Today we call them art songs, but when this specific genre first appeared in the late 18th century, they were simply “songs,” nearly always scored for what is now a classic combination: piano and voice. At the time, the Industrial Revolution was helping to create a new class of music lovers. The new Middle Class was wealthy enough to want access to musical entertainment at home, but not wealthy enough to hire live-in court musicians like the aristocratic classes. What they could afford was the perfect new domestic instrument: the piano.
The ability to play the piano and sing became a status symbol for middle and upper middle class families, especially among women (as you might know from the novels of Jane Austen or the Brontë sisters). This made home music a lucrative market for composers. The earliest Lieder [pronounced “leader”], or German art songs, were written for voice and simple piano accompaniment, so that home musicians could accompany themselves or their friends at the piano.
Throughout the 19th century, the genre of art song developed into a sophisticated art form for the concert stage as well as for the home. However, in one sense, it’s never abandoned its domestic beginnings: most art songs are still scored for voice and piano. In this post, we’ll take a lightning tour of art song history, featuring a few of the countless great works in this genre. In addition to the videos, click on the text links to listen to a few more art songs.
Classical music has stood the test of time for many reasons, its beauty, complexity, and the vastness of repertoire have inspired audiences for hundreds of years. Within classical music, there are several pieces that have become iconic through use in special events such as graduations, weddings, classic films, and even cartoons! In this list, we’ll take a closer look at just a handful of the many iconic pieces of classical music.
Toccata and Fugue in D minor, BWV 565 by J.S. Bach
This piece by Bach might not have the catchiest title, but we guarantee you’ll know the famous opening. It has become associated with intense or even scary moments in film and popular culture, perhaps because it famously made an appearance in the opening credits of Dr. Jekyll and Mr. Hyde (1931). Bach’s extraordinary talent and powerful compositional voice are on full display in his Toccata and Fugue in D minor, the first on our list of some of the most iconic classical music compositions ever written.
Video Performance by Xaver Varnus.
Bagatelle No. 25 in A minor, “Für Elise” by Ludwig Van Beethoven
This piece was never published during Beethoven’s lifetime. In fact, “Für Elise” wasn’t even discovered until forty years after his death in 1827. As a result, no one’s quite sure who the Elise of the title was. Some musicologists even think the title might have been copied incorrectly and it was originally called ”Für Therese.” But no matter the identity of the fortunate beneficiary of this work’s dedication, we can all agree that it’s one of the most charming compositions for piano ever written. With its simple yet catchy melody and timeless beauty, Beethoven’s Bagatelle No. 25 in A minor has inspired countless reinterpretations.
Video Performance by Georgii Cherkin.
Piano Sonata No. 14 in C-sharp minor, Op. 27, No.2, “Moonlight” by Ludwig Van Beethoven
In contrast to “Für Elise,” the Moonlight Sonata became a popular favorite during Beethoven’s lifetime and remains one of the most beloved compositions of his life’s work to this day. Beethoven wrote his Piano Sonata No. 14 in C-sharp Minor in his early thirties and dedicated it to Countess Giulietta Guicciardi, who studied piano with the composer. If you’ve ever taken piano lessons, been with someone taking piano lessons, or even just tried your hand at the keys to make some familiar music, you probably know the opening to the Moonlight Sonata very well.
Video Performance by Andrea Romano.
Symphony No. 5 in C minor, Op. 67 by Ludwig van Beethoven
This symphony by Beethoven opens with perhaps the four most famous notes of all time – known to many simply as: da da da duuum!. Some critics have suggested that this opening represents the sound of Fate knocking at the door. We can’t know for sure what Beethoven had in mind when he wrote this timeless opening to his Symphony No. 5 in C minor – but what’s beyond a shadow of a doubt is that this piece easily ranks in the top 10 most iconic, reaching beyond its genre and making an appearance in films, advertising, and even pop songs.
Video Performance by the Vienna Philharmonic Orchestra.
Symphony No. 9 in D minor, Op. 125, “Choral” by Ludwig van Beethoven
This piece is Beethoven’s final complete symphony. It was first performed in Vienna in 1824 and continues to be performed all over the world. The 9th Symphony marked the first time a major composer added voices to a symphony, opening a new door for creative expression and giving the human voice new power and placement as an instrument that belongs among the finest orchestra members, in the grandest compositions. Lots of listeners feel Beethoven “saved the best for last”, with the symphony’s final movement based on the Ode to Joy. Whatever your favorite moment is, it’s clear that Beethoven’s Choral Symphony is groundbreaking, powerful, and truly iconic.
Video Performance by London Symphony Orchestra.
“Ave Maria” by Charles Gounod
When a thirty-something Charles Gounod decided to improvise a melody for the “Ave Maria” text, he designed it to be superimposed over a well-established keyboard piece: Prelude No. 1 in C major, BWV 846, from Book I of J.S. Bach’s Well-Tempered Clavier. Written for solo voice and piano, Gounod’s “Ave Maria” is also frequently performed in a wide array of instrumental arrangements. We think this composition is a stunning example of how borrowing from one of the best, and repurposing with great talent and thoughtfulness, can result in something both new and familiar, and altogether extraordinary.
Video Performance by Maria Callas.
“Messiah” by George Frideric Handel
It is difficult to put into words just what makes Handel’s Messiah iconic. This Baroque oratorio, originally composed to be performed in celebration of the Christian Easter holiday, is now a near-permanent fixture during the Christmas season as well, and its artistic power expands well beyond any specific holiday or faith. From its memorable melodies to its celebrated choruses, Messiah is a grand and radiant display of the power of classical music to move humanity, and share stories as no other art form can.
Video performance by Choir of King’s College, Cambridge.
Serenade No. 13 in G Major, K 525, “Eine kleine Nachtmusik” by Wolfgang Amadeus Mozart
The incandescently brilliant Wolfgang Amadeus Mozart composed music for 30 of his 35 years, and today his name is known by nearly everyone in the world. Eine kleine Nachtmusik (A Little Night Music) is arguably his most recognizable work, especially its first movement. Outside of the concert hall and classical recordings, you’re likely to hear it pacifying phone users on hold and to sell a dizzying array of products. With his infamous sense of humor, the composer may have had quite a laugh at this!
Video performance by Slovak Chamber Orchestra.
“The Blue Danube” by Johann Strauss II
Known even in his day as “The Waltz King”, Johann Strauss is a somewhat example of a classical composer who attained the equivalent of modern rock-star acclaim in his lifetime. The Blue Danube* is the best-known of his works—a significant ranking as Strauss’ written repertoire includes 500+ pieces of dance music (waltzes, polkas, quadrilles, etc.) plus several operettas and a ballet. But even casual listeners unfamiliar with the composer will recognize this piece as the epitome of a waltz—and so we also rank it among the top ten most iconic pieces.
* aka An der schönen, blauen Donau (On the Beautiful Blue Danube), Op. 314
Video performance by Zubin Mehta & the Vienna Philharmonic.
“Introduction, or Sunrise,” from Also sprach Zarathustra, Op. 30 by Richard Strauss
Richard and Johann Strauss were not related, but they share a posthumous debt to Stanley Kubrick, who included Johann’s most famous piece (see above) and Richard Strauss’ Einleitung (Introduction) in the soundtrack of his now-iconic 1968 film 2001: A Space Odyssey. Since the film, The Einleitung* has been widely used in pop culture and advertising. It can’t be denied that this is some of the most compelling and engaging music ever written—but it is only the beginning of an astounding musical experience.
Countless musicians have been inspired by nature, and many have left us quotations describing their feelings for the natural world. Here is a collection of seven quotes about nature from classical composers, paired with compositions that reflect their love of the natural world.
“Music and poetry have ever been acknowledg’d Sisters, which walking hand in hand, support each other; As Poetry is the harmony of Words, so Musick is that of Notes; and as Poetry is a Rise above Prose and Oratory, so is Musick the exaltation of Poetry. Both of them may excel apart, but sure they are most excellent when they are join’d…”
Henry Purcell wrote that in 1650, reflecting on vocal music. But poetry has often been a supporting sister for purely instrumental music as well, especially in the Romantic era, when instrumental composers were fascinated with extra-musical inspiration. Here are seven compositions for instruments which were inspired by poetry.
The Miró Quartet, who visited Portland in February hosted by Chamber Music NW, is celebrating the 250th anniversary of Beethoven’s birth with the release of the complete string quartets. They began around 2005 with the Opus 18 (Beethoven’s first published set), recording them at the same age the composer was when he wrote them, in other words, their late twenties.
While they realized it might not be practical to wait until they were in their 50s and 60s to finish the Opus 135, violinist Daniel Ching and violist John Largess do share the story of how they went about recording the complete set, as well as shedding light on America’s early encounters with the string quartet repertoire through several trailblazing groups of the early 20th century.
Beethoven: Complete String Quartets / Miro Quartet: BUY NOW
Women are helping to shape the sound of classical music right now, as musicians, artists, and most certainly as conductors. Here are some of our favorite American women conductors.
Marin Alsop is an inspiring and powerful voice, a conductor of vision and distinction who passionately believes that “music has the power to change lives”. She is recognized internationally for her innovative approach to programming and audience development, for her deep commitment to education and advocating for music’s importance in the world.
From the 2019/20 season, Alsop becomes Chief Conductor of the ORF Vienna Radio Symphony Orchestra (Vienna RSO), performing in their main series at the Wiener Konzerthaus and Wiener Musikverein, recording, broadcasting, and touring nationally and internationally. Her first season coincides with the orchestra’s 50th anniversary and will emphasize women in classical music.
Her outstanding success as Music Director of the Baltimore Symphony Orchestra (BSO) since 2007 has resulted in two extensions in her tenure until 2021. Alsop has led the orchestra on its first European tour in 13 years and created several bold initiatives including OrchKids, for the city’s most disadvantaged young people. At the end of 2019, following a seven-year tenure as Music Director, she becomes Conductor of Honour of the São Paulo Symphony Orchestra (OSESP), where she will return to conduct major projects each season.
Xian Zhang currently serves as Music Director of the New Jersey Symphony Orchestra. She will become the Principal Guest Conductor of Melbourne Symphony Orchestra in 2020. She also holds the post of Conductor Emeritus of Orchestra Sinfonica di Milano Giuseppe Verdi, following a hugely successful period from 2009–2016 as Music Director. She has previously served as Principal Guest Conductor of the BBC National Orchestra & Chorus of Wales, becoming the first female conductor to hold a titled role with a BBC orchestra.
The acclaim she has been receiving for her work in New Jersey has resulted in a strong North American career, with upcoming engagements which include Chicago, Dallas, Baltimore, Montreal, Ottawa (NAC), Cincinnati, Houston, Minnesota Symphonies. In August 2019, she returned to Los Angeles Philharmonic to conduct the world premiere of a work by Caroline Shaw and Beethoven 9.
Biography and photo source: https://imgartists.com/roster/xian-zhang/
There’s a rich assortment of music about springtime in the classical repertoire, ranging from Schumann’s Spring Symphony Op.38, to Beethoven’s “Spring” Violin Sonata Op.24 (not that Beethoven himself ever called it a “Spring” Sonata), to Vivaldi’s perennially popular (pun definitely intended) violin concerto, “Spring”from The Four Seasons. In fact, there’s so much classical music for this season, that for this list, we’ll narrow things down by featuring lovely but lesser-known pieces celebrating the return of spring.
Throughout Western music history, women have produced innovative, moving compositions, and the realm of early music is no exception. In this list, we’ll profile nine of the many pathfinding women who composed from the Middle Ages to the High Baroque.
If you’re familiar with the history of classical music, you may know that historically classical music hasn’t been the most welcoming field for women, and there is a long way to go before women classical composers of today are performed and recognized at the same level as their male peers. That said, here are some of our favorite contemporary women composers shaping the future of classical music, right now.
We hope you’ll give these compositions a listen, and fall in love with this music as we have. Want to share your thoughts? Get in touch via email: info@allclassical.org
Currently serving as Composer-in-Residence with the storied Philadelphia Orchestra and included in the Washington Post’s list of the 35 most significant women composers in history (August, 2017), identity has always been at the center of composer/pianist Gabriela Lena Frank’s music. Born in Berkeley, California (September, 1972), to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Gabriela explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartók and Alberto Ginastera, Gabriela is something of a musical anthropologist. She has traveled extensively throughout South America and her pieces reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. Recommended Listening:Leyendas: An Andean Walkabout
A New York-based musician, vocalist, violinist, composer, and producer, who performs in solo and collaborative projects. She was the youngest recipient of the Pulitzer Prize for Music in 2013 for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Recent commissions include new works for Renée Fleming with Inon Barnatan, Dawn Upshaw with Sō Percussion and Gil Kalish, the Orchestra of St. Luke’s with John Lithgow, the Dover Quartet and many more. Recommended Listening:To the Hands: No. 6. I Will Hold You
Puerto Rican-born composer and multi-instrumentalist Angélica Negrón writes music for accordions, robotic instruments, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”. Angélica is currently working on a lip sync opera titled Chimera for drag queen performers and chamber ensemble exploring the ideas of fantasy and illusion, as well as the intricacies and complexities of identity. Recommended Listening: Sueño Recurrente
Black History Month is a time for me to reminisce and give thanks to those who have paved the way for Black and Brown people in classical music and thinking of all of the Black and Brown service members who have paved the way for my family. It wasn’t until a few years ago when I started to play music by black composers. I have learned so much about my own heritage by playing the music of composers that look like me. It’s unfortunate that it has taken me half my life to discover these magnificent artists, but I’m glad I decided to venture out and discover new elements of classical music. There is so much more out there and I am just scratching the surface of a lifelong discovery! Adam Eccleston is All Classical Portland’s 2020 Professional Artist in Residence.
Fanmi Imen (Human Family) by Valerie Coleman
Last year, I premiered in Oregon, Valerie Coleman’s Fanmi Imen (Human Family), inspired by Maya Angelou’s poem Human Family. Written in 2018, the piece acknowledges differences within mankind, due to ethnicity, background, or geography. Angelou’s refrain: “We are more alike, my friends, than we are unlike,” reaffirms our humanity as a reminder of unity. Coleman’s work draws inspiration from French flute music blending with an underlying pentatonicism found in Asian traditions, a caravan through Middle Eastern parts of the world merging with Flamenco, and an upbeat journey southward into Africa with the sounds of Kalimba. I absolutely love playing this piece! Fanmi Imen speaks to me on a deep level and one that brings peace and unity to myself as I read the poem. Fanmi Imen helps to make people feel good about the progress we have made in society.
Tangente au Yanvalou by Julio Racine
Last year, I heard of another composer and fellow flute player by the name of Julio Racine. He’s a Haitian-born flute player that studied flute with the legendary Francis Fuge at the University of Kentucky at Louisville. One of my favorite pieces of his is, Tangente au Yanvalou for flute and piano which represents a form of dance associated with Haitian Voodoo, but originated in Benin, West Africa. In Haiti, Yanvalou is performed in a group as a prayer, invoking deities and moving the dancers to lose consciousness and enter into a state of trance. Even though I’m not of Haitian descent, I truly connected with the sacredness of this piece after doing much research, and it helped me to eliminate certain projected biases and prejudices of the Voodoo religion. Julio’s daughter, Maria, was a 2010 Abreu Fellow and like myself, became a program director for an El Sistema inspired program. After learning about Julio and his beautiful works for flute, I sent Maria a Facebook message asking her about Julio and letting her know that I had recently discovered his music and how much I was in love with his works. She proceeded by giving me his phone number so I can call him myself. I haven’t called, yet.
Adam Eccleston is All Classical Portland’s 2020 Professional Artist in Residence.
Adam is an accomplished flutist of international renown dedicated to promoting diversity and equity in classical music. As a soloist, Adam Eccleston has appeared with several orchestras around the United States and Europe, performing in venues such as the Kurhaus Wiesbaden in Germany and Jordan Hall in Boston. Adam draws musical inspiration from his Caribbean and Panamanian heritage. He works extensively with MESDA group, a non-profit organization active in underdeveloped countries around Central and South America and the Caribbean Islands. Eccleston serves as the Director of the BRAVO Cesar Chavez Wind Program and is also co-founder of the duo From A to Z with Mexican-born guitarist Zaira Meneses.
