Calling all sufferers of classical music imposter syndrome: the ones who feel guilty for not appreciating symphonies, who wish they could contribute to a conversation when someone brings up Mozart or who yearn to channel the spirit of a 17th century intellectual during their 1 a.m. Cocktail Lounge cram sessions. These pieces will not put you to sleep, and they’ll give you a solid introduction to the composers everyone should know. So upgrade your study playlist with my Classical Music for Dummies collection, and you’ll feel more musically educated in no time!
The titles of musical compositions can be cluttered and confusing to newcomers, so here’s a helpful dictionary of common terms used to describe orchestral works.
Piece: A general term used to describe an instrumental work, either in reference to the entire composition or a specific movement/section. It’s better to use this word instead of “song” (although I slip up all the time).
Movement: These are the sections of an orchestral/instrumental body of work, denoted by Roman numerals and usually named with standard Italian musical terms based on their style and tempo. Although each one has a distinct beginning and end, it is custom to hold applause until after the entire piece is over!
Symphony: A musical composition for full orchestra (strings, winds, brass and percussion) usually in a set of four movements. Unless given a special name (e.g. “From The New World”), they are commonly referred to by their numerical place in a composer’s repertoire and the key they are written in (e.g. “No. 9 in E Minor”).
Suite: A collection of movements that are tied together with an overarching musical theme. Unlike symphonies, these are meant to be dancing tunes!
Concerto: A piece written for a solo instrument and orchestral accompaniment.
Ludwig Van Beethoven: “Symphony No. 7 In A Major”
II. Allegretto
Beethoven is famous for playing with dynamic contrast and building tremendous lyrical cascades that veered sharply away from the classical style of the past. His 7th symphony, composed around 1812, marked his early transition into the more experimental and free-flowing Romantic Era. This movement’s name is a tempo marker meaning “fast” or “lively”, but the descriptors that come to mind as I listen are “sneaky” and “mischievous.” The format is centered around a repeating motif, beginning with lower strings at an almost indiscernible volume and culminating in a climax featuring horns and percussion. The simple yet incredibly stylistic nature of this piece makes it perfect for a high school orchestra setlist (which is how I was introduced to it).
Sergei Prokofiev: “Peter and the Wolf”
Peter in the Meadow
Nothing fills me with nostalgia more than Peter and the Wolf. In this “symphonic tale for children” written in 1936, Prokofiev vividly illustrates a Russian folktale. The narrator tells the story that goes along with the music: a boy, his grandpa and his animal friends (each with a unique musical motif) triumph over the big bad wolf. While this tale may or may not be Soviet propaganda, the music can still be enjoyed by all! Only one movement will be on the playlist, but you must listen to them all with narration for the full effect.
Pyotr Ilyich Tchaikovsky: “Marche Slave”
Even if you don't know him by name, you've definitely heard a Tchaikovsky piece before. The Russian Romantic composer has left his stamp on popular culture with works such as The Nutcracker, Swan Lake, Romeo and Juliet and Sleeping Beauty. To expand your library, I've included Marche Slave on the playlist instead of the other classics (although all of them are must-listens). Tchaikovsky's Slavonic March was composed for a benefit concert to support the soldiers fighting in the Turko-Serbian War. The symphony certainly conveys the grimness of battle while also borrowing uplifting elements from Slavic folk tunes, and it was one of the most epic (and most stressful) pieces I ever played in an orchestra.
Antonin Dvorak: Symphony No. 9 In E Minor, Op. 95 “From the New World”
IV. Allegro con fuoco
In addition to the classic Beethoven 5th opening, the 4th movement of Dvorak 9 has one of the most recognizable introductions in symphony music. This “Jaws”-esque climatic build is extremely satisfying no matter how many times you hear it, and I urge you to give the other three movements a listen if you are a fan of Dvorak’s intensity. This is yet another piece I was blessed to enjoy from the best seat in the house (AKA the viola section of my summer orchestra). Antonin Dvorak was a Czech composer, but this symphony was written during his time as the director of the National Conservatory of Music in New York City. His goal was to explore American music with this ode to “the New World”, capturing the excitement of an up-and-coming nation with vibrant dynamic contrast and cacophonic instrumentation. Dvorak is pronounced “Duh-VOR-zhaak” so don't embarrass yourself when you recommend him to all your friends!
Wolfgang Amadeus Mozart: “Sinfonia Concertante in E-Flat Major”
I. Allegro maestoso
I’ve already outed myself as a viola player, so now I can admit without shame that I love Mozart’s Sinfonia Concertante because it features a violin-viola duo. I know all of you have heard of Mozart, and maybe some of you think of him as a yawn; I promise you that this piece is anything but. Listening to this first movement will evoke lovely, carefree, summertime feelings that are so desperately missed during gloomy Ithaca winter. When the duo begins after the long orchestral intro, see if you can distinguish the violinist from the violist! The two soloists engage in passionate conversation and argue in an altogether operatic way through their call-and-response harmonies. Their debate only grows more intense and mournful in the second movement, which is definitely worth a listen.
Pyotr Ilyich Tchaikovsky: “Violin Concerto in D Major”
I. Allegro
I might have to make another playlist dedicated just to Tchaikovsky. As it is, I managed to narrow my selection down to only two of his pieces. To make this ending short and sweet; this violin concerto is my favorite musical composition of all time, maybe even across all genres. If you listen to only one thing I've recommended, please make it be this. That's all I can really say; the violin speaks for itself.
Maya Blanchard is a junior in the College of Agriculture and Life Sciences. She can be reached at mhb237@cornell.edu.
‘Solar Flare’ is a weekly playlist column where Sun contributors spotlight a slice of musical taste with the campus community. It runs every Monday.
