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

This month's Living Composer is Stella Ziopoulou - a composer and violinist from Athens, Greece. She also plays the electric violin, the mandolin, some percussion, and is a singer, songwriter, and lyricist! Stella holds diplomas in violin, composition, harmony, counterpoint, and fugue. She graduated from Evangelos Kokkoris' composition class with Distinction, and was the first prize winner. She also holds a degree in International and European Studies (University of Piraeus) and a postgraduate degree in International Relations and Strategic Studies (Panteion University). Stella's work has been presented in some of the most important music venues in Greece. Some composition highlights: Her work "Shades of Alleviation" was selected by the Thessaloniki City Symphony Orchestra in collaboration with Aristotle University of Thessaloniki and the Greek Composer’s Union, and was performed in a concert dedicated to the special needs community. "Une hirondelle dans les nuages" was selected by French composer Alain Louvier and presented during a masterclass at the Athens Conservatory in honour of Olivier Messiaen. "La noche de una estrella" was presented as a part of the event "Hymns of the Night", hosted by the Nakas Conservatory. She composed, in collaboration with Kostas Gakis, the music for a theatre show “From Antigone to Medea”. This led to an invitation for the show to be presented in South Korea for the Busan International Performing Arts Festival in South Korea, as well as being performed in festivals across Greece. In the summer of 2021, she will be presenting a new composition at the 5th Musa Hellenica Festival on the island of Chios. Along with composing, Stella also participates in performances in a variety of other ways. She performs as a stage musician and collaborates with orchestras as a violinist. She is a founding member of the Trio Triaccordo, and creates arrangements for the trio. She was also a founding member of the Athenian Rhapsody Quartet, and has been a member of the events string quartet of the “MusicNow" agency since 2019. She has collaborated with and contributed to recording the work of various Greek artists, such as Zoe Tiganouria, Eleni Voudouraki, Tzeni Tsilis, and Seqstyle. Stella is currently employed as a violin professor at the National Conservatory of Greece, at the Nakas Conservatory, at Doukas School, and at the Ursuline Greek-French School, among other institutions. She wrote a pedagogical music book for young children entitled "Journey to the City of Music Notes", which is accompanied by a CD of songs with her own music and lyrics. In her spare time, she enjoys flamenco dancing! Learn more about Stella: https://stellaziopoulou.com Stella's compositions: Σκιές της Λύτρωσης (Shades of Alleviation) La noche de una estrella Respiro Etereo Stella's Top 5 Classical Music Works: Dvořák: Symphony No. 9 ("Aus der Neuen Welt" - From The New World/The New World Symphony) Mahler: Symphony No. 1 Debussy: La Mer Bach: Partita in D Minor, BWV 1004: V. Chaconne (at 13:50​) Tchaikovsky: Concerto for Violin and Orchestra in D major Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden Click here to browse the site!

Washington, DC-based composer and pianist Jessica Krash's music has appeared in many different kinds of performance contexts, including both traditional and experimental concerts. One of her works (a piece for dancers and saxophones) was even performed on the Washington canal in a thunderstorm! Her work has also been aired on radio in three continents: the US, Europe, and Asia. Jessica graduated with high honours from Harvard College. She then earned a master’s degree in piano from Juilliard and a doctorate in composition from the University of Maryland. She also studied at MIT (Massachusetts Institute of Technology), doing research in the philosophical and cognitive issues underlying musical understanding. Her research found that people who haven’t studied music can notice more important patterns and feelings in music than what musicians see at first on a musical score; sheet music does not always show clearly which notes go together, or which notes are the most important. Jessica loves teaching chamber music, piano, and composition to students of all ages. For 28 years, she taught at George Washington University, and has given lectures at the Library of Congress, NIH, Strathmore, and the Kennedy Center. She enjoys developing lectures and courses on music and the brain, women composers, music and dance, and “dangerous music” - music that was understood as powerful enough to change society. Jessica’s work has received high critical acclaim. Some highlights: Her 2018 chamber and vocal music CD (Albany Records) was praised by the Wall Street Journal, Gramophone, and Fanfare. This album was also named in “10 of the Best New Releases of 2018” by The Daffodil Perspective. Her solo piano CD (Ravello/Capstone) was listed by Tim Page as one of the most interesting CDs of 2006. Recent projects include: A cello concerto, premiered with the Alexandria Symphony in 2018, directed by James Ross with cellist Tanya Anisimova. Delayed by the pandemic, Trimitas’ premiere in Lithuania of Jessica’s piece for wind orchestra in honour of the Vilna Gaon, will be rescheduled for 2022. A short video opera related to artwork of Helen Frankenthaler. Learn more about Jessica: https://www.jessicakrash.com Jessica's compositions: Sulpicia's Songs And Then What I Wanted To Tell You (album) Jessica's Top 5 Classical Music Works: Johannes Brahms: Piano Trio No. 1 in B major, op. 8 Barbara Strozzi: Lagrime Mie Wolfgang Amadeus Mozart: Serenade For Winds in Bb, K. 361, “Gran Partita” Errolyn Wallen: Peace on Earth Gabriella Smith: Carrot Revolution Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden

The poem "Mandoline" by Paul Verlaine has been turned into song form by several composers. Learn about the poem and listen to our selection of musical settings! Which one is your favourite? The Poem Paul Verlaine published his "Fêtes galantes" collection of poems in 1869. The collection was inspired by characters and scenes from the commedia dell’arte (a form of Italian theatre) and the pastoral (depicting the life of shepherds) paintings of 18th-century artists. "Mandoline" was inspired by paintings by Antoine Watteau. In the poem, the reader (or listener) is a party guest, discovering the party through each stanza (group of lines)! The first stanza is a distant observation of the serenaders/the listeners. The second stanza gets more personal, introducing the pastoral characters of Tircis, Aminta, Clitandre, and Damis. The third stanza picks out details of the characters and their appearances. The fourth and final stanza describes the music and the dancing, with nature providing a lovely backdrop. Antoine Watteau - "La Perspective" The text is as follows: Les donneurs de sérénades (Those who serenade) Et les belles écouteuses (And the beautiful listeners) Echangent des propos fades (Exchange dull words) Sous les ramures chanteuses. (Under the singing branches) C'est Tircis et c'est Aminte, (It's Tircis and Aminte) Et c'est l'éternel Clitandre, (And it's the eternal Clitandre) Et c'est Damis qui pour mainte (And it's Damis, who for many a) Cruelle fait maint vers tendre. (Cruel woman writes many a tender verse) Leurs courtes vestes de soie, (Their short silk vests) Leurs longues robes à queues, (Their long dresses with trains) Leur élégance, leur joie (Their elegance, their joy) Et leurs molles ombres bleues (And their soft, blue shadows) Tourbillonnent dans l'extase (They whirl around in ecstasy) D'une lune rose et grise, (Of a pink and grey moon) Et la mandoline jase (And the mandolin prattles) Parmi les frissons de brise. (Among the shivering breezes) Settings Multiple composers have set this text to music. Have a listen to our four selections, and let us know which is your favourite! Gabriel Fauré Claude Debussy Reynaldo Hahn Poldowski Learn more about Sound Garden

Here are some commonly-heard phrases as to why teenagers can't/won't listen to classical music: "A half-hour symphony or three-hour opera is too long for them; they don't have the attention span for it" (there are plenty of shorter works out there, and a four-hour arena concert doesn't seem to be an issue...what's going on there?) "It's not "cool"; their peers don't listen to it" (plenty of teens enjoy listening to, performing, and just talking about classical music together) "It isn't present enough in the media" (the soundtracks for many films, shows, games, etc. may be considered "classical") "School music programmes are undervalued and underfunded; they don't get exposed to it enough" (this one is often true) "They find it boring; it doesn't resonate with them" (maybe Beethoven doesn't resonate with everyone, but what else are they hearing?) "They need to hear it live in order to appreciate it" (live isn't possible for everyone, and the quality of audio and video performances now available is of an increasingly high standard) "They are too used to the immediate gratification of short pop songs, visual media, Netflix, etc" (there are plenty of short works and visual performances out there, and binge listening to/watching different media forms over several hours is common!) While these phrases may not be entirely inaccurate, they are far from being entirely the truth. We've selected four examples of classical music and also created a larger Spotify playlist, curated especially for teens! You can also visit the "Learning Hub" section on our site for more resources and media. Antonio Vivaldi: Amor, hai vinto Let's start with some Baroque (1600-1750 AD) music. Firstly, the term "Baroque" was used as an insult by the older generation at the time to describe the new art forms which they thought were "bizarre and uselessly complicated" (Michel de Montaigne). When the term was used to describe music, it meant that the listener thought it was lacking a coherent melody, too dissonant, and/or changed too much. Antonio Vivaldi (a.k.a. the Red Priest) composed much of his music for the orphaned/abandoned girls of the Ospedale della Pietà. The musicians here were known as the figlie di coro, and they often gave concerts for important visitors, during which the audience and the performers were separated by a metal grill. The figlie di coro were similar to modern-day influencers, receiving gifts, free Italian villa getaways, and more! "Amor, hai vinto" (Love, you won) is an angsty, heartbroken cantata (like a mini opera), which exists in two versions, probably composed around 1726. The version we have chosen is for solo contralto voice, violin, viola, and continuo (bassline/harmonies - usually played by cello/harpsichord). We've posted an English translation below the video. Recitative 1 Love, you won. Here is my breast pierced by your arrows, Who now supports my soul, abandoned by grief? I feel my blood run cold in every vein, and only breath and pain keep me alive. My heart throbs in my breast with new tremors. Cruel Clori, how harsh is your strictness? Aria 1 I pass from sorrow to sorrow like the little ship which in this and in that other wave goes crashing. The sky thunders and whirls, the whole sea is in a tempest. It sees no port or shore, it does not know where to land. Recitative 2 In what strange and confused vortex of thoughts does my mind wander? Now it is calm, now it is angry, and where it stops, it is not resolved. Now it wants to turn into stone, now into dust. O God! But what is it you are complaining about unbelieving, treacherous heart? Alas, what are you complaining about? Do you not know that in the bosom of Clori you have a port and a shore? Aria 2 If you turn your gaze to me my beloved treasure, I will feel no more torment, I will return to breathing. It no longer fears danger, it feels no more pain and distress, my soul is reassured as the calm in the sea. Franz Liszt: Mephisto Waltz No. 1 Franz Liszt was a pianist and composer, who loved causing a stir with his elaborate and fiery playing (much to the distaste of some other people - *cough* Frédéric Chopin, *cough* Clara and Franz Schumann). He became a celebrity with a large, passionate, and frenzied fan base. They would do things like fighting over his handkerchiefs and gloves, trying to get locks of his hair or piano strings he had broken, and wearing his portrait on brooches and cameos. This phenomenon of the star-struck Liszt-lovers was termed "Lisztomania". One of Liszt's favourite stories, on which he based several of his works, was the German tale of "Faust". Faust has a wonderful life, but he is not happy. This leads to him making a terrible deal with the devil. The evil Mephistopheles will use his magical powers to help Faust to do anything he wants, and, in exchange, Faust must agree to become his slave forever once their deal ends. In the original version of the story, once the agreed-upon time is up, Faust has to keep his promise. However, in Johann Goethe's version, Faust is saved, thanks to his beloved Gretchen. Gretchen, who has ended up in prison, refuses to leave her cell until Faust is released from his deal. The first of Liszt's "Mephisto Waltzes" is inspired by an episode where there is music and dancing happening at a wedding. Mephistopheles and Faust join in the festivities, Mephistopheles plays magical music on the fiddle, and everyone falls under a frenzied and sensual spell, dancing out into the forest as he plays. When the music fades away, a nightingale sings a love song. Dmitri Shostakovich: String Quartet No. 8 20th century Russian Soviet composer Dmitri "Harry Potter" Shostakovich's music features different musical techniques, strong and sometimes grotesque elements and contrasts, and experimental/ambivalent tonality (musical "home"). The eighth String Quartet (1960) was composed in only three days, shortly after Shostakovich had reluctantly joined the Communist Party. The piece was subtitled "to the victims of fascism and war". It uses Shostakovich's signature "DSCH" (representing his name) musical motif - consisting of the notes D, E flat, C, B natural (in German: D, Es, C, H). The whole quartet is great, but the second movement is really something (at 5:14)! Friedrich Gulda: Concerto for Cello and Wind Orchestra Composers have always made use of the instruments, technologies, tastes, etc. of their time - their music wasn't necessarily considered "classical" at the time of composition. Austrian composer and pianist Friedrich Gulda worked in both the classical and jazz fields, and enjoyed the contrasts between different styles of music. He broke away from traditions and was considered unorthodox - he even announced his own death in order for an upcoming concert to serve as a party for his "resurrection"! In his five-movement "Concerto for Cello and Wind Orchestra" (1980), we hear jazz, a minuet, rock, polka, a march, and improvised cadenzas mixed in with more "traditional" sounds. Listen to the first movement below! Contemporary Classical There are many composers of all ages who are writing in the 21st century, including teens such as Alma Deutscher. Watch TwoSetViolin introduce 5 pieces by 5 living composers: You can check out our Living Composer posts on our blog - each month, we feature a new composer. Playlist If you are a Spotify user, listen to our Classical Music for Teens playlist, which will continue to be updated: Learn more about Sound Garden

We've collected some common misconceptions, and addressed them in this post! "Classical music is old-fashioned" The truth: Classical music has a long heritage. Many works from years gone by are still frequently performed and recorded today, as listeners still appreciate the aesthetic qualities, the workmanship, and the unique historical insight they offer. Like all living art forms, there is also a constant outpouring of new works, sounds, composers, performers, practises, instruments...you name it! Emerging talents continue to add their voices to the classical music industry, championing its heritage, and challenging the "status quo". "Classical music is boring" The truth: That all depends on what you personally find interesting! Is it the music itself which is boring, or how it is presented? Do some works catch your attention more than others? How do your real-life experiences of classical music compare to the stereotypes? Have a listen to some of the works in our playlist at the end of this post! When you find something you like, think about what it is that grabs your attention! "Classical music is only for the wealthy" The truth: Some experiences can be expensive. Learning an instrument isn't cheap. Studying music at tertiary level isn't cheap. Auditioning isn't cheap. Live performance ticket prices can vary substantially. Music professionals must be fairly compensated, so there is always a cost involved. It is just a matter of who is paying. However... There is plenty of music available online for free or at a low cost. There are often cheap tickets available (concession prices, flash sales, etc.) to attend live concerts. Smaller concerts (local choirs and orchestras, recitals) are generally very reasonably priced. Instrumental teachers often offer a free/discounted first lesson. There are often scholarships available for study. Many organisations and individuals have developed free or low-cost community projects and outreaches. Businesses such as Sound Garden are here to help promote access! "Classical music is too intellectual" The truth: Absolutely FALSE! There are many studies which show that babies and young children can easily engage with classical music. Early learning does offer some advantages, but you can start learning and listening at any age. Required intellectual ability: Some classical music works can be appreciated immediately by the general public, based on sounds, melodies, rhythms, etc. that our minds consider to be aesthetically pleasing - no deeper knowledge required. (This is where we come in): Some works may be more difficult to appreciate, due to factors such as: Language - Language may be spoken/sung, or this may refer to the music - the structure of the work and how it sounds. The history/context - we don't all know ancient Greek legends or the political situation which influenced a particular work! Sound Garden is here to fill in those gaps or point you in the right direction. Some works just may not resonate with you - that's absolutely normal. Every listener has their preferences! "Classical music is elitist" The word "elitist" means: "organized for the good of a few people who have special interests or abilities" (Cambridge Dictionary). The classical music industry has been and can still be, at times, elitist. Classical music as a genre has, at different times and contexts, been available for both the general population and the upper classes. Often it was the popular music of their time. As concerts became more lavish and expensive to create, some forms of classical music (looking at you, opera!) became accessible only to the wealthy and well-connected. Nowadays, classical music comes in many forms, sizes, and budgets, and there are plenty of opportunities for everyone to access and engage. Here is the truth (TLDR): Classical music itself is not elitist. Music is not constrained by finances, prejudices, or anything else. It does not care if you are human, plant, object, abstraction. It either exists for all or does not exist at all. All it needs is someone to listen! "Classical music isn't for me" Maybe it is, maybe it isn't. There is only one way to find out... Start listening! Learn more about Sound Garden

Our April 2021 Living Composer is Anna Vienna Ho - a Hong Kong-born musician with many strings to her bow! She has worked professionally as a piano soloist, piano accompanist/collaborative pianist, répétiteur, vocalist, and composer. Anna gained her Bachelor of Arts (Honours) in Music at the Hong Kong Baptist University, where she was awarded the Hong Kong Government Talent Development Scholarship for two consecutive years. She then completed an Advanced Postgraduate Diploma and a Master of Music in Piano Performance with distinction from Royal Birmingham Conservatoire, where she received a number of awards and scholarships. She has won prizes in numerous international piano competitions. As well as her achievements in piano, she is an experienced soprano classical singer with a number of performances and awards to her name. In her career so far, she has worked in different capacities with many opera companies and music organisations, and has performed in concert venues across Asia and Europe. Anna's interest in composition began in secondary school, and her works, including vocal, piano, and chamber music, have been performed worldwide: Her hymn "A New Creation" was included in a CD album published by ICQM (a music school in Hong Kong) in 2010. Her string quartet "The Forester" was premiered at RTHK (Radio Television Hong Kong) Studio One and broadcast on RTHK Radio 4. In 2018, her solo piano piece "Images" was included in the RMN Classical (a London-based music production studio) album "Modern Music for Piano" and distributed in stores and on digital platforms. Her choral work "The Infinite Shining Heavens" was premiered by London Oriana Choir in their 2019 annual concert. Her new opera "Buddha and the Monkey King" premiered at the Tête à Tête Opera Festival in September 2020. She was commissioned by the Birmingham Opera Company for its recent digital project "It Gets Lighter From Here!". Her composition "Chase", for solo clavietta, has been selected as part of David Bohn's composition project. Learn more about Anna: https://annaviennaho.wixsite.com/pianosoprano Anna's compositions: Buddha and the Monkey King (opera) Learn more about Chinese music and the production of this opera: The Infinite Shining Heavens (choir) The Forester (string quartet) Album "Modern Music for Piano" (including Anna's track "Images") available on streaming sites: https://rmnmusic.com/modern-music-for-piano/ Anna's top 5 classical music picks: Puccini: La Bohème Watch the full opera (with English subtitles) here! Ravel: Miroirs Saint-Saëns: Carnival of the Animals Chopin: Études (Op. 10 and Op. 25) Tchaikovsky: Piano Concerto No. 1 Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden Click here to browse the site!

Your taste in visual art can tell us a lot about your taste in music! Take our quiz to find out what you should listen to! Learn more about Sound Garden Click here to browse the site!

French composer Mel Bonis pursued an artistic career in an era when this was a huge challenge for women in French society. She was encouraged by some of the top composers around her, and completed over 300 works in her lifetime! Keep reading to learn about her life and about her cello sonata - one of several of her works which is gaining popularity once again in the 21st century! Biography Mélanie Hélène Bonis was born in Paris in 1858 to a lower-middle-class family. As a child, she was shaped by her Catholic education, which inspired her throughout her life. She had a strong personality, and taught herself the piano, despite her family's lack of support. When she was twelve years old, her parents finally allowed her to pursue a musical education, thanks to the influence of a cornet professor friend. Not long after, she began composing, and at the age of 16 was introduced to composer César Franck. He taught her piano, encouraged her in her composing, and brought her to the Conservatoire. At the Conservatoire, Mélanie attended classes in accompaniment, harmony, and composition. She showed great promise as a composer, and received several awards. At that time, composing was not an acceptable profession for women - it was believed that women were too fragile for such work, and could not compose anything of value. For this reason, Mélanie chose to use a pseudonym - Mel Bonis - as did many of her contemporaries in typically "male" roles. She soon met and fell in love with singer/poet/journalist/music critic Amédée Landély Hettichinger, but her parents were against this marriage, as it would encourage her further into a "dangerous artistic world". She was forced to leave the Conservatoire, much to the disappointment of the director and her teachers. In 1883, her family arranged, against her will, for her to marry businessman Albert Domange. While he was a generally likeable person and well-off, he was 25 years her senior, twice widowed with five children, did not share Mélanie's spiritual ideals, and did not like music. She became seemingly entirely devoted to managing family life (including 3 more children) and the 12-person team of domestic staff. However, a few years after her marriage, she met up with her former love interest from the Conservatoire, who introduced her to her future publisher. Her compositions started to become known, and she and Amédée worked together in his singing studio. The pair were still deeply in love, but Mélanie resisted her desires for a long time due to her religious convictions. Ultimately, she gave birth in secret to an illegitimate child, who was placed in the care of one of her former chambermaids. From then on, she corresponded with Amédée only in order to obtain news of the child, though he attended many concerts featuring her works. Despite showing signs of depression following the separation from her child, she continued to promote her music. In 1910, she became the secretary of the Société des compositeurs de musique (SCM), through whom she had formerly won prizes for her compositions. Her works were performed by the top performers. All the while, Mélanie continued to fulfill her duties at the heart of the Domange home. In 1918 she lost her husband and her son Édouard returned home after having been a prisoner of war. A romance began to blossom between her illegitimate daughter Madeleine (who was unaware that Mélanie was her mother) and her half-brother Édouard. Mélanie explained the situation to her daughter, and made her swear secrecy in order to prevent dishonour falling upon the family. Madeleine was devastated, but the confession brought mother and daughter closer. Madeleine soon came to live with Mélanie, who began writing music again. After Madeleine left home and married, she continued to visit her mother as she aged. Mélanie passed away in 1937, having completed about three hundred works for a range of instrumental groupings, including works for solo instruments, chamber ensembles, orchestras, and voice/s. Cello Sonata, Op. 67 Mel Bonis' "Cello Sonata" was composed in 1905, and is dedicated to Monsieur Maurice Demaison - an art critic, writer, and doctor of law. The work is in three movements: 1. Moderato, quasi andante (moderate, almost at a walking pace) 2. Très lent (very slow) 3. Moderato molto (very moderate) The first movement begins with a four-note chord on the cello, immediately imitated by the piano. The descending motion of the cello melody, starting each phrase at the "high" point and meandering downwards in pitch, is very important in this movement. At first, the piano largely plays arpeggiated (broken) chords before switching to an ostinato (consistently repeated) rhythm. It then returns to the arpeggiated chords, at which point the cello melody begins moving upwards for a brief moment (a sign of things to come!). We hear some development on the ideas which were already introduced, along with some interesting changes in harmony (notes which sound together, creating chords) and tonality (the "key" centre and relationships of the notes around it). We then come back to the descending motion, in both the cello and the piano parts. A mixture of ascending and descending motion, in conversation between the two parts, takes us to the end of the movement. The second movement is song-like, with the piano establishing the initial mood, with its flowing triplet (three notes per beat) patterns. The cello then begins its simple, voice-like melody, while the piano adds colour and texture below. The final movement starts with firm statements from both the piano and the cello. The piano takes over with quick, arpeggiated triplet figures, before the cello adds its voice again. The two continue in an agitated conversation, until easing into a calm song. The more agitated mood reappears, followed again by the song, which builds in intensity and sharpness. Snappy chords and staccato (detached) notes in the cello, followed by a final held note, tell us that the work has ended. Listen Listen to the work performed on double bass instead of cello: Take our quiz: How many female composers can you recognise? Learn more about Sound Garden Click here to browse the site!

Looking for relaxing music for kids, calm music for study, or just after a general chilled-out vibe? We've put together a playlist featuring some of our favourites! Classical Sessions for...Calm Want to learn how to invite more calm into your life? Check out our Classical Sessions for...Calm workbook! Learn about the science of calm and complete relevant activities, accompanied by carefully selected classical music works! Learn more! Learn more about Sound Garden Click here to browse the site!