INTRODUCTION TO

CLASSICAL MUSIC
Table of Contents

Introduction to Classical Music 2

Music Categories 5

Orchestral Music | Chamber Music

Solo Instrumental Music | Vocal Music | Opera

Musical Instruments 11
Bowed Strings | Woodwind Instruments
Brass Instruments | Percussion Instruments
Keyboard Instruments | Guitar Family

History of Classical Music 18

Medieval | Renaissance | Baroque | Classical
Early Romantic | Late Romantic
Post ‘Great War” Years

Discover the Classics 30

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Introduction to Classical Music

Classical music is probably more familiar than we might at first imagine.

Indeed, nowadays it is all around us, whether it be in restaurants,
supermarkets, lifts, for advertising or as theme and incidental music on
television. A great deal of film music either directly uses or draws from
the 'classical' tradition; a good example of the former might be '2001:
Space Odyssey', and of the latter, the many scores John Williams has
composed in over the years for such blockbusters as the Star Wars and
Indiana Jones trilogies.

In the vast and wide-ranging world of 'classical' music there is truly

something there for everyone - pieces which once discovered represent
the start of an exciting and irresistible journey which will provide a
lifetime's listening pleasure. For example, those who are particularly
excited by hearing instrumentalists working at full stretch will thrill to the
likes of Liszt and Paganini, or if something a little more reserved and
self-contained is required, the chamber music of Haydn or Mozart would
be a good starting point. If a full symphony orchestra in overdrive is
more to your taste then Tchaikovsky or Richard Strauss could well fit
the bill, whereas those who have already warmed to Vivaldi's 'Four
Seasons' might well try the music of some of the great Italian's
contemporaries such as Handel, Johann Sebastian Bach or Domenico
Scarlatti. Whatever your tastes may be, there has never been a better time
to start building a 'classical' music collection on CD.

Any attempt to define what is meant literally by the term 'classical' music
is fraught with difficulty. How does one encapsulate in just a few words a
musical tradition which encompasses such infinite varieties of style and
expression, from the monastic intonings of Gregorian chant to the laid-

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back jazz inflections of Gershwin's Rhapsody in Blue, from the elegant
poise of Mozart's Eine kleine Nachtmusik to the despairing, heightened
emotionalism of Tchaikovsky's "Pathetique" Symphony? One is treading
on very dangerous ground indeed if one pre-supposes that it is simply
'superior' to other musical types such as popular, jazz, rock and the like,
let alone the music of other cultures.

In general 'popular' music may be as clear in expression as the longer

examples of 'classical' music. One important difference, however, lies in
the logical connection that exists in 'classical ' music between the
beginning and end, with the latter a logical extension and development
of the former. 'Popular' music, on the other hand, tends to present its
material without development, the music ending when interest is
exhausted.

Sadly, whilst 'classical' music is socially undivisive in itself, it has

unfortunately become associated in most people's minds with the
intellectual elite. Even now, and with certain honourable exceptions, the
attending of a 'live' concert can be an intimidating (not to say costly)
experience for the uninitiated, especially in that most jealously guarded
of establishments, the opera house. The wonderful thing about the
technological age in which we live, and particularly the advent of the
compact disc, is that we can bypass all irrelevant social and intellectual
pretence, and enjoy in the comfort of our own home (often at far less
cost) somex of the finest music ever composed.

With such a breathtaking variety of material available, it is an awesome

task to know just where to begin your disc collection, and as a result
expensive mistakes are often made as tempting looking purchases turn
out to be something of a disappointment. This is where the Naxos
catalogue really comes into its own, and where it is hoped this guide will

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help prospective purchasers to make an informed choice about the kind
of music they are likely to enjoy.

The Naxos label provides a library of high quality performances of music

by the great masters in modern digital sound; accompanied by
authoritative and user-friendly booklet notes and at the lowest possible
price. There are already hundreds of thousands of titles from which to
choose, and with new releases being added every month, even the
enthusiastic collector is well and truly catered for. With every historical
period and genre covered, there is something in the Naxos catalogue for
everyone, especially those who wish to build a truly representative
collection of the central masterworks in the 'classical' tradition.

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Music Categories

Over the last 1,000 years, ‘classical’ music has been composed in a
variety of genres which are themselves worthy of investigation; indeed
many seasoned collectors gradually move towards a particular preference
after a time, be it violin concertos, piano sonatas, string quartets,
religious music or opera. Whatever the form or description of any given
piece, it usually falls comfortably into one of five broad categories:
orchestral, chamber, solo instrumental, choral or opera.

Orchestral Music

The typical orchestra as we know it today, consisting of upwards of

eighty players, can be traced back roughly to the middle of the 17th
century. By this time the string section already formed the basis of any
large ensemble of players, with brass, woodwind and percussion being
added variously as the situation demanded. By the end of the Baroque
period (c.1750) this was still very much the case, so that it was not until
the end of the eighteenth century when the Classical period was at its
height that a full woodwind section had become more or less established,
often with the addition of horns, trumpets and timpani. It was finally
during the mid-1800s that the orchestra settled into a regular, basic
pattern of strings, woodwind, brass and percussion, with various ‘exotic’
instruments being introduced from time to time.

The most common genres the collector is likely to come across may be
summarised as follows:

o Symphony
commonly in four, but occasionally only in three, contrasting

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 movements, the outer ones often being vivacious in character,
with a more reflective slow movement and contrasting minuet or
scherzo.
o Symphonic Poem
a one-movement work popular during the nineteenth century,
with a story-line or programme often detailed by the composer.
o Overture
usually the orchestra-only curtain-raiser to an opera, often used
to open concerts. During the nineteenth century it became
increasingly fashionable to compose independent concert
overtures, occasionally with picturesque titles.
o Concerto
evolved from various forms of works using a solo instrument
throughout the Baroque era and by the end of the eighteenth
century denoted a work invariably in three movements (fast-
slow-fast). It was designed principally as a work to demonstrate
the virtuosity of the soloist, and was often written for the
composer’s own use as a soloist.
o Ballet
evolved from passages of dance music, usually in an operatic
context, into the popular, full-scale Romantic classics
of Adam, Delibes, Tchaikovsky, early Stravinsky and beyond.
o Incidental Music
usually composed in short sections, often with recurring themes,
for a particular stage production.
o Suite
usually a selection of short movements taken from a ballet or
incidental music, sometimes orchestrations or another
composer’s work, although quite often an entirely original set of
pieces.

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See all Orchestral Music

Chamber Music

Normally understood to be any type of music composed for a small

ensemble of between two and approximately fifteen players. Larger
groups are usually referred to as a chamber ensemble/orchestra.

The most basic form is a work for solo instrument with keyboard
accompaniment. There are countless miniatures of this type, particularly
for flute, violin, cello, oboe, and clarinet, often with descriptive titles. For
slightly larger appetites, there are also numerous accompanied sonatas
dating from the Baroque period onwards, typically in three or four
movements, and after about 1750 corresponding roughly to symphonic
structure. Duets also exist typically for two instruments of the same
family (e.g. violin and viola, or flute and clarinet) although pieces for
almost any duo combination may be encountered.

Other chamber works which normally fall into multi-movement

structures are the string trio (violin, viola, cello), piano trio (piano, violin,
cello), string quartet (2 violins, viola, cello), piano quartet (piano, violin,
viola, cello), string quintet (typically 2 violins, viola, 2 cellos, or 2 violins,
2 violas, cello), and piano quintet (typically piano, 2 violins, viola, cello).
Examples of sextets, septets, octets and even nonets are rather less
plentiful and can be for a variety of different combinations.

See all Chamber Music

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Solo Instrumental Music

Into this category falls any music composed for a single, unaccompanied
instrument. Although distinguished examples exist for every conceivable
instrument (including various works for percussion), the bulk is
composed either for the organ (in a vast variety of styles and genres),
keyboard (piano, harpsichord, clavichord, spinet, virginal), guitar (mostly
miniatures/arrangements in the popular Spanish idiom) or lute (mostly
dating from the Renaissance and early Baroque periods).

See all Solo Instrumental Music

Vocal Music

The oldest genre of all, for what is humanity's oldest 'instrument'- the
human voice. Anyone wishing to trace a stylistic history of classical
music could do no better than to examine vocal music, for every
composer worthy of the name wrote at least something which involves
singing of some description.

In its simplest form vocal music consists of a single, monodic line, as in

Medieval Gregorian chant for example. From this was derived all music
for unaccompanied choir, so that as one moves further forward in time,
more and more independent parts are gradually added, and the musical
language and texturing becomes correspondingly more complex. The
great majority of texts of pieces for unaccompanied and accompanied
choir (masses, motets, psalms, canticles, vespers etc.) had a religious
basis until the turn of the present century, although there are notable
exceptions, especially regarding the secular madrigalists of the sixteenth
century.

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If choral music in the 'classical' tradition tends towards the sacred, then
the accompanied song, chanson, ballade, virelei, lied or melodie is almost
invariably secular in origin or intentions. Indeed there are Medieval and
Renaissance songs which are positively ribald in terms of their chosen
texts. The most popular form within this category is, however, the
keyboard accompanied art song, particularly the German Lied of the
nineteenth and early twentieth centuries.

See all Vocal Music

Opera

An Italian invention, opera was born right at the beginning of the

Baroque era (shortly before 1600), and although stylistic approaches to
the genre have been many and varied, the basic outlines have remained
remarkably consistent.

Essentially a play set to music, the typical opera will open with an
overture or prelude designed to set the scene or even introduce some of
the most important themes to appear later on. The action will be split
into acts and scenes, and within these the principal vehicles for
expression are (a) the aria, duet, trio, etc. for the soloists; (b) the 'chorus',
to allow a larger group to join in with or more usually comment on the
action; and (c) recitative, a formal device similar to sung conversation,
where the plot typically moves at a faster pace before the next set piece
allows greater contemplation on the chain of events.

French opera also typically makes provision for an extended balletic

interlude, and from middle-period Wagner onwards (c.1865), the general
tendency is to interweave the various elements as seamlessly as possible,

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thereby avoiding the heavily sectionalised procedure which had then
dominated the genre for over 250 years.

See all Opera

See Naxos Instrumentalists, Singers, Conductors, Choirs, Orchestra, Ensembles

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Musical Instruments

The great majority of musical instruments fall readily into one of six
major categories: bowed strings, woodwind, brass, percussion, keyboard,
and the guitar family, the first four of which form the basis of the
modern symphony orchestra.

Bowed Strings
The four principle orchestral string instruments are (in descending order
of overall pitch) the violins (usually divided into two sections, playing
individual parts), the violas, the cellos and the double basses. Each have
four strings arranged in order of pitch, can be played by means of a bow
(arco) or plucked (pizzicato), but whereas the violin and viola are played
with the instrument resting between the shoulder and the chin, the larger
cello (or, to give it its full title, violoncello) is placed facing outwards
between and slightly behind the knees, and the bulky double bass is
played standing up or seated on a high stool.

Enthusiasts of Medieval, Renaissance and early Baroque music will

encounter earlier varieties of bowed instruments known variously as
vielle, viol, or in its earliest form, fidel (hence the modern nickname for a
violin, 'fiddle'). The most popular member of the viol family is the cello's
precursor, the viola da gamba (literally 'viol of the legs').

Woodwind Instruments
The four principle woodwind instruments of the orchestra all work by
means of a system of keys (usually silver-plated) which when variously
depressed and released allow air to pass through differing lengths of the

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instrument resulting in notes of different pitch. In order of descending
overall pitch, these are:

Flute
The flute is normally silver-plated (or in more extravagant cases, gold),
narrow-bored instrument, held horizontally just under the mouth, and
activated by blowing air across an aperture at one end of the instrument.
Its higher-pitched cousin, the piccolo, is often encountered, although the
lower alto flute rather less so. Early forebears include the unkeyed fife.
The most popular close relation is the recorder family, largely unkeyed
and end-blown in the vertical position.

Oboe
The oboe is a narrow-bored wooden instrument descended from the
medieval shawm, held vertically, and activated by means of placing the
end-positioned double-reed in the mouth, and blowing under high-
pressure so as to force air between the two bound reeds, causing them to
vibrate. Other members of the oboe family include the lower pitched cor
anglais (or English Horn), and (far more rarely) baritone oboe and
heckelphone (bass oboe). The instrument's most famous predecessor is
the Baroque oboe d'amore, often used by Johann Sebastian Bach.

Clarinet
The clarinet is usually wooden, played vertically and held in the mouth,
but with a wider bore and consisting of a single reed which when
activated vibrates against a detachable mouthpiece. The standard
instrument can be pitched in B flat (usually) or A, and the family is
unusually extensive including the higher-pitched E flat, the B flat bass,
the rarely-used C, the alto (a modern relative of the basset horn), and the

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even more obscure double-bass or 'pedal' clarinet. Occasionally the
clarinet's 'popular' cousin can be seen in the concert hall, the saxophone.

Bassoon
As the name would suggest, the bassoon is the bass member of the
woodwind family, and by far the largest, especially its lower-pitched
relation, the extremely bulky double or contra-bassoon. Like the oboe, it
is a double-reed instrument, although to facilitate the playing action (the
instrument is normally held across and in front of the body) it is
connected to the bassoon via a silver-plated, curved crook. Its most
notorious cousin is the Baroque serpent, shaped very much as its name
would suggest.

Brass Instruments

Brass instruments are also activated by blowing into them, although

instead of using a form of reed over which the mouth is placed, the lips
are placed against or inside the cup of a metal mouthpiece, and made to
vibrate against its inner rim. In order of descending pitch, these are:

Trumpet
The trumpet is one of the most ancient of all instruments. Played
horizontally via a series of valves on the top of the instrument which are
opened and closed in various combinations to create different pitches.
Occasionally, the piccolo (higher) or bass (lower) trumpets are heard
(and the trumpet's 'popular' cousin, the cornet), although more common
nowadays in 'authentic' Baroque orchestras (which use instruments of
the correct period or copies thereof), is the 'natural' or valveless trumpet.

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The more notationally limited bugle is rarely heard away from its
traditional military context.

French horn
The French horn is another ancient instrument, descended from the use
of animals' horns (hence the name) in pre-historic times. The modern
instrument is the most outwardly complex, consisting of a basic tube,
rounded into a compact shape culminating in a conical bore or bell, into
which a series of valves are centrally set. Before the valve system had
been developed, the changing of basic pitch was facilitated by the
insertion of a variety of crooks which altered the length of the basic tube,
and the changing of certain notes by holding the hand in a variety of
subtly differentiated positions within the bell. In a popular context the
term 'horn' invariably refers to the saxophone, and for the cor anglais see
'oboe' under the woodwind section above. Traditionally, the French horn
section is seated away from the rest of the brass family.

Trombone
Descended from the medieval sackbutt, the trombone is the only
popular orchestral wind instrument which operates without the use of a
valve or key system. The trombone is easily recognisable by its extended
elliptical shape culminating in a conical bore, and its distinctive use of a
hand-operated slide held out in front, in order to change pitch. The slide
can be moved to any one of seven main positions, each of which
facilitate a different series of notes. The tenor and bass trombone are
occasionally seen (especially the latter), although the alto and double-bass
are extreme rarities.

Tuba
Not unlike the French horn in basic construction, the Tuba is only more

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oval in shape and much bigger. The piston valve action is similar to the
trumpet, only the valves themselves are situated in the middle of the
instrument. A variety of types and sizes exist aside from the typical
concert instrument in F (bass tuba), including the tenor tuba (higher),
and double-bass tuba (lower), often referred to as a bombardon in a
military or brass band context.

Percussion Instruments

A percussion instrument is probably best defined as one where a

resonating surface is struck by the player, either by hand or by some
form of stick. These divide roughly into tuned instruments which have a
definite pitch or series of pitches, and those of indefinite pitch. Popular
examples of both types are:

Tuned
Timpani or kettle drum, xylophone, glockenspiel, tubular bells,
vibraphone, marimba. Occasionally, the piano and celesta (see left) are
included in scores as part of the percussion section.

Indefinite pitch
Triangle, gong, castanets, whip, rattle, anvil, tambourine, cymbals (struck
and clashing), and a variety of drums (side, tenor, bass, tabor, bongo etc.)
fall under this category.

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Keyboard Instruments

Conveniently collected together as any instrument which is operated by

means of a standard keyboard, the differences in operation are wide-
ranging and carry obvious associations with certain of the above
categories. These break down into four main types:

Plucked
These include mostly instruments emanating from the 17th/18th
centuries where a series of stretched and tuned strings are plucked by a
quill or plectrum (e.g. harpsichord, virginal, spinet).

Struck
These include instruments where the strings are actually hit, either by a
tangent (e.g. 17th/18th century clavichord), or hammers (e.g. piano,
celesta).

Aerated
These include instruments where the notes are activated by a column of
mechanically propelled air within a series of tuned pipes (e.g. organ).

Electronic
These include instruments where a number of effects approximating to
those derived from any of the above instruments, as well as totally
original sounds, can be achieved (e.g. electronic organ, synthesizer).

Guitar Family

The 'classical' guitar is typically a Spanish-derived, six-stringed

instrument played using a plectrum or the finger-nails, with frets set into

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the fingerboard. Popular music tends to use amplification for both six-
stringed instruments and the four-string bass guitar. The guitar family
gradually supplanted the lute which had come to prominence during the
Renaissance.

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History of Classical Music

Medieval (c.1550 – c.1400)

This is the first period where we can begin to be fairly certain as to how
a great deal of the music which has survived actually sounded. The
earliest written secular music dates from the 12th century troubadours
(in the form of virelais, estampies, ballades, etc.), but most notated
manuscripts emanate from places of learning usually connected with the
church, and therefore inevitably have a religious basis.

Gregorian chant and plainsong which are monodic (i.e. written as one
musical line) gradually developed during the 11th to 13th centuries into
organum (i.e. two or three lines moving simultaneously but
independently, therefore almost inadvertently representing the
beginnings of harmony). Organum was, however, initially rather stifled
by rigid rules governing melody and rhythm, which led ultimately to the
so-called Ars Nova period of the 14th century, principally represented by
the composers de Vitry, Machaut, and Landini.

Recommended Recording:

o Adorate Deum: Gregorian Chant from the Proper of the Mass

Nova Schola Gregoriana
Naxos 8.550711

See Medieval Period Catalogue List

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Renaissance (c.1400 – c.1600)

The fifteenth century witnessed vastly increased freedoms, most

particularly in terms of what is actually perceived as 'harmony' and
'polyphony' (the simultaneous movement of two or three interrelated
parts). Composers (although they were barely perceived as such) were
still almost entirely devoted to choral writing, and the few instrumental
compositions which have survived often create the impression (in many
cases entirely accurately) of being vocal works in disguise, but minus the
words.

There is obvious new delight in textural variety and contrast, so that, for
example, a particular section of text might be enhanced by a vocal part
dropping out momentarily, only to return again at a special moment of
emphasis. The four most influential composers of the fifteenth century
were Dunstable, Ockeghem, Despres and Dufay.

The second half of the 16th century witnessed the beginnings of the
tradition which many music lovers readily associate with the normal feel
of 'classical' music. Gradually, composers moved away from the modal
system of harmony which had predominated for over 300 years (and still
sounds somewhat archaic to some modern ears), towards the
organisation of their work into major and minor scales, thereby
imparting the strong sensation of each piece having a definite tonal
centre or 'key'.

This was also something of a golden period for choral composition as a

seemingly endless flow of a capella (unaccompanied) masses, motets,
anthems, psalms and madrigals flowed from the pens of the masters of
the age. In addition, instrumental music came into its own for the first
time, especially keyboard music in the form of fantasias, variations, and

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dance movements (galliards, pavanes etc.). Composers of particular note
include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria,
Lassus, Alonso Lobo, Duarte Lobo, Cardoso and Gesualdo.

Recommended Recordings:

o Byrd: Mass for Four Voices; Mass for Five Voices; Infelix ego
Naxos 8.550574
o Gesualdo: Sacred Music for Five Voices (Complete)
Naxos 8.550742
o Lamentations
Music by Tallis, White, Palestrina, Lassus and de Brito
Naxos 8.550572
o Lassus: Missa super entre vous; Infelix ego; Missa imitationem
moduli susanne un tour
Naxos 8.550842
o Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis
Naxos 8.550682
o Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera
Naxos 8.550573
o Palestrina: Missa hodie Christus natus est; Hodie Christus natus
est; Stabat mater / Lassus: Missa bell' amfitrit' altera
Naxos 8.550836
o Tallis: Mass for Four Voices; Motets
Naxos 8.550576
o Victoria: Missa O magnum mysterium; Missa O quam gloriosum
/ A. Lobo: Versa est in luctum
Naxos 8.550575

See Renaissance Period Catalogue List

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Baroque (c.1600 – c.1750)

During the Baroque period, the foundations were laid for the following
300 or so years of musical expression: the idea of the modern orchestra
was born, along with opera (including the overture, prelude, aria,
recitative and chorus), the concerto, sonata, and modern cantata. The
rather soft-grained viol string family of the Renaissance was gradually
replaced by the bolder violin, viola and cello, the harpsichord was
invented, and important advances were made in all instrumental groups.

Until about 1700, the old modes still exerted themselves from time to
time by colouring certain melodic lines or chord progressions, but from
the beginning of the 18th century the modern harmonic system based
upon the major and minor scales was effectively pan-European. Choral
music no longer dominated, and as composers turned more and more to
writing idiomatic instrumental works for ensembles of increasing colour
and variety, so 'classical' music (as opposed to 'popular') gradually began
to work its way into the very fabric of society, being played outdoors at
dinner parties or special functions (e.g. Handel's Water Music), or as a
spectacle in the form of opera. On a purely domestic level, every wealthy
lady would have a spinet to play, and at meal-times the large and rich
houses would employ musicians to play what was popularly
called Tafelmusik in Germany, of which Telemann was perhaps the most
famous composer.

Of the many 17th century composers who paved the way for this
popular explosion of 'classical' music, the following were
outstanding: Monteverdi, Corelli, Alessandro
Scarlatti, Schutz, Buxtehude, Purcell and Lully. Yet, the most popular
composers of the period, indeed those who seem to define by their very

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names the sound of Baroque music at its most colourful and
sophisticated are Johann Sebastian Bach,
Handel, Telemann, Rameau, François Couperin, Domenico Scarlatti,
and Vivaldi, all of them at their creative peak during the first half of the
18th century.

See Baroque Period Catalogue List

Classical (c.1750 – c.1830)

The Baroque era witnessed the creation of a number of musical genres

which would maintain a hold on composition for years to come, yet it
was the Classical period which saw the introduction of a form which has
dominated instrumental composition to the present day: sonata form.
With it came the development of the modern concerto, symphony,
sonata, trio and quartet to a new peak of structural and expressive
refinement. If Baroque music is notable for its textural intricacy, then the
Classical period is characterised by a near-obsession with structural
clarity.

The seeds of the Classical age were sown by a number of composers

whose names are now largely forgotten such as Schobert and Honnauer
(both Germans largely active in Paris), as well as more historically
respected names, including Gluck, Boccherini and at least three of
Johann Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm
Friedmann and Johann Christian (the so-called 'London' Bach). They
were representative of a period which is variously described as rococo or
galante, the former implying a gradual move away from the artifice of the
High Baroque, the latter an entirely novel style based on symmetry and
sensibility, which came to dominate the music of the latter half of the

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18th century through two composers of extraordinary
significance: Joseph Haydn and Wolfgang Amadeus Mozart.

See Classical Period Catalogue List

Early Romantic (c.1830 – c.1860)

As the Classical period reached its zenith, it was becoming increasing

clear (especially with the late works of Beethoven and Schubert) that the
amount and intensity of expression composers were seeking to achieve
was beginning to go beyond that which a Classically sized/designed
orchestra/piano could possibly encompass. The next period in musical
history therefore found composers attempting to balance the expressive
and the formal in music with a variety of approaches which would have
left composers of any previous age utterly bewildered. As the musical
map opened up, with nationalist schools beginning to emerge, it was the
search for originality and individuality of expression which began here
that was to become such an over-riding obsession in the present
century.

The Romantic era was the golden age of the virtuoso, where the most
fiendishly difficult music would be performed with nonchalant ease, and
the most innocuous theme in a composition would be developed at great
length for the enjoyment of the adoring audience. The emotional range
of music during this period was considerably widened, as was its
harmonic vocabulary and the range and number of instruments which
might be called upon to play it. Music often had a 'programme' or story-
line attached to it, sometimes of a tragic or despairing nature,

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occasionally representing such natural phenomena as rivers or galloping
horses. The next hundred years would find composers either embracing
whole-heartedly the ideals of Romanticism, or in some way reacting
against them.

Of the early Romantic composers, two Nationalists deserve special

mention, the Russian Glinka (of Russlan and Ludmilla fame) and the
Bohemian Smetana (composer of the popular symphonic poem Vltava
or 'The Moldau'). However, the six leading composers of the age were
undoubtedly Berlioz, Chopin, Mendelssohn, Schumann, Liszt and Verdi.

See Romantic Period Catalogue List

Late Romantic (c.1860 – c.1920)

With the honourable exceptions of Brahms and Bruckner, composers of

this period shared a general tendency towards allowing their natural
inspiration free rein, often pacing their compositions more in terms of
their emotional content and dramatic continuity rather than organic
structural growth. This was an era highlighted by the extraordinarily
rapid appearance of the national schools, and the operatic supremacy of
Verdi and Wagner. The eventual end of Romanticism came with the
fragmentation of this basic style, composers joining 'schools' of
composition, each with a style that was in vogue for a short period of
time.

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Copyright © 2022 by Naxos Music Group
Recommended Recordings:

o Albéniz: Iberia
Falla: Three-Cornered Hat; El Amor Brujo; La Vida Breve
Naxos 8.550174
o Balakirev: Islamey
Mussorgsky: Pictures at an Exhibition (piano version)
Naxos 8.550044
o Bizet: Carmen
Naxos 8.660005-07 (3 CD's)
o Borodin: Symphonies Nos. 1-3
Naxos 8.550238
o Brahms: Hungarian Dances (Complete)
Naxos 8.550110
o Brahms: Symphony No. 1 ; Tragic Overture ; Academic Festival
Overture
Naxos 8.557428
o Brahms: Symphony No. 2 ; Hungarian Dances
Naxos 8.557429
o Brahms: Symphony No. 3 ; Haydn Variations
Naxos 8.557430
o Brahms: Symphony No. 4 ; Hungarian Dances Nos. 2, 4-9 (orch.
Breiner)
Naxos 8.570233
o Brahms: Symphonies Nos. 1-4; Tragic Overture; Haydn
Variations; Academic Festival Overture; Serenades Nos. 1 & 2
Naxos 8.504001 (4 CD's)
o Brahms: Violin Concerto
Bruch: Violin Concerto No. 1
Naxos 8.550195

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Copyright © 2022 by Naxos Music Group
 o Bruckner: Symphony No. 4 'Romantic'
Naxos 8.550154
o Debussy: Suite Bergamasque; 2 Arabesques; Images; Préludes; La
plus que lente
Naxos 8.550253
o Delibes: Ballet Music (Coppélia; Sylvia; La Source); Le Roi
s'amuse; Kassya - Trepak
Naxos 8.550080
o Delius: Brigg Fair; In a Summer Garden
Elgar: Enigma Variations; Pomp and Circumstance Marches
Nos. 1 & 4; Salut d'amour
Naxos 8.550229
o Dvořák: Slavonic Dances (Complete)
Naxos 8.550143
o Symphony No. 9 'New World'; Symphonic Variations
Naxos 8.550271
o Franck: Symphony; Prelude, Choral and Fugue
Naxos 8.550155
o Grieg: Peer Gynt, Suites Nos. 1and 2 / Sigurd Jorsalfar /
Bergliot
Naxos 8.553397
o Holst: The Planets; Suite de Ballet
Naxos 8.550193
o Janáček: Sinfonietta; Taras Bulba; Lachian Dances
Naxos 8.550411
o Kodály: Peacock Variations; Dances of Galánta and Marosszék
Naxos 8.550520
o Lalo: Symphonie Espagnole
(with works by Saint-Saëns, Sarasate and Ravel)
Naxos 8.550494

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Copyright © 2022 by Naxos Music Group
 o Leoncavallo: Pagliacci
Naxos 8.660021
o Mahler: Symphony No. 1 in D
Naxos 8.550120
o Mascagni: Cavalleria Rusticana
Naxos 8.660022
o Puccini: Tosca
Naxos 8.660001-02 (2 CD's)
o Rachmaninov: Piano Concerto No. 2; Rhapsody on a Theme of
Paganini
Naxos 8.550117
o Ravel: Boléro; Daphnis et Chloé; Ma mère l'oye;
Naxos 8.550173
o Respighi: Pines of Rome; Fountains of Rome; Roman Festivals
Naxos 8.550539
o Rimsky-Korsakov: Sheherazade; Tsar Saltan Suite
Naxos 8.550726
o Saint-Saëns: Carnival of the Animals
(coupled with Prokoviev: Peter and the Wolf; Britten: Young
Person's Guide - see below)
Naxos 8.550499
o Satie: Piano Works (Selection)
Naxos 8.550305
o Sibelius: Finlandia; Valse Triste; Swan of Tuonela; Karelia Suite
Naxos 8.550103
o Johann Strauss II: Famous Waltzes, Polkas, Marches and
Overtures Vol. 2
Naxos 8.550337

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Copyright © 2022 by Naxos Music Group
 o Richard Strauss: Also sprach Zarathustra; Salome's Dance;
Der Rosenkavalier (Waltzes)
Naxos 8.550182
o Tchaikovsky: Capriccio Italien; 1812 Overture; Romeo and Juliet
Overture; Marche Slave
Naxos 8.550500
o Tchaikovsky: The Nutcracker (Highlights)
Naxos 8.550515
o Wagner: Orchestral excerpts from the operas
Naxos 8.550136

See Romantic Period Catalogue List

Post ‘Great War’ Years (c.1920 – Present)

The period since the Great War is undoubtedly the most bewildering of
all, as composers have pulled in various apparently contradictory and
opposing directions. Typical of the dilemma during the inter-war years,
for example, were the Austrians, Webern and Lehar, the former was
experimenting with the highly compressed and advanced form known as
'serial structure', while simultaneously Lehar was still indulging in an
operetta style which would not have seemed out of place over half a
century beforehand.

So diverse are the styles adopted throughout the greater part of the
present century that only by experimentation can listeners discover for
themselves whether certain composers are to their particular taste or not.
However, the following recordings serve as an excellent introduction and
will certainly repay investigation:

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Copyright © 2022 by Naxos Music Group
Recommended Recordings:

o Antill: Corroboree ; Outback Overture

Naxos 8.570241
o Britten: The Young Person's Guide to the Orchestra; Prokofiev:
Peter and the Wolf; Saint-Saens: Carnival of the Animals
Naxos 8.550499
o Copland: Rodeo; Billy the Kid; Appalachian Spring; Fanfare for
the Common Man
Naxos 8.550282
o Gershwin: Piano Concerto; Rhapsody in Blue; An American in
Paris
Naxos 8.550295
o Orff: Carmina Burana
Naxos 8.550196
o Prokofiev: Romeo and Juliet (Highlights)
Naxos 8.550380
o Shostakovich: Symphonies Nos. 5 & 9
Naxos 8.550427
o Stravinsky: Jeu des cartes; Rite of Spring (1947 version)
Naxos 8.550472

See 20th Century and Modern Catalogue List

29
Copyright © 2022 by Naxos Music Group
Discover the Classics

The “Discover the Classics” series features four box sets and provides
the perfect introduction to classical music, curated from the vast range of
recordings on the Naxos label. Listen here to over 10 hours of music for
free, specially curated for you under these volumes:

Vol. 1 | Vol. 2 | Vol.3 | Vol. 4

30
Copyright © 2022 by Naxos Music Group