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Basic Repertoire List

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Basic Repertoire List for Building a Library of Classical Recordings How to Use this Guide The world of classical music spans nearly 10 centuries, and encompasses a multitude of styles, forms, and purposes. This section of the Guide was compiled in the hope that it will help and encourage many people in the exploration of the abundance of recorded classical music that is now available. With that in mind, this section focuses on those composers and compositions that provide a basic repertoire of music representing the various major styles and forms developed over the past millennium in Western Art Music. The Classical Net staff has assembled a list of compositions that we feel form a solid basis for a music collection that contains representative works from all periods and styles of the last millenium in Western art music. The compositions we have marked with an red star ( or asterisk *) are those we feel are fundamental and a good starting point for getting acquainted with more music by a particular composer or historic period. At the time this list was prepared every attempt was made to ensure that recordings of all the compositions listed are currently available. However, availability of recordings is at times a complex and fast-changing issue complicated by distributor and manufacturer offerings in various countries and even regions within countries, as well as changes in label ownership. This list has been designed to provide a roadmap to classical music in its many forms and styles, and to assist the user in acquiring a collection of recordings which bring this music into the home. We hope this list will help you in collecting your own library of recordings and to become acquainted with the music of different composers, thus leading to the greatest possible enjoyment of music. Much more music is offered here than one would expect in a basic library. This is done to have available to you more suggestions in those areas where you find the music most congenial and interesting. At times, however, we suggest you sample other composers or periods - a year or two from now you may find you have been missing some fine music! As a general rule, the music from the Classical and Romantic periods are the most accessible and familiar to the modern listener as snippets of great works are often used in commercials and films. Works from these periods are probably the best place for a novice to start. Almost anyone will think of pieces of music and performances which "must" be in a basic library but are missing here. Personal favorites and dislikes are bound to influence anyone's choices, including ours. Additionally, personal tastes in interpretations vary widely. We have endeavored to provide a good place to begin exploring specific works, but the reader should feel free to investigate any alternative that interests them, regardless of what any classical music guide specifies as the "correct" course. Classical Period (1750 - 1820) BACH, Carl Philipp Emanuel Magnificat Concerto for 2 Harpsichords Wq. 46 Concertos for Cello Wq. 170-172 Concertos for Flute Wq. 166-169 Concertos for Oboe Wq. 164 and 165 Hamburg Concertos Wq. 43 Sonatas for Flute and Continuo Sonatas for Keyboard Symphonies Wq. 174, 175, 178-183 BACH, Johann Christian Concertos for Keyboard Opp. 1, 6 and 7 Overtures Quintets for Flute, Oboe and Strings Op. 11 Symphonies Op. 3 BACH, Wilhelm Friedemann Concertos for Keyboard and Orchestra Keyboard Music (Sonatas, Polonaises, Fugues) Sinfonias BEETHOVEN, Ludwig van Concertos for Piano (1-3, 4, 5) Concerto for Violin Op. 61 Concerto for Piano, Violin and Cello Op. 56 Diabelli Variations for Piano Op. 120 Eroica Variations for Piano Op. 35 Fidelio Op. 72 (opera) Missa Solemnis Op. 123 Overtures (Leonore, Coriolan, Egmont. etc.) Quartets #7-16 ( 8, 14) Quintet for Piano and Strings Op. 16 Serenade and Trios for Strings Op. 3, 8 and 9 Sextet for Winds Op. 71 Sonatas for Piano (All, especially 8, 14 , 21, 23, 29) Sonatas for Cello and Piano (1-5) Sonatas for Violin and Piano (5, 9) Symphonies (1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 ) Trios for Piano and Strings ( #7 "Archduke") BELLINI, Vincenzo Norma (opera) I Puritani (opera) La Sonnambula (opera) BOCCHERINI, Luigi Concertos for Cello Quintets for Guitar and Strings (3, 4, 5, 6) Quintets for Strings Symphonies BOIELDIEU, François-Adrien Concerto for Harp CIMAROSA, Domenico Concerto for Oboe in C Major DANZI, Franz Quintets for Winds DITTERSDORF, Karl Ditters von Concerto for Contrabass Symphonies "Metamorphoses" FIELD, John Concertos for Piano (7) Nocturnes GLUCK, Christoph Willibald Iphigénie en Tauride (opera) Orfeo ed Euridice (opera) HAYDN, Franz Joseph Concertos in C and D for Cello Hob VIIb:1 and 2 Concertos for Horn Hob VIId:3 and 4 Concertos for Keyboard Concerto in E flat for Trumpet Hob VIIe:1 The Creation (oratorio) Mass #10 ("Paukenmesse") Mass #11 ("Nelson") Quartets Op. 71, 74, 76 and 77 (76/3 "Emperor") The Seasons (oratorio) Sonatas (miscellaneous) for Piano Symphonies (6-8, 45, 88, 94, 100, 101, 103, 104) Trios for Flute and Strings (various) Trios for Piano and Strings (various) HUMMEL, Johann Nepomuk Concertos for Piano Septets for Piano, Winds and Strings Sonatas for Piano KROMMER, Franz Wind Concertos Wind Serenades MERCADANTE, Giuseppe Concertos for Flute MOZART, Wolfgang Amadeus Arias (opera and concert arias) Concerto for Clarinet K. 622 Concertos for Flute, K.313 and 314 Concertos for Horn #1-4 K. 412, 417, 447 and 495 Concertos for Piano (7-19, 20, 21, 23, 24, 25, 27) Concertos for Violin (#3-5) Cosí fan tutte (opera) Divertimenti #1-3, K. 136-138 and #10, K. 247 Don Giovanni (opera) Exsultate, Jubilate (motet) Idomeneo (opera) La Clemenza di Tito (opera) Magic Flute (opera) Marriage of Figaro (opera) Mass in C minor "The Great" Opera Overtures Quartets for Flute and Strings Quartet for Oboe and Strings K. 370 Quartets for Strings( 8-13, 14, 16, 17, 18, 19, 23) Quintet for Clarinet and Strings K. 581 Quintet for Piano and Strings Quintets for Strings ( K. 515, 516, 593 and 614) Requiem K. 626 Serenade #6 "Serenata notturna" K. 239 Serenade #7 "Haffner" K. 250 Serenade #9 "Posthorn" K. 320 Serenades #10 "Gran Partita", 11 and 12 for Winds Serenade #13 "Eine kleine Nachtmusik" K. 525 ( I - II - III - IV ) Sinfonia Concertante for Violin and Viola K. 364 Sonatas for Piano (8, 11, 13, 15) Sonatas for Violin (K. 296 and 454) Symphonies (29, 35, 36, 38, 39, 40, 41) Trio for Strings K. 563 Trios for Piano and Strings ROSSINI, Gioacchino Barber of Seville (opera) L' Italiana in Algeri (opera) Overtures Semiramide (opera) SCHOBERT, Johann Chamber Music STAMITZ, Carl Octets for Winds Quartet in E flat for Woodwinds Op. 8 #2 Romantic Period (1820 - 1910) ADAM, Adolphe-Charles Giselle (ballet) ALBENIZ, Isaac Ibéria for Piano Rapsodia espanola Op. 70 for Piano and Orchestra Suite espanola Op. 47 for Piano ALKAN, Charles-Valentin Piano Music (Preludes, Impromptus, Études, Concerto, etc.) AUBER, Daniel-François Overtures BERLIOZ, Hector Damnation of Faust Op. 24 Harold in Italy for Viola and Orchestra Op. 16 L'enfance du Christ Op. 25 Overtures (Rob Roy, King Lear, La Corsaire, etc.) Requiem Op. 5 Symphonie fantastique Op. 14 Les Troyens (opera) BERWALD, Franz Chamber Music (Piano Trios, Piano Quintet) Symphonies (1-4) BIZET, Georges Carmen (opera) Suites: L'Arlesienne and Carmen BOITO, Arrigo Mefistofele (opera) BORODIN, Alexander Prince Igor: Polovtsian Dances Quartets (1, 2) Symphony #2 BRAHMS, Johannes Alto Rhapsody for Alto, Male Chorus and Orchestra Op. 53 Academic Festival Overture Op. 80 Concertos for Piano (1, 2) Concerto for Violin Op. 77 Concerto for Violin and Cello Op. 102 Ein Deutsches Requiem (German Requiem) Op. 45 Hungarian Dances for Piano or Orchestra Piano Music (Fantasias , Intermezzos, Ballades, Waltzes , Rhapsodies, etc.) Quartets for Strings (1-3) Quartets for Piano and Strings (1-3) Quintets for Strings Quintet for Clarinet and Strings Op. 115 Quintet for Piano and Strings Op. 34 Serenades for Orchestra ( 1,2) Sextets (1,2) Sonatas for Cello and Piano Sonatas for Viola or Clarinet Op. 120 Sonatas for Violin and Piano Symphonies ( 1, 2, 3, 4) Tragic Overture Op. 81 Trio for Clarinet and Strings Op. 114 Trios for Piano and Strings ( 1, 2, 3) Trio for Horn, Violin and Piano Op. 40 Variations on a Theme by Haydn Op. 56a BRUCH, Max Concerto for Violin #1 Op. 26 "Kol Nidrei" for Cello and Orchestra Op. 47 Symphonies (1-3) BRUCKNER, Anton Quintet for Strings Symphonies (1-3, 4, 5, 6, 7, 8, 9) CARULLI, Ferdinando Works for Flute and Guitar (Serenades, Duos, etc.) CHABRIER, Emmanuel Espana CHARPENTIER, Gustave Louise (opera) CHAUSSON, Ernest Concert for Violin, Piano and String Quartet Op. 21 "Poeme" for Violin and Orchestra Op. 25 Symphony Op. 20 CHOPIN, Frédéric Andante Spianato and Grande Polonaise Op. 22 Concertos for Piano (1, 2) Krakowiak Op. 14 Piano Music (Ballades, Études, Nocturnes , Preludes , Scherzi , etc.) Sonata for Cello and Piano Op. 65 Sonatas for Piano (2, 3) Les Sylphides (Ballet arranged by Douglas from Chopin’s Piano Music) Variations on "La ci darem la mano" Op. 2 CILEA, Francesco Adriana Lecouvreur (opera) CRUSELL, Bernhard Henrik Concertos for Clarinet Quartets for Clarinet and Strings DEBUSSY, Claude Clair de lune (Suite Bergamasque) for Piano Études for Piano Images for Piano Images for Orchestra (including Ibéria) La Mer (Symphonic Sketches) for Orchestra L'Isle joyeuse for Piano Nocturnes for Orchestra and Chorus Pelléas et Mélisande (opera) Prélude à l'après-midi d'un faune Preludes for Piano Quartet for Strings Sonata for Cello and Piano Sonata for Flute, Viola and Harp Sonata for Violin and Piano DELIBES, Léo Coppelia (ballet suite) Lakme (opera) Sylvia (ballet suite) DELIUS, Frederick Brigg Fair (English Rhapsody) On Hearing the First Cuckoo in Spring Tone Poems DONIZETTI, Gaetano Lucrezia Borgia (opera) Lucia di Lammermoor (opera) La Fille du Regiment (opera) Don Pasquale (opera) DUKAS, Paul Sorcerer's Apprentice DVOŘÁK, Antonín Carnival Overture Op.
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  • Names of Scientists Associated with Discoveries of Elements of Periodic Table

    Names of Scientists Associated with Discoveries of Elements of Periodic Table

    Dr. John Andraos, http://www.careerchem.com/NAMED/Elements-Discoverers.pdf 1 NAMES OF SCIENTISTS ASSOCIATED WITH DISCOVERIES OF ELEMENTS OF PERIODIC TABLE © Dr. John Andraos 2002 - 2005 Department of Chemistry, York University 4700 Keele Street, Toronto, ONTARIO M3J 1P3, CANADA For suggestions, corrections, additional information, and comments please send e-mails to [email protected] http://www.chem.yorku.ca/NAMED/ Z, Element Symbol Discoverer Dates Nationality Place and Date of Discovery 1. Hydrogen H Cavendish, 1731 - 1810 British (b. Nice, France) 1766 Henry London, England 2. Helium He Janssen, Pierre 1824 - 1907 French 1868 Jules Cesar (b. Paris, France) Ramsay, Sir 1852 - 1916 Scottish 1895 William (b. Glasgow, Scotland) London, England 3. Lithium Li Arfvedson, 1792 - 1841 Swedish (b. Skagerholms- 1817/1818 Johann August Bruk, Skaraborgs-Län, Stockholm, Sweden Sweden) Dr. John Andraos, http://www.careerchem.com/NAMED/Elements-Discoverers.pdf 2 4. Beryllium Be Vauquelin, Louis 1763 - 1829 French (b. Saint-André 1797 Nicolas d'Héberôt, Calvados, Paris, France France) 5. Boron B Gay-Lussac, 1778 - 1850 French (b. St. 1808 Joseph Louis Léonard, Haute Paris, France Vienne, France) London, England Thénard, Louis 1777 - 1857 French (b. Louptière, Jacques France) Davy, Sir 1778 - 1829 British Humphry (b. Penzance, Cornwall, England) 6. Carbon C N/A N/A N/A pre-history 7. Nitrogen N Rutherford, 1749 - 1819 Scottish 1772 Daniel (b. Edinburgh, Scotland) Edinburgh, Scotland 8. Oxygen O Priestley, Joseph 1733 - 1804 British 1774 (b. Fieldhead, near Leeds, Leeds, England England) Scheele, Carl 1742 - 1786 Swedish Uppsala, Sweden Wilhelm (b. Stralsund, Pomerania, now in Germany) 9. Fluorine F Moissan, Henri 1852 - 1907 French (b.
  • Marco Polo – the Label of Discovery

    Marco Polo – the Label of Discovery

    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
  • The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu

    The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu

    The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant.