Queue 'Gramophone Top 10s'
Read the reviews and stream this month's Editor's Choice recordings
Recording of the Month
Gustav Mahler said, 'My symphonies represent the contents of my entire life.'
Mozart was arguably the most naturally gifted musician in history; these are classic recordings of his 10 key works
Daunted by contemporary music? Look no further...
Time is often the best judgement of art’s longevity; however much the critics heap adulation of a new play, book or piece of music, if it doesn’t start a life there and then, it’s future can’t be guaranteed. The history of music is littered with pieces that were heard just once – and have never seen the light of day since. Here’s a list of 10 pieces, composed since 1982, that have established a hold on the repertoire and in some cases notched up a fair number of recordings. It’s not exhaustive, but it does speak eloquently of what ignites public appreciation…
Turnage Blood on the Floor (1993-96)
Ensemble Modern / Peter Rundel
'The title comes from a painting by Francis Bacon (whose distinctive facial features are bizarrely recalled in the composer’s own), while the music ranges widely in its references and...' Read review
An introduction to 10 of the greatest violin concertos with highly recommended recordings
Along with the piano, the violin is the instrument best served with concertos, and what a variety there is! Here’s a violin concerto Top 10 that embraces all the great works at the centre of every violinist’s repertoire ranging from the poise of the Mozart via the red-blooded Romantic works like the Tchaikovsky to the modern language of the Prokofiev and Bartók…
Herbert von Karajan was the first artist to be inducted into the Gramophone Hall of Fame. Here are 10 of his most outstanding recordings
Here are 10 works by Bach that are essential listening; and once bitten the Bach Bug will take you on a journey of almost limitless reward
The top 10 piano concertos – from Mozart to Rachmaninov – with highly recommended recordings
One of the richest corners of the repertoire (and one of the most popular) in which a solo piano is pitted against the orchestra – with invariably thrilling results. Mozart may have lifted the piano concerto into the modern age, but in the hands of the great Romantic masters it became a form for expression of colossal variety. Here are 10 of the greatest of all piano concertos.
Elgar's lyrical side conjures up tranquil pastoral beauty; his pomposity and ebullience remind us of the British bulldog – one with teeth.
For those seeking to build a classical collection, these 10 symphonies are an ideal place to start
A brief history of the symphony
The symphony first appeared on programmes – inevitably in aristocratic settings – during the early years of the 18th century, often a natural development from the Italian overture (which usually comprised three movements). By the 1770s, the four-movement form we usually think of was established and one of its earliest (and still one of the greatest) exponents was Joseph Haydn who wrote 104 symphonies. Mozart’s 41 took the symphony on a step and, as the 18th century dawned, Beethoven infused the form with a new expressivity and power. His Third Symphony, known as the Eroica, burst into the world in 1805 and extended the length of the symphony dramatically (its first movement alone is longer than many complete symphonies written a couple of decades earlier). Beethoven’s nine symphonies remain the pinnacle of the form, performed daily and still providing spiritual nourishment to audiences of every nationality and creed.
The 19th century found most of the great composers writing symphonies – Schubert (eight), Brahms (four), Schumann (four), Mendelssohn (five), Tchaikovsky (six, seven if you include the Manfred), Dvořák (nine) for example.
The four movements – usually fast, slow, faster, faster – often included a dance form as one of the central movements (usually third), and often a theme and variation form might be included (Beethoven’s Third) or a variant such as a passacaglia (Brahms’s Fourth). As a vehicle for expression, the symphony had assumed a major role and reached its apogee in the years surrounding the turn of the 20th century. Bruckner’s nine extended the length yet again, and Mahler, as he famously told Sibelius, believed the symphony ‘should embrace the world’: he used his 10 (or 11 if you include the song-symphony Das Lied von der Erde) to explore psychological states and philosophical questions that still mesh powerfully with audiences 100 years after his death.
The 20th century found the ‘centre of gravity’ of symphonic writing shift north from its Austro-German heartland to Scandinavia and Russia/Soviet Union. The Finn Sibelius wrote seven, the Dane Nielsen six, and the Soviets Shostakovich (14) and Prokofiev (seven) contributed greatly to the genre. The French and Italians largely ignored the form, though it was taken up enthusiastically in America (Copland, Hanson, Bernstein, Harris, Piston and others). In the UK – and largely from practitioners of late-Romantic, tonal writing – the symphony flourished in the 20th century: Elgar wrote two, Bax seven, Walton two, Vaughan Williams nine (continuing to write symphonies when the musical public had imagined he’d delivered his last word in the genre) and Malcolm Arnold (nine).
Today’s major symphonists – and the form has rather fallen from favour (partly no doubt to constraints of time and budgets!) – include Philip Glass (nine), Leif Segerstam (261! as of 2012), Maxwell Davies (nine), Per Nørgård (eight) and David Matthews (seven).