By David Pogue, Scott Speck

Haydn, Tchaikovsky, and Brahms, oh, my! The beginner's advisor to classical music

Classical tune For Dummies is a pleasant, humorous, easy-to-understand consultant to composers, tools, orchestras, concert events, recordings, and extra. Classical track is largely certainly one of the pinnacles of human fulfillment, and this informative consultant will exhibits you simply how appealing and profitable it may be. You'll find out how Bach isn't the same as Beethoven, how Mozart is diverse nonetheless, and why now not all "classical" song is absolutely Classical if it's particularly Baroque or Romantic. You'll be brought to the composers and their paintings, and notice the groundbreaking items that shake the area at any time when they're performed. commence development your classical song library with the basic recordings that outline orchestral, choral, and operatic good looks as you get familiar with the orchestras and musicians that deliver the composers to life.

Whether you need to play classical track or simply study extra approximately it, Classical tune For Dummies will train you every thing you want to understand to get the main out of this more and more well known style.

• Distinguish flute from piccolo, violin from viola, and trumpet from trombone
• research the variation among overtures, requiems, arias, and masses
• discover the composers that formed tune as we all know it
• notice the recordings your tune library can't be without

Classical tune has all started sneaking into the mainstream — in the event that your curiosity has been piqued, there's by no means been a greater time to improve an appreciation for this exceptionally wealthy, complicated, and sundry physique of labor. Classical tune For Dummies lays the foundation, and demonstrates simply how awesome classical tune will be.

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Additional info for Classical Music For Dummies (2nd Edition)

Sample text

1 in G minor, for example, was such a hit that, for a while, it was the most‐performed piano concerto ever written. In fact, the composer Hector Berlioz (who appears a bit later in this chapter) went around telling the story of a piano at the Paris Conservatory. This particular piano, the story goes, was so used to playing that Mendelssohn concerto that it continued playing the music even if nobody was touching its keys! The local piano‐maker tried everything to make the piano shut up: sprinkling holy water on it, throwing the piano out the window, chopping up the keys with an ax; still the piano wouldn’t stop.

This teacher‐student relationship, alas, was no less stormy than any of Beethoven’s other relationships; still, Haydn ­tolerated his new pupil out of respect for his prodigious talents. Just as Mozart had, Beethoven learned how to write a symphony and a string quartet — Haydn’s two greatest specialties. In fact, in Beethoven’s first two symphonies, Haydn’s influence is everywhere. In form, structure, and length, they’re nearly identical to Haydn’s symphonies of the day. But then something happened that changed Beethoven forever.

Try not to think too hard about this one. Actually, there’s logic here. Handel was the son of a German barber‐surgeon (not the kind of guy you’d want to do your tummy tuck). With dad spending his days removing one vital body part after another, it’s no surprise that the young George Frideric took up the organ. At 18, he left home for the big city — Hamburg, where he found work as a composer and performer. Handel knew that Italian opera was going to be the next big thing in Europe. And so, at age 22, he went off to Italy to learn how to write in the Italian style.

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Classical Music For Dummies (2nd Edition) by David Pogue, Scott Speck
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