brussels and Paris. A red line indicates the return via the Netherlands, Paris, Lyons, Geneva and Zürich.
    Map showing the Grand Tour, 1763–1766. Black line shows outward journey to London, 1763–1764. Red line shows homeward journey to Salzburg, 1765–1766. Occluded line shows travel in each direction.


    The Mozart family grand tour was a journey through western Europe, undertaken by Leopold Mozart, his wife Anna Maria, and their children Maria Anna (Nannerl) and Wolfgang Theophilus (Wolferl) from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress Maria Theresa at the Imperial Court. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy Kapellmeister to the Prince-Archbishopric of Salzburg. Throughout the subsequent tour, the children's Wunderkind status was confirmed as their precocious performances consistently amazed and gratified their audiences.

    The first stage of the tour's itinerary took the family, via Munich and Frankfurt, to Brussels and then on to Paris where they stayed for five months. They then departed for London, where during a stay of more than a year Wolfgang made the acquaintance of some of the leading musicians of the day, heard much music, and composed his first symphonies. The family then moved on to the Netherlands, where the schedule of performances was interrupted by the illnesses of both children, although Wolfgang continued to compose prolifically. The homeward phase incorporated a second stop in Paris and a trip through Switzerland, before the family's return to Salzburg in November 1766. (Full article...)
  • Image 11 Tristano, c. August 1947 Leonard Joseph Tristano (March 19, 1919 – November 18, 1978) was an American jazz pianist, composer, arranger, and teacher of jazz improvisation. Tristano studied for bachelor's and master's degrees in music in Chicago before moving to New York City in 1946. He played with leading bebop musicians and formed his own small bands, which soon displayed some of his early interests – contrapuntal interaction of instruments, harmonic flexibility, and rhythmic complexity. His quintet in 1949 recorded the first free group improvisations. Tristano's innovations continued in 1951, with the first overdubbed, improvised jazz recordings, and two years later, when he recorded an atonal improvised solo piano piece that was based on the development of motifs rather than on harmonies. He developed further via polyrhythms and chromaticism into the 1960s, but was infrequently recorded. (Full article...)

    Tristano, c. August 1947

    Leonard Joseph Tristano (March 19, 1919 – November 18, 1978) was an American jazz pianist, composer, arranger, and teacher of jazz improvisation.

    Tristano studied for bachelor's and master's degrees in music in Chicago before moving to New York City in 1946. He played with leading bebop musicians and formed his own small bands, which soon displayed some of his early interests – contrapuntal interaction of instruments, harmonic flexibility, and rhythmic complexity. His quintet in 1949 recorded the first free group improvisations. Tristano's innovations continued in 1951, with the first overdubbed, improvised jazz recordings, and two years later, when he recorded an atonal improvised solo piano piece that was based on the development of motifs rather than on harmonies. He developed further via polyrhythms and chromaticism into the 1960s, but was infrequently recorded. (Full article...)
  • Image 12 Offenbach by Nadar Jacques Offenbach (/ˈɒfənbɑːx/; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory. Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. (Full article...)
    photograph of ageing white man, balding, with moustache and side whiskers, in a huge fur coat and wearing pince-nez
    Offenbach by Nadar

    Jacques Offenbach (/ˈɒfənbɑːx/; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory.

    Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; he found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular. (Full article...)
  • Image 13 Bradley Joseph (born 1965), is an American composer, arranger, and producer of contemporary instrumental music. His compositions include works for Orchestra, Quartet and Solo Piano. He has been active since 1983, and he has played various instruments in rock bands throughout the Midwest. In 1989, the Greek composer Yanni hired him for his core band after hearing a tape of his original compositions. He was a featured concert keyboardist with Yanni on six major tours, most recently in 2003 for the 60-city Ethnicity tour. He appears in the multi-platinum album and concert film, Live at the Acropolis. Joseph also spent five years as musical director and lead keyboardist for Sheena Easton, including a 1995 performance on The Tonight Show with Jay Leno. (Full article...)

    Bradley Joseph (born 1965), is an American composer, arranger, and producer of contemporary instrumental music. His compositions include works for Orchestra, Quartet and Solo Piano. He has been active since 1983, and he has played various instruments in rock bands throughout the Midwest. In 1989, the Greek composer Yanni hired him for his core band after hearing a tape of his original compositions. He was a featured concert keyboardist with Yanni on six major tours, most recently in 2003 for the 60-city Ethnicity tour.

    He appears in the multi-platinum album and concert film, Live at the Acropolis. Joseph also spent five years as musical director and lead keyboardist for Sheena Easton, including a 1995 performance on The Tonight Show with Jay Leno. (Full article...)
  • Image 14 Valerie Muriel Rodway (February 12, 1919 – August 1970) was a Guyanese composer of cultural and patriotic songs, inspired by the events leading up to Guyana's independence in 1966. She is best known for composing music to accompany Guyana national poetry, like Arise, Guyana, Kanaïma, and the Martin Carter's Guyanese Independence poem Let Freedom Awaken. For the next two decades, school children were taught the songs she and others composed to inspire patriotism and cultural affinity. She selected the poetry for her compositions based upon her principles and values, first developed among her parents and siblings. She has been considered Guyana's greatest composer of patriotic and national music, and among the best composers from Guyana of the 20th century, generally and among composers of classical music. She was awarded the Wordsworth McAndrew Award posthumously in 2002. In 2019, she was awarded the Cacique Crown of Honor, one of the highest honors of Guyana. The National Trust of Guyana building in Cummingsburg, Georgetown, has been renamed the Valerie Rodway House in her honor. (Full article...)
    Valerie Muriel Rodway (February 12, 1919 – August 1970) was a Guyanese composer of cultural and patriotic songs, inspired by the events leading up to Guyana's independence in 1966. She is best known for composing music to accompany Guyana national poetry, like Arise, Guyana, Kanaïma, and the Martin Carter's Guyanese Independence poem Let Freedom Awaken. For the next two decades, school children were taught the songs she and others composed to inspire patriotism and cultural affinity. She selected the poetry for her compositions based upon her principles and values, first developed among her parents and siblings.

    She has been considered Guyana's greatest composer of patriotic and national music, and among the best composers from Guyana of the 20th century, generally and among composers of classical music. She was awarded the Wordsworth McAndrew Award posthumously in 2002. In 2019, she was awarded the Cacique Crown of Honor, one of the highest honors of Guyana. The National Trust of Guyana building in Cummingsburg, Georgetown, has been renamed the Valerie Rodway House in her honor. (Full article...)
  • Image 15 Gustav Mahler, photographed in 1907 by Moritz Nähr at the end of his period as director of the Vienna Hofoper Gustav Mahler (German: [ˈɡʊstaf ˈmaːlɐ] ⓘ; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic. (Full article...)
    Middle-aged man, seated, facing towards the left but head turned towards the right. He has a high forehead, rimless glasses and is wearing a dark, crumpled suit
    Gustav Mahler, photographed in 1907 by Moritz Nähr at the end of his period as director of the Vienna Hofoper


    Gustav Mahler (German: [ˈɡʊstaf ˈmaːlɐ] ⓘ; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.

    Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic. (Full article...)
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  • ... that in 1994, Anthony Pople created two computer programs to analyse classical music?
  • ... that, according to its owner, KLEF in Anchorage, Alaska, was one of just three remaining commercially operated classical-music radio stations in the United States, as of 2013?
  • ... that opera singer Charles Holland spent much of his career in Europe as opportunities in classical music for African Americans were limited?
  • ... that the Stadthalle Hannover, the largest classical music concert hall in Germany by capacity, was modelled after the Pantheon in Rome and completed by 1914?
  • ... that WFMT classical music radio host Don Tait owned such a large collection of recordings that he had to buy a house and have its floor reinforced to accommodate the weight?
  • ... that the choral music of Artemy Vedel, who is regarded as one of the Golden Three composers of 18th-century Ukrainian classical music, was censored but performed from handwritten copies?

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Topics

Detailed history of
Western classical music
Early music
Medieval c. 500–1400
 • Ars antiqua c. 1170–1310
 • Ars nova c. 1310–1377
 • Ars subtilior c. 1360–1420
Renaissance c. 1400–1600
 • Transition to Baroque
Common practice period
Baroque c. 1580–1750
 • Galant music c. 1720–1770
 • Empfindsamkeit c. 1740s–1780
Classical c. 1750–1820
 • Mannheim school c. 1740s–1780
 • Sturm und Drang c. 1770s
 • Transition to Romantic
Romantic c. 1800–1910
Late 19th-, 20th- and 21st-centuries
Modernism c. 1890–1975
 • Impressionism c. 1890–1930
 • Expressionism c. 1900–1930
 • Neoclassicism c. 1920–1950
 • Serialism c. 1920–1975
Contemporary from c. 1950
 • Minimalism from c. 1960
 • Postmodernism from c. 1960s
 • Postminimalism from c. 1980

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