# Best representative pieces from all the ages



## Leon Willett (Jul 7, 2005)

Hi, 

I just brushed up on the history of music with help from a tutor, and I feel the need to find the best/most representative pieces from each historical period, so I can give them a good listen and have a look at the scores. (I just discovered a huge music library nearby) 

**Edit:** Here is the list according to contributions to this thread so far: 

*Gregorian: *
- Perotin - _Viderunt Omnes_
- medieval folksong - _Saltarello_
- Landini - _Per Seguir la Speran?a _

*Ars Nova: *
- Machault - _Messe de Notre Dame_

*16th Century: *
- Palestrina - _Missa Hodie Christus natus est_
- Monteverdi - _Piagne e sospira_

*17th Century: *
- Bach - _Well Tempered Klavier + 5th Brandenberg Concerto_

*Galant: *
- Couperin - _?_

*18th Century Classicism: *
- Mozart - _Piano concerto 23 + Requiem_
- Haydn - _Op.33 quartet_
- Beethoven: _5th Symphony + Hammerklavier sonata Op106 _

*19th Century Romanticism: *
- Bruckner - _7th symphony_
- Brahms - _2nd Piano Concerto_
- Tchaikovsky - _1st Piano Concerto + 6th Symphony_
- Lizst - _B Minor Piano Sonata_
- Chopin - _?_
- Wagner - _Tristan and Isolde_
- Berlioz - _Simphonie Fantastique_

*Post Romantics: *
- Mahler - _1st symphony_
- R. Strauss - _4 last songs_
- Debussy - _La Mer_
- Elgar - _violin sonata_
- Ravel - _Gaspard de la nuite_
- Manuel de Falla - _nights in the garden of Spain_
- Ives - _The Concord Sonata_
- Berio - _Sinfonia_

*First half 20th Century: *
- Bart?k - _2nd piano concerto + Music for strings, percussion and celesta_ 
- Stravinsky - _Rite of Spring_
- Shoshtakovich - _4th Symphony_
- Prokofiev - _5th Symphony_
- Schoenberg - _Pierrot Lunaire_
- Berg - _Wozzeck_
- Webern - _Op1 orchestral piece_
- E. Wallesz - _?_
- Varese - _Hyperprism_
- Satie - _3 Gymnop?dies_

*Second half 20th Century: *
- Hindemith - WHICH PIANO SONATA??
- Boulez - _Pli selon Pli_
- Ralph Vaughan Williams - _6th Symphony_
- Aaron Copland - _Rodeo_
- Schaeffer/Henry - _Symphonie pour un homme seul_
- Stockhausen - _Kontakt_
- Reich - _Music for 18 Instruments _


Thanks, 

Leon


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## christianb (Jul 7, 2005)

I'm pretty sure the soundtrack to "The Rock" will cover most of that


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## choc0thrax (Jul 7, 2005)

8)


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## Leandro Gardini (Jul 7, 2005)

I strongly recomend my musics... :roll: !!!


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## Leon Willett (Jul 8, 2005)

:shock:


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## Herman Witkam (Jul 8, 2005)

*400-1300 Middle ages:*
Some Gregorian music was actually written by Gregorius, which gave it its name. Anything out of the Graduale is great. 

Two great pieces by Perotin that I know of: O Maria Virgenei, Viderunt Omnes. 
Don't forget that in this period there was other (folk) music as well, which also influenced the development of music in the renaissance. Things to look for: Saltarello, Cantiga.


*1300-1400 Ars Nova*
These early madrigals (and motets) are definitetely worth a listen!:

Anonymous - Confort d'Amours.
Francesco Landini - Non Avra' Ma'pieta' Questa mia Donna, Per Seguir la Speran?a, Ecco la Primavera.
Johannes de Florentia - Quando la stella.
Guillaume de Machault - Messe de Notre Dame, Hoquetus David ? 3, La lai de la fonteinne, Rose, liz, printemps, verdure.

Not all performances are that authentic. There was no real vibrato singing at the time, and music probably had sounded more Arabic than European.

*1400-1600 Renaissance*
The madrigals by Monteverdi (I find his 4th book of madrigals particularily interesting), l'Orfeo
Jacob Arcadelt - Il bianco e dolce cigno
Josquin Deprez - Missa Pange lingua
Orlando di Lasso - Salve Regina
Giovanni de Palestrina - Missa Hodie Christus natus est, Missa Papae Marcelli
Thomas Morley - A Pavan
Johannes Ockegem - Missa Prolationum
Jan Pieterszoon Sweelinck - his toccata's, Ricercar, Onder een linde groen.
Adriaan Wilaert - Faulte d'argent
The lute pieces of Attaingnant, Le Roy, Downland...

I'm stopping here...


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## Leon Willett (Jul 8, 2005)

Thanks, Herman, for this great list! 

I don't plan on being as exhaustive with the periods that lead up to the Baroque period (simply a matter of taste, and lack of time: I'm after an overview as a composer, rather than as a musicologist). If we can build a list that covers just the bare essentials, I'll edit the opening post, and it will serve as a valuable resource for anyone that wants to scratch the surface. If we end up with 300 pieces by the time we reach the 20th century, it won't be as valuable. 

Perhaps it's very difficult, but I must ask if it is possible for you or anyone to help with this hyper-condensed crash-course in music history. The thing is, that everyone goes nutts on their favourite periods, and suggest 30 pieces from one period. I'm quite sure it is better to understand 30 pieces than to skim 300. We can delve in deeper in the next round 

**edit: see top post for complete list**

Leon


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## Leon Willett (Jul 8, 2005)

Herman Witkam said:


> Well, it is essential to gain insight in pre-baroque music in order to understand counterpoint better, which is the main compositional method until 1750, more or less returning in the 20th century. I've covered only these periods now because I thought no one else otherwise would do so



And right you are! I just don't want to flood myself now, because I would gain little from it. I'm studying counterpoint now (finished all species, about to begin fuge) and I do realise what you are saying. For now, since it's just my first delve, I'd love for you to break down the list so I can put just 1 piece (2 max) for those main composers. I'm at a loss to chose for myself, because my knowledge of medieval and reneissance music is almost nill.

Thanks to all for clearing up my mistakes, keep the suggestions/corrections comming!

Trev: can you name 1 essential work by Chopin? (I know its hard)

Herman: May I torture you into boiling it down to 1 Gregorian Mass anÅI57c2251c 8http://img63.imageshack.us/img63/204/ayeayeavatar1od.jpg     @ÿúß1*   ­ 0ÇI59f25f66   [email protected]öúà1*   K  8ÇI532134cb 1172969688486bee1665818.jpg G@öúá)*   Ç  KÇIa04f685f %http://www.evangamb


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## handz (Jul 8, 2005)

Leon: If we speak about Chopin...I would take 2nd Piano concerto or Famous nocturnes, etudes, polonaises....


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## Herman Witkam (Jul 8, 2005)

Leon Willett said:


> And right you are! I just don't want to flood myself now, because I would gain little from it. I'm studying counterpoint now (finished all species, about to begin fuge) and I do realise what you are saying. For now, since it's just my first delve, I'd love for you to break down the list so I can put just 1 piece (2 max) for those main composers. I'm at a loss to chose for myself, because my knowledge of medieval and reneissance music is almost nill.
> 
> Thanks to all for clearing up my mistakes, keep the suggestions/corrections comming!
> 
> ...



*- one medieval folksong:* Saltarello (since it's the name of a dance which is often used this specific piece is mostly known as "the" Saltarello)
*- one gregorian mass:* Viderunt Omnes by Perotin (possibly partly written by Leonin)

I'm still going to divide the renaissance into two pieces, because the difference is *huge* when comparing the early with the late madrigal.

*- one early madrigal (14th century):* Landini - Per Seguir la Speran?a
*- one late madrigal (16th century):* Claudio Monteverdi - Piagne e sospira (from the 4th book of madrigals, which has a lot of chromaticism already)


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## Leon Willett (Jul 8, 2005)

Thankyou so much Herman! 

Handz, thanks for the four Chopin suggestions. What if you were only to pick one, though?


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## IvanP (Jul 8, 2005)

Leon Willett said:


> Ivan, which one would you view as most representative and essential?



Mmm I would chose then

The well tempered Klavier, which has been one of the most representatives books in music education since the 19th century

and another representative of his style and technique would be the Brandenburg concerts, though to me as the culmination of a craft would rather be the Passion.... just like Mozart's Requiem is, but not necessarily the most representative from his works


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## Dave Connor (Jul 12, 2005)

I agree that Mathis der Mahler is Hindemiths crowning achievment. It's actually a suite taken from his opera of the same name. 

The overture is actually very Baroque in nature as it is highly countrapuntal displaying fugal devices right and left. It also exemplifies Hindemiths personal linear melodic style which is singular among all composers.

The second movement is downright hip with it's parallel 11th chords and such. Also the original Star Trek TV theme is stated almost verbatim (though 30 years prior.)

The third movement dashes off wonderfully displaying his usual brilliant orchestration and great brass writing.

DC


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## jc5 (Jul 13, 2005)

For Palestrina I would consider his Stabat Mater.
You might also want to look at some Gesualdo - a fascinating composer who's influence crops up in the most unexpected of places. His Tenebrae Responsories are a good place to start - I would recommend the disc recorded by the Tallis Scholars which includes this and the four Marian Motets. A beautiful cd in both music and performance.

Skipping down a few centuries... 
R.Strauss' Metamorphosen
Sibelius' Violin Concerto
Shostakovich's Violin Concerto
_My_ Violin Concerto ("The Unfinished")
Prokofiev's Romeo and Juliet
Not to mention... Tchaikovsky's Romeo and Juliet

You may wish to exchange Bruckner's 7th for his 9th (or 8th... not that there is anything wrong with the 7th, but in his last two symphonies he reached a whole new level of brilliance). Or perhaps all three. :wink: 

For the classical period... consider adding Pergolesi's Stabat Mater. Especially considering the pivotal role that composition had for the entire 18th century.

You should probably get Mussorgsky's Pictures at an Exhibition in there too...


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## IvanP (Jul 14, 2005)

jc5 said:


> You might also want to look at some Gesualdo - a fascinating composer who's influence crops up in the most unexpected of places. His Tenebrae Responsories are a good place to start -



Yeah... he sounded way beyond his age... if he had not decapitated his wife he would have probably been musically more famous


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## bugs (Sep 16, 2005)

Western European Music
(just one?! These are very representational, among the best and some of my personal favorites)

Ars Nova (14th Century)
Machaut. *Messe de Nostre Dame and Motets*
Philippe de Vitry,* Chanson and Motets*

Renaissance (15th and 16th Centuries)
Middle: Josquin. *Messe Pange Lingua and Chansons*
Late: Tallis. *Spem in Alium*, Palestrina. *Missa Papa Marcelli*, Byrd. *Mass in Three Voices *and *Ave Verum Corpus*

Baroque (1600-1750)
Early: Monteverdi. *L?Incoronatione di Popea *and *Marien Vespers*
Middle: Purcell. *Funeral Music for Queen Mary*, Couperin. music for harpsichord
Late: JS Bach. *St Matthew Passion*, Handel. *Alceste *and the oratorio *Messiah*, Rameau. *Les Indes Galantes.*, Vivaldi.* The Season* and* Gloria*

Classical (1750-1800)
WA Mozart. *Symphony #40 *(g minor), *The Magic Flute *and *Don Giovanni, * *Piano Concerto #23.*. Haydn. *Symphonies #98-104*
Romantic (1800-1914)
Early: Berlioz. *Te Deum*, *Symphonie Fantastique*, *Les Troyens*, Chopin*. Nocturnes*, Beethoven. *Symponies #3, 7 and 9*, *Late Quartets*, *Emperor Concerto* 
Middle: Wagner. *Lohengrin*, *Pelleas und Melisande*, *Gotterdammerung*, Liszt, *Les Preludes*
Late: Mahler. *Symphony #2: The Resurrection* and *Das Lied von der Erde, Scriabin*. *The Poem of Ecstacy*, Rimsky-Korakov. *Sheherazade*, Strauss. _*Also Sprach Zarathustra*_, Sibelius. *Symphonies #3 and 6*

Impressionism (1885-1925)
Debussy. *L?Apr?s Midi d?une Faun* and *La Mer*, pinao *Preludes*
Ravel. *Daphis et Chloe, *complete ballet
Stravinsky. *Firebird.*, Ives. *The Places in New England*

20th Century 
Primitivism
Stravinsky. *The Rite of Spring*

Twelve-Tone 
Berg.* Wozzeck*
Webern. *Five Pieces for Orchestra *
Stravinsky. *Agon*

Neo-Classicism
Poulenc. *Gloria*
Stravinsky. *Symphony of Psalms*
Prokoviev. *Symphony #3 *and *Romero and Juliette*

Neo-Romanticism 
Rachmaninov. *Symphony #3*
Katchiturian. *Spartacus.*
Hanson. Symphonies
Messiaen. *Livre d'orgue *

Ultra-Rationalism
Xenakis. *Anaktoria *
Boulez. *Le marteau sans ma?tre *

Film Music
Herrmann. *Psycho*
Grofe. *Grand Canyon Suite *(not a score, but indicative of his style--composed for silents, orchestrated the original _*Rhapsody in Blue*_ for Gershwin)
Steiner. *Gone wth the Wind* and *King Kong*
Korngold. *The Adventures of Robin Hood*
Rosza. *Quo Vadis* and *Ben Hur*
Morricone. anything! *The Mission*
Goldsmith. *Star Trek: The Motion Picture*, *Logan's Run, **Air Force One*
Barry. *The Lion in Winter, Out of Africa*
Shore. *The Lord of the Rings Trilogy*
Beal. *Pollack*
Horner. *A Beautiful Mind*

Aleatoric
Cage. *4:33*

Avant-Garde
Stockhausen. *Hymnen*
Foss. *Elytres*

Electronic
Subotnick. *Silver Apples of the Moon*
John Adams. *Hoodoo Zephyr*

Minimalism
Reich. *Music for Six Pianos (marimbas)*
Gorecki. *Symphony #3*
John Adams. *Harmonielehre  *


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## handz (Sep 16, 2005)

Pleeaaasee NOOO Zimmer...


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## Dave Connor (Sep 16, 2005)

Very nice brief list with helpful timeline. I would only add Beethoven as his music is the great link between ancient and modern.


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## Leandro Gardini (Sep 16, 2005)

handz said:


> Pleeaaasee NOOO Zimmer...


...and Elfman!!!


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## choc0thrax (Sep 16, 2005)

Excuse me? No Elfman? Elfman is a god and you better recognize.


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## José Herring (Sep 16, 2005)

bugs said:


> 20th Century
> Twelve-Tone
> Berg.* Wozzeck*
> 
> ...



Needs work on the 20th century influences.

Jose


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## Ed (Sep 16, 2005)

choc0thrax said:


> and you better recognize.



dawg!


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## PaulR (Sep 16, 2005)

Got the film music spot on correct.


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## Dave Connor (Sep 16, 2005)

josejherring said:


> Needs work on the 20th century influences.
> Jose



Well it's lean in every period. who did we miss in the 20th

Igor

Charles

Bela

Claude/Maurice

Paul

Samuel

Aaron

and others


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## handz (Sep 17, 2005)

choc0thrax said:


> Excuse me? No Elfman? Elfman is a god and you better recognize.




*cough* *cough*


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## bugs (Sep 17, 2005)

bugs said:


> Western European Music
> (just one?! These are very representational, among the best and some of my personal favorites)
> 
> Ars Nova (14th Century)
> ...



Here an updated listing as promised. It certainly isn't the whole story--no popular song like Gershwin, no jazz, etc, --just a few representative works of quality.


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## Leon Willett (Sep 17, 2005)

Many thanks to everyone for their continued input!


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## Herman Witkam (Sep 17, 2005)

bugs said:


> Ars Nova (14th Century)
> Machaut. Messe de Nostre Dame and Motets
> Philippe de Vitry, Chanson and Motets
> 
> ...



What is your opinion on the Italian music of the 14th century? While in France Guillaume de Machault was still using parallel 5ths Landini already got rid of these.



bugs said:


> Aleatoric
> Cage. 4:33



And how is *one* supposed to LISTEN to that? :wink:


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## bugs (Sep 17, 2005)

Herman Witkam said:


> bugs said:
> 
> 
> > Ars Nova (14th Century)
> ...



I'm a big fan of Landini too. He was particularly influential in the development of the cadential formulae that paved the way for 17th century common practice tonality. The abandonment of parallel 5ths was not necessarily a step forward, just a change. The reintroduction of parallel 5ths as a matter of routine by Debussy was a welcome renaissance. 

Re: _*4:33*_ Cage defines the parameters, one listens to whatever ambient sounds that happens during that slice of time (space). It will be different each time. The beauty of the piece is that it can be presented anywhere--concert hall, street corner, batrhroom, Amazon jungle, wherever--it adapts to any situation and is very inclusive.


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## José Herring (Sep 18, 2005)

Guillaume de Machault and Landini rule!!!

On the other hand you guys are missing the point on 20th century music. With the advent of recording technology the paradigm of music changed. It moved from the concert venue to the living room. Chief influences for this century aren't unfortunately coming from what we studied in school as the successors of certain schools. The chief influences of this century come from the music that is recorded and listen to everyday by the masses.

Do the masses know anything of John Cage. Nah. Can they whistle a John Williams tune without thinking about it. Yes.

So to throw spice in the mix and to spur up a heated debate:

*Duke Ellington*--"Take the A-Train"
*Benny Goodman*--popularizing swing
*Aaron Copland*--for defining the Americana sound that's in 90% of Hollywood movies
*Miles Davis*--Defining the "cool" style that all young jazz hipsters aspire to
*John Williams*--all things film
*Chuck Berry*--for taking blues speeding it up and making Rhythm and blues and rock and roll
*Debusy*
*Ravel*
*Satie*--for his music and influence on Jazz and pop artist
*Gershwin*- for showing the world that the blues scales could be used in orchestral settings

I know I've missed a lot.

The 20th century belongs to those who where, are or influenced recording artist.

Jose

edit: I can't forget Stockhausen and Varez for starting the Electronica craze that is used in every popular medium today.


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## bugs (Sep 18, 2005)

josejherring said:


> The chief influences of this century come from the music that is recorded and listen to everyday by the masses.
> 
> Do the masses know anything of John Cage. Nah. Can they whistle a John Williams tune without thinking about it. Yes.



*Who cares what the masses whistle*--unless , of course, your in it solely for fame and the cash. *We're talking art.* :wink:


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## José Herring (Sep 18, 2005)

Art is a communication brought about by technical expertese. Not some exclusive thing saved for a few college professors. The post says "most influencial" pieces for all ages. So it would stand to reason that the most influencial "art" would be that art that communicated to the most people over a a long period of time and that was well constructed.

My guys stand. Most influencial. Not most university Approved. As far as Cage and his 4:33 seconds. :roll: 

BTW the masses can whistle Mozart, Bach and Beethoven but I didn't see that as a barrier to them making the most influencial list. Maybe, just maybe they had it right. Write a good tune and push the demonstration of skill as high as possible, but never forget that it's the tune that communicates.

Jose


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## jc5 (Sep 18, 2005)

Hmm... a point to remember though is that even vast popular fame does not necessarily lead to having great influence - the 'masses' for the most part are the audience and aren't composing anything. A composer can be known to very few, but if those few are all creators in their own right that little known fellow's influence can be huge though his popular renkown be small (to non-existant).

And yes, clearly Beethoven was doing many things right on many levels! 8)


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## José Herring (Sep 18, 2005)

jc5 said:


> Hmm... a point to remember though is that even vast popular fame does not necessarily lead to having great influence - the 'masses' for the most part are the audience and aren't composing anything. A composer can be known to very few, but if those few are all creators in their own right that little known fellow's influence can be huge though his popular renkown be small (to non-existant).
> 
> And yes, clearly Beethoven was doing many things right on many levels! 8)



True JC5. Like I said I missed a lot of people I'm sure.

Jose


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## Herman Witkam (Sep 18, 2005)

josejherring said:


> My guys stand. Most influencial. Not most university Approved. As far as Cage and his 4:33 seconds. :roll:



yeah - A recording of -80 dBFS of noise is no music to me, not even when combined with ambient sounds of automobiles, people talking, coughing and footsteps. Varese says that music is organised sound, and that's the best definition of music I know of. Random sounds are not organised, and thus to me it's not music. Silence can't be organised either...

Imagine getting paid for performing 4:33


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## José Herring (Sep 18, 2005)

Cool Varez quote. I like that. Very nice.

I actually did get paid for performing a Cage piece.

Short story. Very funny.

We had two performances at MOMA in New York. I being a clarinet player of course got the part of hitting a metal chair with some sort of metal beater. Other perfomers had things like hammer droping into water buckets, metal sheets, ect. 

During the first performance we smacked everything as hard as we could. There was a lot of silence in the piece so each fff crash shocked the audience so much that they practically jumped out of their chair every time I hit the chair with the metal beater or somebody dropped a hammer or wiggled a metal sheet fff. It was a riot and we where laughing our asses off.

Then the professor came back to us yelling and screaming about how bad we had done. He said the piece was suppose to be pp like sitting in a Japanese rock garden. The next night was peaceful and actually the piece when performed correctly was pretty decent.

Jose


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## handz (Sep 18, 2005)

When talking about important music, dont forget on Alexander Scriabin and his later compositions like Poem of Extasy and Prometheus!


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