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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 Brahms in 1885 The Piano Concerto No. 2 in B♭ major, Op. 83, by Johannes Brahms is separated by a gap of 22 years from his first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It took him three years to work on this concerto, which indicates that he was always self-critical. He wrote to Clara Schumann: "I want to tell you that I have written a very small piano concerto with a very small and pretty scherzo." Ironically, he was describing a huge piece. This concerto is dedicated to his teacher, Eduard Marxsen. The public premiere of the concerto was given in Budapest on 9 November 1881, with Brahms as soloist and the Budapest Philharmonic Orchestra, and was an immediate success. He proceeded to perform the piece in many cities across Europe. The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 4 horns (initially 2 in B♭ bass, 2 in F), 2 trumpets (B♭), timpani (B♭ and F, A and D in second movement) and strings. (The trumpets and timpani are used only in the first two movements, which is unusual.) (Full article...)

    Brahms in 1885

    The Piano Concerto No. 2 in B♭ major, Op. 83, by Johannes Brahms is separated by a gap of 22 years from his first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It took him three years to work on this concerto, which indicates that he was always self-critical. He wrote to Clara Schumann: "I want to tell you that I have written a very small piano concerto with a very small and pretty scherzo." Ironically, he was describing a huge piece. This concerto is dedicated to his teacher, Eduard Marxsen. The public premiere of the concerto was given in Budapest on 9 November 1881, with Brahms as soloist and the Budapest Philharmonic Orchestra, and was an immediate success. He proceeded to perform the piece in many cities across Europe.

    The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 4 horns (initially 2 in B♭ bass, 2 in F), 2 trumpets (B♭), timpani (B♭ and F, A and D in second movement) and strings. (The trumpets and timpani are used only in the first two movements, which is unusual.) (Full article...)
  • Image 2 A medieval depiction of Comtessa de Diá The trobairitz (Occitan pronunciation: [tɾuβajˈɾits]) were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. Trobairitz is both singular and plural. The word trobairitz is first attested in the 13th-century romance Flamenca. It comes from the Provençal word trobar, the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word trobairitz is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (vidas) of the trobairitz or troubadours. It does occur in the treatise Doctrina d'acort by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same. (Full article...)
    A medieval depiction of Comtessa de Diá

    The trobairitz (Occitan pronunciation: [tɾuβajˈɾits]) were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. Trobairitz is both singular and plural.

    The word trobairitz is first attested in the 13th-century romance Flamenca. It comes from the Provençal word trobar, the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word trobairitz is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (vidas) of the trobairitz or troubadours. It does occur in the treatise Doctrina d'acort by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same. (Full article...)
  • Image 3 Evensong rehearsal by Blue Coat CE School Choir, Coventry, in the quire of York Minster, showing carved choirstalls A choir (/ˈkwaɪər/ KWIRE), also known as a chorale or chorus (from Latin chorus, meaning 'a dance in a circle') is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform or in other words is the music performed by the ensemble. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm, hand, and facial gestures. The term choir is very often applied to groups affiliated with a church (whether or not they actually occupy the quire), whereas a chorus performs in theatres or concert halls, but this distinction is not rigid. Choirs may sing without instruments, or accompanied by a piano, accordion, pipe organ, a small ensemble, or an orchestra. (Full article...)
    Evensong rehearsal by Blue Coat CE School Choir, Coventry, in the quire of York Minster, showing carved choirstalls

    A choir (/ˈkwaɪər/ KWIRE), also known as a chorale or chorus (from Latin chorus, meaning 'a dance in a circle') is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform or in other words is the music performed by the ensemble. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm, hand, and facial gestures.

    The term choir is very often applied to groups affiliated with a church (whether or not they actually occupy the quire), whereas a chorus performs in theatres or concert halls, but this distinction is not rigid. Choirs may sing without instruments, or accompanied by a piano, accordion, pipe organ, a small ensemble, or an orchestra. (Full article...)
  • Image 4 Early 19th-century engraving depicting Count Almaviva and Susanna in act 3 The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] ⓘ), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. Considered one of the greatest operas ever written, it is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. In 2017, BBC News Magazine asked 172 opera singers to vote for the best operas ever written. The Marriage of Figaro came in first out of the 20 operas featured, with the magazine describing the work as being "one of the supreme masterpieces of operatic comedy, whose rich sense of humanity shines out of Mozart's miraculous score". (Full article...)

    Early 19th-century engraving depicting Count Almaviva and Susanna in act 3

    The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] ⓘ), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

    Considered one of the greatest operas ever written, it is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. In 2017, BBC News Magazine asked 172 opera singers to vote for the best operas ever written. The Marriage of Figaro came in first out of the 20 operas featured, with the magazine describing the work as being "one of the supreme masterpieces of operatic comedy, whose rich sense of humanity shines out of Mozart's miraculous score". (Full article...)
  • Image 5 Davies in 2012 Sir Peter Maxwell Davies CH CBE (8 September 1934 – 14 March 2016) was an English composer and conductor, who in 2004 was made Master of the Queen's Music. As a student at both the University of Manchester and the Royal Manchester College of Music, Davies formed a group dedicated to contemporary music called the New Music Manchester with fellow students Harrison Birtwistle, Alexander Goehr, Elgar Howarth and John Ogdon. Davies's compositions include eight works for the stage—from the monodrama Eight Songs for a Mad King, which shocked the audience in 1969, to Kommilitonen!, first performed in 2011—and ten symphonies, written between 1973 and 2013. (Full article...)

    Davies in 2012

    Sir Peter Maxwell Davies CH CBE (8 September 1934 – 14 March 2016) was an English composer and conductor, who in 2004 was made Master of the Queen's Music.

    As a student at both the University of Manchester and the Royal Manchester College of Music, Davies formed a group dedicated to contemporary music called the New Music Manchester with fellow students Harrison Birtwistle, Alexander Goehr, Elgar Howarth and John Ogdon. Davies's compositions include eight works for the stage—from the monodrama Eight Songs for a Mad King, which shocked the audience in 1969, to Kommilitonen!, first performed in 2011—and ten symphonies, written between 1973 and 2013. (Full article...)
  • Image 6 Mendelssohn in 1846 by Eduard Magnus Felix Mendelssohn's Violin Concerto in E minor, Op. 64, MWV O 14, is his last concerto. Well received at its premiere, it has remained among the most prominent and highly-regarded violin concertos. It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. A typical performance lasts just under half an hour. Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers. (Full article...)

    Mendelssohn in 1846 by Eduard Magnus

    Felix Mendelssohn's Violin Concerto in E minor, Op. 64, MWV O 14, is his last concerto. Well received at its premiere, it has remained among the most prominent and highly-regarded violin concertos. It holds a central place in the violin repertoire and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. A typical performance lasts just under half an hour.

    Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers. (Full article...)
  • Image 7 Fauré in 1907 Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime. (Full article...)
    A head and shoulders portrait of a late-middle-aged man of the early twentieth century with white hair and a large white moustache
    Fauré in 1907


    Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

    Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime. (Full article...)
  • Image 8 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 9 The pipe organ is a musical instrument that produces sound by driving pressurised air (called wind) through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre, volume, and construction throughout the keyboard compass. Most organs have many ranks of pipes of differing pitch, timbre, and volume that the player can employ singly or in combination through the use of controls called stops. A pipe organ has one or more keyboards (called manuals) played by the hands, and a pedal clavier played by the feet; each keyboard controls its own division (group of stops). The keyboard(s), pedalboard, and stops are housed in the organ's console. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are pressed, unlike the piano and harpsichord whose sound begins to dissipate immediately after a key is depressed. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest organs may have over 33,000 pipes and as many as seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. A ranking of the largest organs in the world—based on the criterion constructed by Michał Szostak, i.e. 'the number of ranks and additional equipment managed from a single console'—can be found in the quarterly magazine The Organ and in the online journal Vox Humana. (Full article...)

    The pipe organ is a musical instrument that produces sound by driving pressurised air (called wind) through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre, volume, and construction throughout the keyboard compass. Most organs have many ranks of pipes of differing pitch, timbre, and volume that the player can employ singly or in combination through the use of controls called stops.

    A pipe organ has one or more keyboards (called manuals) played by the hands, and a pedal clavier played by the feet; each keyboard controls its own division (group of stops). The keyboard(s), pedalboard, and stops are housed in the organ's console. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are pressed, unlike the piano and harpsichord whose sound begins to dissipate immediately after a key is depressed. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest organs may have over 33,000 pipes and as many as seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. A ranking of the largest organs in the world—based on the criterion constructed by Michał Szostak, i.e. 'the number of ranks and additional equipment managed from a single console'—can be found in the quarterly magazine The Organ and in the online journal Vox Humana. (Full article...)
  • Image 10 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 11 Scene 1 of Das Rheingold from the first Bayreuth Festival production of the Bühnenfestspiel in 1876 Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring cycle, Wagner's Ring, or simply The Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence: Das Rheingold (The Rhinegold) Die Walküre (The Valkyrie) Siegfried Götterdämmerung (Twilight of the Gods) Individual works of the sequence are often performed separately, and indeed the operas contain dialogues that mention events in the previous operas, so that a viewer could watch any of them without having watched the previous parts and still understand the plot. However, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August and ending with Götterdämmerung on 17 August. Opera stage director Anthony Freud stated that Der Ring des Nibelungen "marks the high-water mark of our art form, the most massive challenge any opera company can undertake." (Full article...)

    Scene 1 of Das Rheingold from the first Bayreuth Festival production of the Bühnenfestspiel in 1876

    Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring cycle, Wagner's Ring, or simply The Ring.

    Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence:
    Individual works of the sequence are often performed separately, and indeed the operas contain dialogues that mention events in the previous operas, so that a viewer could watch any of them without having watched the previous parts and still understand the plot. However, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August and ending with Götterdämmerung on 17 August. Opera stage director Anthony Freud stated that Der Ring des Nibelungen "marks the high-water mark of our art form, the most massive challenge any opera company can undertake." (Full article...)
  • Image 12 Hand-written musical notation by J. S. Bach (1685–1750). This is the beginning of the Prelude from the Suite for Lute in G minor, BWV 995 (transcription of Cello Suite No. 5, BWV 1011). Musical notation is any system used to visually represent music. Systems of notation generally represent the elements of a piece of music that are considered important for its performance in the context of a given musical tradition. The process of interpreting musical notation is often referred to as reading music. Distinct methods of notation have been invented throughout history by various cultures. Much information about ancient music notation is fragmentary. Even in the same time frames, different styles of music and different cultures use different music notation methods. (Full article...)
    Hand-written musical notation by J. S. Bach (1685–1750). This is the beginning of the Prelude from the Suite for Lute in G minor, BWV 995 (transcription of Cello Suite No. 5, BWV 1011).

    Musical notation is any system used to visually represent music. Systems of notation generally represent the elements of a piece of music that are considered important for its performance in the context of a given musical tradition. The process of interpreting musical notation is often referred to as reading music.

    Distinct methods of notation have been invented throughout history by various cultures. Much information about ancient music notation is fragmentary. Even in the same time frames, different styles of music and different cultures use different music notation methods. (Full article...)
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  • ... that gas lighting inspired Stephen Gunzenhauser to start a classical music festival?
  • ... that in 1994, Anthony Pople created two computer programs to analyse classical music?
  • ... 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?
  • ... 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?

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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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