It's all about the classical music composers and their works from the last 400 years and much more about music. Hier erfahren Sie alles über die klassischen Komponisten und ihre Meisterwerke der letzten vierhundert Jahre und vieles mehr über Klassische Musik.
Miss Manila will be hosted by former Miss Universe titleholdersCatriona GrayandR'Bonney GabrielandGMA Network’s Global EndorserGabbi Garcia.
Celebrating the epitome of being a true-blooded Manileña has never been this enchanting, as GMA Network proudly airs the Coronation Night of ‘Miss Manila 2024’ on Sunday, June 23.
Miss Manila will be hosted by former Miss Universe titleholders Catriona Gray and R'Bonney Gabriel and GMA Network’s Global Endorser Gabbi Garcia.
Among those who will serve as judges are GMA Network Senior Vice President Atty. Annette Gozon-Valdes, ABS-CBN Board Member Ma. Rosario “Charo” Santos-Concio, and Miss Universe Philippines 2024 Chelsea Manalo.
This year's coronation night brings together 24 aspiring candidates to find the “Manileña that embodies the values of empowerment and leadership to deliver a meaningful contribution to her life and to her fellow Manilans.”
Further, be captivated by spectacular performances from reigning queen Miss Manila 2023 Gabrielle Lantzer, Sparkle artist Thea Astley, Jeremy G., and David Young.
Ready to find out who will win the crown? Catch the Miss Manila 2024 Coronation Night on June 23, 2 p.m. on GMA Network and Kapuso Stream.
Cecile revealed she would treat music fans to new songs at the concert.
Cecile Azarcon
Cecile Azarcon's story as a singer and songwriter began when she was 19. At this age, she wrote the powerful, inspirational song "Lift Up Your Hands," which was popularized by Basil Valdez.
"Ang daming storya ng 'Lift Up Your Hands.' That's the song that ushered in my music career. Who would have thought an inspirational song would be played on the radio?" recalled Cecile during a recent Zoom from California with the entertainment media. Cecile is set to celebrate her 45th anniversary in the music business with an all-star concert at The Theatre in Solaire on May 24 and 25.
After 45 years in the music industry, Cecile can still vividly recall how she created this smash hit.
"When I wrote that song, words and music came to me in 10 minutes. It's a divinely inspired song. I didn't even have a Bible in front of me. Hindi ako nag bukas ng Bible tapos sinabi ko, 'Uy maganda itong verse na ito magawa nga ng kanta.' I didn't have an idea that it was based on Matthew 11:28.
"May alam naman ako sa Bible. Somehow lumabas na lang yun. I was on the phone with a friend of mine. She's the daughter of our pastor. Mahirap kapag pastor's kid ka. Marami pa ring challenges. She was troubled at that time, so I told her not to do anything drastic and I prayed for her. After we put down the phone, the words and the music came about.
"So excited ako. And I was hanging out at Vicor or Blackgold Records yata. And there was a piano. Kapag may piano nangangati ang kamay ko. So I played the song. Hindi ko alam dumadaan si Basil Valdez. Nakikinig na pala siya sa labas ng pintuan.
"After I sang the song, pumasok siya at sabi niya, 'What's that song?' Sabi ko it' nothing. Then sabi niya, 'Well, I'm doing my first English OPM album. Can I include it?" Tuwang-tuwa ako. Hindi ako makapaniwala. Kasama yan sa album niya na Corner of the Sky. Ang 'Lift Up Your Hands' nasa Side B. It's not even the carrier of the album.
"Tapos wala siyang payola. Hindi siya tinutugtog sa radyo. This DJ naman (George Poon) got into trouble with the station manager for playing 'Lift Up Your Hands.' It's not on the playlist. He broke the playlist rule. It became an overnight success so pinatawad siya ng boss niya. He wasn't fired. And the rest is history," Cecile said.
Now living in the US, Cecile was amazed that she was still part of the music industry after 45 years.
"Masayang-masaya ako. I cannot contain the joy and gratitude I have in my heart. Kasi wala naman nag-expect na aabot ka ng 45 years in your career lalo na sa music industry. Yung ibang kasabay ko mga ka-contemporary ko wala na like Willy Cruz, Rico J. Puno, George Canseco. Inabot ko pa si George. We used to hang out at Vicor.
"I am grateful. And I feel bad dahil yung iba hindi nabigyan ng ganitong pagkakataon na mabigyan ng tribute. Siguro nabigyan man pero wala na sila," she said.
(I am grateful. And I feel bad because the others were not given this opportunity to be given a tribute. Maybe they were given, but they are gone.)
Cecile once joked with pop diva Kuh Ledesma about arranging a concert tribute in her honor.
"Niloloko ko nga si Kuh Ledesma noon. She recorded most of my songs. Sabi ko, 'Kuh baka naman bibigyan mo ako ng tribute kapag patay na ako. So she gave me one in 1988. It was the first concert that featured all Azarcon songs at the Music Museum. I'm so happy na yung mga kanta ko kinakanta nila sa karaoke and nire-revive pa rin," she said.
(I was telling Kuh Ledesma then. She recorded most of my songs. I said, 'Kuh, maybe you will give me a tribute when I am dead.' So she gave me one in 1988. It was the first concert that featured all Azarcon songs at the Music Museum. I'm glad they are singing my songs at karaoke and are still reviving them.)
In 2013, Cecile's song "One More Try" became the Kapuso series "My Husband's Lover" theme, starring Dennis Trillo, Tom Rodriguez, and Carla Abellana.
Kuh, who was also part of the series, convinced Cecile to use the song in the primetime series. Cecile was okay with her music being included in a gay-themed project.
"I'm very open-minded naman. At maganda ang naging kwento ng series. In fact, ang nag convince sa akin na gamitin yung kanta for that teleserye was Kuh Ledesma. She was part of the series, playing a mother. I'm very happy na nabuhay muli ang kanta because of that serye," Cecile said.
"One More Try" came when she had been writing depressing songs. She needed to write songs that conveyed positive thoughts.
"One of my favorite songs is 'One More Try.' I wrote that for my sister. I hope she won't mind if I share it. My older sister was going through a difficult time in her marriage.
"I just realized na ang dami ko ng songs na isinulat pero depressing. So parang gusto ko naman magsulat ng something positive. Nagdasal naman ako. Sabi ko, 'Lord, bigyan mo naman ako ng song na positive.' That's how 'One More Try' came about. Huwag kang mag-give up. You hold on," she added.
Songs for other artists
Cecile has been approached by some artists who asked for songs, but she has yet to offer anything. She had to decline because the songs needed to match their personality.
"It's always a privilege when a singer approaches me and asks for a song. Hindi naman ako mapili na dapat sikat ka or may pangalan ka. I have given songs to total unknowns, and it doesn't matter. Minsan hindi ko alam ang kahihinatnan ng kantang binigay ko. Basta magaan ang loob ko, mabait siya, gusto kong tulungan, bibigyan ko talaga ng kanta.
(It's always a privilege when a singer approaches me and asks for a song. I'm not picky that you must be famous. I have given songs to total unknowns, and it doesn't matter. Sometimes, I don't know the outcome of the song I gave. As long as I'm happy, they are kind, and I want to help, I'll provide them with a song.)
Cecile mentioned being friends with the late singer Rico J. Puno and Divine Diva Zsa Zsa Padilla, but couldn't provide any of their songs.
"Isang tao na may sama ng loob sa akin ay si Rico J. Puno. He's also my kumpare. He's been asking for a song and wala talaga akong maibigay sa kanya.
"But I was touched and blessed because nakausap ko yung anak niyang si Tosca. When Rico was in his death bed, the last song that he sang, na pinakanta niya sa mga anak niya, was 'Lift Up Your Hands.' Sayang sana binigyan ko siya ng kanta.
"Si Zsa Zsa Padilla naman she did a video noong birthday ko. Nag sentiment din siya na hindi ko raw siya nabibigyan ng kanta. I was thankful when she said yes as one of the singers who will interpret my songs.
"Zsa Zsa is also a good friend. She was just a voice student when she was starting. Noong humihingi siya ng kanta, hindi ko talaga siya mabigyan. Pero noong meron na akong kanta, hindi naman siya nag re-recording. So it was not yet meant to be. I hope in the future I would be able to give songs na babagay sa kanila," Cecile said.
Writing songs
Cecile disclosed that some of her greatest hits were composed in just a few minutes. And she was inspired when she wrote these songs.
"Kapag inspired ka, walang effort. May flow lang. You picture the moment. Kapag tumagal ka ng tumagal, hindi na inspiration yun eh. Pwersado na. Kadalasan kapag lumagpas na ng isang oras, tumitigil na ako.
(When you are inspired, there is no effort. There is only flow. You picture the moment. When you take a long time, it is no longer an inspiration. It is forced. Usually, after an hour passes, I stop.)
"Sometimes it lands in the trash. Minsan may mga kanta na dapat balikan mo. Yung mga nag-hit yun ang mga mabilis ko lang talagang ginawa. So ang advice ko sa mga songwriters, kapag inspired ka sa moment na yun, huwag mo ng pakawalan.
(Sometimes, it lands in the trash. Sometimes, there are songs that you have to go back to. The hits were the ones that I made quickly. So my advice to songwriters is, don't let go when you're inspired in that moment.)
"There was even a time na nasa restaurant ako. I was having lunch with a friend, and then tinanong ko lang siya, 'Did you sleep well last night?' Sabi niya, "Yes, but with a heartache.' Alam mo sa table napkin nakasulat ako. You have to capture the moment," she said.
In some cases, Cecile treats herself or her best friends when her song becomes a hit or is featured in a movie or TV show.
"I treat my friends. Halimbawa may naghit akong kanta, or nafeature sa isang pelikula and then nabayaran ako, manlilibre ako or I treat them out.
"One time 'Ikaw Ang Lahat Sa Akin' was featured in a teleserye. Tamang-tama, from Seattle kaka-move lang namin sa California ng family ko. I remember I bought a grand piano. That's how I treated myself," she said.
Asked about the formula for longevity in showbiz, Cecile said: "Wala talagang nakaka-alam nyan eh. Ako rin hindi makapaniwala na tumagal ako ng 45 years. Ako I just wrote to express myself. Just be true to yourself. If it's meant to be, then it's meant to be.
"Sa akin, yung mga naghit, tulad ng 'Lift Up Your Hands,' 10 minutes (ko lang ginawa). 'How Did You Know' 20 minutes. Matagal na yung 30 minutes or isang oras para gumawa ka ng kanta," she said.
Making music for 45 years
Cecile said she was coming home to Manila on May 10. The last time she visited the country was in 2017. People thought her songs would only be featured in the concert, but she would be part of the tribute show. She revealed that she would perform new songs at the concert.
Kuh Ledesma, Janno Gibbs, Jam Morales, Fe de los Reyes, Jackie Lou Blanco, Mark Bautista, Timmy Pavino, and Isabella Gonzales will join Azarcon to perform her works in the concert.
Martin Nievera, Iwi Laurel, and Nicole Asensio will also participate in the celebration on May 24, and Ogie Alcasid, Zsa Zsa Padilla, and Katrina Velarde on May 25.
Among Azarcon’s other big hits are "Reaching Out" by Gary Valenciano and "Special Memory" by Iwi Laurel from the soundtrack of the movie Hotshots, "So It’s You" by Raymond Lauchengco from the Bagets soundtrack; "I Think I’m in Love," and "One More Try" by Kuh Ledesma; "How Did You Know?" by Chiqui Pineda and Valenciano; "Even If" by Jam Morales, "Sana ay Ikaw Na Nga" also by Valdez; "Ikaw ang Lahat sa Akin" by Martin Nievera and others.
Cecile revealed she would treat music fans to new songs at the concert.
"Meron pa akong mga songs na nakatago pa sa baul at ipaparinig ko sa inyo. I have a song na kakantahin ko for my mom. She passed away in November 2021. She was just a few weeks shy of her birthday. The year after December 2022, pagpasok ko sa bahay, derecho agad ako sa piano. Wala siyang lyrics. Talagang piano lang. It's called 'Memories of You.' I'm going to play that at the concert.
"Of course, the people will be looking forward to the hits. Pero para sa akin, I want to impart something. That night is about making memories. I am making memories with all of you. Na minsan magkasama tayo. Parang kanta ni Florante. I want to share yung mga kanta ko na hindi pa naririnig. As in wala pang nakakarinig," she added.
In 1909, in the papers of the Academic Concert of the University of Jena, the music director found complete parts for a Symphony in C. Written on the 2nd violin part was ‘par Louis van Beethoven’ and, on the cello part, ‘Symphonie von Beethoven.’ This followed what Beethoven himself had written – that he had once attempted a Symphony in C major modelled on Haydn’s Symphony No. 97 before he wrote what we now know as his Symphony No. 1. This work fit that description perfectly.
The work was published under Beethoven’s name by Breitkopf und Härtel in 1911. It wasn’t until the discovery of another copy of the work by the scholar H.C. Robbins Landon that the situation became clear. The work that Robbins Landon discovered in Göttweig Abey was clearly signed by Friedrich Witt and he used that to convince the world that Witt was the composer, and not Beethoven. A second copy of the work found at Rudolstadt, also signed Witt, helped confirm the identification.
Walter Goehr (photo by Julia Crockatt)
Friedrich Witt (1770-1836) was a composer who was born the same year as Beethoven and had his own career as a composer and a cellist. From 1789 to about 1796 he was in the orchestra of the Prince of Oettingen-Wallerstein. While Witt was at the court, Haydn sent copies of his Symphonies Nos. 93, 96, 97, and 98 to Wallerstein, thus giving Witt material for the Jena Symphony. After he wrote his oratorio Der leidende Heiland, the Prince-Bishop of Würzburg appointed him as Kapellmeister in 1802. From 1814, when the court chapel was dissolved, to 1836 he was Kapellmeister at the Würzburg theatre and wrote operas for them, of which few survive.
The Jena Symphony probably dates from sometime between 1792-93 when Haydn’s symphonies arrived at Wallerstein and 1796.
When you listen to the work with Beethoven’s name attached, you immediately hear in the opening the characteristic rhythmic emphasis that Beethoven had in so many of his works. However, as the work continues, we aren’t so convinced. The work has been described as ‘a splendid example of symphonic writing from a time when this form was achieving both prestige and popularity with a growing music-loving public.’ We really have a work that reflects the state of the symphony after the death of Haydn and before Beethoven’s innovations in his Eroica symphony.
This recording was made in 1952 with The Netherlands Philharmonic Orchestra led by Walter Goehr. Walter Goehr (1903-1960) studied with Arnold Schoenberg in Berlin and became a conductor before being forced to leave Germany in 1937, becoming music director for the Gramophone Company (later EMI). He was a busy conductor for EMI and, after the war, for other European recording companies. He also taught conducting, was a music arranger, conducted for the BBC, and was a composer in his own right, including writing film scores.
Eric Whitacre (1970-present), accomplished composer, conductor and lecturer is one of the most popular and performed composers of his generation.
Life and Music
His published works – of which Sleep, Cloudburst, Lux Aurumque and Water Night are amongst the most popular choral works composed this decade - have sold over a million copies worldwide. Paradise Lost: Shadows and Wings, Eric’s cutting edge musical, has won the ASCAP Harold Arlen award, the prestigious Richard Rodgers Award and 10 Ovation Award nominations.
His Virtual Choir projects have given him a worldwide following on YouTube, marking a new digital age for classical music.
“Whitacre is that rare thing, a modern composer who is both popular and original" (The Telegraph).
Eric Whitacre conducts Eric Whitacre, with the cream of young British Singers – Laudibus – and his own professional choir, the Eric Whitacre Singers, features Whitacre’s enchanting choral works including Lux Aurumque (Virtual Choir), Sleep, Seal Lullaby, Water Night and Five Hebrew Love Songs.
In a new interview, the legendary film music composer suggests he might be writing his final score.
Movie music maestro John Williams has given his strongest hint yet at retirement, and that film music’s greatest and most illustrious career might be nearing its final chapter.
In an interview published on Thursday by Associated Press, the 90-year-old reflected on his work in film. Williams said “At the moment I’m working on Indiana Jones 5, which Harrison Ford – who’s quite a bit younger than I am – I think has announced will be his last film.”
He then hinted it may be the same case for him: “I thought: If Harrison can do it, then perhaps I can, also.”
A Star Wars film demands six months of work, he said. “At this point in life [that] is a long commitment to me.”
Alongside the score to Indiana Jones 5, Williams is currently devoting himself to composing more music for the concert hall, including a piano concerto for long-time collaborator and friend, American virtuoso pianist Emanuel Ax. In the interview, the composer also mused on music and life. “Music can raise one’s thinking to the level of poetry,” he said.
“We can reflect on how necessary music has been for humanity. I always like to speculate that music is older than language, that we were probably beating drums and blowing on reeds before we could speak. So it’s an essential part of our humanity.”
“It’s given me my life.”
John Williams and Steven Spielberg in 2016. Picture: Getty
Williams also reflected on his long-standing creative friendship with director Steven Spielberg.“It’s been 50 years now. Maybe we’re starting on the next 50,” the composer said Williams with a laugh. “Whatever our connections will be, whether it’s music or working with him or just being with him, I think we will always be together.”
And although he is thinking about final film scores, it also sounds as if a compositional door will always be open from the prolific composer. “I don’t want to be seen as categorically eliminating any activity,” Williams said.
And with characteristic good humour added, “I can’t play tennis, but I like to be able to believe that maybe one day I will.”
The legendary conductor was seen wiping away tears as Yunchan Lim thundered through the finale of Rachmaninov’s third piano concerto.
Six competitors went head-to-head at the weekend in the final round of the sixteenth Van Cliburn International Piano Competition in Fort Worth, Texas.
Over four days from 14 to 18 June, each of the finalists brought two concertos to the stage to perform with the Fort Worth Symphony Orchestra under the baton of legendary conductor Marin Alsop.
18-year-old South Korean pianist Yunchan Lim was one of three finalists to select Rachmaninov’s third piano concerto, which he performed during the third concert of the final round on Friday 17 June.
Throughout the competition, Lim performed a wide range of works by Bach to Beethoven, Chopin to Scriabin, including a highly praised rendition of Liszt’s Transcendental Études. But it was his final performance of Rachmaninov’s Piano Concerto No.3 which would seal his victory.
Lim stormed his way through the finale of Rachmaninov’s mighty work, as Marin Alsop attentively directed the orchestra in keeping with the young pianist’s impressive pace. Alsop could be seen nodding in approval as Lim expertly transitioned from dramatic cadenzas to the sweepingRomanticthemes that Rachmaninov is known and loved for.
As Lim finished the piece in a sensational flourish, the world-class conductor could be seen wiping tears from her eyes.
The two performers hugged in a touching moment, and as Lim went to thank the first row of violinists, Alsop could be seen both nodding her head in approval, and shaking it in disbelief, as she and the orchestra marvelled at the young talent. Watch Lim’s full performance below.
Marin Alsop herself was jury chair of the competition, on a panel that also included celebrated names of the piano world, including Stephen Hough, who was recently recognised in The Queen’s Birthday Honours, and Jean-Efflam Bavouzet.
Speaking to Classic FM, Alsop said, “What a joy to be part of this inspiring and compelling performance. Yunchan is that rare artist who brings profound musicality and prodigious technique organically together. The fact that he is only 18 years old is truly awe-inspiring and gives me great hope for the future”.
Lim’s selection as a finalist already made a mark in the prestigious competition’s history books, as the youngest competitor to progress to that stage of the competition, and on Saturday 18 June it was announced that he had been awarded the gold medal.
As winner of the competition, Lim will receive $100,000 (£81,660) and three years of additional support in his career. Second place went to Russian pianist Anna Geniushene, 31, with Ukrainian pianist Dmytro Choni, 28, taking the bronze medal.
The musical Strauss family dynasty took full advantage of the pleasure-seeking and carefree spirit of Imperial Vienna. As members of the public piled into the great dancehalls of the city, the Strauss family gleefully provided the musical background that gaily sent the Viennese population into throbbing gyrations. As leaders of the string section in the Strauss Orchestra, they fiddled their way into the hearts and beds of numerous young maidens. Johann Strauss I and Johann Strauss II—widely known as the Waltz King—became the darlings of the Viennese dance craze and the objects of female desire. Messy divorces, squabbles over illegitimate children and an occasional suicide attempt were all part of the Strauss musical empire. Josef Strauss (1827-1870), son of Johann I and brother of Johann II, however, wanted nothing to do with all that debauchery. He was a quiet and shy individual, who initially became an industrious engineer for the city of Vienna. He did take over shared responsibility for the Strauss Orchestra when Johann II became seriously ill. However, all he ever wanted in his private life was to marry his childhood sweetheart, the seamstress Karoline Pruckmayer (1831-1900). And that’s exactly what happened on 8 June 1857 in the St. Johann Parish Church in Leopoldstadt.
Josef Strauss: Perlen der Liebe, Op. 39 (Pearls of Love) (Vienna Johann Strauss Orchestra; Jack Rothstein, cond.)
Josef Strauss’ Brennende Liebe, Op. 129
As a wedding present to his wife, Josef Strauss composed his concert waltz “Pearls of Love.” That remarkable piece of music is not merely a sparkling ballroom trinket, but Josef expanded on the traditional form of Viennese dance music. As he subsequently wrote to his wife, “As I do not want to practice the trade of beer-fiddler forever, I am turning to other kinds of composition.” Of great importance is an unmistakable symphonic development, which relies on stylistic influences from Richard Wager and Franz Liszt. Josef Strauss called it a “concert waltz,” nudging the genre away from the ballroom and into the concert hall. The first review already noted the special character of the composition, suggesting, “the newly-composed waltz is offered in a wholly original structure in new form.” In fact, “the work is remarkable for its conception and power, surpassing anything that his famous brother Johann II had yet created.” Josef’s talents as a composer were immediately recognized, but even more importantly, his marriage to Karoline was happy, successful and fulfilled. Their daughter Karolina Anna was born on 27 March 1858.
Pavlovsk Music Pavilion and Train station
In the summer of 1862, Josef’s mother Anna—keeping track of all business aspects of the Strauss Empire—ordered her son Josef to travel to Russia. Originally, Johann II was supposed to direct the concerts of the Strauss Orchestra in Pavlovsk near St. Petersburg. However, the Waltz King was under the weather, and as soon as Josef arrived, he returned to Vienna and got married. Josef wasn’t particularly happy to be drafted to Russia, but he willingly substituted for his brother. Once he had returned to Vienna, Josef immediately presented a new set of waltzes that included the polka mazurka “Burning Love.” Originally it was assumed Josef had named this work after a popular flower. In the event, this polka has nothing to do with flowers, but musically encodes Josef’s burning love for his wife, as it was composed in Russia during this unexpected period of separation.
Graveyard of Josef Strauss
The first heated debates about the position of women in society and the idea of women’s liberation was a hotly debated issue in Vienna during the middle of the 19th century.
The debut of violinist Marie Grüner as conductor of Vienna’s well-known Ludwig Morelli Orchestra in 1860 was treated in numerous newspaper articles as an example of women’s emancipation, and the debates were revived as women attained high positions in business and the arts. The first female university students and the first women doctors certainly made headlines. Josef Strauss was extremely happily married to Karoline, and he wished for nothing else than to free his wife from the bonds of family and to be able to provide her with independent employment. In fact, he championed women’s causes in a whole sting of compositions, including “A Woman’s Heart,” “A Woman’s Dignity,” and the polka mazurka “The Emancipated Woman.” When the work premiered in 1870 at the ball of the Garden Society, Karoline was in the audience, and she knew that this work was especially addressed to her. In 1869, Johann II and Josef spent the summer season once more in Russia. Josef was feeling unwell, and he wrote to his wife, “I do not look good, my cheeks are hollower, I have lost my hair, I am becoming dull on the whole, I have no motivation to work.” Despite his physical ailments, Josef composed “From Afar” for Karoline. Shortly before the first performance, Josef wrote to his wife:
Always with you only because of you and forever for you!
Music has the power to tug at the heartstrings, and evoking emotion is the main purpose of music – whether it’s joy or sadness, excitement or meditation. A certain melody or line of a song, a falling phrase, the delayed gratification of a resolved harmony – all these factors make music interesting, exciting, calming, pleasurable and moving.
Tears and chills – or “tingles” – on hearing music are a physiological response which activates the parasympathetic nervous system, as well as the reward-related brain regions of the brain. Studies have shown that around 25% of the population experience this reaction to music. But it’s much more than a pure physiological response. Classical music in particular steers a mysterious path through our senses, triggering unexpected and powerful emotional responses, which sometimes result in tears – and not just tears of sadness.
Tears flow spontaneously in response to a release of tension, perhaps at the end of a particularly engrossing performance. Certain pieces of music can remind us of past events, experiences and people, triggering memories and associated emotions. At other times, we may feel tearfully awestruck in the face of the greatness or sheer beauty of the music.
This last response has a name – Stendhal Syndrome – and while the syndrome is more commonly associated with art, it can be applied equally to the powerful emotional reaction which music provokes.
A psychosomatic disorder, Stendhal Syndrome, or hyperkulturemia, causes rapid heartbeat, dizziness, sweating, disorientation, fainting, tears and confusion when someone is looking at artwork (or hearing a piece of music) with which he or she connects emotionally on a profound level. The phenomenon, also called ‘Florence Syndrome’, is named after the French author Marie-Henri Beyle , who wrote under the pen-name of ‘Stendhal’. While visiting the Basilica of Santa Croce in Florence, he became overcome with emotion and noted his reactions:
“I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen. Absorbed in the contemplation of sublime beauty … I reached the point where one encounters celestial sensations … Everything spoke so vividly to my soul.”
While there is some debate as to whether the syndrome actually exists, there is no doubt that music (and art and literature) can have a very profound effect on our emotional responses.
Certain pieces are well-known tear-jerkers, including:
Music has the power to tug at the heartstrings, and evoking emotion is the main purpose of music – whether it’s joy or sadness, excitement or meditation. A certain melody or line of a song, a falling phrase, the delayed gratification of a resolved harmony – all these factors make music interesting, exciting, calming, pleasurable and moving.