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Classical Music Home > Introduction to Classical Music > History of Classical Music

History of Classical Music

Medieval (c.1150 - c.1400)

This is the first period where we can begin to be fairly certain as to how a great deal of the music which
has survived actually sounded. The earliest written secular music dates from the 12th century
troubadours (in the form of virelais, estampies, ballades, etc.), but most notated manuscripts emanate
from places of learning usually connected with the church, and therefore inevitably have a religious
basis.

Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed
during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but
independently, therefore almost inadvertently representing the beginnings of harmony). Organum was,
however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the
so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry,
Machaut, and Landini.

Recommended Recording:

Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana

Naxos 8.550711
See Medieval Period Catalogue List

Renaissance (c.1400 - c.1600)

The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually
perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated
parts). Composers (although they were barely perceived as such) were still almost entirely devoted to
choral writing, and the few instrumental compositions which have survived often create the impression
(in many cases entirely accurately) of being vocal works in disguise, but minus the words.

There is obvious new delight in textural variety and contrast, so that, for example, a particular section of
text might be enhanced by a vocal part dropping out momentarily, only to return again at a special
moment of emphasis. The four most influential composers of the fifteenth century were Dunstable,
Ockeghem, Despres and Dufay.

The second half of the 16th century witnessed the beginnings of the tradition which many music lovers
readily associate with the normal feel of 'classical' music. Gradually, composers moved away from the
modal system of harmony which had predominated for over 300 years (and still sounds somewhat
archaic to some modern ears), towards the organisation of their work into major and minor scales,
thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'.

This was also something of a golden period for choral composition as a seemingly endless flow of a
capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the
masters of the age. In addition, instrumental music came into its own for the first time, especially
keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.).
Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria,
Lassus, Alonso Lobo, Duarte Lobo, Cardoso and Gesualdo.

Recommended Recordings:

Byrd: Mass for Four Voices; Mass for Five Voices; Infelix ego
Naxos 8.550574

Gesualdo: Sacred Music for Five Voices (Complete)

Naxos 8.550742

Lamentations

Music by Tallis, White, Palestrina, Lassus and de Brito

Naxos 8.550572

Lassus: Missa super entre vous; Infelix ego; Missa imitationem moduli susanne un tour

Naxos 8.550842

Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis

Naxos 8.550682

Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera

Naxos 8.550573

Palestrina: Missa hodie Christus natus est; Hodie Christus natus est; Stabat mater / Lassus: Missa bell'
amfitrit' altera

Naxos 8.550836

Tallis: Mass for Four Voices; Motets

Naxos 8.550576

Victoria: Missa O magnum mysterium; Missa O quam gloriosum / A. Lobo: Versa est in luctum

Naxos 8.550575

See Renaissance Period Catalogue List

Baroque (c.1600 - c.1750)

During the Baroque period, the foundations were laid for the following 300 or so years of musical
expression: the idea of the modern orchestra was born, along with opera (including the overture,
prelude, aria, recitative and chorus), the concerto, sonata, and modern cantata. The rather soft-grained
viol string family of the Renaissance was gradually replaced by the bolder violin, viola and cello, the
harpsichord was invented, and important advances were made in all instrumental groups.

Until about 1700, the old modes still exerted themselves from time to time by colouring certain melodic
lines or chord progressions, but from the beginning of the 18th century the modern harmonic system
based upon the major and minor scales was effectively pan-European. Choral music no longer
dominated, and as composers turned more and more to writing idiomatic instrumental works for
ensembles of increasing colour and variety, so 'classical' music (as opposed to 'popular') gradually began
to work its way into the very fabric of society, being played outdoors at dinner parties or special
functions (e.g. Handel's Water Music), or as a spectacle in the form of opera. On a purely domestic level,
every wealthy lady would have a spinet to play, and at meal-times the large and rich houses would
employ musicians to play what was popularly called Tafelmusik in Germany, of which Telemann was
perhaps the most famous composer.

Of the many 17th century composers who paved the way for this popular explosion of 'classical' music,
the following were outstanding: Monteverdi, Corelli, Alessandro Scarlatti, Schutz, Buxtehude, Purcell
and Lully. Yet, the most popular composers of the period, indeed those who seem to define by their very
names the sound of Baroque music at its most colourful and sophisticated are Johann Sebastian Bach,
Handel, Telemann, Rameau, François Couperin, Domenico Scarlatti, and Vivaldi, all of them at their
creative peak during the first half of the 18th century.

See Baroque Period Catalogue List

Classical (c.1750 - c.1830)

The Baroque era witnessed the creation of a number of musical genres which would maintain a hold on
composition for years to come, yet it was the Classical period which saw the introduction of a form
which has dominated instrumental composition to the present day: sonata form. With it came the
development of the modern concerto, symphony, sonata, trio and quartet to a new peak of structural
and expressive refinement. If Baroque music is notable for its textural intricacy, then the Classical period
is characterised by a near-obsession with structural clarity.
The seeds of the Classical age were sown by a number of composers whose names are now largely
forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more
historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach's
sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called 'London' Bach).
They were representative of a period which is variously described as rococo or galante, the former
implying a gradual move away from the artifice of the High Baroque, the latter an entirely novel style
based on symmetry and sensibility, which came to dominate the music of the latter half of the 18th
century through two composers of extraordinary significance: Joseph Haydn and Wolfgang Amadeus
Mozart.

See Classical Period Catalogue List

Early Romantic (c.1830 - c.1860)

As the Classical period reached its zenith, it was becoming increasing clear (especially with the late
works of Beethoven and Schubert) that the amount and intensity of expression composers were seeking
to achieve was beginning to go beyond that which a Classically sized/designed orchestra/piano could
possibly encompass. The next period in musical history therefore found composers attempting to
balance the expressive and the formal in music with a variety of approaches which would have left
composers of any previous age utterly bewildered. As the musical map opened up, with nationalist
schools beginning to emerge, it was the search for originality and individuality of expression which
began here that was to become such an over-riding obsession in the present century.

The Romantic era was the golden age of the virtuoso, where the most fiendishly difficult music would be
performed with nonchalant ease, and the most innocuous theme in a composition would be developed
at great length for the enjoyment of the adoring audience. The emotional range of music during this
period was considerably widened, as was its harmonic vocabulary and the range and number of
instruments which might be called upon to play it. Music often had a 'programme' or story-line attached
to it, sometimes of a tragic or despairing nature, occasionally representing such natural phenomena as
rivers or galloping horses. The next hundred years would find composers either embracing whole-
heartedly the ideals of Romanticism, or in some way reacting against them.
Of the early Romantic composers, two Nationalists deserve special mention, the Russian Glinka (of
Russlan and Ludmilla fame) and the Bohemian Smetana (composer of the popular symphonic poem
Vltava or 'The Moldau'). However, the six leading composers of the age were undoubtedly Berlioz,
Chopin, Mendelssohn, Schumann, Liszt and Verdi.

See Romantic Period Catalogue List

Late Romantic (c.1860 - c.1920)

With the honourable exceptions of Brahms and Bruckner, composers of this period shared a general
tendency towards allowing their natural inspiration free rein, often pacing their compositions more in
terms of their emotional content and dramatic continuity rather than organic structural growth. This
was an era highlighted by the extraordinarily rapid appearance of the national schools, and the operatic
supremacy of Verdi and Wagner. The eventual end of Romanticism came with the fragmentation of this
basic style, composers joining 'schools' of composition, each with a style that was in vogue for a short
period of time.

Recommended Recordings:

Albéniz: Iberia

Falla: Three-Cornered Hat; El Amor Brujo; La Vida Breve

Naxos 8.550174

Balakirev: Islamey

Mussorgsky: Pictures at an Exhibition (piano version)

Naxos 8.550044

Bizet: Carmen

Naxos 8.660005-07 (3 CD's)

Borodin: Symphonies Nos. 1-3

Naxos 8.550238
Brahms: Hungarian Dances (Complete)

Naxos 8.550110

Brahms: Symphony No. 1 ; Tragic Overture ; Academic Festival Overture

Naxos 8.557428

Brahms: Symphony No. 2 ; Hungarian Dances

Naxos 8.557429

Brahms: Symphony No. 3 ; Haydn Variations

Naxos 8.557430

Brahms: Symphony No. 4 ; Hungarian Dances Nos. 2, 4-9 (orch. Breiner)

Naxos 8.570233

Brahms: Symphonies Nos. 1-4; Tragic Overture; Haydn Variations; Academic Festival Overture;
Serenades Nos. 1 & 2

Naxos 8.504001 (4 CD's)

Brahms: Violin Concerto

Bruch: Violin Concerto No. 1

Naxos 8.550195

Bruckner: Symphony No. 4 'Romantic'

Naxos 8.550154

Debussy: Suite Bergamasque; 2 Arabesques; Images; Préludes; La plus que lente

Naxos 8.550253

Delibes: Ballet Music (Coppélia; Sylvia; La Source); Le Roi s'amuse; Kassya - Trepak

Naxos 8.550080

Delius: Brigg Fair; In a Summer Garden

Elgar: Enigma Variations; Pomp and Circumstance Marches Nos. 1 & 4; Salut d'amour

Naxos 8.550229

Dvořák: Slavonic Dances (Complete)

Symphony No. 9 'New World'; Symphonic Variations

Naxos 8.550271

Franck: Symphony; Prelude, Choral and Fugue

Naxos 8.550155

Grieg: Peer Gynt, Suites Nos. 1and 2 / Sigurd Jorsalfar / Bergliot

Naxos 8.553397

Holst: The Planets; Suite de Ballet

Naxos 8.550193

Janáček: Sinfonietta; Taras Bulba; Lachian Dances

Naxos 8.550411

Kodály: Peacock Variations; Dances of Galánta and Marosszék

Naxos 8.550520

Lalo: Symphonie Espagnole

(with works by Saint-Saëns, Sarasate and Ravel)

Naxos 8.550494

Leoncavallo: Pagliacci

Naxos 8.660021

Mahler: Symphony No. 1 in D

Naxos 8.550120

Mascagni: Cavalleria Rusticana

Naxos 8.660022

Puccini: Tosca

Naxos 8.660001-02 (2 CD's)

Rachmaninov: Piano Concerto No. 2; Rhapsody on a Theme of Paganini

Ravel: Boléro; Daphnis et Chloé; Ma mère l'oye;

Naxos 8.550173

Respighi: Pines of Rome; Fountains of Rome; Roman Festivals

Naxos 8.550539

Rimsky-Korsakov: Sheherazade; Tsar Saltan Suite

Naxos 8.550726

Saint-Saëns: Carnival of the Animals

(coupled with Prokoviev: Peter and the Wolf; Britten: Young Person's Guide - see below)

Naxos 8.550499

Satie: Piano Works (Selection)

Naxos 8.550305

Sibelius: Finlandia; Valse Triste; Swan of Tuonela; Karelia Suite

Naxos 8.550103

Johann Strauss II: Famous Waltzes, Polkas, Marches and Overtures Vol. 2

Naxos 8.550337

Richard Strauss: Also sprach Zarathustra; Salome's Dance;

Der Rosenkavalier (Waltzes)

Naxos 8.550182

Tchaikovsky: Capriccio Italien; 1812 Overture; Romeo and Juliet Overture; Marche Slave

Naxos 8.550500

Tchaikovsky: The Nutcracker (Highlights)

Naxos 8.550515

Wagner: Orchestral excerpts from the operas

Naxos 8.550136
See Romantic Period Catalogue List

Post 'Great War' Years (c.1920 - Present)

The period since the Great War is undoubtedly the most bewildering of all, as composers have pulled in
various apparently contradictory and opposing directions. Typical of the dilemma during the inter-war
years, for example, were the Austrians, Webern and Lehar, the former was experimenting with the
highly compressed and advanced form known as 'serial structure', while simultaneously Lehar was still
indulging in an operetta style which would not have seemed out of place over half a century
beforehand.

So diverse are the styles adopted throughout the greater part of the present century that only by
experimentation can listeners discover for themselves whether certain composers are to their particular
taste or not. However, the following recordings serve as an excellent introduction and will certainly
repay investigation:

Recommended Recordings:

Antill: Corroboree ; Outback Overture

Naxos 8.570241

Britten: The Young Person's Guide to the Orchestra; Prokofiev: Peter and the Wolf; Saint-Saens: Carnival
of the Animals

Naxos 8.550499

Copland: Rodeo; Billy the Kid; Appalachian Spring; Fanfare for the Common Man

Naxos 8.550282

Gershwin: Piano Concerto; Rhapsody in Blue; An American in Paris

Naxos 8.550295

Orff: Carmina Burana

Prokofiev: Romeo and Juliet (Highlights)

Naxos 8.550380

Shostakovich: Symphonies Nos. 5 & 9

Naxos 8.550427

Stravinsky: Jeu des cartes; Rite of Spring (1947 version)

Naxos 8.550472

See 20th Century and Modern Catalogue List

Introduction to Classical Music

Introduction

Music Categories

Musical Instruments

History of Classical Music

Discover the Classics

Vol. 1 | Vol. 2 | Vol. 3 | Vol. 4

Glossary of Musical Terms

Introduction

Synopses of Opera

Index of Operas by Composer

Opera Libretti

How To Enjoy A Live Concert

A Note from the Author

Introduction

The Listener's Job Description

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Choosing a Concert

Kinds of Concerts

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Buying a Ticket

Sections of the Theater

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Part 2: At the Concert

"Concert Manners"

The Concert Ritual

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Instruments of the Orchestra

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Essential Life Support

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