Top 10 Romantic composers

Gramophone
Thursday, January 2, 2025

The Romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression. Here's our beginner's guide to the greatest composers of the Romantic period

Hector Berlioz (1803-69)

The arch-Romantic composer, Hector Berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic.

Key recording:

Les Troyens 

Sols incl DiDonato, Spyres, Lemieux; Strasbourg Philharmonic Orchestra / John Nelson (Gramophone's 2018 Recording of the Year) Read the review

Explore Berlioz:

Top 10 Berlioz albums – 10 great Berlioz recordings by Sir Colin Davis, John Nelson, Régine Crespin, Robin Ticciati and more

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● Top 10 Baroque composers

● Top 10 Classical era composers

● Top 10 Renaissance composers

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Fryderyck Chopin (1810-49)

Few composers command such universal love as Fryderyck Chopin; even fewer still have such a high proportion of all their music in the active repertoire. Yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. His chief claim to immortality relies not on large scale works but on miniature forms.

Key recording:

Piano Concertos No 1 & 2 

Martha Argerich pf Montreal Symphony Orchestra / Charles Dutoit (winner of the Gramophone Concerto Award in 1999) Read the review

Explore Chopin:

The 10 greatest Chopin pianists – Stephen Plaistow recalls the illustrious recorded history of Chopin's oeuvre and offers a personal view of great Chopin interpreters.

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Robert Schumann (1810-56)

Robert Schumann is a key figure in the Romantic movement; none investigated the Romantic’s obsession with feeling and passion quite so thoroughly as him. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius.

Key recording:

Symphonies Nos 1-4 

Chamber Orchestra of Europe / Yannick Nézet‑Séguin (Editor's Choice, May 2014) Read the review

Explore Schumann:

Robert Schumann: the story of his prolific ‘year of song’ – Richard Wigmore explores the music of and biography behind Robert Schumann’s miraculous year of song, 1840

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Franz Liszt (1811-86)

Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development.

Key recording:

'Transcendental: Daniil Trifonov plays Franz Liszt'

Daniil Trifonov pf (Recording of the Month, October 2016; shortlisted for Instrumental Award 2017) Read the review

Explore Liszt:

Podcast: exploring the music of Liszt – Editor Martin Cullingford is joined by Gramophone writer and expert on both Liszt and the piano, Jeremy Nicholas to discuss the composers's greatest works, and the greatest recordings of his music. 

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Richard Wagner (1813-83)

No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being.

Key recording:

Parsifal

Sols incl Jess Thomas, George London, Hans Hotter; Bayreuth Festival Chorus & Orchestra / Hans Knappertsbusch Read the review

Explore Wagner:

The Gramophone Collection: Wagner's Ring – Mike Ashman visits the musical immortals and the younger gods of today to deliver his verdict on the complete Ring on record.

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Giuseppe Verdi (1813-1901)

Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality.

Key recording:

Aida

Sols incl Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk; Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano (winner of the 2016 Gramophone Opera Award; Recording of the Month, Awards issue 2015) Read the review

Explore Verdi:

Verdi's Otello: a guide to the best recordings – Richard Lawrence finds at least three very special Otellos, and some electric conducting.

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Anton Bruckner (1824-96)

Anton Bruckner’s reputation rests almost entirely with his symphonies – the symphonies, someone said, that Wagner never wrote.

Key recording:

Symphony No 9

Lucerne Festival Orchestra / Claudio Abbado (Gramophone's 2015 Recording of the Year) Read the review

Explore Bruckner:

Top 10 Bruckner recordings – A beginner's guide to the music of one of the great symphonic composers.

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Giacomo Puccini (1858-1924)

Whatever the atmosphere he wanted to create, Giacomo Puccini’s sound world is unique and unmistakeable with its opulent yet clear-cut orchestration and a miraculous fund of melodies with their bittersweet, tender lyricism. His masterly writing for the voice guarantees the survival of his music for many years to come.

Key recording:

Tosca

Sols incl Maria Callas, Giuseppe di Stefano, Tito Gobbi; Orchestra and Chorus of La Scala Milan / Victor de Sabata Read the review

Explore Puccini:

Maria Callas: the Tosca sessions – Maria Callas’s famous 1953 Tosca, as Christopher Cook reveals for the first time, was riven by tension and driven by a relentless quest for perfection.

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Pyotr Il'yich Tchaikovsky (1840-93)

Tchaikovsky is the most popular of all Russian composers, his music combining some nationalist elements with a more cosmopolitan view, but it is music that could only have been written by a Russian. In every genre he shows himself to be one of the greatest melodic fountains who ever lived.

Key recording:

Symphony No 6, Pathétique

MusicAeterna / Teodor Currentzis (Recording of the Month, January 2018) Read the review

Explore Tchaikovsky:

Tchaikovsky's 1812 Overture: the complete guide – How audiences, performers and the composer himself have responded to this iconic and surprisingly controversial work, by Geoffrey Norris.

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Johannes Brahms (1833-97)

One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms.

Key recording:

Symphonies (Complete)

Gewandhaus Orchestra / Riccardo Chailly (Gramophone's 2014 Recording of the Year) Read the review

Explore Brahms:

Brahms's Symphony No 3: a guide to the best recordings – Richard Osborne surveys the finest recordings of the Third Symphony

Asia’s Nightingale Lani Misalucha headlines a one-night-only appearance at Winford Resort & Casino Manila

BY MANILA BULLETIN ENTERTAINMENT

Apr 22, 2025 07:37 AM

  

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AT A GLANCE

• The Hippodrome Bar & Lounge, known for its intimate yet upscale setting, has become​the go-to venue for live music and headlining acts ​ce​lebrating Filipino artistry.

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Lani Misalucha

In a grand celebration of Filipino music, culture, and world-class entertainment, Winford Resort & Casino Manila (WRCM) proudly presents a one-night-only appearance by Asia’s Nightingale, Lani Misalucha, on April 30, at the Hippodrome Bar & Lounge.

As WRCM marks its 8th anniversary this April, the resort continues solidifying its standing as the home of Original Pilipino Music (OPM) masters and top-caliber performers. Ms. Misalucha's performance—renowned for her powerful vocals and international acclaim—sets the tone for what is shaping up to be one of the most memorable anniversary highlights to date.

“This is more than an appe​arance. It’s a celebration of Filipino excellence in music, right​ at the heart of Manila,” said Jeff Evora, President and COO of Winford Resort & Casino​ Manila.​ Located in Sta. Cruz, Manila, WRCM is strategically nestled in one of the most​ historically rich districts of the capital​,​ once a vibrant hub for traditional Filipino​ performances and community gatherings. Today, WRCM reclaims that heritage by​ becoming a platform for beloved OPM artists, legends, and icons. 

The Hippodrome Bar & Lounge, known for its intimate yet upscale setting, has become​ the go-to venue for live music and headlining acts ​ce​lebrating Filipino artistry. With​ Lani Misalucha gracing its stage, WRCM continues its mission to bridge generations​ through timeless music, providing unforgettable nights for fans of all ages.

This April 30, expect a soul-stirring night of classics, heartfelt ballads, and the​ unmistakable voice of an OPM legend.

Vanessa-Mae - Toccata and Fugue in D Minor (Official Video)

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3,392,669 views May 9, 2019

Official video for "Toccata and Fugue in D Minor" by Vanessa-Mae

The MOST POWERFUL DUETS in MUSIC HISTORY! (GOOSEBUMP WARNING)

469,394 views Mar 1, 2025 #WendyKokkelkoren #Duets #Music

00:00 - 04:34 Amigos Para Siempre 04:35 - 08:38 Just Show Me How To Love You 08:39 - 13:24 Perfect Symphony

Sissel Kyrkjebø & Russell Watson - Bridge Over Troubled Water

Sissel Kyrkjebø and Russell Watson performing "Bridge Over Troubled Water" at a TV-concert in Oslo Spectrum, Norway in November 2002. Sissel, the international singing sensation and national treasure of Norway, is established as one of the world’s leading crossover sopranos. Her angelic and powerful voice has made Sissel a national institution and she has sung all over the world since her debut in the 1980s, selling over ten million solo albums. She contributed haunting vocal tracks for the soundtrack to Titanic and The Lord of the Rings, and has performed with singers like Charles Aznavour, Andrea Bocelli, Dee Dee Bridgewater, Jose Carreras, Placido Domingo, Mario Frangoulis, Josh Groban, Diana Krall, Tommy Körberg, Brian May, Willie Nelson, Neil Sedaka, Bryn Terfel, Russell Watson and many more. In 2005, Sissel was knighted by the King of Norway, as the youngest ever to receive this honour. And in 2006, her album 'The Spirit of the Season' with the Mormon Tabernacle Choir went to number-one on the Billboard Classical Charts, receiving a Grammy nomination.

How music is catalogued

by Frances Wilson  

The autograph manuscript of Schubert’s Impromptu in f minor, Deutsch 935 No. 1

To help identify and organise pieces of music by a particular composer, individual compositions or sets of works are usually given an “Opus” number. The word “opus” is Latin and means “work” or “work of art”, often abbreviated as “Op.”, or “Opp.” in the plural. The practice of assigning an “opus number” to a work or set of works when the work or set was published began in the seventeenth century. Opus numbers were not usually used in chronological order and did not necessarily denote when a work was actually composed. Unpublished works often were left without opus numbers.

From the 1800s onwards, Beethoven in particular assigned opus numbers to individual works and sets (including piano pieces, songs and other short works) as they were completed and published: low opus numbers indicate early works, while high opus numbers (for example, the Piano Sonata Opus 110) are works composed and published at the end of Beethoven’s life. Works published posthumously were also assigned high opus numbers, while some works were not given an opus number at all, and were later catalogued in the 1950s as WoO (Werke ohne opus/”works without opus number”). These include the three ‘Electoral’ piano sonatas, written when Beethoven was a very young man, which are not usually included with the main body of the 32 Piano Sonatas (Opus 2 to Opus 111).

Ralph Kirkpatrick

Not all music has an opus number. The music of Bach is given a ‘BWV’ number, which is an abbreviation of “Bach-Werke-Verzeichnis” (literally, “directory of Bach’s works”), and was the cataloguing system for Bach’s music used by Wolfgang Smieder in the 1950s.

Similarly, Mozart’s music is catalogued with “K numbers” from the name of the cataloguer, Köchel. A low K number indicates a piece written when Mozart was very young, while a high number indicates a piece written at the end of his life. Some people know the works by their K numbers alone (a friend of mine has a remarkable knowledge of Mozart’s works by their individual K numbers).

Ralph Kirkpatrick catalogued the numerous works of Domenico Scarlatti in a facsimile edition, and so these pieces are also given a K number, usually written “Kk” to distinguish it from Mozart’s Köchel number. To make matters slightly more confusing, Scarlatti’s works also have a “Longo number” after Alessandro Longo’s edition for the piano. The Kk and Longo numbers do not correspond, which can make identifying a particular work by Scarlatti tricky; fortunately, there are tables of Kk and Longo numbers available online to help clear up such discrepancies.

Confused? Read on…..

Haydn’s works are generally referred to by their Hob or Hoboken numbers, after the cataloguer Anthony von Hoboken’s classification, though some have Opus numbers alone. The works are also grouped into categories, for example, I for symphonies, or XVI for the piano sonatas. The Piano Sonatas have both a work number and a Hob. number, which, like the works of Scarlatti, make identification more confusing.

Schubert’s works have both Opus and “Deutsch” numbers (after Otto Erich Deutsch’s catalogue). The first set of Impromptus for piano, for example, are both Opus 90 and D899. (I tend to refer to Schubert’s piano music by its D number, because that is how I have always known it.)

Music specialists and academics often also refer to the “autographed score” or “autograph version”. These are original scores, written out by the composer, or transcribed by an assistant, and represent the first finished version, and are important historical documents in the scholarship of a particular composer’s works (over the years, music is subjected to editing; in recent years, scholars have gone back to autographed editions to better understand the composer’s original intentions or to clear up questions of attribution or interpretation). Very occasionally, an original autographed score will come to light, which was previously thought to be lost, or non-existent, which can create a lot of excitement amongst music specialists and academics, as well as fetching significant sums at auction. In 2009, researchers unearthed two pieces of music thought to have been written by Mozart when he was still a boy, and in 2012 a ‘new’ piece by Mozart was premiered, after an autographed notebook was found in the attic of a house in Austria.

The 50th Schubertiade Anniversary Celebration Celebrating Gerd Nachbauer’s Founding Dream

by Georg Predota 

 

In 2025, the Schubertiade festival celebrates its 50th anniversary, marking half a century of devotion to the music of Franz Schubert and the rich tradition of chamber music and lieder. What began as a modest series of concerts in the quaint Austrian town of Hohenems has blossomed into one of the world’s most prestigious and beloved musical events.

Gerd Nachbauer © Bernd Hofmeister

To be sure, the festival has grown from intimate gatherings into a global phenomenon, drawing tens of thousands of music lovers annually to experience its unique blend of exceptional performances and idyllic Alpine settings.

To celebrate this golden jubilee of enduring appeal and unwavering commitment to artistic excellence, Interlude spoke to Gerd Nachbauer, who founded the Schubertiade Hohenems alongside Hermann Prey in 1976.

Prégardien/ Drake: “Schubertiade Hohenems 2022” 

Origins

The first Schubertiade Hohenems, 1976

It all started with Gerd Nachbauer inviting Hermann Prey to participate in a small yearly festival situated in the town of Hohenems. As Nachbauer explained, “during the planning phase of a song recital scheduled for June 1975, Hermann Prey’s secretary Christian Lange suggested that this concert could serve as a test for a larger project associated with the names Prey and Schubert.”

This initial proposal for a concert linking Prey with Schubert’s music planted the seed that eventually blossomed into the renowned Schubertiade. The principle aim was to present Schubert’s complete oeuvre over a period of 12 years. After 2 years of planning, the first Schubertiade began on 8 May 1976 with a song recital by Hermann Prey accompanied by Leonard Hokanson.

Rennert/Johnson: “Schubertiade Schwarzenerg 2022” 

Vision

The original vision foresaw the performances of the complete Schubert oeuvre in chronological order. For obvious reasons, this idea was not entirely practical nor feasible, and the primary emphasis remained on solo performances. In essence, the early years of the Schubertiade focused on simplicity and on communicating the intimacy of Schubert’s solo vocal compositions.

Nevertheless, the idea of bringing Schubert’s unknown or then-inaccessible compositions to the general public persisted. As Gerd Nachbauer noted, “a significant portion of Schubert’s compositions had remained under the radar,” and the Schubertiade now offered a vital channel to share these works with a wider audience. One aspect of that vision was to showcase Schubert’s music in larger concert halls, expanding beyond the traditional limits of smaller venues.

Youn/Karg/Bedenko: “Schubertiade Hohenems 2018” 

Venue Choices

Markus Sittikus Hall in Hohenems, Austria

Currently, the Schubertiade is held in two unique locations, in Hohenems and Schwarzenberg. Establishing these venues, however, was no small task. The Markus Sittikus Hall, named after the Salzburg prince-archbishop Markus Sittikus von Hohenems, is housed in a building dating from 1913. It was completely renovated by the Schubertiade, and as Gerd Nachbauer explained, “on account of its acoustical qualities, it is now one of the world’s best halls for the performance of chamber music and Lieder.”

The idyllic village of Schwarzenberg has been an important venue for the Schubertiade since 1994. The “Angelika Kauffmann Hall” is named after the exceptional Neoclassical painter whose father brought her to their ancestral home in Schwarzenberg following her mother’s death. Kauffmann is one of only two female painters among the founding members of the Royal Academy in London, and the hall in her honour is built in a simple timber construction and also offers perfect acoustic conditions. In fact, its fantastic sound properties have been compared to London’s Wigmore Hall.

Arcayürek & Bushakevitz: “Schubertiade Schwarzenberg 2024”

Cultural Frame

A chamber music concert in Markus Sittikus Hall

Over the last 5 decades, the Schubertiade has grown from an intimate celebration of Franz Schubert’s music into a renowned international event, drawing musicians, scholars, and enthusiasts to its locations in Hohenems and Schwarzenberg. It has evolved into an organic event of creativity fuelled by the dedication of Gerd Nachbauer, artists, and the community.

This organic development extends beyond the festival proper to a collection of museums that naturally complement the musical focus. Established by Gerd Nachbauer, the Schubert Museum offer immersive explorations of Schubert’s life, works, and reception, while the Elisabeth Schwarzkopf, Walter Legge, Stefan Zweig and Nibelungen Museums enrich the cultural tapestry with festival-related and local heritage.

Schubertiade 2025

Franz Schubert’s music, for Gerd Nachbauer, “goes straight to the heart, and conveys something deeply moving and emotionally resonant.” The 2025 Schubertiade is set to celebrate Nachbauer’s founding dream and Schubert’s enduring legacy.

Interlude will be on site for the Schubertiade Hohenems from 10-14 July 2025; please check back soon and often for updates, interviews, concert reviews, and festival-related activities.