Table Of Contentthe daily book of
classical
This book belongs To:
About the Authors
Leslie Chew (LMC) is a Grammy-nominated recording engineer in Los
Angeles, California. He has recorded nearly every instrument in today’s
symphonic orchestra, while helping artists create music for award-winning
albums, films, television, and software. He enjoys music as a passion as well
as a career, playing guitar and singing in the acoustic duo StuccoRainbow.
Visit www.lesliechew.com.
Dwight DeReiter (DD) has worked in the music world much of his life,
most recently with Capitol-EMI Music as Label Director for Western USA.
As a classical music specialist, he has worked in marketing and sales, artist
relations, film and television placement, public relations, and special mar-
kets. He is presently composing and producing orchestral scores for film
and television projects in Los Angeles, California.
Cathy Crenshaw Doheny (CCD) holds a Bachelor of Music in vocal per-
formance from the University of North Carolina School of the Arts and has
sung mezzo-soprano roles with several regional opera companies. Equally
at home creating drama in the literary world, she writes award-winning
creative nonfiction and journalistic pieces in Charlotte, North Carolina,
where she lives with her husband, Kevin, and daughter, Jade.
Colin Gilbert (CKG) is a freelance writer, photographer, and tutor living
in Southern California. His unquenchable love of all kinds of music has
manifested itself through a long history of studying, collecting, perform-
ing, and reviewing a wide variety of musical genres. Colin and his wife,
Elizabeth, first bonded over a shared fondness of Rachmaninov’s Piano
Concerto No. 2.
Kathy Federici Greenwood (KFG) is the books and arts editor at Princeton
University’s alumni magazine, where she interviews musicians, composers,
poets, and artists. When she isn’t writing stories, she helps restore her fam-
ily’s 18th-century farmhouse in West Amwell Township, New Jersey. Kath-
erine holds a Bachelor of Arts in theology from Georgetown University and
a Master of Arts in journalism from New York University.
Travers Huff (TH) holds a Master of Music degree in composition from
the Eastman School of Music in Rochester, New York. He is a jazz pianist
and composer-arranger for film, working in Los Angeles, California. He
especially enjoys film and the visual arts, as well as improvising music to
literature, paintings, and comic books.
Susanna Loewy (SL) has a Doctor of Musical Arts degree from Rutgers Uni-
versity, as well as bachelor’s and master’s degrees in music from the Cleve-
land Institute of Music. She is recorded on “Apparitions and Whimsies” from
Centaur Records. A teaching artist for the Philadelphia Orchestra, she teach-
es and performs throughout the country. As an IronMan triathlete, Susanna
is also a spinning instructor and occasional triathlete/marathon coach. She
regularly blogs about music, athletics, and life at www.curlysu.com.
Melissa Maples (MM) is a musician, writer, and photographer. She earned
her Bachelor of Arts degree from Sir Paul McCartney’s Liverpool Institute
for Performing Arts, where she specialized in critical aural analysis and
sound design. She is currently based on the Turkish Riviera, dividing her
time between photography projects, traveling, and working as a freelance
music critic.
Jeff McQuilkin (JJM) is a songwriter, musician, and freelance writer with
a degree in music composition from Oral Roberts University. He blogs
about music at www.oomphmusicblog.com, and he can regularly be found
checking out talent at the local venues or blogging furiously at his favorite
coffee shop. Jeff lives with his wife and son in Denver, Colorado.
Scott Spiegelberg (SS) is an associate professor of music at DePauw Uni-
versity in Greencastle, Indiana. His eclectic mix of five degrees in trumpet
performance, music theory, and chemistry have prepared him for research
on musical psychoacoustics and cognition. When he is not teaching music
theory, he is running after his two children and one dachshund (the cats
don’t run).
Erika Kotite (Editor) is an editor, writer, and longtime classical music lover.
After many years editing consumer magazines, she currently produces
books for major publishers. She also develops storylines and concepts for
short- (online) and long-form television shows. Erika lives in Lambertville,
New Jersey, in a 250-year-old house with her husband and three children.
Acknowledgments
Thank you to those who helped make this book possible: Kevin and Jade Doheny, John Douglas,
Andrea Loewy, Zach Subar, and Shirley Kotite Young.
the daily book of
classical
Leslie Chew
Dwight DeReiter
Cathy Doheny
Colin Gilbert
Katherine Federici Greenwood
Travers Huff
Susanna Loewy
Melissa Maples
Jeff McQuilkin
Scott Spiegelberg
Introduction
I once heard that classical music was better for the heart than rock ’n’ roll. It
didn’t make sense at the time—isn’t it better to get the blood pumping with rock’s
insistent 4/4 beat than with the same beat played in a relatively gentle way by an
orchestra string section? The answer is both nuanced and logical, just like the
timeless music itself.
For centuries, classical music has evolved and undergone many variations. From
the parallel voices of plainchant in monasteries, to the dance music of the Ren-
aissance, finally sweeping into courts and concert halls as the glorious Baroque,
masters both known and anonymous fused notes, instruments, voices, and beats
to create extraordinary aural art. Classical music takes cues from math, science,
and the human heart itself, emitting sounds that stimulate, soothe, and make us
yearn for more.
Writing a book about classical music—something you must hear to appreciate—
involves a strategy. A strategy built on knowledgeable authors who are both objec-
tive and passionate about their subject; a strategy of engagement that finds ways
to describe the wonders of classical music historically, compositionally, and theo-
retically; and a strategy of persuasion, of musical suggestions and “homework”
that give you, the reader, a heightened store of knowledge and appreciation for
what you hear.
Organized into 10 categories, from Music Theory to Famous Operas, this book
will open your eyes and your mind to the elements that make classical…well, the
music that makes your heart sing.
Erika Kotite, Editor
CLASSICAL MUSIC PERIODS
I must admit that as I sat down to write about the time periods
through classical music history, I felt very overwhelmed. I mean,
we’re talking about thousands of years—how was I to do justice to
the amazing musical transformations from the Medieval period to
now? As I started, I wasn’t exactly sure it was possible.
But, as I divided our recorded musical history into subcategories, everything sud-
denly became more manageable; I would even venture to call it simple. Each com-
positional venture eased into the next in a logical progression. I honestly didn’t
know this clear structure truly existed. This project has actually taught me a great
deal.
So my hope is that the same will happen for you; that the summaries of each pe-
riod of classical music will help to clarify the mysticism and confusion so many
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people feel when the topic of classical music is broached. The unknown can be
scary, but as you’ll see, the evolution of classical music will teach us a lot about
ourselves—about musicians and audience members, of course, but also about our
culture, society, and global community. —Susanna Loewy (SL)
COMPOSITIOnAL FORMS
In discussions of compositional form, a common mistake is to as-
sume that the end goal is to identify the form of a piece. But that is
only the beginning of understanding a piece of music.
Think of it as similar to watching a sporting event. When I watch a basketball
game, I start with a knowledge of the rules, but that is not the goal. I want to
see how the two teams interact within those rules, producing both expected and
unexpected plays.
Likewise when I encounter a new piece of music. I often do identify the form of
the piece first, but that is so I can appreciate how the composer created a new
work of art within an established framework. Were any conventions broken or any
new forms created? Was the melody magnified or restrained by the form? How
does the piece compare to other pieces in the same form by the same composer,
of the same orchestration, or from the same time period? These are the questions
that help us gain a deeper understanding of music, but we must start by learning
the rules of the game.
I hope you enjoy delving through many of the compositional forms used in clas-
sical music, and are inspired to start asking deeper questions about the music you
hear. —Scott Spiegelberg (SS)
GREAT COMPOSERS
Where does great music come from?
The ability to compose soul-stirring music is much more than sim-
ply having the skills to create chord progressions and melodies. Great
music, as with any other art form, comes from within the artist. All the amazing
musical works that have been passed down to us over the centuries began as seeds
within the souls of the ones who wrote them—seeds watered not just by the com-
posers’ natural abilities, but also by their backgrounds, their life experiences, their
joys, and their tragedies.
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In researching the lives of just a few of the world’s greatest composers for this
project, I was amazed at how much better I could connect with their music. As a
composer myself, I found myself relating with many of their stories and struggles;
I saw a bit of myself within them. The process of writing about these remarkable
men and women has had a deep impact on me personally, no doubt shaping my
own story and the music I have yet to create.
As you learn just a little bit about these great composers and their unique stories,
it is my hope that you too will find a deeper understanding and appreciation of
the music that emanated from them. May their stories shape our stories, even as
their music has enriched our lives. —Jeff McQuilkin (JJM)
CELEBRATED WORKS
Narrowing down the entire canon of Western classical music to
37 “greatest hits” is no easy task. First, there’s the question of what
qualifies as a “work” (is Vivaldi’s Four Seasons a single work, or four,
or twelve, or one-third of his Opus 8?). Then, there’s the question of
what criteria qualify a work for inclusion (is Schumann’s Träumerei really more
exceptional than Beethoven’s “Eroica” Symphony?).
The solutions to these conundrums were found in a balancing act between the
forces of popularity, interest, influence, and beauty. There is something here for
everyone, whether you are exploring the world of classical music for the first time
or just seeking new bits of trivia to supplement your preexisting knowledge.
Each reading in Celebrated Works is accompanied by a recommended record-
ing for the curious listener. The recordings chosen are widely acclaimed for their
exceptional sound quality, caliber of performance, and faithfulness to the com-
posers’ vision. They provide an ideal starting point for newcomers and a promis-
ing option for those looking to hear new interpretations of their favorite works.
—Colin Gilbert (CKG)
FAMOUS OPERAS
It is often said that you either love opera or you hate it. To those who
fall in the latter category, I would ask, “Do you hate a good story?
How about beautiful music? Do you loathe watching skilled danc-
ers and hearing accomplished musicians? And what about viewing a
finely constructed piece of art?”
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Like it or not, opera is everywhere—from television commercials to movies to
Bugs Bunny. Even those who are not yet opera fans may find themselves humming
Rossini’s famous “Largo al factotum” or belting out Bizet’s “Toreador Song” in the
privacy of their very own shower. So within the context of Famous Operas, the
occasional hummer and shower vocal artist are invited to delve a bit further and
explore the masterpieces from which these far-reaching melodies were born.
For readers who are already opera lovers, Famous Operas provides some interest-
ing snippets of information that serve to further deepen one’s appreciation. In
addition, this section is a valuable reference guide for opera patrons who need
a quick synopsis or background refresher before heading out to a performance.
Most of all, however, Famous Operas seeks to simplify a complex art form, mak-
ing it more accessible to a larger population. After all, the puzzle of opera is in-
complete without its most important piece: its audience. —Cathy Doheny (CCD)
BASIC InSTRUMEnTS
Musical instruments have been part of civilization for as long as there
has been…well, music. Time after time over the millennia, men and
women have picked up something and banged it or plucked it or
blown into it or rubbed it and said, “Hmm, that sounds cool. Hey,
listen to this…”
Following the trail and analyzing where and how an instrument of a certain time
period came about is not always an easy task, especially when the footprints have
faded away. Sometimes instruments are invented by a single person, but mostly
they evolve over a long span of time. They often evolve differently in different
regions at different times, but eventually knowledge is shared and they culminate
into a standard—then everyone agrees to disagree about it and sets out to make
their own new and improved version.
Enough cannot be said, though, about the time and effort and commitment that
one must muster to master one of these contraptions. The many instruments in-
volved in creating classical music are not easy to play. And they were frequently
in their developmental infancy when brilliant composers were creating master-
pieces.
They say music tames the savage beast. Whether you’re a music admirer, an ama-
teur musician, or a virtuoso, I hope you find some points of interest on these
pages that put you on your path to tame, enlighten, and even inspire your inner
animal. —Leslie Chew (LMC)
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MUSIC THEORY
If we really want to heighten the sensuous pleasure of an art form,
if we really want to boost the joy that touches us by knowing what
we’re looking at or listening to, then understanding how the art
works is the most important thing. In art theory, it’s all about per-
spective, form, and color. In music theory, we focus on how methods, concepts,
and principles shape the way classical music is organized. We are examining the
science of musical composition.1
In Music Theory, readings are presented so that you can see and conceptualize
what’s happening in an art designed for the ears.
Remember, this is meant to be an introduction, but we hope it sharpens your
appetite. You’ll be surprised how much is going on. Read on, and enjoy! —Travers
Huff (TH)
VEnUES OF THE WORLD
Because of the relative infancy of recorded sound, the history of
classical music is very closely interwoven with the places in which
it was performed. Classical music venues have a peculiar capacity to
accumulate legend—ask any stage manager in the world to recount
a few tales of past performances, and you’ll be overwhelmed with the volume and
color of response. Over the centuries these stories tend toward embellishment, ex-
aggeration, and downright fabrication, but underneath it all is always a glimmer
of truth that suggests these auditoriums are nothing short of magical.
Classical music venues are lovingly maintained and restored, with meticulous
respect for their role in the context of both historical and modern live perform-
ances. Why would so much attention and scrutiny be given to concert halls and
opera houses over other types of theaters? Perhaps it’s because classical music,
more than other performing arts, owes so much of its beauty to subtlety and nu-
ance. The effective delivery of that nuance relies heavily on an appropriate chan-
nel through which an artist and an audience can connect, hampered neither by
distraction nor interference.
Anyone fortunate enough to visit one of these 36 highlighted venues during a
performance season will surely feel the palpable excitement of waiting for the
musicians to take their places, and the certainty that the night will be an experi-
ence like none other. For the younger generation, this is often the gateway into a
lifelong appreciation for classical music. For the rest of us, it is a celebration of
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