We've selected a range of works to suit your mood! Whether you're looking for classical music for energy, for focus, for calm, for romance, for melancholy, for kids, for travel, for inspiration, or something else, you're sure to find it here! What will you listen to today? Classical Sessions for...Calm Learn about the science of calm, accompanied by selected classical music works, with our "Classical Sessions for...Calm" print-and-go workbook! Learn more about Sound Garden

Chamber music is a genre of classical music with a history spanning several centuries. It has long been enjoyed by all kinds of people from all demographics of society. Read about its origins and development, and then listen to some examples of chamber music works from the Middle Ages through to today! What is chamber music? Chamber music is a form of (classical) music that is composed for a small group of instruments, usually with each one playing a different part. Solo instrumental works are usually not considered to be chamber music. Much of the chamber music of the past was designed to be played in palace chambers or in the home; more recently, chamber music works are regularly performed in large concert halls. Chamber music is often considered to be "conversational", as the different instrumental parts engage in "dialogue" around a theme or motif. In the "Early Music" era of classical music (the Medieval and Renaissance Eras), man-made instruments usually accompanied the human voice. However, there were also "consorts", or instrumental ensembles, which were popular at court and in wealthy households. In the Baroque Era, chamber music was not a clearly defined genre, as the same musical works could be performed on a variety of different instruments, in orchestral or chamber ensembles. However, the sonata da camera (chamber sonata) and sonata da chiesa (church sonata) musical forms for one to five (or more) instruments are often considered to be the original chamber music forms, developing into the "trio sonata" form. In the Classical Era of music (as opposed to classical music as a genre), a lighter, more simple "galant" style of music was preferred, compared to the complexity often present in the music of the Baroque Era. The custom of "serenades" began, where people would hire musicians to perform below their own balconies or those of friends or lovers. Composers sometimes wrote works specifically for this custom. One such composer was Franz Joseph Haydn - the "father of the string quartet" - who composed not only 68 string quartets, but also many works for other chamber music ensembles. Many other composers continued to write chamber music works during this era - most notably Mozart, whose innovations greatly expanded the possibilities of the chamber music genre, and Beethoven, whose ground-breaking work was essential to the transition between the Classical and Romantic Eras. In the Romantic Era, societal and technological changes greatly affected the development of music, including chamber music. Employment of composers by the aristocracy was on the decline, so subscription concerts became popular; composers would write works for a professional audience to play to a paying audience in a rented hall. Chamber music was a very important part of the output of many composers; thousands of chamber works were composed during this time, many of which are among the most frequently-performed today. As the 20th Century drew near, classical music, including chamber music, became highly experimental. Composers explored the limits of the different elements of sound and music. Throughout this century and into the 21st, many different movements took place, leading composers into a number of different directions, from 12-tone serialism (where a "series" of twelve notes form the basis of the work) to neoclassicism (modelled on more traditional structures and rules, with a modern twist) to "chance"/"aleatoric" music, and much more. Today, living composers continue to explore and experiment with the possibilities of chamber music. Modern-day chamber music groups often perform works from both the past (especially the Romantic Era) and the present. Historical works continue to be performed in both concert halls and more unconventional contexts. Some chamber music groups may choose to focus particularly on "new" music, such as in the case of the Kronos Quartet, or on "crossover" (classical mixed with other genres) music, such as in the case of the Vitamin String Quartet. Chamber music also continues to be a popular form of classical music for amateurs and professionals alike! Examples Michael Praetorius - Terpsichore Tafelmusik ("Table music") was a term used predominantly between the mid-1500s to the late 1700s to describe light music designed to be played at feasts and banquets. Composers often used this term as a title for a collection of this type of music, which could be instrumental, vocal, or both. Michael Praetorius wrote about Tafelmusik in his "Syntagma musicum" of 1619. His Terpsichore collection of musical arrangements (the tunes were already a part of the French dance repertoire) are an example of Tafelmusik; they were meant "for princely meals and also for banquets”. Terpsichore is made up of more than 300 instrumental dances, and is named for the muse of dance. Franz Joseph Haydn - String Quartet in C Major, Op. 76, No. 3 "Emperor" Haydn was instrumental in the development of chamber music, earning himself the title "Father of the String Quartet". In 1897/98, Haydn composed six string quartets, dedicated to the Hungarian count Joseph Georg von Erdődy. The third of these quartets is nicknamed "Emperor" as the famous second movement is a set of variations on "Gott erhalte Franz den Kaiser" ("God save Emperor Francis"). This was an anthem Haydn wrote for Emperor Francis II; the melody was used for the national anthem of Austria-Hungary, and later for the post-war German "Deutschlandlied" anthem. Wolfgang Amadeus Mozart - Clarinet Quintet, K. 581 Mozart's clarinet quintet (a work for a single clarinet and a string quartet) is one of the earliest and best-known works highlighting the clarinet. It was written for the clarinettist Anton Stadler. The original composition was for basset clarinet, but nowadays the work is usually played on a clarinet in A. The quintet is sometimes referred to as the Stadler Quintet. Ludwig van Beethoven - Große Fuge, Op. 133 The Große Fuge (Great Fugue/Grand Fugue) is a single-movement work for string quartet. It is one of Beethoven's late works, composed when he was almost completely deaf. This "double fugue" (a piece with two fugue "subjects" which are developed simultaneously) work was beyond its time, and was therefore condemned by critics at the time of composition. However, since the early 20th Century, it has come to be considered one of Beethoven's greatest works. It was initially meant to be the final movement of the composer's "Quartet No. 13 in B♭ major, Op. 130", but his publisher knew it wouldn't go down well with the public. Beethoven composed a new finale, publishing the Große Fuge as a separate piece. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Franz Schubert - Piano Quintet in A major, D. 667 "Forellenquintett" (Trout Quintet) The "Trout Quintet" is a piano quintet work which, unusually, is written for piano, violin, viola, cello, and double bass, rather than the standard piano and string quartet (two violins, viola, cello). It is known as the Trout because the fourth movement (out of five) is a set of variations on Schubert's Lied (song for voice and (usually) piano) "Die Forelle" ("The Trout"). This piece is important because of its innovative use of harmony (relationships between notes) and the timbral (sound quality) characteristics, such as the unusual choice of instruments and the piano part which concentrates largely on the highest register. Filmmaker Christopher Nupen created a documentary in 1969 called "The Trout", which focuses on a performance of this quintet. The film has gone down in music history for its depiction of the process and relationships behind the now-famous concert which brought together a legendary group of musicians: Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim, and Zubin Mehta. Arnold Schönberg - Pierrot lunaire, Op. 21 (Moonstruck Pierrot) "Pierrot lunaire" is a 1912 melodrama (an emotional, dramatic work which focuses on the character rather than action/plot) in three parts of 21 movements in total. It is written for reciter (usually a soprano singer), accompanied by a "Pierrot ensemble" of flute, clarinet, violin, cello and piano (instruments may also be "doubled" by similar instruments). The vocal line is written in a sprechstimme (sung-spoken) style, and the music is atonal - it does not have a fixed "home" key. Maurice Ravel - Chansons madécasses (Madagascan songs) Ravel's "Chansons madécasses" is a set of three songs for mezzo-soprano or baritone voice, flute, cello, and piano. The works are settings of texts from the poetry collection of the same name by Évariste de Parny. They are usually performed together as a song cycle, though this was not the composer's original intention. Dmitri Shostakovich - String Quartet No. 8 This work was composed in only 3 days (in 1960), and was dedicated "to the victims of fascism and war". Shostakovich was in Dresden, Germany for a film music project, and had recently (and reluctantly) joined the Communist Party of the Soviet Union. The work may have been meant as somewhat of a suicide note or epitaph, according to his friend Lev Lebedinsky (spoiler alert: Shostakovich died of heart failure fifteen years later). The composer is very much central to the work, using his signature D-S-C-H (D, E-flat, C, B notes in German) motif, and it is believed that this work was deeply personal to him. Steve Reich - Different Trains "Different Trains" is a 1988 three-movement piece for string quartet and tape. It won the Grammy Award for Best Classical Contemporary Composition the following year, for the original recording by the Kronos Quartet. The work was inspired by Reich's train journeys during World War II. As a youngster, he travelled between New York and Los Angeles to see his parents; his Jewish heritage meant that had he been living in Europe, he might have been travelling to a more nefarious destinations. The recorded tape fragments are speech snippets, and these provide a source for the string melodies. 21st Century Ok, we're going to add a few examples here! Just like in the 20th Century, composers in the 21st Century continue to explore the possibilities of chamber music, unrestricted by the "rules" of the "common-practice" era (Baroque through to the end of the Romantic Era). This includes creating new subgenres, genre crossovers (such as classical/pop/rock), using electronic and non-traditional instruments together, and more. Check out our Living Composers blog posts for some examples of the range of work being created by the composers of today! Norwegian artist Bjørn Nes explores a range of different genres in his work, and his 2021 release "Abacus" includes a Baroque-inspired guitar quintet. The material was modelled on Baroque dance styles, and was first developed on the electric guitar before being digitally notated, arranged, and so on. The writing process was balanced between the physical and digital music-making worlds. Rather than having a featured role as is often the case in classical works which include non-traditional instruments, the electric guitar is treated as a part of the ensemble in the "Guitar Quintet in F-major". The timbral (sound) quality of the electric guitar is, of course, different to the timbres of the bowed string instruments (violin, viola, cello) - just as in the case of the distinctly-timbred harpsichord, which was treated as both an ensemble and a solo instrument in the Baroque Era. Another composer who combines genres and influences in her work is American Jennifer Higdon. Her work is often considered "neoromantic" (a modern twist on Romantic Era-style music), but has included influences from pop, rock, folk music, as well as drawing inspiration from nature, the performers she composes for, and much more. A prolific contemporary classical composer, she receives commissions from all around the world, including for chamber music ensembles. Her "Piano Trio" is in two movements, inspired by colour: "Pale Yellow" and "Fiery Red". Later, she also composed "Color Through" - a work which can be performed on its own or combined with the "Piano Trio". New Zealand composer Salina Fisher often draws on her Japanese heritage, her fascination with nature, and her violin background in her work. She enjoys collaboration with a variety of art forms, having worked closely with practitioners of taonga pūoro (Māori traditional instruments), Japanese instruments, ceramics, and film. Her music has been commissioned and performed worldwide? "Lumina" is inspired by New Zealand glow worms and the caves they inhabit. It was commissioned by the LA Phil for performance by International Contemporary Ensemble in the Noon to Midnight Festival 2019, and is orchestrated for soprano saxophone, bass clarinet, bassoon, percussion (waterphone, vibraphone, glockenspiel, suspended cymbal, tam-tam, crotales), piano, violin, viola, and cello. These are just a few of many examples of chamber music from Middle Ages through to this century. What else can you discover? Pin the graphic to save the article! Learn more about Sound Garden

This month we're starting a new feature here at Sound Garden: performer interviews! We're looking forward to sharing performers' stories and getting their takes on the music they love! First up, we're excited to feature pianist Haley Myles! Haley is a Young Steinway Artist, and today marks the release of her second album, dedicated to Chopin's nocturnes. That's right, the album is available now! In February 2021, Haley began the "Chopin Nocturne Project", where she undertook the challenge of recording and releasing a new nocturne each Friday until completing the set. "The Complete Nocturnes" is an extension of this. Back in Chopin's time (1810-1849), composers and other musicians often performed in "salon" events - living room performances, hosted by wealthy socialites. Some of their music was composed specifically for this setting. Inspired by this intimate salon aesthetic, Haley recorded and produced her album "The Complete Nocturnes" (link to Spotify) at her home in Lyon, France. Interpreting each nocturne as a story, Haley invites her listeners on an inward journey. Her natural sense of rubato, attention to nuances, and extended phrasing create heartfelt interpretations from beginning to end. Read on for the interview and a track-by-track breakdown! Want to purchase the album? Click here (link opens in new tab)! Interview How did you get started in classical music? I grew up being exposed to classical music; I went to symphony performances when I was a child, and I had a CD of Daniel Barenboim playing Mozart concerti. I travelled a lot as a child, so I wasn’t in a place where I could pick up an instrument until I was 15. At that point, I was living in Spain, and across the street was a library with an upright piano; I started to noodle around, and I loved it! I found a really encouraging teacher who introduced me to composers I hadn’t heard of previously. My first teacher didn’t really focus on technique, he would just introduce me to music. For example, he would place a Beethoven sonata in front of me and tell me to play it through. When I got back to the US, I was lucky enough to study with a teacher who got her degree from Juilliard. When I went to her, I told her I wanted to become a concert pianist (she didn’t say that I couldn’t!). She gave me a lot of études and studies, so I had to take a step back from the repertoire; I had to go back to basics. After that, I continued with different teachers and got my Masters. At that point, I felt ready to go the competition route (I’m a laureate of seven different international competitions). There was one competition, and the audition was being held at the Steinway hall. I came in a week early, introduced myself, and asked if I could try the piano. They said yes; the manager heard my playing, really enjoyed listening to me, and suggested that I apply for the Young Artist programme, which I did. 6 months later, I was officially a Young Steinway Artist! Who are your favourite composers and why? Chopin - not surprisingly - and Schubert. I gravitate toward Classical (era) composers as well as the Early Romantic composers. I resonate more with their musical language; I feel like it is direct in its (perceived) simplicity. I feel this way about Schubert’s music; it is so focused on a singular melodic line. I feel like Schubert’s “Drei Klavierstücke” (which are very close to my heart) represent the scope of Schubert’s personality: the first movement is quite serious, the second is more lilting, and the third is comedic. Chopin has a lot of focus on the melodic line, too, but with extra flourishes. Chopin’s music is very passionate, and it can become dark at times, but there are always elements of pride, hope, and perseverance. I think that is a beautiful message. That’s how I feel when I play his music! As well as the Chopin nocturnes, I love the piano concertos. I fell in love with the first concerto first, when I was younger. As time has gone on, I have grown to understand and love the second concerto just as much. What is your favourite performance memory? Two moments stand out: One of my first “real” (professional) performances - just outside of Milan, Italy. I was playing a programme featuring a piece by Liszt (“Vallée d’Obermann”), which is technically challenging. I was incredibly anxious beforehand, and was asking myself “Can I pull it off?”. I did, and I was very proud of myself in that moment! My mentor Paul Badura-Skoda was in the audience, and he gave me a standing ovation; it touched my heart, and gave me a lot of confidence. In Portugal, I was supposed to be playing the Schubert “Fantasy in F-minor” with my duo partner, and he dropped out the day before. Paul Badura-Skoda said “I can play piano, too!”, and said he could perform it with me. I was grinning from ear to ear! As we were walking on stage, he asked me why I was smiling so much - it was a dream come true! What do you enjoy doing outside of music? I practice yoga daily, and am certified. I love yoga because it can be anything you want it to be! You can express yourself however you want to on a yoga mat. I live in the countryside, so I love spending time in nature - I often go outside with my dog (Rachmaninoff!). Nature grounds me and centres me, and I draw a lot of inspiration from it. There are lots of other things I enjoy - like eating great food and drinking good wine! Tell us about the Chopin Nocturne Project! I started the Chopin Nocturne Project in February (2021). When it first started, I wasn’t sure what to expect. In the back of my mind, I had this idea of creating an album, but I wasn’t sure if it was possible - mostly due to financial reasons. I made a promise to record a nocturne every Friday, and I thought this would allow me the time necessary to really dive deeply and explore these works without pressure. Surprisingly, I received a lot of encouragement, as well as donations and contributions to this project. Because of the support of these wonderful people, I was able to create this album. I recorded 95% of the album in one day - it was a 10-hour day at the piano! I had my incredible technician come in, and he was able to create exactly what I wanted. The piano was in perfect shape, so I played all of the nocturnes in succession - a piano doesn’t hold its tuning forever! I did about three takes for each nocturne. When I was editing, if I found a chord or trill I didn’t like, I re-recorded that section and edited it in. In three days, the recording and editing was all done. My brother-in-law mastered the tracks for me, and the whole album was done in less than a week! Which of the nocturnes is your favourite (impossible question!)? When I first started playing the piano, I remember my teacher showed me a recording of Yundi Li playing Chopin’s Op. 9, No. 1. When I first heard that, I remember thinking, “This is what falling in love feels like”. It’s because of that piece of music that I decided to pursue piano professionally; it was a big turning point for me. What do you hope listeners will gain from listening to this album? Music is so special because it allows us to transcend our reality; it’s something ephemeral. It lingers in the air, and it can take us to another place. We can connect directly with another person to give them a moment of peace/repose - to heal their soul. There is something so human about music; I just want to connect with others! What would you say to someone who is new to classical music and wants to get started? Visit Sound Garden: classical music immersion - there are resources for all different ages and levels of experience (Note: Thanks, Haley! We didn’t ask her to say this)! Classical music isn’t boring, classical music is for everyone. Now that concert halls are opening back, I would encourage somebody to go and see a live concert. There is nothing that replaces being in front of a symphony orchestra, for example. I think if everyone experienced it for themselves, they would gain a new appreciation for it. There are well-known pieces that are well-known for a reason - the staples in the classical repertoire. Everybody knows Beethoven’s “Symphony No. 5” - that’s because it’s really worth listening to! Out of the Chopin nocturnes, the most famous is Op 9, No 2. You can argue that it’s overplayed, but it’s overplayed for a reason: because it is really beautiful music! On my recording I did something different with this nocturne - I added ornamentation that Chopin included in another edition. They are hardly ever played, and I think they are very beautiful! "The Complete Nocturnes": Track-by-track Haley's thoughts on each of the tracks from the album: Op. 9, No. 1 This nocturne evokes a desolate and barren winter landscape as the sun gleams on a snow-covered field and trees. The narrator, isolated and forsaken, fosters such a strong memory of spring that, for a moment, it becomes reality. Op. 9, No. 2 This tender nocturne announces the arrival of spring almost as a lullaby. The narrator, healing from previous wounds, is opening his heart again to hope and love. Op. 9, No. 3 It is early summer, the sun is high, and the narrator and his friends are out for a hike in nearby fields. They sometimes lose their footing while traipsing in the high grass, but never their spirits as they laugh and enjoy the company and sunshine. Suddenly, the wind picks up and clouds roll in, darkening the field and threatening the entourage with rain. However, the sun returns just as swiftly as it disappeared, leaving the friends to continue enjoying their promenade. Op. 15, No. 1 This piece is a delicate assurance, the promise of safeguarding another person, a sweet sense of security. Life intervenes and menaces the narrator and his beloved. Ultimately, the tempest was not as threatening as it first appeared to be and all is still well, all will continue to be well. Op. 15, No. 2 This nocturne elicits a moment of tranquillity and laziness on a humid summer’s day. Moments of inward reflection intertwine with placid enjoyment. Op. 15, No. 3 On a fair autumn day, a farewell pierces the heart and causes the narrator almost physical anguish. Op. 27, No. 1 After an unexpected and unjustified loss, the narrator attempts to find peace in nature. As dead leaves fall onto the lake on a bitterly frigid autumn day, the narrator attempts to shield himself from the cold and from life’s cruelty. The nocturne ends with the calm that the narrator was desperately seeking. Despite the hardship and grief, his heart thaws and he perseveres. Op. 27, No. 2 This piece is the blossoming of a new love, tender yet passionate, treated gently. The lovers embrace at dusk against a dusty purple sky. Op. 32, No. 1 One of the most gentle nocturnes - the newfound lovers cherish having found each other. They bask in being around one another and in simple actions, such as the exchange of smiles and holding hands. A sudden jolt sharply brings them back to reality. Op. 32, No. 2 This nocturne elicits sweetness and a sense of security. An older couple still finds contentment in their daily life. Despite disagreements and their faults, their love remains and they always find a way back to acceptance and joy. Op. 37, No. 1 The narrator gazes into her fireplace as she allows her thoughts to wander. A memory comes and repeats itself, swimming before her eyes in the flames, becoming distorted and fuzzy. For a moment, she resigns the memory to the past and finds acceptance before melancholia once again overwhelms her. Op. 37, No. 2 This nocturne brings forth an image of laughter over aperitifs with friends and loved ones on a summer’s day. Sunshine and light-heartedness pervade most of the afternoon. Op. 48, No. 1 It is the Polish insurrection and the Poles are fighting Russia for their freedom and independence. Snow surrounds them and the Polish forces are suffering in the bitter cold. They try to draw comfort from a fire as they kindle wistful memories of their family and loved ones, but the oppressiveness of the occupation is never far from their minds. Despite their hardships, the Polish soldiers are proud of their country and they do not lose hope. They are resolute and will continue to fight for their freedom. Op. 48, No. 2 In the midst of the arduous insurrection, a woman replays a memory. She refuses to let go of it and does her best to imprint the moment in her memory. For an instant, she is deeply comforted as she enters the memory and forgets about the current difficulties. Perhaps it is a woman waiting for her beloved soldier to return home. Op. 55, No. 1 This piece shows one of the darkest moments of the narrator’s mental health as he risks succumbing to depression. He finally manages to transcend the blackness. Op. 55, No. 2 This nocturne creates a feeling of suspension as the narrator leaves his worries behind and focuses entirely on the wonders and miracles of life. Op. 62, No. 1 This nocturne evokes a newfound feeling of compassion and tenderness towards the fragility of life. Op. 62, No. 2 This piece is about finding happiness and gratitude in day-to-day life and treasuring the simple and mundane moments. Op. 72, No. 1 The narrator wraps himself in self-absorbed unhappiness and momentarily allows himself to wallow in nostalgia. No. 20 in C-sharp minor In this piece, there is a sadness so acute that it develops into a physical pain that the narrator feels in his core. His stomach is heavy and he feels his heart sink. No. 21 in C minor This nocturne is a folk song sung by a solo voice. It is the story of someone who has suffered but still has hope and pride - an anthem of resilience. Want a copy of the album, for your listening pleasure? Learn more about Sound Garden

Johann Wolfgang von Goethe (1749-1832) was a German poet, playwright, novelist, scientist, statesman, theatre director, and critic. He wrote many different kinds of literary works, and is considered one of Germany's greatest writers. Many composers were and are inspired by his work, and Goethe himself was a music lover. Music features often in works such as "Faust" and "Werther", both of which were later turned into well-known operas. The character of Mignon (who sings "Kennst du das Land") is found in the celebrated "Wilhelm Meister" novels - in this case, "Wilhelm Meister's Apprenticeship". Mignon is a 13-year-old girl, who was kidnapped from her home country of Italy by a troupe of acrobats, and brought to Germany. She is raised androgynously - hence the name Mignon, rather than the feminine Mignonne. Young, disillusioned merchant Wilhelm is fascinated by Mignon; he buys her freedom, and the two form a close bond. Wilhelm is attracted to her exoticism and sensuality; her character is somewhat of a Lolita/nymphet archetype (these terms are from the 20th Century, recognised because of Vladimir Nabokov's novel "Lolita"). In “Kennst du das Land”, Mignon recalls her homeland and expresses her desire to go there with Wilhelm - her new father figure. Here is the text to the song, first in German and then in English. Read on for examples of how composers set it to music! German Kennst du das Land? wo die Citronen blühn, Im dunkeln Laub die Gold-Orangen glühn, Ein sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht, Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Geliebter, ziehn. Kennst du das Haus? Auf Säulen ruht sein Dach, Es glänzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: Was hat man Dir, du armes Kind, gethan? Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Beschützer, ziehn. Kennst du den Berg und seinen Wolkensteg? Das Maulthier sucht im Nebel seinen Weg; In Höhlen wohnt der Drachen alte Brut; Es stürzt der Fels und über ihn die Flut. Kennst du ihn wohl? Dahin! Dahin Geht unser Weg! o Vater, laß uns ziehn! English Do you know the land where the lemon trees bloom; where golden oranges glow amid the dark foliage? A gentle wind blows from the blue sky, the myrtle stands still, the laurel tall: do you know it? There, O there I would like to go with you, my beloved! Do you know the house? Its roof rests on pillars, the hall shines, the room shimmers, and marble statues stand and look at me: what has been done to you, poor child? Do you know it? There, O there I would like to go with you, my protector! Do you know the mountain and its clouded walkway? The mule seeks its way through the fog, in caves the ancient brood of dragons dwells; the rock falls, and the tide falls over it. Do you know it? There, O there Go our way! O father, let us go! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Settings Listen to these four settings of the German text, and see how each composer used music to tell the story. Keep scrolling for three special mentions! Beethoven - 6 Gesänge, Op. 75: I. Kennst du das Land "Mignon" Schubert - Mignon, D. 321 Wolf - Goethe-Lieder: IX. Kennst du das Land Schumann - Lieder un Gesänge aus Wilhelm Meister, op. 98a: I. Kennst du das Land Special Mentions Thomas - Mignon: Connais-tu le pays *This French setting of the text is very well-known, from the opera "Mignon". Adamo - Little Women: Kennst du das Land *In this opera by American composer Mark Adamo, the character Dr. Bhaer sings the first stanza in German, and the second in English. Berg - Mignon *This setting only sets the first stanza of the poem. Learn more about Sound Garden

"Come Away, Death" is a song from Shakespeare's Twelfth Night. It is sung by the fool Feste - a fool being a clever peasant or commoner who uses humour to outdo the upper class. Despite the - uh, less than cheerful - title of the song and some of the deathly undercurrents found within the play, it is, in fact, a comedy. In late Elizabethan/early Jacobean England, the plague was endemic (constant) in Europe, along with other diseases. Crimes were often punishable by death, infant mortality levels were high, and the age of life expectancy was low (34 years on average for an English male). Death was something all Europeans were very familiar with, as well as simply being an inevitable event for all human beings. It is a topic which is often found in works of art from the time, including those which were intended to be humorous. Here are just a few of the references to death to be found within the play: It is mentioned twice within the first four lines (and many times throughout the rest of the work)! The plot centres on the twins Viola and Sebastian, who were separated in a shipwreck and presume each other dead (spoiler alert: they aren't!). The character Olivia is in mourning for her recently-deceased father and brother. Sir Toby and the Fool exchange song lyrics: (ST) "But I will never die", (F) "Sir Toby, there you lie!) A duel is set up, where each opponent first believes the other to be violent and out for blood, and later believes that the other has promised to not draw blood. “Come Away, Death”, is about a man who wants to die due to unrequited love, and wants to be buried far away without ceremony. The character of Orsino asks Feste to sing it: "O, fellow, come, the song we had last night.—/ Mark it, Cesario. It is old and plain;/The spinsters and the knitters in the sun/And the free maids that weave their thread with bones/Do use to chant it. It is silly sooth,/And dallies with the innocence of love/Like the old age." The text is as follows: Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there! Notes: In Classical Antiquity, cypress/cyprus trees were a symbol of mourning. They are to this day often found in cemeteries in the Muslim and Christian world, and are believed to be the tree from which the wood of Jesus' cross came. Does "cypress" then refer to the wood of a coffin? More likely a shroud: most people were buried in shrouds, as coffins were generally for the wealthy in Shakespeare's time. Cyprus/cipres/cypress was also the name for a transparent, crape (form of crêpe)-like material, often used to make shrouds. Yew trees are also often associated with churchyards and cemeteries. They represent resurrection and eternity in the Christian tradition; the drooping branches can take root and form new trees, creating a new life cycle. Burying pieces of yew with the deceased became a custom for early Christians. As mentioned above, coffins were not yet in common use. As the protagonist expects a low-key burial in an unmarked grave, he does NOT expect to be placed in a coffin, just as he does not expect this coffin to be strewn with flowers. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Settings Many composers have set this text to music. Have a listen to our four selections, and let us know which is your favourite! Roger Quilter Gerald Finzi Erich Korngold Madeleine Dring Learn more about Sound Garden

A new album by oboist Alexandre Ficarelli and cellist Raïff Dantas Barreto is out now: "Brazilian Music for Oboe & Cello". This album is the latest release from São Paulo (Brazil)-based record label Azul Music. Alexandre Ficarelli and Raïff Dantas Barreto are colleagues in the Municipal Symphony Orchestra of São Paulo. As well as being an oboist, Alexandre is a university professor, with a special focus on Brazilian music. Following extensive research of Brazilian oboe and cello repertoire, he invited Raïff to begin working on this album project, which includes previously unpublished and newly commissioned works. Both artists brought repertoire options, new ideas, and new insights to the table, creating a collaboration which is a celebration of Brazilian classical music! Read on for the interview! Interview How did you get started in classical music? Alexandre: I come from a family of musicians: my father was a composer, pianist and even conducted a little, and my uncle (my father's brother) was a French horn player in the São Paulo Municipal Symphony Orchestra. I started studying music at the age of 6, beginning with the recorder. At the age of 10, I started learning the oboe. It took years of dedication, study, countless hours of practice, and a lot of love for music to get to where I am today. Raïff: I started playing the violin when I was 12 years old. I discovered the cello at age 14 - thanks to my father, who always listened to classical music at home. I was also lucky to have a great teacher, Nelson Campos. After a few years, I went to Italy to study with Enrico Contini at the Conservatory of Parma. Who are your favourite composers and why? Raïff: Beethoven, Bach, Brahms, Schubert, Shostakovich, and Villa-Lobos. They are wonderful. Alexandre: It's very difficult to answer this question. I have always listened to music, ever since I was a kid. From Bach to Stravinsky, from Palestrina to Shostakovich, and from Villa-Lobos to Almeida Prado... there was nothing I didn't like. I learned to understand and enjoy contemporary music during my study in Germany. Each song or piece has its own peculiarity. How would you describe the classical music of Brazil? What makes it unique? Raïff: It's unique because it is a mix of popular music (folk music) and European traditions. Alexandre: Complementing what Raïff said: The mix of cultures comes from European and Black music (from the arrival of African enslaved people in the 16th century) and the traditions of the indigenous people who already inhabited these lands. This brought an incredible diversity to Brazilian music. The universe of Brazilian music is much broader than just bossa nova (which I love) and samba; we are also discovering our music. How did the idea for this album project come about? Alexandre: In my academic career (as a professor at the University of São Paulo), I have always researched Brazilian music. Through this research, I came across some oboe and cello duos that I found very interesting. I invited my friend Raïff to play them, and that was the beginning of this project. We played chamber music together, but never before as a duo. Raïff: It was an invitation from Alexandre that I accepted right away! We've played in the same orchestra for many years. What was the process like for researching, developing, rehearsing, and recording your album? Raïff: Alexandre brought some pieces, I showed him others, and we commissioned composers to create works for our duo. Alexandre: It was an incredible process, where each of us brought new insights to the repertoire and solutions to the musical problems. Recording was a pleasant experience; issues were easily solved, and Adonijas Jr. from Arsis Studio was very competent. Is there a particular work/movement on the album which has a special meaning to you? Raiff: Two works: 1) the Sonatina for solo cello by Mário Ficarelli, which I had the opportunity to play in the composer's presence in a concert dedicated to his compositions, and 2) the Frevo Obooecélico by Villani-Cortês, who, in addition to being a magnificent composer, is a great friend. Alexandre: Recording my father's (Mario Ficarelli) solo piece brought a mixture of feelings (he passed away 7 years ago). On one hand, I encouraged him to write a solo work for oboe, and it was dedicated to me. On the other hand, it is always a responsibility to record a piece for the first time. What do you hope listeners will gain from listening to your album? Raïff: Pleasant moments becoming familiar with a little Brazilian music and these two wonderful instruments. Alexandre: I hope everyone has fun listening to Brazilian music, especially through the unusual combination that is oboe and cello. Furthermore, these songs are rarely performed, even in Brazil! Do you have future projects planned together? Do you have future plans for continuing to advance and promote Brazilian music? Raïff: We have many concerts ahead as colleagues of the Municipal Symphonic Orchestra of São Paulo and as members of our duo. I intend to record the complete work of Villani-Cortês for cello and piano soon. Alexandre: As Raïff said, we have plans to record other duos. I also already have recording sessions scheduled for the next album, which will involve Brazilian Music for oboe and piano. What would you say to someone who is not familiar with classical music but would like to get started? Alexandre: Every human being has been exposed to classical music; they just don't know how to classify it. Whether in cartoons, movies, or television, classical music is always present. There is no right or wrong in classical music, just give it a chance and try it out! Raïff: Get started, you won't regret it! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products to help you to learn about and engage with classical music: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Brazilian Music for Oboe & Cello: Track-by-track The artists' thoughts on each of the works from the album: José Guerra Vicente: Divertimento para Oboé e Violoncelo Raïff: José Guerra Vicente was a great Brazilian composer, and it is unfortunate that the piece is not played more often. Edmundo Villani-Côrtes: Frevo Oboecélico para Oboé e Violoncelo Raïff: This work was composed especially for the duo. It is a short piece that requires a lot of skill. Mario Ficarelli: Quatro Esboços para Oboé Solo Alexandre: This piece explores different characteristics of the oboe sound covering the entire range of the instrument. Liduino Pitombeira: Seresta No. 18 para Oboé e Violoncelo, Op. 226: Modinha Alexandre: Modinha is a folk song originally from the 18th century. In this version, it receives a modern touch. This piece was dedicated to our duo. Liduino Pitombeira: Seresta No. 18 para Oboé e Violoncelo, Op. 226: Baião Alexandre: Baião is a North-eastern Brazilian style of music and dance with very unusual rhythms. Mario Ficarelli: Sonatina para Violoncelo Solo Raïff: This is a beautiful work that enriches the Brazilian solo cello repertoire. José Vieira Brandão: Duo para Oboé e Violoncelo: I. Seresta Alexandre: Seresta was a new name that emerged in 20th century Brazil for the oldest tradition of popular singing in cities: the serenade. This type of song is very melodious. José Vieira Brandão: Duo para Oboé e Violoncelo: II. Desafio Alexandre: This movement is based on a typical Brazilian singing improvisation by two alternating singers (repentistas). The album is available on all major streaming platforms. Learn more about Sound Garden

Violinist Claudio Cruz and pianist Marcelo Bratke have recently released their new album with São Paulo (Brazil)-based record label Azul Music: Song of the Black Swan. "Song of the Black Swan" celebrates the meeting of two renowned artists on the global classical music scene, at the height of their extraordinary careers. Their paths crossed when they took part in a production of a TV series about composer Heitor Villa-Lobos, performing this composer's "Song of the Black Swan". They immediately noticed a rare musical affinity between them, and their duo was born. About the musicians: Claudio Cruz began his violin studies with his father - luthier João Cruz. He continued to study violin, as well as music theory and conducting. He has been principal conductor of the Orchestra of the Municipal Theater of Rio de Janeiro and the Symphonic Orchestra of Ribeirão Preto and Campinas. He is a Latin Grammy award winner, a 2012 Grammy nominee, and has received numerous other rewards. He was the concertmaster of the São Paulo State Symphonic Orchestra (OSESP) for twenty-four years. He is currently the first violin in the Carlos Gomes Quartet, and conductor and musical director of the São Paulo State Youth Orchestra. He performs internationally as a violin soloist and guest conductor, including in Brazil, Europe, Asia, and the United States. Marcelo Bratke was fourteen when he began his piano studies, debuting with the São Paulo Symphonic Orchestra at the age of sixteen. He later studied at the Julliard School of Music in New York, returning to Brazil to complete his studies. He has become one of the most prominent pianists in Brazil, and has been honoured with awards such as the First Prize at the Concorso Internazionale di Musica Tradate in Italy, the Carlos Gomes Prize, the Classic Discoveries Award in England, and the Brazil in Germany 2006 Award. In 2017, he received the Order of Cultural Merit by the Ministry of Culture and the Federal Government in Brazil. He is a radio and television program presenter passionate about promoting classical music, including having produced a series of documentaries about Villa-Lobos. Read on for the interview! Interview How was your musical duo formed? Marcelo: I had played with Claudio as a soloist before and the result was marvellous, so I always wanted to perform with him in a piano/violin duo. The opportunity came later when I was directing and presenting a series of 8 documentaries about Villa-Lobos for TV. I invited Claudio to participate - giving interviews and performing Villa-Lobos with me in one of the episodes. I remember he was travelling and arrived on set to perform Villa-Lobos’ “Song of the Black Swan”, but we didn’t have the chance to rehearse. We went on stage and, without any rehearsal, began to play the piece. This very first take was the one chosen for the TV series! Without ever having played together before in our lives, like magic, it was as though we had been performing together for our entire lives. Claudio: I've known Marcelo's work for many years; I've always had great admiration for his work, which was why I invited him to play as a soloist a few years ago. After we had played Villa-Lobos' "Black Swan", I became very much interested in playing and recording with Marcelo. What do you think are the most important elements when forming a musical partnership? Claudio: Without a doubt, a great personal and musical empathy such as between Marcelo and I, along with great and mutual respect. Marcelo: Musical quality. If you admire your partner as a musician, the rest will happen on its own. You have both developed successful musical careers as individuals; what are some of the highlights so far in your careers? Claudio: I have a well-established career as a violinist since my teens. From the age of 30, I also started a good career as a conductor. One of the highlights has been the awards and nominations from the Grammy and Latino Awards, as well as various tours performed in the US, Europe, and Asia throughout my career. With great personal satisfaction, I include the work performed as a soloist with the São Paulo State Youth Orchestra since 2012. Marcelo: As a pianist, I was very lucky to perform at some of the world’s most coveted stages: Carnegie Hall in New York, Wigmore Hall in London, Suntory Hall in Tokyo, and the Salzburg Festival, amongst others. I created a project to promote Villa-Lobos internationally that includes includes the recording of the composer’s complete solo piano works, concerts in America, Europe and Asia, a weekly radio program broadcasted by Cultura FM and a series of 8 documentaries about Villa-Lobos for TV. Twelve years ago, I founded Camerata Brasil - a social project that professionalises young musicians coming from underprivileged areas of Brazilian society; this project has toured 12 countries. As a TV presenter, I conceived, directed, and presented the series “Música no meu Jardim” about Bach, Mozart, Beethoven, and Chopin for the channel Arte 1, vignettes with classical music for Band TV, and a new project entitled “Minuto Musical” for TV Cultura. The Federal Government of Brazil awarded me the Order of Cultural Merit as a Commander. I received 6 awards in Brazil and abroad in recognition of my career which began at the age of sixteen as a soloist with the São Paulo Symphony Orchestra (OSESP) conducted by Eleazar de Carvalho. How did the “Song of the Black Swan” album project come about? Claudio: In the last decade, I have dedicated myself to a lot of recordings. As an example, this year alone, I had five albums submitted to the Latin Grammys. For some time, I had the long desire to record an album with a few select pieces - beautiful works, some of my favourites. In that sense, I was thinking about which pianist should I record with; Marcelo was, without a doubt, an excellent option. Marcelo: During the pandemic period, Claudio approached me with the idea of putting together an album with the most beautiful music ever written for violin and piano. Pieces by various composers from different cultures and different periods. So, we designed a musical “promenade" together, revisiting these crème de la crème works of the violin/piano duo repertoire. Composer Heitor Villa-Lobos How did you select the works recorded for this project? Claudio: These are pieces I've played for many years. The project includes Brazilian music, which I love for its importance, beauty, and specificity. I also did a tribute to my father, who was an important violin maker and amateur musician. Marcelo: These are pieces that Claudio has played for a long time, but we had never experimented on them together. The idea was that each piece would speak for itself without any need of explanation about why they were placed in that order on the album. It seems simple, but the secret was to establish a musical dialogue between the pieces to be able to create a “narrative” logic. What was this album creation experience like - planning, rehearsing, recording? Claudio: We rehearsed a lot for a couple of months! But we ended up recording everything in a few days at Estúdio Arsis, which is an excellent studio. Marcelo: Like I said, it was a very interesting artistic experience in which, after the curatorial side of the album had been defined, the rehearsals happened smoothly. We rehearsed a lot - more than I ever did in a duo, but we did that for the pleasure of plunging into the music! It was always as if it were the first time we played together - meaning: no need to talk, just play, just let the music guide us. I felt (and I suppose Claudio may had the same feeling) more like a tool or channel - transporting a pure musical experience to the listener. Is there a particular track that you enjoyed recording the most? Claudio: The whole repertoire is very special to me, but, for obvious reasons, my dad's composition makes me really emotional. Marcelo: From a performance point of view, not really; as I mentioned, we sequenced the pieces with the logic of a bigger musical line. But, of course, as individual pieces, there are some that I miss playing with Claudio, pieces that stayed in my affective memory, such as: Gluck's "Orfeo ed Eurydice", Villa-Lobos’ "Song of the Black Swan", Tchaikovsky's "Andante Cantabile", or "Memórias de um Luthier" written by Claudio’s father, who was a great luthier! What do you hope listeners will gain from listening to this album? Claudio: Emotion. Marcelo: To be a part of the immersive musical experience we experienced together. What are your plans for the future of your duo? Claudio: Marcelo is in London now. But as soon as he returns to Brazil, we will play some recitals. I would also like to present our work as a duo in other countries…. Marcelo: To be able to perform this album live in order to experience the exchange of energy with the public. What would you say to someone who is not familiar with classical music but would like to get started? Claudio: Classical music is unforgettable! Once it connects to the emotions of each interpreter and listener, it becomes transformative. It always demands a deep reflection on our lives in the process of existence. Marcelo: Just enjoy. Nothing else! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products to help you to learn about and engage with classical music: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Track-by-track breakdown Villa-Lobos: Song of the Black Swan Claudio: This song gives me a feeling of hope. Marcelo: Musically, it is when Brazilian music crosses its borders to open a dialogue with the French like Saint Saëns. But the DNA of the piece takes the Brazilian soul under my skin. Kreisler: 3 Alt-Wiener Tanzweisen: III. Schön Rosmarin Claudio: I remember my childhood, beginning of my music studies; my father had some recordings of this piece with legendary violinists. Marcelo: For me, it suggests a perfect Viennese encore! Liszt: Consolation No. 3 in D-Flat Major, S. 172 Claudio: Milstein made an excellent adaptation of this piece (originally for solo pinao) for violin and piano. Marcelo: One of the most touching melodies created by Liszt. Romanticism in its element. Pyotr Ilyich Tchaikovsky Tchaikovsky: String Quartet Op. 11: II. Andante Cantabile (Arr. for Violin and Piano by Fritz Kreisler) Claudio: I played the original version for string quartet a few times and also recorded the version for cello and strings, it's a very special piece, like a prayer. Marcelo: One of my favourites! It translates the deepest side of Tchaikovsky. Brahms: Hungarian Dance No. 17 in F Minor Claudio: This is also one of the pieces I loved to hear in my teenage years, I particularly liked the recording by violinist Ruggiero Ricci. Marcelo: When I watch Claudio playing the violin during this piece, I see the gypsy soul that exists inside of him! Mignone: Valsa de Esquina No. 2 in B Minor Claudio: Mignone's "Valsas de Esquina" reminds us of the melancholy that permeates the environment of Rio de Janeiro. They are originally for solo piano; in this adaptation made by the composer himself, I highlight the very high register of some passages for the violin. Marcelo: This is the “deep Brazil” translated into the violin and piano tradition. Manuel de Falla de Falla: La Vida Breve: Spanish Dance No. 1 Claudio: In this piece we seek to develop a truly Spanish interpretation. Marcelo: Spicy! Massenet: Méditation de Thaïs Claudio: I played this piece in one of the first recitals I performed in my adolescence, at Teatro Municipal de São Paulo! I always have many memories of playing it…. Marcelo: This is when music can stop the passage of time. Monti: Czardas Claudio: I decided to perform a relatively classic interpretation of this piece. It is played many times with an excess of freedoms… Marcelo: We decided to bring this piece, which has been much too distorted in terms of its musical language, back to its original style and integrity. Christoph Willibald Gluck Gluck: Orfeo ed Euridice, Wq. 30: Melodie (Arr. for Violin and Piano by Fritz Kreisler) Claudio: The first time I heard this piece was in a recording by the legendary violinist Jascha Heifetz. It touched me deeply; I still feel emotional playing it today. Marcelo: I learned to play this piece in its piano version with the great Brazilian pianist Guiomar Novaes and tried to transport this experience to the violin and piano language. Dvořák: Slavonic Dance No. 2, Op. 72 Claudio: I played and conducted these Slavic dances several times in the orchestral version. In this arrangement for violin and piano, we imprint the specific traditions of orchestral performances. Marcelo: A difficult piece to translate from its orchestral version. This was the challenge we plunged into to try to render this piece in the way it deserves. Villa-Lobos: Improviso No. 7, W096 Claudio: Villa-Lobos was a really brilliant composer, and, above all, a great melodist! We prove this in this improvisation. Marcelo: This is Villa-Lobos exploring the language of improvisation. And, as Gershwin said: “Life is like jazz. It is better if you improvise!” Frédéric Chopin Chopin: Nocturne No. 20 in C-Sharp Minor, Op. Posth. Claudio: In this nocturne, I feel a great introspection; in the interpretation I tried to diversify the sound and the dynamics. Marcelo: I tried to bring to the piano part a bit of Rubinstein’s straight musical language which, in my opinion, makes Chopin a translation of truth. This also helps the violin to fly freely in its idiom. Paganini: Cantabile in D Major, Op. 17, MS 109 Claudio: In this Cantabile we can see the professionalism of Paganini when composing for violin. Marcelo: A fine example of how the piano should behave to give the violin freedom of expression. Kreisler: 3 Old Viennese Dances: II. Liebesleid Claudio: Fritz Kreisler was an excellent violinist and an interesting composer; his compositions remind us of Austrian traditions. Marcelo: The difficulty here is to get the subjective flavour of the Austrian watlz - exposing its true and original format and movement. Cruz: Sentimentos de um Luthier Claudio: I grew up listening to my father play this song; he tried all his new violins playing this piece. Later, he asked me to play it…. it brings me good memories. Marcelo: This rather mysterious piece reminded me the power of music - bringing me to the world of a person who devoted his entire life to music and the violin. And all with just a few, but very expressive, notes! The album is available on all major streaming platforms. Learn more about Sound Garden

Already familiar with Beethoven's "Moonlight Sonata", Debussy's "Clair de Lune", and a Chopin nocturne or two? Want to deepen your knowledge of beautiful, atmospheric classical works for solo piano? Here are ten great selections for you to explore! Amy Beach: Four Sketches: III. Dreaming Amy Beach was a pioneering composer in 19th Century USA. "Dreaming" is from her "Four Sketches", and bears a tagline from the Victor Hugo poem "À celle qui est voilée" (To the Veiled One): "You speak to me from the depths of a dream". Children ages 6-12 can learn about the inspirational life of Amy Beach through our activity book: Classical Inspirations: Amy Beach Ludwig van Beethoven: Sonata No. 8, Op. 13 "Pathétique": II. Adagio cantabile This three-movement piano sonata is one of Beethoven's most celebrated works. The slow second movement is famous for its beautiful cantabile (singing-style) melody. Johannes Brahms: Six Pieces for Piano, Op. 118: II. Intermezzo in A major Brahms' "Six Pieces for Piano" were dedicated to close friend (and object of his affections) Clara Schumann - one half of the famous Schumann couple. The second piece is an intermezzo (a type of piece traditionally placed as a light diversion between two larger sections of a work), and is intimate and introspective. Claude Debussy: La fille aux cheveux de lin This is the 8th piece in Debussy's first book of "Préludes"; the title translates to "The Girl with the Flaxen Hair". It was inspired by a poem of the same name by Leconte de Lisle, and is recognised for its simplicity compared to much of Debussy's musical output. Franz Liszt: Consolation No. 3 The "Consolations" are a set of 6 works by musical phenomenon Franz Liszt. The third Consolation is the most popular, and bears similarities to Chopin's "Nocturnes", particularly his Op. 27, No. 2. Engagement with classical music through activities for ages 0-6: Composer Activity Guide: Franz Liszt Arvo Pärt: Für Alina Estonian composer Arvo Pärt is known for his "tintinnabuli" (bell-like) style of composing, clearly shown in this piece. It is dedicated to a family friend's 18-year-old daughter, who had moved to England with her father when her parents split up. It was meant as a consolation for her mother, missing her child. Learn about the science of calm through classical music: Classical Sessions for...Calm (for adults and teens) Sergei Rachmaninoff: Prelude in C# minor It is rare that we have recordings of famous historical composers performing their own works; listen below to hear Rachmaninoff playing his C# minor prelude! He actually grew to detest this piece, as he was requested to play it so often. Children ages 6-12 can learn about Rachmaninoff's inspirational life in our activity book... Classical Inspirations: Sergei Rachmaninoff Maurice Ravel: Gaspard de la Nuit: I. Ondine The three-movement work "Gaspard de la nuit" is inspired by the poetry collection "Gaspard de la Nuit – Fantaisies à la manière de Rembrandt et de Callot" by Aloysius Bertrand. The first movement "Ondine" is based on a poem of the same name about a water nymph who sings to seduce an observer into visiting her underwater kingdom. Clara Schumann: Piano Sonata in G minor: II. Adagio This work was Clara Schumann's first attempt at composing in the piano sonata form. Clara was a famous pianist and also a composer (though her husband Robert was more famous in this regard). She wrote in her diary: “I tried to compose something for Robert, and lo and behold, it worked! I was blissful at having really completed a first and a second sonata movement, which did not fail to produce an effect – namely, they took my dear husband quite by surprise". She gifted two movements of the work to her husband for Christmas, completing the "Adagio" and "Rondo" movements later. William Grant Still: Three Visions: II. Summerland "Three Visions" is a suite of three piano pieces. According to the composer's daughter, "the three segments of the suite, Dark Horsemen, Summerland, and Radiant Pinnacle, tell the story of the human soul after death: the body expires, and the soul goes on to an apocalyptic judgment. If it is seen that the past life has been a good one, the soul may enter “heaven,” or “Summerland”". Learn more about Sound Garden

Pianist Olga Kopylova has just released her new album with São Paulo (Brazil)-based record label Azul Music: Beethoven: Piano Sonatas No. 3 in C Major, Op. 2 & No. 16 in G Major, Op. 31. Born in Uzbekistan, Olga Kopylova joined the Uspensky Special Music School (Tashkent, Uzbekistan) at the age of six. She continued her studies in Moscow at the Tchaikovsky Music College and is a graduate of the Tchaikovsky Conservatory. In 2000, she moved to Brazil, assuming the position of principal pianist of the São Paulo State Symphony Orchestra (OSESP), which she holds to this day. In 2003, she released her first solo album MORNING STAR, performing works by Russian composers. Since then, she has been a part of several symphonic recordings and has performed as a soloist with a number of orchestras. Kopylova also develops activities with chamber music groups and participates in sociocultural projects. She is a professor at the OSESP Music Academy. Read on for the interview! Interview How did you get started in classical music? I started my piano studies in Tashkent, Uzbekistan, at the Uspensky Special School of Music. My father was an engineer and he greatly enjoyed classical music; the piano was his favourite instrument. He gave me my first lessons in music through a teaching method called the "Nikolaev School", and at the age of 6 he took me to the Uspensky School. This school integrated the music education system which had been developed in the Soviet Union - the renowned "Russian school". My family moved to Moscow in 1994 and I resumed my studies there, eventually graduating from the Tchaikovsky Conservatory. I met many foreign students at the Conservatory - Brazilians among them. Through a violinist colleague of mine, I learned about an audition in Brazil for a position as a pianist with the São Paulo State Symphony Orchestra. That was how I ended up moving to Brazil. I’ve been OSESP’s main pianist since 2000. Who are your favourite composers and why? Since I’m a professional musician who is always working with music, it is quite difficult to name my favourite composers. Each musical era features amazing composers who have made quite significant contributions to the history of music. The names of all those who I admire simply wouldn’t fit in this interview. But if I could choose some who make me feel more puzzled than others do, these would be: Hildegard von Bingen - I admire her for her courage in being a creative woman, prolific in so many fields at the time she lived, and for the purity of her music; J. S. Bach - due to the complexity of his polyphonic (many-sounds) language; W. A. Mozart - for his brilliant ideas, creativity and perfection; L. van Beethoven - for his strength, energy and depth, as well as for his indomitable spirit; R. Wagner - for his greatness; F. Liszt - for his prolific production, virtuosity, and for having contributed so much to piano repertoire; C. Debussy - for his sophistication; M. Ravel - for his unique way of creating orchestrations; C. Chaminade - for having produced so many beautiful works (click here to listen to one) while keeping her integrity and being faithful to her musical convictions, even though these were considered to be outdated by the time she lived; I. Stravinsky - for his cleverness and innovations; D. Shostakovich - for his grandeur; S. Prokofiev - for absolutely everything; S. Gubaidulina - for the sound universe which dwells in her imagination and for her intensity; G. Ligeti - for being an innovator; C. Guarnieri - for his sophistication, and for having uncovered the beauty which lies in the best elements from the folk music of Brazil. I have a dream that I’d like to record all of his Ponteios. What other genres of music do you enjoy listening to, aside from classical music? I enjoy listening to movie soundtracks by composers like John Williams, Ennio Morricone, Nino Rota. In jazz, musicians like Hiromi Uehara, Chick Corea, Oscar Peterson, Bill Evans, Art Tatum, and Keith Jarrett. Regarding the popular music of Brazil, I enjoy Caetano Veloso, Chico Buarque, Elis Regina, João Gilberto, Gal Costa, and Maria Bethânia. But I listen to classical music most of the time. What drew you to Beethoven and his piano sonatas? The idea of existing and not playing Beethoven is totally inconceivable for a pianist. This composer produced a lot of music for the piano, and pianists usually start their journey by studying his music and keep on learning and playing his works all their life through. Absolutely everything he wrote for piano is amazing. It's a complex universe, full of details, with both technical and musical challenges. One could spend one’s life just playing Beethoven and time would yet be short for absorbing and passing along his ideas. Who are your favourite Beethoven interpreters and why? Just as it was difficult for me to name my favourite composers, this is a question which I can’t answer so easily. Many reference recordings exist. Some interpreters such as Artur Schnabel, Wilhelm Kempff, Friedrich Gulda, Stephen Kovacevich, Richard Goode and Paul Lewis are great. I respect all of them as the great musicians they are, and the fact that they have played and recorded all of Beethoven's sonatas (and some, like Friedrich Gulda and Wilhelm Kempff have recorded Beethoven's entire sonata cycle several times!), certainly deserves attention. The concerts performed by Murray Perahia draw my attention for their perfection. Friedrich Gulda Conductors such as Herbert von Karajan, Nikolaus Harnoncourt, Carlos Kleiber and Wilhelm Furtwängler made history by conducting Beethoven’s symphonies. Beethoven's orchestral world is grandiose, and these conductors have apprehended it each in their own personal way. I especially love Karajan, as he was such a vigorous and charismatic figure. He managed to convey much strength in all of his gestures, then persuading the whole orchestra to follow him. The recording in which Karajan conducts the Symphony no.5 with the Berlin Philharmonic is very special - I just can't breathe when I listen to this recording! I feel paralyzed when watching his gestures and face expressions - the resulting sound the orchestra produced is something unique, you just can't repeat it. Herbert von Karajan Unfortunately, no recording equipment existed during Liszt's lifetime. You can’t imagine how much I’d like to hear him playing or conducting Beethoven - especially his piano transcriptions of the symphonies (it's worth getting to know all of them as recorded by Cyprien Katsaris). I can't understand how, along with all of his creations, he also transcribed over 300 works - ALL of Beethoven’s symphonies among them! I love the interpretation of his Violin Concerto by Itzhak Perlman with the Berlin Philharmonic and Daniel Barenboim conducting, because I deeply admire this violinist and his sound is something divine in my opinion. Itzhak Perlman There are other excellent musicians who have played and are currently playing Beethoven very well: Arturo Michelangeli, G. Gould, S. Richter, R. Serkin, C. Arrau, D. Barenboim, E. Kissin, V. Lisitsa and I. Levitt, among others . Mentioning all of them here just wouldn't fit, but I've always listened to their recordings and will keep on listening to recordings and recitals by great musicians, and I'm impressed with the ability each one of them has to convey the ideas from this great composer in different ways. I believe Beethoven's music will always draw our attention to its beauty. But as for my interpreter of choice, I’ve got one whom I admire more than others - a personal preference of mine, one to whom I intimately relate: Marc-André Hamelin. I love everything he plays, I love his way of thinking about music, I love his technical perfection, his cleverness. I could listen to this live recording from 2006 every day, several times a day, for the rest of my life. What is something people might be surprised to know about Beethoven? Some very good sources exist in order to get to know about Beethoven's life. His letters (first published in 1866) for example, from which we can learn a lot about some important details in his life. There is also an interesting book by musicologist D. W. Jons, which gives us good insight about life in Bonn and Vienna in Beethoven’s time, without idealising things and without sentimentality - simply narrating the facts about Beethoven's life by analysing his reality, the one to which he belonged. I appreciate this approach - a more sociological one. Another important biography one should know was written by Jan Swafford, American composer and musicologist. It is essential (and more intimate) reading, and its merit is that it discloses the tensions within Beethoven's personality. The interesting thing about this read is that it was written by a composer. Therefore, his approach is a deeper one, I would say, made by someone who can understand the anguish of creative processes face to reality, as he is also a creator. One fact which I found very interesting, and would like to share here, is about how anguished Beethoven felt regarding the remuneration for his works. While I read his letters, one of them, to Anton Hofmeister (the composer and editor of his works), made me ponder how much Beethoven's works would be worth today. His Symphony no. 9, for example. How can one measure how much this cultural heritage of mankind is worth? The first page of one of Beethoven's letters, to his "Immortal Beloved" Beethoven writes in this letter: "There should exist only one great art depot in the world, to which artists could resource to by bringing in their works and, upon presenting them, receive that which he needed; but judging by the way it goes now, one needs to be half merchant - and how could this be tolerated? My God in heavens! I might as well call this very troublesome!" (Letter from Beethoven to Kapellmeister Hofmeister. Vienna. January 15, 1801). In the same letter, he offers 4 of his works: Sonata op. 22, Concerto op. 19, Septet op. 20 and Symphony op. 21, asking for a total of 70 Dukatos (the currency of the time) for them, confessing that he is, in fact, a terrible merchant. The distaste he had for negotiating his works becomes evident. Pondering this, I think about the complex reality of composers, who, upon dedicating themselves to their creative processes, have to consider their survival first. Such issues regarding the relationship between creative processes and reality really puzzle me a lot, because we tend to idealize the great artists by picturing them as living in an illusory world - ever creating, their heads in the clouds. Such fantasy is far from reality. All artists need to pay their bills, take care of their daily chores and do what everyone else does. What often drives their creative processes is perhaps nothing more than their search for ways to support themselves. Tell us the process of developing, rehearsing, and recording your new album! The idea of making this album came about in 2020, which was a year of celebrations on occasion of Beethoven’s 250th anniversary. The world prepared programs which included Beethoven’s music – symphonies, concertos, sonatas, and more. However, most of the performances which had been planned were cancelled due to the outbreak of the pandemic. I had played Liszt’s transcribed version of Beethoven's Symphony no. 5 in a recital in March 2020. The world shut down soon after, and long quarantine months began. During this period of confinement at home, I dedicated my time to reading through all of Beethoven's sonatas, among other things. I wanted to recall my days at the Moscow Conservatory, where piano students had to know all of his sonatas. Studying Beethoven’s sonatas was a part of our routine, and we as students loved it. The universe of Beethoven's sonatas is a very rich one, in all aspects. It's nearly impossible to figure out how he managed to create such a variety of musical elements. From his first sonata (op. 2, no. 1), the peculiar features in Beethoven's style already become evident, and a world of ideas and innovations emerges with each sonata. As I read the sonatas in my quarantine, Beethoven’s op. 2, no. 3 caught my attention due to the contagious energy present in those nimble movements, as well as the depth contained in its second movement. This sonata has long been on my radar as one of the pieces I dreamed of presenting to the public. Some pieces move us more than others do; it's a matter of relativity. Generally speaking, I’m passionate about virtuoso pieces, and this sonata is virtuosic from start to finish. Whenever I face significant technical difficulties, it is a great stimulus for me, and that’s because I want to overcome those challenges in order to play with perfection. I already knew the sonata op.31, no. 1, and had also played it when I lived in Moscow. The second movement in this sonata is a spoof about an Italian opera house, and constitutes an immense challenge as it is filled with ornaments, trills and cadenzas. The main goal here is to build an aria by imitating the art of singing and creating a mood for something beautiful, while at the same time conveying an implicit feeling of irony. These two sonatas had been scheduled for a series of recitals, which would take place at Sala São Paulo along the year 2020. They have been postponed till January 2021 due to the pandemic. As we weren’t allowed to celebrate New Year's Eve surrounded by family and friends, I spent New Year's Eve studying these two sonatas at the piano, in order to play them in recital on the stage of Sala São Paulo on January 13, 2021. However, being able to spend the Réveillon in the company of Beethoven was truly a gift for me. It was one of the most memorable New Year’s Eve's of my whole life! In January, after the recital, I decided to record an album of these two sonatas. I wanted to remember this unusual year, and to never forget the importance these pieces had had for me; they had strengthened my spirit in that moment by bringing hope and meaning to me amid the despair and chaos. What do you hope listeners will gain from listening to this album? This album is very dear to me, because recording Beethoven is an act of courage; it means exposing yourself to criticism in advance. Many reference recordings of these sonatas exist, and they are very good. And so, what could I do differently? That’s the eternal concern of music interpreters: to create something new, unprecedented, and at the same time being as faithful as possible to composers' ideas. In fact, we’ll never know what a composer's intentions were, and guessing is all that we can do. Nevertheless, all these fears and worries ultimately ceased to exist. I related to these pieces on such a deep level that the mere act of living with them for a period of time made me feel completely satisfied; it made me feel fulfilled. I believe that when such things happen - the complete connection of the performer to the work one is performing - listeners somehow perceive it. Maybe that's my goal: to somehow convey to listeners how I felt when playing these music works, sharing their richness and strength. Beethoven's music always feels like that; it infects you with its extraordinary energy. It's impossible to feel indifferent when listening to his music. It disturbs us, stirs our imagination, takes us out of our comfort zone by challenging us (in a good way). A new element which I had the audacity to introduce, and which causes my interpretation of the Sonata No. 3, Op. 2 to be distinct from all others, is the execution of the coda from the third movement (marked Scherzo) in the tempo of the movement which follows it, which I decided to play in an attacca (without a break) way. I felt that if I did it this way, the sonata would become more unified within the context of its form. It worked really well, I guess, because the coda still introduced the tempo for the next movement. I wonder what the audience and critics will think of this, and, likewise, I don’t know what the composer would say about it. However, I believe the result of our interpretive process has to convince us as artists in the first place. Sometimes I try alternative things and I'm convinced it works this way and it can't be any different. In contrast, I play the first movement from the Sonata No. 1, Op. 31 (Allegro Vivace) a tad more calmly than other performers. I don't feel I need to play this movement fast, because its character is comic, and it takes time and space in order to demonstrate all the irony contained in it. True virtuosity takes place in the second movement (Adagio) which is an aria and contains all sorts of virtuosic ornaments. What would you say to someone who is not familiar with classical music but would like to get started? I’d like to say that the habit of listening to classical music is just like any other - you need to cultivate it. If you don't expose yourself to listening, how can you make a habit out of it? It's like tasting new flavours, new seasonings: the more we try it, the more we get to know them and have an opportunity for enjoying them. This happens with reading; once we read a good book which draws our attention by making us breathless, we want to read more until we can't imagine our life without good reads. Listening to classical music feels just like enjoying a good dish, like embarking on an incredible journey, or even leaving for another dimension. It’s a universal language which needs no special training. It’s just listening and letting the sounds take you. Classical music eliminates the barriers between people; it talks to each person in a distinct way, bringing inspiration and comfort to the soul. I recommend to everybody to start listening to the great composers such as Beethoven, for example. There are many wonderful recordings of his works available on all digital platforms. You just have to start listening! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products to help you to learn about and engage with classical music: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Track-by-track breakdown Piano Sonata No. 3 in C Major. Op.2, No. 3: I. Allegro con brio One of Beethoven's most vigorous creations. Here we find pure virtuosity and contagious joy. The second theme introduces contrast and a lyrical aspect, but it doesn't take long and the initial energy returns. It's a famous movement for its intervals in thirds in the right hand and is quite challenging in technical terms. Piano Sonata No. 3 in C Major. Op.2, No.3: II. Adagio It’s incredible to think that even in the Op. 2 sonatas (his first piano sonatas), Beethoven brings depth to his slow movements; this became his trademark until his last sonata (No. 32). This Adagio movement is long and quite deep. It begins in a contemplative mood, as if it came from a church choir. Then drama suddenly appears, with the "Dies Irae" motif appearing in the left hand in inverted form (I guess that such a theme in the left hand must be the "Dies Irae"), changing the initial contemplation mood into one of tragedy and supplication. Beethoven always introduces these contrasts: joy, introspection and tragedy. And here we may really feel something disturbing which overtook him by the time he wrote this sonata. By the end of the movement, a catharsis takes place, as the theme ascends to higher registers. In this moment I feel as if I had been lifted to the heavens, as if I had left my body, staying among the angels, as if all pain has been cleared… I love this movement, for I feel it encompasses all aspects of human existence. Piano Sonata No. 3 in C Major, Op.2, No.3: III. Scherzo.Allegro,, IV.Allegro assai How fantastic this Scherzo is! It's the perpetual motion, as if it were a machine, a music box. However, in the Trio, the playful character gets interrupted by the drama once more. In turbulence, right-hand arpeggios overlap with a stern, steady theme in the left hand. In putting an end to the drama, the initial music box section returns. I considered playing the coda in a faster tempo. I felt that this way I could bring more unification to the sonata form as a whole, introducing the tempo from the fourth movement. The Rondo movement needs, in its turn, a lot of physical stamina on the part of the player. The first theme, with its fast, ascending chords, constitutes yet a challenge. And each new element that appears surprises us by its technical difficulty, until it reaches the last exposition of the theme, taking place in the left hand, with trills in the right hand becoming double trills and then triple trills, which brings performers to true exhaustion. It takes many study hours in order to play this last movement flawlessly, but every effort is rewarded with the messages of joy and strength found in this sonata. Piano Sonata No.16 in G Major. Op.31, No.1: I. Allegro vivace The syncopation is a curiosity in this movement; it even constitutes the first theme. When I started studying it, that was the first thing which drew my attention. I thought: why didn’t the composer choose to start "on the upbeat", but started with a syncopation instead? I tried to play the first theme without the syncopations, and then understood why the strong beat had been shifted: it was due to its ironic character. The syncopations stress this character and disclose the composer's intent, which was certainly a playful one. The second theme from this movement is a dance - like a cabaret-style dance. It cannot be played in an "uptight" manner, for it must display the grotesque character of such a dance. Piano Sonata No. 16 in G Major. Op. 31, No. 1: II. Adagio grazioso This movement feels like a chocolate candy! It's delicious to play. Beethoven made a parody of an aria from Italian theatre, with unending, ultra difficult ornaments of all kinds. However, I think the result departed from the idea of parody, because it became too perfect. Here we have a complex, and at times sublime, movement. It's as if the composer thought: "Okay. I'm going to write a spoof about something I don't like in Italian theatre. I also know how to write in this style. I'm going to make jokes and fun here by introducing untouchable ornaments and cadenzas, etc." However, during the process I think he sublimated this idea and exceeded his own intentions. Without losing his sense of irony (which we can feel throughout this movement from beginning to end and through the rough staccato accompaniment), the composer created an original work of art - an aria which is no longer Italian, but totally Beethovenian. Piano Sonata No.16 in G Major. Op.31, No.1: III. Rondo, Allegretto-Presto I love this movement because of its linear character and polyphony. The feeling I get here is like I'm in a maze and holding a thread, so that I don't get lost. The thread unwinds and I follow along different paths, seeing different things and hearing different voices. There are times when it feels like I'm walking through the same place again (as the Rondo theme returns), but it's not: those are different paths. Beethoven changes the main theme and brings it back with new aspects added. The album is available on all major streaming platforms. Learn more about Sound Garden

Today we welcome AleahFlute/Aleah Fitzwater to the blog! Often when learning about classical composers, we imagine them as being...well, rather boring. In fact, this impression is far from the truth: many composers both past and present were and are quite colourful characters! Read on to learn more! About Hey there! My name is Aleah Fitzwater. I am a classical flutist and music teacher gone awry. I used to teach in public schools and study religiously. But now, well...I’m still a classical cat, but unhinged! I write music blogs about classical composers and music digitising. I also arrange and record classical flute versions of alternative/pop songs, like those by Linkin Park and Panic! at the Disco Today I am going to take you on a bizarre journey: We will be learning about a selection of strange composers. But believe me, there are many more musicians that should be on this list. There just simply isn’t enough room (or time!). Let's dive in! Anton Bruckner Ah, yes, the strange classical composer who kissed skulls...or have you not heard?? While this Austrian composer is mainly known for his symphonies and choral works, there is a little bit more to glean. One of his most popular symphonies (his fourth) is known as the "Romantic" symphony. It is not a typical Bruckner piece, as he was very much into the macabre and this is reflected in his work. Bruckner somehow got hold of both Schubert's and Beethoven's skulls when they were being moved from cemetery to cemetery, and kissed and held them. Was his obsession with death, or with being a great and venerated composer? Perhaps both...either way, his desire was fulfilled! After his death, Bruckner was mummified. This was all too fitting for the dark composer. I stumbled upon (and accidentally downloaded!) a few pictures of Bruckner’s mummy. I will save your retinas by not sharing them here. Erik Satie This umbrella-collecting, suit-wearing musical genius wasn’t very popular during his lifetime (he was, however, known to be quite strange). Someone opened his closets after he passed away, and tumbling out of them came hundreds of handkerchiefs and umbrellas! His girlfriend wasn’t any less strange, to boot. She wore a corsage made of carrots and fed the paintings she made but didn’t like to her pet (are oil paints edible? I think not). The couple once got into a fight, and Satie supposedly threw her out of a window...but it all ended well because she landed on her feet. She was, after all, a skilled acrobat! Oh, and I almost forgot to mention... He formed a subsection of a religious organisation (and eventually his own church). He also made a rule for himself that he could only "eat white foods". Yep, this quirky composer restricted himself to parsnips, chicken, and other white foods. Personally? I think I’d be going a little hungry here. In the more normal realm of things, Satie helped form the group of impressionistic composers called Les Six. If you’d like to honour Satie and his oddities, take a listen to the piece "Embryons desséchés", which roughly translates to "dried embryos’: Despite his strangeness, Satie's music is usually quite mild and pleasant, and it makes great classical music for studying. Philip Glass I have a certain soft spot for this composer of minimalist pieces, such as "Metamorphosis". While his habits and collections aren’t nearly as weird as those of Satie or Bruckner, there is something to be said about his brand of oddness. Glass is known for his repetitive pieces - beautiful, elegant classical piano pieces, for the most part. However, he also wrote an opera entitled Einstein on the Beach - a work which is nothing short of strange. I learned about this one when I was an undergrad in music education. This four-act opera is technically considered an avant-garde opera, and is related to something Glass called a "knee play": an opera or musical that has little bits that hold the larger scenes together (this part is not all that odd). Anyway...here comes the quirkiness. This opera is truly named after and written about Einstein. The lyrics include numbers...lots of numbers. The composition itself is for SATB (soprano, alto, tenor, bass) choir, with various instruments (and odd combinations, like piccolo being paired with bass clarinet). You can listen to Einstein on the Beach in full here: Dmitri Shostakovich In my humble opinion, Shostakovich was one of the best classical composers to ever live. He was a Russian composer during the time of the Soviet Union, post-revolution. "Waltz No. 2" is a short-yet-catchy piece that I always seem to find myself listening to: Dmitri Shostakovich wove his (German-version) initials into his works (other composers such as Bach also did this): DSCH - or D, Eb, C, B. This particular combination of notes is haunting, to say the least. Dmitri had low self-esteem and was a certified chain smoker. Once we dive in a little deeper, it’s no wonder he was so hard on himself and found this small vice. He often called himself "a puppet on a string". But why? He had a difficult time expressing his artistry, as he was very busy writing for the government. Soviet leader Joseph Stalin requested a plethora of music from him, and so he ended up writing many nationalistic pieces. I have to wonder, what would Shostakovich's music have sounded like had he not had so many commissions from Stalin? Shostakovich ended up joining the Communist party to prevent being captured or killed like so many of his friends and family. He went back and forth with the Soviet Union for years, becoming popular, then being accused of writing inappropriate and "formalist" music. Other Russian composers, like Prokofiev, were also under fire. His 7th symphony, or the "Leningrad Symphony", was about the historical Soviet invasion. It was a phenomenal success. While this "true Soviet" piece kept him safe for a time, his works after the Leningrad Symphony promptly got banned. Shostakovich’s later compositions can also be considered plain weird. If you listen to his 9th symphony all the way through, it’s pretty clear that he wasn’t taking himself too seriously. The finale sounds like a sad, weird circus. Perhaps he was pointing a finger at the chaotic state of affairs, including the war? Or was he simply a strange composer? I’ll let you decide. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Cécile Chaminade Most people don’t think that Cécile Chaminade was that odd. But personally? I do. This classical composer was a little bit obsessed with her flute professor. She was so in love with him that she wrote a concerto about him. The beginning of the piano part sounds like ringing church bells: a representation of her daydreams of marriage to her professor. Cringe! While she didn't have much luck with romantic proposals, she did have quite a lot of success with the piece. (Eventually, she ended up marrying a music publisher - a marriage which some musicologists speculate was purely for business…) The Chaminade concerto, as we now call it, is performed by flutists everywhere to this day. It truly is a lush daydream. Here is a wonderful performance of it featuring soloist Denis Bouriakov: Wolfgang Amadeus Mozart Welp. Here’s a name I bet you didn’t expect to see on the "strange composers" list. Mozart was obsessed, not with a person, but rather...with farts. Is it too uncouth to talk about a composer who loved farts on a classical blog? Amadeus probably would have said “No!”. Not only have there been letters found including this...unique brand of humour, but he also wrote pieces about the topic of backsides. The piece "Leck mich im Arsch" is just as bad as it sounds. I’m not going to give you the pleasure of translating it into English. But you can listen to it here, I guess… Percy Grainger Love it or hate it, Grainger’s music seems to be here to stay. Comically enough, I once had a piano professor who said the music of Grainger was decidedly "awful". He couldn’t understand why we were even programming his works. At the time, we were performing his "Irish Tune from Country Derry" which was essentially a thickly orchestrated version of Danny Boy. Personally, I quickly fell in love with Percy Grainger’s reedy orchestration and lush brass chords. Grainger was a composer from Australia. He had a knack for turning his old conducting batons into whips. I’m not going to go into further detail on that now, so I’ll just leave that fact there. Some of these, er, artifacts, can still be found in the Grainger museum today...along with his dentures, which he insisted be included in the displays. As well as being a composer, Grainger was interested in fashion design. According to Classic FM, the clothes he designed and wore were so bad that he was "often mistaken for a vagrant" when he wore his pieces out on the town. He even created a type of patchwork bra. Speaking of creations, he also invented a handful of instruments, such as a mini piano tuned to microtones (intervals between notes which are smaller than a semitone). Some call him crazy, others call him a "synth pioneer". Conclusion When it comes to strange composers, this is just the tip of the iceberg. So, go on and dig up some more information! But only if you dare... Follow Aleah on social media: Instagram Facebook Learn more about Sound Garden

Before we get into the list, let's answer a few questions! What is classical music? Classical music is "art" music. Art music is generally created from an understanding of elements such as pitch (how high/low a note is) systems, pitch relationships (which notes go together) a.k.a. harmony, musical notation (written musical symbols), and musical structures (how the musical themes are used and developed). A composer uses these elements and combines them to create specific aural effects for the listener. Classical music is an umbrella term that covers many subgenres, such as opera, symphonies, concertos/concerti, and many more. Many cultures have their own classical music traditions. When we refer to "classical music" as a genre, we are usually referring to Western classical music - music which has developed from European traditions, beginning in the Medieval Era. Sign up as a site member for a FREE Classical Music Crash Course guide (link opens in new tab)! You'll also get access to our Freebies and Learning Hub pages and more: When was classical music composed? Classical music is still being composed today - many composers live and work all around the world, and you have probably heard their music in contexts such as movies, television, or games, even if you have never been to a concert featuring contemporary classical music! We usually consider the beginning of Western classical music to have coincided with the fall of the Roman Empire in 476AD. The timeline below gives a general idea of the classical music era divisions: What makes a classical music piece good for beginners? Well, nothing in particular, actually, as tastes vary hugely! However, listening lists for good classical music works for beginners often include pieces with qualities which will be familiar to listeners. For example, they may be classical music pieces which people are likely to have heard before, pieces based on a famous story such as Cinderella, or pieces which use familiar systems of pitch/harmony/structure/etc. This isn't one of those lists. We believe that good music is good music, and we're here to share some of our favourites with you, and we hope you'll love them too! No Vivaldi's "Four Seasons", Beethoven's "Symphony No. 5", or Mozart's "The Magic Flute" here - though they are great works, you'll get those on other lists! While we're breaking down stereotypes, want to know the TRUTH about classical music? Let's Get Listening! As you listen, you may find that you prefer one piece to another - that's great! You're already figuring out your tastes! Which instrumental "colours", which sounds, which styles capture your attention? These selections are in no particular order. Happy listening! 1. Shostakovich: String Quartet No. 8 This piece is in five movements, or sections. Our favourite is the second movement, which you can find at 5:10! This piece is also included in our Press Play series - specifically, our post for teens: click here to read! 2. Puccini: Tosca Drama, brilliant music, one of the greatest operatic heroines and also one of the greatest villains - everything you need in an opera! Did you know...that many opera performances have the text displayed above the stage in the local language (sometimes even in multiple languages)? The surtitles are displayed line-by-line above the stage, helping you to follow the story! In the YouTube link we have included, there are English subtitles at the bottom of the video. Note also that operas have been composed in many languages - including English! Here are three English-language examples to get you started: Henry Purcell: Dido and Aeneas Benjamin Britten: Peter Grimes John Adams: Doctor Atomic Opera continues to be a popular form of classical music in the 21st Century. Take our quiz to find out which 21st Century opera you are! 3. Mahler: Symphony No. 5 Mahler's "Symphony No. 5" is divided into three parts, with five movements in total. It begins with a funeral march, and is mostly complex and dense, except for the tender third movement. Visit our "Inspired By Love" listening list post (link opens in new tab) to find out more about the third movement (Adagietto) - a love letter to Gustav Mahler's beloved Alma (a composer in her own right)! 4. Monteverdi: Lamento della ninfa Monteverdi was one of the most important composers of the late Renaissance/early Baroque eras. "Lamento della ninfa" is a madrigal - a type of song for several voices. This particular madrigal is almost like a mini opera, with a principal character and a "chorus" of voices commenting on the action. Learn more about Early Music (music of the Medieval and Renaissance) with our online course! 5. Piazzolla: Cuatro Estaciones Porteñas: Otoño Porteño This piece (sometimes performed alone, sometimes as a part of Piazzolla's "four seasons") was originally for Astor Piazzolla's quintet of bandoneon, violin, piano, electric guitar and double bass. It is the "autumn" piece of the complete suite. Click here for more classical music pieces about autumn/fall! Sound Garden Products We offer classical music products for all ages: workbooks, activity books, online courses, and more! Visit the shop to learn more! 6. Reich: Different Trains This piece is an example of minimalism, where one idea is taken and repeated continuously. It is for string quartet and tape (recorded speech). Steve Reich is one of many living composers. Read our Living Composer features, and learn about some of the people behind the classical music of today! 7. Shankar: Symphony When East and West meet! Ravi Shankar was an Indian sitar virtuoso and composer. He combined the music of his native India with Western classical music traditions. We believe classical music is for all people of all cultures and demographics, and that our musical traditions can and do combine to create amazing things! Click here to learn more about what we're all about! 8. Schubert: Der Erlkönig An example of German "art song" - songs for voice and (usually) piano, known as Lieder. Many countries have their own art song traditions, such as the French "mélodie", English art song, and many more. In this song/Lied by Schubert, he sets to music a dramatic Goethe tale. A father and his desperately ill and distressed son are riding swiftly on horseback to a farm. The child is being pursued by the evil "Erlking", but the father cannot see him. The child dies as they reach their destination. Want to learn more about Schubert's Lieder? Click here! 9. Bonis: Cello Sonata This piece by French composer Mel Bonas was originally composed for cello, but we think it works great on double bass, too! Click here to learn all about it! 10. Richter: Sleep This 8.5-hour total piece was composed in consultation with neurologists. It is designed as a lullaby, connecting music and consciousness! Find out more about this piece through our product "Classical Sessions for...Calm"! Learn about the science of calm, accompanied by carefully selected classical music works. Learn more about Sound Garden

Today we welcome Rebecca Richardson - classical singer and host of Will Sing For Wine! Read on for her classical music and wine pairing suggestions! About Thank you, Sound Garden, for allowing me to share one of my greatest passions with you today… pairing classical music and wine. Allow me to briefly introduce myself. My name is Rebecca, and I’m a classical singer, wine enthusiast, voice coach, and music educator. I have devoted over half my life thus far to the study and performance of classical music, and there are few things I love more than introducing potential new audience members to the genre. Here’s the thing - A LOT of people around the world love wine, but not everyone loves to listen to classical music. In researching methods for making classical music more accessible, I’ve discovered that wine is the perfect gateway into developing a profound love of this style of music, even for the most sceptical listener. And thus, Will Sing for Wine was born. Below, I’ve compiled a handful of exquisite songs, symphonies, and more to get you started on your sensory exploration of classical music paired with wine: Ibert’s Concerto for Flute and Orchestra + Assyrtiko Amid the scramble for novelty that occupied the minds of many classical music composers in the first half of the 1900s, Jacques Ibert offers a breath of fresh air in 20th-century repertoire by establishing his own unique sound through his refusal to commit to a single compositional philosophy. He had a particular fascination with the variety of colours produced by wind instruments; consequently, he chose to feature them in many of his works. While Ibert’s Concerto for Flute and Orchestra covers a diversity of moods and colours, from poetic and pensive to witty and dynamic, the composer manages to maintain a characteristic felicity apparent in so much of his music. We wouldn’t want to weigh down an instrument as effervescent as the flute with a heavy wine. When I think of happiness in a glass, a citrusy white wine such as Greek Assyrtiko comes to mind for its light, floral, and sunshine-invoking qualities. Verdi’s La Traviata + Crémant d’Alsace I know what you’re thinking… “Sparkling wine with La Traviata… revolutionary :/.” Hear me out. Verdi’s theatrical masterpiece continues to be among the top performed operas worldwide, and for good reason. The tragic love story paired with the beauty of Verdi’s transformative score is the very essence of irresistible. It’s classic, endures the test of time, and fulfils that operatic fantasy we all hold, whether we realize it or not. Sparkling wine is often associated with the first act of the opera, the lavish party scene where we first get to know the principal characters and are introduced to their blossoming love story. I would like to make the argument that a particular style of sparkling wine, Crémant D’alsace, would pair perfectly with the opera in its entirety because of its luxurious quality for a fraction of the cost. No need to feel guilty about sipping on this creamy, apple-tinted beverage for the span of an entire opera. Check out this synopsis of La Traviata to learn more if you’ve never seen the opera before. Fun fact - Crémant is produced using the same technique as Champagne but cannot be labeled as such since it uses grapes grown outside the Champagne region in France. Nadia Boulanger’s Fantaisie pour piano et orchestre + Merlot Despite her undeniable potential and brilliance, Nadia Boulanger abandoned composing relatively early in her life following the death of her sister and fellow composer, Lili. Today, she is instead best known as one of the most influential music educators in history, having worked with such recognizable musicians as Philip Glass, Thea Musgrave, and Quincy Jones. Fantaisie pour piano et orchestra is one of the few gems we have to become acquainted with Nadia as a composer. The piece begins with drama and vigour which eventually acquiesces into lush, melodic romance. Romance ultimately gives way to a flurry of passion at the finish. For drinking, we need a wine substantial enough to withstand the dramatic shifts in mood and supple enough to honour the music’s grace. Try a rich, fruity, and delicious red wine such as Merlot. You won’t go wrong searching for options from the right bank of Bordeaux. Alban Berg’s Sieben frühe Lieder + Syrah Alban Berg’s musical style is known for bridging the gap between Romanticism and the newer techniques popularized by his contemporaries such as Schoenberg and Webern. In fact, Berg spent several years studying composition with Schoenberg. While Berg’s Sieben frühe Lieder (“Seven early songs”) are considered to be an example of his “student” compositions, the composer would later rework these songs on multiple occasions. They are now a staple of Berg’s oeuvre, and their more mature manifestation still pays homage to his Romantic roots. Highly dramatic, sensual, and endlessly captivating, this set of songs would pair beautifully with a purple-hued Syrah. If there was ever a time to pop open a bottle of this inky, rich, and spicy nectar, listening to these songs would be it. As you sip, you can follow along with the English translation of the text here. Beethoven’s String Quartet No. 15 in A minor, Op. 132 + Mourvèdre If you’ve spent any time on my blog, you may have noticed that I have a very strong attachment to Beethoven. Consequently, I couldn’t bear to leave him out of this wine pairings collection. The famously moody composer’s last few string quartets, including Op. 132, are legendary in their darkness, unpredictability, and vulnerability. In a way, works such as this one are an autobiography of the emotional state of the declining composer as he approached death. At this point in his life, Beethoven had retreated from public life and turned his focus exclusively to composing. For a piece weighed down by the emotional heaviness of a troubled artist, I would recommend drinking a rich, earthy, and tannic red wine such as Mourvèdre (also known as Monastrell in Spain). A quick note about Mourvèdre - it’s common for winemakers to blend this particular grape with others. Don’t worry if you can only find one of these blends. They’re delicious and will still pair beautifully with the piece. Rachmaninoff’s Vespers (“All-Night Vigil, Op. 37”) + Trousseau When you think of Sergei Rachmaninoff, you likely recall his virtuosic classical piano music or his highly Romantic orchestral writing. That’s one of the reasons why his introspective and personal All-Night Vigil is so intriguing. Rachmaninoff’s Vespers are among the most beloved and impactful pieces in choral repertoire. He even thought them to be among his best work (which is notable for a composer who was known to be extremely critical of his own music) and requested one of the movements to be sung at his own funeral. For a piece of music as contrastingly rich and intimate as this, I would recommend drinking a Trousseau. A nice alternative to Pinot Noir, this lighter red wine is full of dark berries, spice, and a wonderful earthiness. The fact that it’s more difficult to track down than a Pinot Noir makes it even more special. If you’d like to follow along with the text, you can find an English translation here. Sound Garden Product Classical Inspirations: Sergei Rachmaninoff Discover the amazing stories of both familiar and lesser-known trailblazing composers! Classical music figures come to life as you learn, listen, and engage! Suitable for ages 6-12. Amy Beach’s Symphony in E minor “Gaelic” + Chenin Blanc Amy Beach is known today as the first American woman to publish a symphony and gain notoriety as a composer of large-scale orchestral works. She also devoted much of her life to advocating for her fellow women composers. It seems only fitting to feature her notable first symphony in this post celebrating great classical music works paired with wine. Beach’s “Gaelic” symphony is known as such due to its traditional Gaelic and Irish themes and pays homage to the influx of Irish immigrants as a significant contributor to the 19th century American identity. Chenin Blanc is a white wine grape that varies quite dramatically once bottled depending on region and style. For this particular work, try a “tendre” Vouvray - off-dry, floral, aromatic, and classic… a lovely companion for Beach’s late-Romantic writing. Sound Garden Product Classical Inspirations: Amy Beach As well as the Classical Inspirations series for ages 6-12, we also offer: Classical Sessions for adults and teens Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! I hope this article inspires you to experience more music by classical music composers with a gorgeous glass of wine. If you’re interested in learning more about how to pair classical music and wine, I invite you to check out this Will Sing for Wine article on how to pair music and wine. Happy listening! Interested in writing a guest post? Download and complete the form below! Learn more about Sound Garden