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Showing posts with label Classic FM. Show all posts
Showing posts with label Classic FM. Show all posts

Thursday, February 6, 2025

Why does classical music make us cry?


Why does classical music make us cry? Pictured: Yukiko Ogura (Philharmonia Principal Viola)
Why does classical music make us cry? Pictured: Yukiko Ogura (Philharmonia Principal Viola). Picture: Getty / Camilla Greenwell

By Maddy Shaw Roberts

Catchy music makes you tap your foot. Emotive music catches you off guard and without warning, has your eyes pricking and nose running. So why do we have this physiological response to music? 

Think about your favourite piece of music… and then imagine hearing it live for the first time. If you’re having a trouble, have a listen to this beautiful piece of Bach for solo piano:

Blind pianist Lucy plays enchanting Bach 'Prelude in C' in Royal Albert Hall debut | Classic FM Live

Or if that didn’t conjure up much, try this – the stirring second movement of Rachmaninov’s Second Piano Concerto:

Rachmaninov's Piano Concerto No.2 (I) - Jeneba Kanneh-Mason | Classic FM

If you felt a lump in your throat or a stinging sensation in your eyes, you wouldn’t be alone. Music can elicit highly emotional responses – a 2017 survey of 892 adults found that nearly 90% had experienced feeling like crying when listening to music.

Outside of musical enjoyment, crying can be a great cathartic release, helping to relieve stress when we’re feeling sad or anxious. Tears contain stress hormones, which are released from our bodies when we cry. But why do we cry to music?


IT can feel like music speaks directly to our hearts. Think of the other emotional contexts music is used in, from rousing hymns at weddings, to poignant elegies at funerals, and rousing marches at graduations as we begin our adult lives.

Shedding a few tears to music is considered a healthy response. It can help us process our deepest emotions in a safe setting – in a concert hall, surrounded by fellow music lovers, at a ceremony, or perhaps at home, listening to a recording.

One of the main purposes of music is to communicate something beautiful for our collective appreciation. So if the music makes you cry, it’s probably doing its job right.

When we feel an emotional response to the music, it can be down to familiarity. Music conjures of memories of the past – of a loved one, a dream or a family member – and hearing great classical music can help connect us to times gone by, creating create a sense of poignancy that this music was also enjoyed by audiences over 200 years ago.

Tears are often invoked when the musical choices feel familiar. In the build-up to the great pianistic climax in Rachmaninov’s concerto, anticipation builds and the reward circuit in our brain is triggered, as the ‘expected’ moment in the music finally arrives and the feeling of tension and anticipation is released.


Crying to music can help us process our deepest emotions in a safe setting
Crying to music can help us process our deepest emotions in a safe setting. Picture: Alamy

Our physiological reactions can be down to pure musical appreciation – the feeling of awe we experience at experiencing art performed at a high level.

We might feel awestruck at the virtuosity of the performers, or the intricacy of the musical writing. Techniques like long melodic phrases, harmonic tension and resolve, and changes in intensity can elicit feelings of satisfaction, hope and even hopelessness.

Studies show that dramatic changes in dynamics, rhythm and texture can light up the brain, and that satisfying harmonic journeys can trigger the reward-related regions of our brains.

When words are difficult, music can communicate the unsayable – that’s a paraphrase of a quote by Hans Christian Andersen, who once said, “Where words fail, music speaks”.

The point is, there’s also something to be said for the wordlessness of orchestral music. Much like a ballet, the narrative created with music and no words can make us feel on a deeper level that speaks to everyone universally.

Whether you cry or get goosebumps while listening to music can also depend on your personality type. Read more about that in this study.

Thursday, January 23, 2025

When Simon Rattle raised the roof of a brand-new Symphony Hall with unforgettable Mahler

17 January 2025, 11:34

Sir Simon Rattle.
Sir Simon Rattle. Picture: Getty

By Will Padfield

We look at one of the most memorable moments of the legendary conductor’s career and his close ties with Mahler’s masterpiece. 

One of the most recognisable conductors in the world, his music-making has taken him from his origins in Liverpool to orchestras in cities worldwide. He caused an international stir when he was named the first British musical director of the Berlin Philharmonic in 1999; one of the highest honours in the conducting world.

Before Berlin though, Rattle gained international fame as principal conductor of the City of Birmingham Symphony Orchestra from 1980, transforming an already great British orchestra into one that could hold its own with the greatest ensembles worldwide.

A key moment of Rattle’s tenure with the CBSO was the opening of its top-rate performance venue – described by Sunday Times as ‘an acoustic triumph’ and by Daily Telegraph as ‘the best concert hall in the country’.  

Rattle was a figure in the hall’s development, using his influence to campaign and raise the necessity for a new hall after the orchestra’s previous performance venue – Birmingham’s Town Hall – had become unfit for a modern symphony orchestra.


Sir Simon Rattle / Berliner Philharmoniker - Mahler Symphony No 2, 'Resurrection'

After many years, the British maestro succeeded, and the stage was set for 15 April 1991, where Simon Rattle and the CBSO gave two performances of Mahler’s monumental second symphony, the appropriately named ‘Resurrection’ Symphony.

The historic event was held in the presence of Anne, Princess Royal and captured on camera. The recording manages to capture the incredible atmosphere of the concert. Everyone is on their A-game; the CBSO and CBSO chorus leaves nothing on the table, performing with high drama and electricity. Rattle superbly guides everyone through the proceedings, impressively conducting the huge work – around 90 minutes in length – by memory.

Mahler’s mighty Second Symphony has been something of a party piece for Rattle, accompanying him in several key moments of his career.

Sir Simon Rattle
Sir Simon Rattle. Picture: Getty

In early 1973 studying at the Royal Academy of Music, Rattle organised a performance of the Symphony with his fellow students. This led him to be talent-spotted by music agent Martin Campbell-White, who still manages Rattle’s career with Askonas Holt Ltd.

It was also Mahler’s Second that Rattle chose to conduct in his last performance as music director with both the CBSO and the LSO, showing the close bond he has with the symphony.

In Rattle’s words, “Mahler’s Second Symphony is a piece which I have been involved with all my musical life. In fact, it was the piece that made me want to take up conducting when I heard it at age 12. Mahler wanted to put the whole world into a symphony… for me, it is one of the most moving of all orchestral works…”

Mahler Symphony No. 2 - Auger, Hodgson, CBSO, Rattle - Symphony Hall Birmingham

Written between 1888 and 1894, Mahler’s ‘Resurrection’ Symphony is one of the largest pieces in the orchestral repertory, scored for a full chorus, two vocal soloists and over 150 orchestral musicians – including an off-stage band consisting of horns, trumpets and percussion. Premiered in 1895, the symphony was one of Mahler’s most popular and well-received works in his lifetime.

Following the model established in Beethoven’s fifth and ninth symphonies, the work transitions from darkness to awe-inspiring light, with strong allusions to the Christian beliefs of resurrection. Mahler, who was Jewish by birth, had turned to Christianity as a way of being accepted by the increasingly antisemitic Viennese cultural elite.

The epic final moments of the symphony rank among the best moments in all music and feature in a climactic scene of the recent Leonard Bernstein biopic, Maestro.

As Sir Simon looks ahead to the future, it seems likely that Mahler’s mighty Second Symphony will continue to play a huge part in his life.

Happy Birthday, Sir Simon!


Cellist Yo-Yo Ma and French actor Marion Cotillard perform an intensely mystical duet

20 January 2025, 15:02

Marion Cotillard et Yo-Yo Ma interprètent « Le Pont » de Victor Hugo | Notre-Dame de Paris

By Will Padfield

Two world-class artists united for a performance of spellbinding power in the newly reopened Notre Dame Cathedral. 

When Notre Dame Cathedral reopened last month, six years after the fire that almost destroyed the building, it gave the world some of the best musical moments of 2024.

During the star-studded ceremony inside the cathedral, brothers Renaud and Gautier Capuçon played a violin and cello duet and Lang Lang joined forces with the legendary conductor Gustavo Dudamel and the Orchestre Philharmonique de Radio France.

There were also less conventional musical moments, such as when the grand organ of Notre Dame was ‘awakened’ in a call-and-response dialogue between the Archbishop of Paris, Laurent Ulrich, and the organ.

An equally ‘dramatique’ moment of the ceremony came when Yo-Yo Ma collaborated with the French film star Marion Cotillard to perform a poem by Victor Hugo. Cotillard is one of France’s most recognisable actresses, appearing in an array of award-winning films, including La Vie en Rose, Inception and The Dark Knight Rises. 

Yo-Yo Ma and Marion Cotillard in Notre Dame
Yo-Yo Ma and Marion Cotillard in Notre Dame. Picture: Youtube screen grab

In the performance, Cotillard gives a chilling reading of Hugo’s poem Le Pont (The Bridge), whilst Ma interjects the poem with improvised gestures on his cello. The poem is deeply moving, dark and mysterious opening with a cry of desperation:

‘I had darkness before my eyes. The abyss

That has no shore and no peak,

Was there, gloomy, immense; and nothing moved there.’

Ma perfectly captures the essence of the text, complimenting Cotillard’s delivery with gentle brush strokes of the cello that are chilling to listen to. The timing between the two legendary performers is perfect, with both leaving space for the immense hall to carry the sound into every corner of the building.

Yo-Yo Ma is no stranger to improvised performances and has frequently raised the importance of it being embedded in musicians’ education, telling The Strad: “Classical musicians today have moved away from improvisation, but it’s an essential part of owning the music.”

Wednesday, October 30, 2013

The 13 Worst Things to Happen to a Classical Musician

A compendium of horrible things that can only happen to classical musicians. Because sometimes, reeds break. Prepare yourself. 

1. Well, that's the Five Bagatelles ruined.

Clarinettists of the world, we feel your pain. Nothing smarts like a busted reed on concert day. Any attempt to blow through this one is only going to end up with a split lip, animalistic squeaking and a weeping audience.
worst things to happen to a classical musician



2. So close.

Come on oboe, everyone's watching! Everyone's waiting! Purse those lips a little tighter, you'll get it in tune.



3. That's fine, I didn't need my eardrums anyway.

That Wagner, he knew how to write a quiet, reflective passage, eh? This less-than-tranquil snapshot from the Ring Cycle suggests that if the brass section have to put their fingers in their ears then it's probably only measureable on the Richter scale.

Image and video hosting by TinyPic

4. Fiddlesticks.

The change in a violinist's facial expression as their faithful string pings back towards their chin is one of the scariest things that can happen in classical music. Hell hath no fury like a violinist with a broken E string.

worst things to happen to a classical musician






(Violin Combustionality )

5. Oh that's nice, you've flattened a flat. Thanks a lot D flat minor.

Apparently Verdi was a fan of D flat minor. Both La Traviata and Rigoletto end in D flat minor, with its brain-melting array of confusing fingerings. Never liked him.

worst things to happen to a classical musician


6. Just… why. Why would you do that.
  Good thing those bars are empty, otherwise we'd have to count. Just give us a wave when we're supposed to come in, yeah?
time signature
(Myriad online )

7. OK, so, from the… err… top?
Ah, Brian Ferneyhough, scourge of musicians who value their sanity. His piece 'La Terre est un Homme' is, by the composer's own admission, close to unplayable for most musicians. Which is nice when you have to perform it.
worst things to happen to a classical musician
(Brian Ferneyhough )

8. You mean I just play it again? And then again? And again? Until the piece is over?
Seriously, what did the cellist ever do to Pachelbel? If you're being charitable you could say Pachelbel is just providing a solid anchor for one of the most famous pieces of classical music ever. But if you're a cellist, then Pachelbel's picture is on your dartboard.
worst things to happen to a classical musician
(Pianoguitar.com )


9. Midi? For Mozart? Really?
Ah, YouTube. Always on hand to give us the classics whenever we want. So, you're mid-trawl and you happen upon a great little clip to enjoy, and it turns out to be the computerised ramblings of a Midi version. Because nothing says 'masterpiece' like synthetic, beeping versions of the classics. Seriously, why do people even make these?
worst things to happen to a classical musician

10. What are you actually doing? Sit down, page-turner guy!
If I've told you once, I've told you a thousand times - wait for the nod!
worst things to happen to a classical musician


11. Great news - you're spending the next 6 weeks being deafened in a cramped underground hole!

Pit orchestras - because who wants to see a musician anyway? It's a staple of the jobbing musician's life, but working in a pit orchestra for a theatrical run has its drawbacks, namely DVT and a humped back from ducking to get to your seat.
worst things to happen to a classical musician

12. Get comfortable, brass players.
Ten years of intense, academic study, practising for six hours a day and lip-busting physical exertion in countless ensembles. For this.
blank score











13. Seriously, that's my conducting face?
I thought I looked cool when I was on stage...
worst things to happen to a classical musician
(Photo: Chris Christodolou)

(C) By Classic FM