For classical music lovers like me, trying to identify a list of personal favorites is almost sacrilegious. So much great orchestral music has been composed over the last three hundred years (an entirely arbitrary period, but one that includes the Baroque, Classical, Romantic, Modern and post-Modern eras) that to single out ten of the creators of that music and call them the best seems unduly presumptuous.
And it probably is.
But with the onset of another season of concerts by Sacramento’s own Philharmonic Orchestra marked by the performance of Beethoven’s great Ninth Symphony (see my review, below), the occasion may be as appropriate now as ever to take a stab at just such an undertaking.
I boast no fancy résumé for this task. Over the years, I have studied, played, and sung the great works of the repertoire at various times and with varying degrees of intensity. I own no other claim to fame and certainly do not intend the list that follows to represent anything other than my personal tastes in this field of artistic creativity. Therefore, I offer the list most humbly, more as food for thought than as the final word on the subject.
And my tastes, while broad and generally eclectic, certainly favor the pre-modern period of classical music. I like my music structured and harmonious as opposed to free-form and atonal. So, read the list with those implicit caveats in mind, and consider it, at best, a vehicle for conversation, rather than an encyclopedia of definitive rankings.
As I’ve done with similar listings in the past, I’ll start at the bottom and proceed to the top.
10. Joseph Haydn (1732-1809) – It’s hard to justify having the father of the symphony ranked this low on this list. Haydn is rightly credited with inventing the modern symphonic form, and he was extremely prolific, with 104 symphonies to his credit. But his contributions don’t stop there, because he is also considered the father of the string quartet and was also instrumental in the development of the sonata form.
9. Igor Stravinsky (1882-1971) – This amazingly diverse composer is responsible for three of the great ballets of the twentieth century (“The Firebird,” “Petrushka,” and “The Rite of Spring”). He also composed heavily in the neo-classical form in the earlier part of the century and in the atonal form that was in vogue later in the century. And in each of these forms, his music is nothing short of mind-boggling.
8. Aaron Copland (1900-1990) – The “dean of American composers,” composer of “Appalachian Spring,” “Rodeo,” “Fanfare for the Common Man,” “Billy the Kid,” and numerous films scores, Copland was a marvel of composition. His works sound classically American, yet they are uniquely personal to his style and heritage. It is almost impossible to mis-identify a Copland composition. That fact alone earns him his place on this list.
7. Gustav Mahler (1860-1911) – The composer of the grand symphonies of the late Romantic/early Modern era, Mahler composed ten great symphonies and any number of “song-cycles,” occasionally combining the two forms, as in his “Das Lied von der Erde.” His symphonies were originally considered too difficult and complex for most orchestras, often scored for 100 players, but they now are readily accepted as part of the standard repertoire.
6. Antonin Dvorak (1841-1904) – Dvorak is probably best known for his “New World Symphony,” his ninth, but any of this great composer’s symphonic works are loaded with intricate and stimulating passages. Drawing heavily on his Czech nationality, his melodies are lush and romantic, yet not without rewarding surprises. In addition to his nine symphonies, he composed operas, chamber music and a highly regarded concerto for cello.
5. Felix Mendelssohn (1809-1847) – The composer of “A Midsummer Night’s Dream,” five terrific symphonies (the Reformation, his last, is my favorite) and any number of chamber and choral works, Mendelssohn’s compositions are full of youthful energy and spirit. He was a child prodigy, composing notable pieces before he was a teenager. His early death undoubtedly robbed the music world of many additional gems, but those he did create are much beloved and admired.
4. Johann Sebastian Bach (1685-1750) – I must apologize for placing this master so low on my list. Many would argue that he should be first, so prolific and powerful a force was he in the development of modern music during the Baroque era. His six Brandenburg concertos alone would merit top ten recognition, but the full body of his work (including choral, solo instrument and orchestral compositions) is revered for its intellectual depth, artistic beauty and technical command.
3. Ludwig van Beethoven (1770-1827) – Of course he should be first. How can he not be with his nine great symphonies, his numerous piano sonatas, his string quartets, his great chamber pieces and his overall continuing impact on the music scene fully two centuries after he established himself as the heir to the Mozart legacy? The Ninth is almost universally regarded as the greatest of all symphonies, and he composed it when he was completely unable to hear a single note!
2. Wolfgang Amadeus Mozart (1756-1791) – The boy wonder who died far too young, the great Amadeus was both the most prolific (with 652 published works in his short 35 years of life), the most technically proficient, and the most creatively ingenious of all the composers on this list. His forty-one symphonies trace the evolution of orchestral music during the Classical period, and his last three are generally credited with introducing the Romantic era. Beethoven was greatly influenced by him, as have been, whether they know it or not, just about every composer since.
1. Peter Ilyich Tchaikovsky (1840-1893) – Tchaikovsky’s melodies are pure gems of the Romantic era, and his orchestrations around them, in his six great symphonies and in his many other orchestral works (including his scores for ballets and his ten operas), more than justify the esteem in which he is held. My first introduction to music was with his 1812 Overture, and I would hope that the last movement of his sixth symphony, the Pathetique, might be played at my funeral.
Placing Tchaikovsky above my top three, Beethoven, Mozart and Bach, should generate some interesting feedback, Ed. Clearly, you can’t ALWAYS be right.
Jan
Chancy, Ed. I’m with Jan on this one. Despite Capriccio Italien, 1812 Overture and Marche Slave being three of the most ebullient, effervescent and evocative (and probably other descriptive words beginning with ‘e’) orchestral works ever, I still can’t put Tchaikovsky’s genius ahead of that of ‘the big 3.’ I’m also intrigued by the inclusion of Mahler and absence of Berlioz — but that’s why people create lists, and I love that you created one away from which I couldn’t turn without commenting myself!
— John
Solid list. You include the greats.
Tchaikovsky makes me proud of the Russian side of my heritage. How can you not love him? Is there anyone who doesn’t know his work? Christmas is just not the same without him. And I love how Dvorak is just so depressing. I feel like I’m down in the depths of despair along with him. But my favorite… probably, the Slavonic Dances. As for Bach, Beethoven, and Mozart well…
What could I possibly add that hasn’t already been said?
But don’t apologize or justify your list. You don’t need a degree from Juilliard to get an opinion. This isn’t like the practice of law.
What qualifies any of us, really? I guess those of us with a musical background might be able to provide some insight. And knowing something about music theory might be of help. . .But isn’t music really about enjoying and appreciating the emotional experience that it evokes?
Personally, I love Beethoven, but Ode to Joy? Meh. . . I could take it or leave it. And Hadyn is much higher on my list. But that’s just my opinion. I just like what pleases me.
One of my favorite songs is Greensleeves. I don’t care how lame that makes me. I love that song. I love everything about it. I love playing it on the piano. I love listening to it. I even love that bogus story about how it was really written and composed by Henry the VIII (about Anne Boleyn).
Is my opinion less valid because I enjoy music other than classical? Is it a problem that in addition to Bach, Tchaikovsky, Mozart, Chopin, and Pachelbel, that I also love the boys from Metallica, Bad Religion, Pennywise, System of a Down, and New Found Glory? Not highbrow enough? Should I be concerned that I’ve offended the aristocracy?
Totally random, but I absolutely love, love, love Pachelbel’s Canon in D (the really good version). I always thought that if I ever do get married, I would want it played at my wedding. I know everyone says this. But it’s just too gorgeous, intense, and full of emotion not to. Extraordinary, really. Exactly like the love–and life, I want.
But if I never get married to Canon in D, then I’ll have to die by it.
Well, endless differences of opinion are inevitable. I guess most striking to be is the absence of Johannes Brahms. His four symphonies and violin concerto alone put him in the top 5 for me.
I guess my list would be something like this:
1. Mozart
2. Beethoven
3. J. S. Bach
4. Brahms
5. Tchaikovsky
6. Haydn
7. Mendelssohn
8. Dvorak
9. Rachmaninoff
10. Mahler
11. Vivaldi
12. Greig
13. Gershwin
14. Copland
15. Bernstein
I wish I had time to add excellent comments for each composer as Ed has done, but my life these days is totaly filled with all to many activities. I do commend Ed for his courageous and thorough efforts and comprehensive review of the Sacramento Symphony Performance. Please note that he accomplished this all while mourning the tragic conclusion to the LA Dodgers season. Quite a feat!
Bruce Telfeyan
Hooray for comments! I love comparing lists! I hope others share their top picks.
Rachmaninoff is what I love about piano. His scores make me regret that I didn’t take my piano lessons seriously enough. And Vivaldi is absolutely amazing. I was actually wondering how he wasn’t among the top ten. I would also put him above Copland. Now while I do love me some Mozart, Beethoven will always have a special place in my heart. There’s just something about his music.
Moonlight Sonata is the only reason I successfully survived a year of organic chemistry. Somehow practicing that song daily, jump-started my brain.
See, and this is why I love music, especially the classical variety. (And why I’m all excited about this topic). It can influence your life in such profound ways. It’s like “finding Jesus” (only better). And this really did save me.
No way could my fidgety, hyperactive and severely attention-deficit brain have graduated from university without this music. It’s the only thing I’ve found that allows me to keep my thoughts in order.
It’s actually quite amazing when I think about it. My brain is just so goddamned unfocused all the time that I’m distracted Avogadro’s Number of times a day. It’s why I’m so good at starting projects, but suck at finishing them. Experts tell me it’s because the part of my brain responsible for executive functioning is impaired. My mom says I’m just lazy and disorganized. Whatever it is, it’s why I fail to start assignments immediately. Or finish them. It’s also why I still haven’t updated my resume; replaced my tires; or responded to any of my mom’s last three emails. It’s also the reason that, after 3 months, the huge pile of clothes remains on my living room floor. And that stack of books and papers.
This is quite problematic when your livelihood depends on the ability to work consistently and diligently under deadlines. And since chronic procrastination is not considered a valid lifestyle choice, I have to find coping strategies if I’m ever going to better my life.
And so while I appreciate and enjoy classical music for its artistic value; for its truth and beauty, I am especially grateful for its therapeutic properties. As cynical as I am, even I can’t deny something powerful enough to lift the thick fog long enough for me to think clearly and create something of value.
Refinding classical music about the time I turned 38 helped me cope with my divorce. I have my mother to thank for the rediscovery. As I was getting ready to depart on my own, she bought me a tape of Mozart’s 39th and 41st Symphony’s. I probably played them 20 times, then decided to expand my “repertoire.” It is still growing.
I can’t believe I left Schubert and Schumann off my list. I like Schubert’s 9th as much as any symphony. All four of Schumann’s I could listen to about any time. The Rhenish is probably my favorite. I have MHS reorchestrations of his 1st and 2nd (by Mahler) that are a joy to listen to and compare to how Schumann wrote them.
Also left off was Saint-Saens. What is better than his Organ Symphony (#3).
OMG, I meant to ask why nobody mentioned Schubert and Schumann! Weird. Coincidentally, Schubert is helping me write a paper right now, in fact.
Interesting choices. I don’t think we can possibly compare genius, and we all have pieces floating in our memories triggered by our life’s experiences.
I didn’t see Albinoni mentioned. Adagio in G Minor. A masterpiece in my opinion. It feels like love unrequited, a deep sadness.
Shubert’s Ava Maria!!
Finally, I must add Moonlight Sonata as the piece I’ve listened to so many times I can’t count. It was during periods of profound sadness. It was if the piece granted me permission to simply mourn.
You really make it seem so easy with your presentation however I to find this matter to be actually one thing that I
feel I might never understand. It kind of feels too
complicated and very broad for me. I am having a look ahead for your subsequent post, I’ll attempt to get the hold of it!