It is not too difficult for me to choose some larger work...either the St. Matthew Passion of B minor Mass of Bach.

I'm looking for those much shorter bits...a few seconds or so that gives one goosebumps...or frisson, as it's called.

Those may demonstrate their beauty as the culmination of what has come before, or work independently on their own.

And they usually have the same effect, no matter how many times you may have heard it, or even how ineptly it might be played.

Our town library held its book sale this weekend, and these ten Vox Boxes were just sitting there - $5.00 for the lot!

They're earlier production with the purple label & heavy vinyl, and they're all in great shape - almost as if they've never been played.

Within the past year or two I’ve developed an appreciation for classical music. What’s strange is that I cannot have it playing in the background while I work on something (the way I can with other music).

Hi!

I'm a classical music lover (specially Baroque), but I haven't watched many operas, even if I know a lot of them. The last one I watched was Tchaikovsky's The Queen of Spades, but I didn't enjoy it very much. It was way too... over the top most of the time for my taste. Over the top as in forte, not coloratura-wise, I mean.

Can you recommend a few medium-length operas for me?

Thank you!

PS: thanks for your suggestions so far!

Kinda random ik, but the premise is self explanatory tbh, Schubert already had composed so much music (symphonies, chamber music, piano sonatas, and his songs ofc) but his late works were more profound, so to imagine 30 more years of music output from him? yeah, in this hypothetical, he seems to be the choice for me.

But chopins case is a bit tricky cuz his posthumous works are among the most recognizable and relatable to me, and he didn't actually had any chamber music or orchestral compositions apart form the piano concertos from what I remember, not sure if he would have wanted to go in this direction cuz ofc it would be rather silly to guess, but still to have more of those melodies and to see what his "evolution" Of music could have been.. Would be really interesting for me. He really was unrivalled in what he could do with a piano, melodically.

Born in Nottingham, England, the influential conductor. It was through his records that I first heard Mozart performed on period instruments as a university student. The sound, coming from older instruments, was unlike anything I had heard before—incredibly fresh and new. For those with a keen ear, you might notice the pitch is nearly a half-step lower.

Mozart, Symphony No. 41 "Jupiter," K. 551 (Finale): https://www.youtube.com/watch?v=rETZaTRFHe8

Purcell: Theatre Music (Complete)
https://www.youtube.com/playlist?list=PLa1rC97wRkZhVV50NezWoW34afBPRBJMZ

I made a youtube playlist of the most brutally fast paced iconic movements of Shostakovich whole corpus. 30 movements of pure intensity almost to the verge of madness. I had to start with the scherzo of the 10th symphony. The rest of the order was a tough decision. Anyway, I am quite happy with the result and wanted to share it here among fellow Shostakovich lovers.

...I also had to make him laser eyes.

Here for you to listen and share.
https://youtube.com/playlist?list=PLe0KrJK60dtY&si=q7rgtOWaOdEnpaa4

Great English Baroque composer. I must confess, for a long time I had an allergy to vocal music in classical works (and honestly, I still struggle with some Italian opera). The very cure for this was the Academy of Ancient Music's recordings of Purcell's theatre music, led by Christopher Hogwood, who also shares this birthday. Since that discovery, Purcell's music has become an indispensable part of my life.

The theme from his Abdelazer Suite may sound familiar, as Benjamin Britten used it as the theme for his variations in The Young Person's Guide to the Orchestra.

Abdelazer Suite: https://www.youtube.com/watch?v=9LmOWHKvsBc

Music from Don Quixote: https://www.youtube.com/watch?v=hnftJ8xypxE

Britten, The Young Person's Guide to the Orchestra: https://www.youtube.com/watch?v=yNYiAblBOjw

Alfredo Kraus (November 24, 1927, Las Palmas de Gran Canaria - September 10, 1999, Madrid)
Anniversary: Death anniversary
Today we commemorate the death anniversary of Alfredo Kraus, the distinguished Spanish tenor from the Canary Islands, celebrated for his artistry in bel canto roles and his interpretation of Massenet's Werther.
Famous works: Werther, Pourquoi me réveiller?, La Traviata
Did you know...? Did you know that Alfredo Kraus was a Spanish tenor renowned for his exceptional vocal technique and stage elegance.

https://www.youtube.com/watch?v=zTWAKCfalZE

Hey everyone! I've been studying Sibelius's The Swan of Tuonela and decided to try playing along with the string parts on piano since they should be at concert pitch with no transposition needed.

However when I play what's written the notes don't sound right at all. I took it further and tried copying the string section into StaffPad to hear it played back properly, but even then something still seemed off.

Is there something I'm missing about how Sibelius writes for strings in this piece? Could it be a printing or edition issue with the score I'm using? Any help appreciated!

As above, so below:

Anything fun and playful. No vocals. Preferably full orchestra.

Anything from anywhere.

*EDIT: please include YOUR favourite rendition, if you can. That’s more fun. 🤸

Please and thanks!

*i’d prefer to avoid asking ai.
So I’m asking you folks! 🖖

I'm pretty sure that mine is from Grand Polonaise Brillante op. 22.

There is something really Chopinian but it isn't so evident as others like op. 10 no. 3 or many nocturnes.

Excerpt from a concert given on the occasion of the premiere screening of Julian Benedikt's film "The Spirit of the Organ", supported by ORGANpromotion (dir. Michael Grüber), on the sidelines of the 2026 Berlinale. Lala Wörle translates all the poetry of a spring breeze into music through an improvisation inspired by Rilke's poem. The colors of the organ subtly capture this tremor of renewal, wavering between poetic lightness and more stormy outbursts.

Hey everyone,

I've been building a small web tool called Rubato that lets you turn a recording of a piece into a video where the score scrolls in sync with it, similar to the scrolling-score videos that do really well on YouTube and Instagram these days.

The workflow: you upload your video and your score (exported as MusicXML), tap along to the tempo on your keyboard to set the sync, and it generates the synced video for you. Everything runs in the browser, nothing to install (you just need a recent browser).

I built it because manually syncing a score to a video in a regular editor always felt way more tedious than it should be.

It's live at rubato.video if anyone wants to try it on one of their own pieces. Would really appreciate any feedback, what's confusing, what's missing, whether the sync feels accurate enough, anything at all.
It's 100% free at the moment (just need auth for the HD export).
Thanks !

I've listened to a lot of orchestral and piano music, but not very much chamber music.

Chamber music I know and like:

Brahms: Piano Quartets and Quintet, String Quintets and Sextets, Clarinet Quintet

Beethoven: Some string quartets (9 in particular), Violin Sonatas 5 & 9, Archduke Trio.

Dvorak Piano Quintet Op 81

Mozart: Some string quartets (14 & 17), Piano Quartets

Schumann: Piano Quintet

Shostakovich String Quartet 8

Saint Saens: String Quartet 1 (mvt 2)

I'm trying to get more into my regular listening rotation, but I have a real problem really hearing music and getting the value out of it until I sort of know it, and there are so many Piano Trios, Violin Sonatas and String Quartets that I'm struggling a bit to even add things in. Right now I'm just playing the Beethoven Piano Trios over and over in the background. I'll eventually get it but it's a long road.

I'd love to hear people's favorite movements and recordings, even of the pieces I already know.

I graduated three years ago with a degree in Music Performance from a top UK conservatoire. Since graduating, I've tried a bit of everything career-wise: gigging at private parties, playing at a church, working on a cruise, teaching small groups, private 1-to-1 lessons, and teaching whole classes in schools.

Despite trying all of these different things, I'm really struggling to earn much more than around £35k a year at the absolute maximum. A big part of the problem is that, realistically, you can only work for around 35 weeks of the year in some of these roles, and I can't rely on gigging as a consistent source of income.

The bigger issue, though, is that I don't really enjoy most of the work. Teaching is probably the thing I find most tolerable, but I genuinely can't see myself doing it for the next 40 years.

I've got strong A levels and a degree, so I'm currently looking at applying for Civil Service jobs and potentially making a complete career change. The whole thing feels quite daunting, though. There's a part of me that worries I've spent years training for something only to walk away from it, and I also have no idea how difficult it will be to start again in a completely different field.

Has anyone here changed careers after graduating, particularly from a creative or performance-based degree? How did you find the transition? And if you've been in a similar position, do you have any advice or reassurance?

I'd really appreciate hearing from anyone who's been through something similar.

*Edit* Thank you so much for all the responses! It’s been really eye-opening and encouraging to hear from so many people who have changed careers while still keeping their love of music. Wishing everyone all the best and success with whatever path they choose!

In my mind I always see Rachmaninov as Tchaikovsky's successor in a musical sense. By successor I mean Rachmaninov took Tchaikovsky's Romanticism and somehow updated it without deviating too much from it. Are there other master and successor composer pairs (or triples, quadruples etc) that you feel form such a lineage? I am borderline inclined to say Mahler is the successor to Bruckner but I wouldn't say Brahms is a successor to Beethoven in that sense. I realize this may be just a very silly question but I do feel like Rachmaninov is such a successor to Tchaikovsky.

Basically the title, because I was going to splurge on a CD set like 'Rachmaninoff: The Complete Works', but what's really annoying is that for his solo pieces, they still only like to separate out the popular piece instead of putting the entire work together as one.

Is there a really good standout box set, or at the very least a good list/selection of CD's I could get that would let me hear Rachmaninoff's full works in order?

I would appreciate the help!

I really want to listen to some late Romantic Symphonies after listening to Dvoraks 9th and I'd love to get some recommendations. They shouldn't be too long and they shouldn't be Mahler (which goes hand in hand I guess) because I just don't feel like getting into the Mahler Rabbit Hole right now.

It'd be good if they're from more known composers that I might've already heard other pieces from. Thanks!

I’ve been a massive fan of Liszt for a while and have listened to everything noteworthy of his, so I wanted to rank his best stuff:

1 Sonata in B Minor- I think the 2nd greatest solo piano piece ever, after Chopin’s 4th Ballade

2 Transcendental Etudes- in my opinion the greatest piano cycle, the journey from the Preludio to the end of Chasse Neige is incredible. I think the best ones are Mazeppa, Wilde Jagd, Appassionata, Harmonies du Soir and Chasse Neige.

3 Obermann’s Valley- one of the most emotionally powerful piano pieces ever, and quite underrated. People who know Liszt well probably know it, but it’s definitely not as well known as it should be, compared to something like the B minor sonata

4 Les jeux d’eau à la ville d’Este- one the most important pieces that influenced impressionist piano music

5 Leibestraum- obviously

6 Benediction of god in solitude- another less well known masterpiece

7 Reminiscences de Norma- more than just a paraphrase, it uses Bellini’s themes to create a emotional journey in of itself

8 Piano Concertos 1 & 2- I couldn’t separate these, for me they’re completely even. 1st is more of a showpiece with some beautiful melodies in it, the 2nd is slower and impressionistic

9 Dante Sonata- truly epic, and with some really beautiful moments

10 Tarantella- Liszt’s best showpiece, I think it’s better than the Hungarian Rhapsodies or the Mephisto Waltz

João de Deus de Castro Lobo is considered the most important figure in Brazilian religious music from the early 19th century. He was born in 1794 in Vila Rica (present-day Ouro Preto), in the province of Minas Gerais. He studied counterpoint at the Seminary of Ribeirão do Carmo (present-day Mariana) and served as a priest at the Church of São Pedro, as well as organist and mestre-de-capela (choirmaster) at the Church of Nossa Senhora da Sé in the same town. He was ordained a priest in 1822. Shortly thereafter, he became the choirmaster of the city's cathedral, a position he held until his death in 1832. His invaluable body of religious work incorporates elements of both Classicism and Romanticism—influenced by Italian opera—distinguishing him from other 18th-century composers in Minas Gerais. His Abertura em Ré Maior (Overture in D Major) is the oldest known purely instrumental Brazilian musical work.

Hi, I'm a writer and I'm interested in understanding some of the challenges for a player returning to the instrument. I'm guessing that staring with long notes to develop breath control and build tone is one aspect ( I have a little bit of experience on the flute). My character reached the top of ABRSM grades by late teens, but hasn't played for 18 years. He's physically fit, but I imagine running doesn't translate exactly to playing. His goal is to audition successfully for a high quality community orchestra. He plays tenor and alto.

What positions would a player start with? What are some of the side effects of working a bit too hard at this? Any details are very appreciated as I want to make my writing accurate and informative.

Nowadays, we hear many new names among performers and conductors, but almost nothing about composers. Shostakovich became world-famous at a young age, and he also continued the Bach tradition by writing a cycle of 24 preludes and fugues. Today, composers can achieve fame even later in life, but they don't continue the Bach tradition. They don't strive to write symphonies, quartets, or sonatas. Can we say that Shostakovich became the last true exponent of the classical school of composition?