Gareth Malone’s Guide to Classical Music: The Perfect Introduction to Classical Music. Gareth Malone

      Gareth Malone

      MUSIC FOR THE PEOPLE

      The Pleasures

       and Pitfalls of Classical Music

      Contents

       Title Page

Dedication

Epigraph

Introduction

Part 1: LISTENING

      1 You Love Classical Music – Yes, You Do!

      2 Why, Why, Why?

      3 How to Listen

      4 A Hot Date with Music

      5 Exploding the Canon

      Part 2: DISCOVERING

      6 The Secret of Melody

      7 The Magic of Harmony

      8 Style and the Orchestra

      9 Grand Designs: The Structure of Music

       Part 3: PERFORMING AND SURVIVING

      10 The Singers not the Songs

      11 Taking Up the Baton: Conductors

      12 How to Survive a Concert

       Coda

       Part 4: APPENDICES

      1 Musical ‘Starting Points’

      2 Useful Information

      3 Suggestions for Further Listening

      4 Bibliography

      5 Notes

      

       Index

       Acknowledgements

       About the Author

       Copyright

       About the Publisher

       Dedication

       For Becky and Esther

       Epigraph

      “There are a million things in music I know nothing about. I just want to narrow down that figure.”

      ANDRÉ PREVIN (1972)

      “Why does everyone else in the office think you’re from Mars if you ever go to the opera?”

      MY MATE CHRIS (2010)

       Introduction

      I’ve always listened to classical music because my parents carefully indoctrinated me from birth. As a baby I would go to sleep to This is the Record of John by Orlando Gibbons (think men in ruffs singing in high voices). As a young child I felt that classical music was more interesting that popular music; I remember clearly, aged eight, being very disappointed when a girl told me that she only liked pop music. The relationship would never have worked. Over the intervening 27 years I’ve dabbled in all sorts, including pop, rock and acidjazzfunk. I’m always excited when I hear something that I haven’t heard before. Music knits together the tapestry of my life; it reflects my mood and it offers me nourishment. I love to read about it, to perform it but most especially to listen to it.

      Next to my CD player I have a pile of music that I’m currently listening to: Stile Antico singing Tudor Christmas music; Muse’s The Resistance; and Verklärte Nacht by Schoenberg. In my office I have the music that I listen to less regularly: Nicolai Gedda singing opera arias; ‘Living Toys’ by Thomas Adès; and almost the complete works of Bach. In the loft is a huge box of music I don’t need to listen to again for a very long time (mostly from my teenage years): the KLF back catalogue, six versions of Progen by The Shamen and all my Janet Jackson records. I’ve always been obsessive and when I get my teeth into a piece it can be a year before I relegate it to the dustier sections of my CD rack.

      If you are just coming to classical music for the first time, then it might seem as impenetrable as fine wine, learning Greek or taking up mountaineering. It’s true that there is a mountain of music to listen to and if I started listening now I’m sure it would take me the rest of my life to work my way through the back catalogue of recordings stocked in my local classical CD shop (HMV on Oxford Street, as regretfully the small independent stores are now few and far between, thanks to internet downloads). But it isn’t necessary to sample every piece to feel that you are getting a handle on this amazing music. When you know a couple of works well and understand how they fit into the general picture of music, you will quickly overcome your initial trepidation.

      This book isn’t comprehensive – it’s a tour guide and a personal ramble through music based on my own interests and discoveries. The intention is to spark connections and points of departure for you. I will take you through the history of music later in the book, but this isn’t a lesson, it’s an impassioned plea to give this music a chance and a pocket guide (if you’ve got big pockets) to help you when you need assistance. Let us forage together.

       Part 1 LISTENING

      Chapter 1

      You Love Classical Music – Yes, You Do!

      Before we start let’s get a few things straight:

      1 There is so much to know about music that a lifetime’s study couldn’t hope to tell you everything.

      2 There are so many hidden alleyways, nooks and crannies in music that it’s quite possible to get stuck in just one area and neglect all the other music. There is much to challenge you, expand your horizons and generally give your musical taste a spring clean.

      3 You are in control of what you listen to, where you start and where you finish. Only you know what you like and what you don’t like. It’s fine to admit that you simply don’t ‘get’ a piece – sometimes music takes time to get to know, or sometimes you’ll just never be friends.

      4 There is no one correct way to listen to classical music or any other kind of music because it’s an intensely personal business.

      Discovery

      ‘Discovery’ is the name given to the London Symphony Orchestra education and outreach department by its founder Richard McNicol, my mentor and music education guru. He chose this name because for him that’s the best way for people to connect with music: when they make the discovery themselves. This is your guide to discovering music.

      Richard told me a story which illustrates the importance of feeling that music belongs to you. He encouraged a group of children to create music based loosely on ideas taken from a piece for full orchestra by the great Russian composer Igor Stravinsky. The children worked on these pieces for weeks before performing them to their schoolmates. At the end of the project the schoolchildren attended a concert of Stravinsky’s work. After the concert a young boy spoke to Richard and asked him ‘Here, mister, how did that Stravinsky know our music?’

      I was lucky enough to work closely with Richard for two years at the LSO, watching how he brought people to music and not the other way round. An overly