23 historic photographs of classical composers doing incredibly normal things

 By Maddy Shaw Roberts, ClassicFM London

Iconic preserved moments of history’s most esteemed maestros, doing very normal stuff.

Photography is vital to our world. It gives us a deep connection to the past, preserving memories and moments of historic importance, and telling truths if ever sinister attempts are made to mask reality.

And as photography became increasingly widespread during the 19th century, classical composers began to enjoy their own moments under the flash-and-powder.

Now, from Gustav Mahler to Leonard Bernstein, we often hail these musicians’ art as so influential, so unrivalled, that we can forget they are just human beings like all the rest of us. Human beings, with really mundane hobbies outside of the recording studio.

Seeing is believing, as these great maestros show an interest in falconry, sledging and, well, swinging. Of the playground sort, mind you…

1. Claude Debussy having a nap (1900)

   

   Claude Debussy having a nap. Picture: adoc-photos/Corbis via Getty Images

2. Dmitri Shostakovich watching his favourite football team on a Sunday morning in Moscow (1942)

   

   Dmitri Shostakovich watching his favourite Spartak football team on a Sunday morning in Moscow. Picture: Fine Art Images/Heritage Images/Getty Images

3. Dame Ethel Smyth waiting impatiently for women to have equal rights (1930)

   

   Composer and political activist Dame Ethel Smyth waiting impatiently for women to have equal rights. (1930). Picture: History collection 2016 / Alamy Stock Photo

4. Young Sergei Prokofiev playing an intense game of chess (date unknown)

   

   Young Sergei Prokofiev playing a highly competitive game of chess. Picture: Alamy

5. Richard Strauss in Schierke, Germany, sledging with noticeable discomfort (date unknown)

   

   Richard Strauss sledging in Schierke, Germany. Picture: Roger Viollet via Getty Images

6. John Williams dropping by to visit Luciano Pavarotti in his dressing room at the Grammy Awards (1999)

   

   John Williams and Luciano Pavarotti clasping hands at the Grammy Awards. (1999). Picture: Ron Wolfson/Online/Getty

7. Leonard Bernstein swinging barefoot outside his Fairfield, Connecticut home (1986)

   

   Composer Leonard Bernstein swings outside of his Fairfield, Connecticut home (1986). Picture: Joe McNally/Getty Images

8. German composer Karlheinz Stockhausen smoking a pipe during a recording session (1970)

   

   German composer Karlheinz Stockhausen smokes a pipe during a recording session. Picture: Hulton-Deutsch Collection/CORBIS/Corbis via Getty Images

9. Austrian conductor Herbert von Karajan enjoying a spot of falconry (1955)

   

   Austrian conductor Herbert von Karajan enjoying a spot of falconry. (1955). Picture: Keystone/Hulton Archive/Getty Images

10. French composer and conductor Nadia Boulanger, exasperated during rehearsals (1976)

    

    French composer and conductor Nadia Boulanger, exasperated. (1976). Picture: Erich Auerbach/Hulton Archive/Getty Images

11. Opera legend Jessye Norman and film maestro John Williams share a moment (2012)

    

    Opera legend Jessye Norman and film maestro John Williams share a moment at Williams’ 80th Birthday Tribute (2012). Picture: Paul Marotta/Getty Images

12. Gustav Mahler enjoying some family time with wife Alma, and daughters Anna and Maria (1910)

    

    Gustav Mahler enjoying some family time with his wife Alma and daughters Anna and Maria. (1910). Picture: Heritage Image Partnership Ltd/Alamy

13. Italian opera composer Giuseppe Verdi with his beloved dogs (1800s)

    

    Italian opera composer Giuseppe Verdi with his dogs. (1800s). Picture: Alamy

14. Composer Benjamin Britten and English tenor Peter Pears having a rather sombre picnic (1954)

    

    Artist and set designer John Piper, composer Benjamin Britten and English tenor Peter Pears having a break while in Venice for the premiere of Britten's opera 'The Turn Of The Screw'. (1954?). Picture: Erich Auerbach/Getty Images

15. Gustav and Alma Mahler taking a stroll nearby their summer residence in Toblach (1909)

    

    Austrian composer Gustav Mahler and his wife Alma take a stroll nearby their summer residence in Toblach. (1909). Picture: Imagno/Getty Images

16. Composer Sally Beamish at her home in Scotland, on a hammock, with a dog (2014)

    

    Sally Beamish on a hammock, with a dog. Picture: Alamy

17. Soviet composers Sergei Prokofiev, Dmitri Shostakovich and Aram Khachaturian, just hanging out (date unknown)

    

    Soviet composers Sergei Prokofiev, Dmitri Shostakovich and Aram Khachaturian just hanging out.. Picture: Sovfoto/Universal Images Group via Getty Images

18. Composer John Philip Sousa among his four-legged “musical friends” (1922)

    

    US composer John Philip Sousa among his four-legged "musical friends". Picture: George Rinhart/Corbis via Getty Images

19. Leonard Bernstein at lunch with Aaron Copland at Tanglewood, the summer home of the Boston Symphony Orchestra (1946)

    

    Leonard Bernstein at lunch with fellow composer Aaron Copland at Tanglewood, the summer home of the Boston Symphony Orchestra in Massachusetts. (1946). Picture: Erika Stone/Getty Images

20. Pioneering composer Amy Beach posing for a photo with four American female songwriters (1924)

    

    Pioneering composer Amy Beach with four American female song writers in April, 1924. Picture: Lebrecht Music & Arts / Alamy Stock Photo

21. Claude Debussy, flying a kite with Louis Laloy

    

    Claude Debussy flying a kite with Louis Laloy. Picture: Universal History Archive/Universal Images Group via Getty Images

22. Leonard Bernstein, sitting atop a tree in Israel (date unknown)

    

    Leonard Bernstein, up a tree in Israel. Picture: Wiki

23. George Gershwin photographed while painting a portrait of Arnold Schoenberg (1936)

    

    George Gershwin photographed while painting a portrait of Austrian composer Arnold Schonberg. Picture: ullstein bild/ullstein bild via Getty Images

A composer is setting portraits of cats and dogs to music ...

They are just beautiful!

By Kyle Macdonald, ClassicFM London

 

Incredible cat and dog portraits in music, from a musician who specializes in striking animal scores.

Furry friends, cats, dogs, bunny rabbits and more are being set to music, and they sound as lovely as they look.

After graduating from his music studies, Jerusalem-based composer Noam Oxman wanted to find a way to apply his talents. He thought about his three loves: animals, music and drawing. Could there be an ingenious way to combine all three?

This was how ‘Sympawnies’ came to be: creating bespoke compositions and graphic scores that illustrate much-loved pets.

Pets set to music by composer Noam Oxman. Picture: Noam Oxman

Oxman says he was fascinated by J.S. Bach’s unique, stylized handwriting style. Bach’s musical hand was flamboyant, contoured and sometimes contained hidden symbols or meanings. Combining his compositional skills and his penmanship, Oxman created graphic shapes made out of musical notes, that also form a wonderful, unique composition.

Our cat-loving composer also says the musical language he uses in his symphonies is based on Baroque and Classical styles, because of the flexibility and expression it provides. Take a look at how a cat portrait becomes a quartet below...

Oxman studied jazz piano, composition and music theory at the Jerusalem Academy of Music and Dance. He also volunteers in animal shelters and works with rescue animals. Oh, he and his partner have three cats too.

What an amazing way to combine your loves. If you have a furry or feathered friend, who you’d like to have immortalized in music, Oxman is open for commissions. Find out more on his Instagram, Facebook or YouTube channels.

The real story of American heiress Florence Foster Jenkins -

 

- the ‘world’s worst opera singer’

The real story of American heiress Florence Foster Jenkins, the ‘world’s worst opera singer’. Picture: Florence Foster Jenkins/iPlayer

By Maddy Shaw Roberts, ClassicFM London

 

Florence Foster Jenkins, played by Meryl Streep in the 2016 biopic, was an American socialite and aspiring coloratura soprano. But everyone who went to her concerts was in on a strange joke: she was an absolutely terrible singer.

Florence Foster Jenkins built a career in the early 20th century on being “the world’s worst opera singer”. Her flat-by-a-country-mile top Fs, flamboyant costumes and self-parodic album titles have been the subject of fascination for years since, her legacy so enduring that Meryl Streep and Hugh Grant starred in a film about her life story a few years ago.

The daughter of a wealthy lawyer, Jenkins would sing at private gatherings organised by her husband, St Clair Bayfield (Hugh Grant), performing for friends and loyal followers who cherished and even milked Jenkins’ unwavering support for music and the arts. Knowing Jenkins’ influence, they kept their cringes and chuckles to themselves.

Eventually, the cod coloratura managed to squeeze her way – flamboyant bird wings, tiara and all – into New York’s prestigious Carnegie Hall, after which she was ruthlessly ridiculed by critics.

Two days later, Jenkins had a heart attack. She died a month later in her Manhattan home at age 76. Here’s her extraordinary story.

Read more: Florence Foster Jenkins proved you can be a terrible singer and still be absolutely awesome

Florence Foster Jenkins is played by Meryl Streep in the 2006 film. Picture: Getty

Who was Florence Foster Jenkins?

Florence Foster Jenkins was a socialite from a well-off American family, who had one dream: to be a great opera singer. She watched her contemporaries, the likes of Lily Pons – played in the film by Russian soprano Aida Garifullina – in concert and was transfixed.

“I could do that,” thought Jenkins. And so, believing that her love of music could turn her into a gifted singer, she reached for the moon and grasped it with both hands.

She found a singing teacher and hired private pianist Cosmé McMoon (played by Big Bang Theory actor Simon Helberg) to accompany her lessons and with the help of her philandering husband, started to put on invite-only recitals.

Jenkins, whose father was a wealthy Philadelphia lawyer, had no trouble finding audiences willing to listen to her “singing”. She also supported young artists, who knew that her Jenkins could help them make it in the industry.

Her most famous recordings range from the lofty heights of Johann Strauss II’s ‘Laughing Song’ to Mozart’s ‘Queen of the Night’ aria, which featured on albums whose titles include the brilliant The Glory (????) of the Human Voice and Murder on the High Cs.

Jenkins, many believed, knew of her limitations as a singer – and cared not a fig.

Did Florence Foster Jenkins know she was bad?

Undecided, it seems.

One of the young artists Jenkins supported, Louise Frances Bickford, later became the teacher of vocal coach Bill Schuman, who in an interview told NPR that Bickford “said that Florence was in on the joke”.

Schuman added: “She loved the audience reaction and she loved singing. But she knew.”

Mezzo-soprano Marilyn Horne disagrees. She told NPR: “I would say that she maybe didn’t know. First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.”

What we do know is that Jenkins was a delightfully flamboyant performer, waltzing through the audience at her recitals and throwing out bouquets of flowers. One anecdote says that she was involved in a minor taxi crash, went to scream and discovered that she could sing higher than the F sharp she had thought to be her limit. She thanked the taxi driver by sending him a box of cigars.

Did Florence Foster Jenkins have syphilis?

Florence Foster Jenkins caught syphilis from her first husband. The disease apparently affected her hearing, giving her tinnitus. Some reports even say that was what prevented her from singing in tune.

Did Meryl Streep do all her own singing in the film?

Talking about the film, Streep told Radio Times: “I feel like I’m a B, B+ singer – I’m very well aware of my limitations. Much as I would have liked to be a good singer after I began studying opera as a child, I gave it up very early and sort of ruined my voice with smoking, drinking and debauchery.”

Odd as it may seem for playing a character known for their terrible singing, Streep – who, herself, trained in opera – worked with a vocal coach to help her prepare for the role of Jenkins.

Twice a month for four months, Streep worked with music professor Arthur Levy. First, they learned the pieces properly. Then, they added the mess-ups. “These arias are no joke, even if you’re singing off-key,” Levy said. “Especially off-key, which strains the voice.”

Streep said she practised the ‘Queen of the Night’ aria “eight times one day. And then came back and sang it eight times the next day”.

As a result, Streep is extraordinarily good at singing badly.

Talking on Lorraine, Streep says of Jenkins’ curious technique: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end, and she trails off.”

What happened at the Carnegie Hall recital?

The film production of Jenkins’ story culminates in the amateur soprano singing the ‘Queen of the Night’ aria at New York’s Carnegie Hall. She invites a large army contingent to thank her country’s armed forces, who evidently weren’t prepared for the joke. As soon as Jenkins starts to sing, the soldiers collapse into laughter.

In real life, Jenkins really did perform at Carnegie Hall, her debut selling out within two hours. Her audiences had been begging her to perform there for years and flocked there in their masses as soon as they got the chance.

On Carnegie Hall’s website, a writer remembers how that night, “She walked onstage in these ridiculous costumes that she’d made herself. She’d throw roses out into the audience, her assistants would go out and collect them, and she’d throw them out into the audience again. The audience would not let her go home. They cheered her and clapped.”

What happened to Florence Foster Jenkins?

Two days after the Carnegie Hall performance, Jenkins had a heart attack. And one month later, she died in her Manhattan home at 76.

In her final hour, Jenkins reportedly said: “People may say I can’t sing, but no one can ever say I didn’t sing.”

Florence Foster Jenkins, the world’s best bad singer, brought out the amateur and aspiring musician in all of us. What a legacy to have left.

9 Top Classical Violinists of All Time...and Why

 

When comparing artists, it’s not always easy to differentiate. Artistry is very subjective, and the methods used for comparison change depending on the context. And although this is true for almost every form of art, with violinists, an indescribable discernment between players does exist.

More than simply mastering the execution required to create music on the violin, to achieve recognition as one of the top classical violinists of all time, a performer must possess something special. A quality that sets that person apart from others, defines a particularly unique expression, and subsequently earns him or her a place among exceptional virtuosos throughout history.

These nine violinists have attained that coveted status. As a group, these artisans represent the ultimate example of classical violin talent.

Jascha Heifetz (1901-1974)

An undisputed master, Jascha Heifetz ranks as one of the most beloved, best violinists of all time. His 65-year long career began at the age of five and included a particularly incredible Carnegie Hall debut at the age of 16. In a much celebrated letter, George Benard Shaw wrote to Heifetz after his London debut (at age 19) that, “If you provoke a jealous God by playing with such superhuman perfection you will die young. I earnestly advise you to play something badly every night before going to bed, instead of saying your prayers. No mortal should presume to play so faultlessly.” His achievements and truly masterful performances were outlined in a recent installment of PBS’s American Masters, entitled “God’s Fiddler,” and the recording legacy he left still inspires listeners and other musicians today.

Niccolo Paganini (1782-1840)

This Italian musician, composer, and violin virtuoso was reputed to be among the greatest players of his time. And although his career was plagued with gambling and alcohol problems, he remains one of the most celebrated artists of classical music. In a time devoid of instant, world-wide communications, his fame garnered mythical scope. This well-known classical violinist’s composition, 24 Caprices for Solo Violin Op.1 are still regarded with awe and appreciation for their complexity; and he is credited with popularizing many of the techniques considered standard today.

David Fyodorovich Oistrakh (1908-1974)

Awarded a post-humus Grammy Award for Best Instrumental Soloist Performance with an Orchestra, Russian virtuoso David Oistrakh is considered another of the most premier violinists of the twentieth century. His command of the art earned him numerous awards and accolades during his almost 60 year career.

Itzhak Perlman (1945-)

Undeniably, Itzhak Perlman is perhaps today’s most preeminent classical violinist. Having attained almost super-star status, this pedagogue, composer, and artist is one of the most sought-after musicians year after year. His mastery of the instrument, endearing charm, and vivid musical expression are widely acclaimed, and have been delighting listeners since he was a child. He has appeared with the finest orchestras in the world, been honored with numerous awards by a host of organizations, and continues to enthrall audiences with his amazing ability.

Hilary Hahn (1979-)

This young American artist made her professional debut at the age of twelve and has been recording classical music since she was 16. Jennifer Higdon’s violin concerto, written specifically for her, earned the Pulitzer Prize, and the many international awards she’s earned solidify her spot as a top violinist.

Friedrich “Fritz” Kreisler (1875-1962)

This Austrian-born violinist and composer is widely hailed as one of the all-time best violinists. The personal expression he infused into his performances, containing such expressive phrasing, passionate vibrato and melodic focus, has ensured that his style remains very recognizable, even today. He appeared on the cover of Time magazine, February 2, 1925, and his classical recordings and compositions are still widely celebrated.

Pablo de Sarasate (1844–1908)

Spanish-born violinist, Pablo de Sarasate was a celebrated nineteenth century master whose talent led to his performing the premiers of many, now famous, compositions. His own compositions are still played today and he is celebrated for his unique opera medleys including "Concert Fantasies on Carmen" of 1883. He toured the Americas, South Africa, and the Far East during his career and was instrumental in helping to incorporate Mediterranean sounds into classical music.

Nathan Mironovich Milstein (1904-1992)

With a career that spanned almost 70 years, this violinist, transcriber, and composer is beloved for both his performance ability, remarkable stamina and precision of technique, even at age 82 when he made his last public performance in Stockholm, 1986. His amazing articulation is still celebrated and during his career he achieved numerous awards, including a Grammy in 1975 for his recording of Bach's Sonatas and Partitas.

Sarah Chang (1980-)

A child prodigy, this American violinist attains the ranks of the best classical violinists for her exceptional ability, pure intonation and the artistic passion she pours into each performance. A host of accolades and awards testify to this virtuoso’s undeniable gift.

Published by Revelle Team on May 16, 2016/Edited by Klaus Döring

Music teacher breaks record by taking nine exams on nine instruments in one day

Estelle Jackson takes nine exams on nine instruments in one day. Picture: Queen's College

By Maddy Shaw Roberts, ClassicFM London

 

Huge props to this heroic music teacher for taking nine musical instrument exams in four hours, and passing every single one.

A music teacher has broken records to take nine musical instrument exams in one day.

After weeks of cramming, Estelle Jackson took exams in guitar, trombone, cello, xylophone, singing, bassoon, piano and soprano saxophone – all in the space of four hours.

Incredibly, Jackson deliberately settled on instruments she was not already adept at playing.

The visiting music teacher at Queen’s College in Taunton, Somerset has been told her valiant efforts have never been done before.

“Colleagues, and people I don’t even know, have been saying ‘That’s crazy, that’s absolutely amazing’. But to me, it just feels normal because I’ve been working on it for ages,” she told ITV.

Estelle Jackson broke records with her nine exams on nine instruments. Picture: Queen's College

On 28 June, Jackson found out that she had passed all nine exams, comprising Initial Grade Trumpet, Grade 1 Classical Guitar, Grade 2 Trombone, Grade 3 Cello, Grade 4 Xylophone, Grade 5 Singing, Grade 6 Bassoon, Grade 7 Piano and Grade 8 Soprano Saxophone.

In the process, she has raised £2,100 for Stand Against Violence and The Sidney Lawton Music Trust, giving students the chance to practise and develop their musical abilities with the latter.

“It’s been brilliant,” she added. “The amount that people have donated has blown my mind... that’s the most I’ve ever managed to raise, though obviously I couldn’t have done it on my own because my colleagues have been so supportive.”

The music teacher of 25 years said that taking one exam after the other was tricky, as it didn’t allow time for disappointments to settle.

Jackson is told her musical feat has never been done before. Picture: Queen's College

She explains: “I had a really difficult time in the bassoon exam – I was a bit disappointed, and then I didn’t play the piano as well as I could have. I said to the examiner, ‘I’m messing up scales that I shouldn’t have and it’s because I’m upset’.

“I came out of the piano thinking, ‘I hope that’s enough’, and then I thought, ‘I’m actually really cross and I’m going to go in there and show her what I can really do’.

“And I think I did, with my saxophone exam, which went well.”

In the end, Jackson received five distinctions, three merits and a pass. Brava.

2021's Best Summer Classical Music Concerts

Published by StringOvation Team on June 21, 2021

Things are finally starting to open up again, which is fantastic news for we string musicians who love to attend live music concerts. And, we have to admit, a silver lining of this past year is that major symphonies worldwide have perfected the art of broadcasting live events online. 

We envision online concert streaming as the wave of the music tech future, allowing audience members to attend "live" concerts from home when it isn't possible to be there in person.

July 10 & 11: Boston Symphony Orchestra features violinist Baiba Skride (Morning Rehearsal & Concert)

Have you ever wondered what it's like to practice and perform with a top symphony? If so, we highly recommend purchasing tickets to BSO's "Saturday Morning Rehearsal" with violinist Baiba Skride. They begin with a pre-rehearsal talk, and then you get to see BSO conductor Andris Nelsons work with the orchestra and soloist. You'll witness how even the most esteemed professional musicians are still constructively guided to be the best they can be.

The main concert takes place on July 11 at 2:30 p.m., when the symphony will perform Carlos Simon's "Fate Now Conquers," a Sibelius "Violin Concerto," and Dvořák's Symphony No. 6. This concert is part of the larger BSO annual Tanglewood Music Festival, running from 7/19 - 8/16)

June 23 - August 4. Bravo!Vail Music Festival 

Back for its 34th season, Bravo!Vail Music Festival is a favorite for music lovers throughout the continental United States and the rest of the world. Set in one of the most scenic locations in the Rocky Mountains, the 2021 Bravo!Vail Music Festival showcases four phenomenal orchestras throughout the season: Academy of St Martin in the Fields, Dallas Symphony Orchestra, the Philadelphia Orchestra, and the New York Philharmonic.  

As in summers past, chamber music will play a vital role this year, with programs highlighting both old favorites and contemporary works. The return of free concerts throughout the summer will bring no-cost programs to the community in an approachable way. 

If you love the broad spectrum of grander music festival events, you should also check out: 

The Aspen Music Festival (7/1-8/22)

Ravinia (July)

Glyndebourne Festival Opera (5/20-8/29)

Glimmerglass (7/15-8/17)

Salzburg Music Festival (7/17-8-31)

July 28: Black Violin at the Tobin Center for the Performing Arts in San Antonio, Texas

If you'd prefer a more contemporary take on string music, we recommend hearing Black Violin, who will be performing at the Tobin Center for the Performing Arts in San Antonio. This particular concert is part of Black Violin's "Impossible Tour" (ironic tour name pun not intended!), showing how the center has rolled with the pandemic punches.  

Black Violin are advocates for educational outreach and, in the past 12 months have performed for over 100,000 students in the US and Europe. Their Impossible Tour will spread the message that anything is possible, and there are no limits to what one can achieve, regardless of circumstance.

September 4: Tchaikovsky Spectacular with the Pacific Symphony

What a glorious way to close out the summer concert and music festival season! No SummerFest is complete without the Pacific Symphony performing Tchaikovsky's thrilling 1812 Overture, complete with live cannons and brilliant fireworks. Enjoy the spectacle as you also listen to the greatest hits of some of Russia's greatest Romantic composers. Featuring guest artist, pianist George Li, the event occurs at the Orange County Fair and Event Center.

Nothing is more inspiring than being in the presence of expert string musicians who excel in their craft. We hope this summer allows you the opportunity to attend at least one event in person.

Why do we call classical music ‘classical music’?

Why do we call classical music ‘classical music’? Picture: Getty

By Rosie Pentreath, ClassicFM London

@rosiepentreath

 

It’s not actually all Classical (big ‘C’) at all, so why has the name stuck as an umbrella term for Western instrumental, orchestral and choral music?

The Oxford Dictionary defines ‘classical music’ as “music written in a Western musical tradition, usually using an established form (for example a symphony). Classical music is generally considered to be serious and to have a lasting value.”

Oxford’s definition is just one example of how widespread the generalized use of ‘classical music’ is when it comes to describing instrumental, orchestral, vocal, choral and other forms of Western music.

But let’s really think about that term… ‘classical’. Why do we use it as an umbrella, catch-all phrase for Western music, and where do the Renaissance, Baroque, Romantic eras, and beyond, fit?

Here’s why the world has landed on ‘classical music’ to describe the powerful combinations of instruments, melody and harmony that make up the canon of Western music history.

Big ‘C’ versus small ‘c’

Before we go further, let’s unpack this quickly. We use classical music (small ‘c’) to mean Western instrumental, orchestral, vocal and choral music – created for both secular and sacred settings.

But you may have also heard ‘classical’ in the context of the Classical era of music, roughly 1750-1830 and encompassing composers such as Mozart, Haydn and early Beethoven (although some say he kicked off the next era, the Romantic era (1830-1900) really).

The Classical era saw the formalization of fixed structures, compositional techniques and orchestral sizes and shapes in the symphony, comic operas, and the Classical piano sonata.

Orchestras went through great changes: the harpsichord or organ of the previous Baroque era (1600–1750) were no longer orchestras’ musical foundation, and wind instruments such as the horn, trumpet, clarinet, flute and oboe joined the strings to create a new, distinctive sound.

Society was being reshaped by the Age of Enlightenment, a time of radical change where social values focused on human rights and freedom of religion. And the architectural style of the time was all about straight lines and order (as opposed to the more ornate styles of the Baroque), reminiscent of ancient Rome and Greece – hence the term ‘Classical’.

So why has ‘classical’ stuck?

‘Classical’ seems to work as a catch-all term of Western art music genres because it evokes this Classical, ordered era of Mozart, Haydn and Beethoven in which so many instrumental, chamber, orchestral and operatic forms we still hear regularly today were established.

Indeed, the lineage of the forms and tonality established in the Classical era can be seen to thread from the works of composers of earlier eras (Baroque, Renaissance, Medieval and before), to the works of Romantic, 20th Century and contemporary artists, as well as popular Western music genres like jazz, pop, rock and beyond. So perhaps it made sense to use it as shorthand to refer back to genres pre-dating modern history’s developments in popular culture.

Another reason the term started to stick was the inclination in the 19th Century for arts, culture and society to hark back to ‘classicism’, with its straight lines and order. Classicism was desirable, heralded and promoted widely following the preceding period of opulent, ornate Baroque styles in arts and architecture. Music was among the areas unable to escape this trend

“People use this word to describe music that isn’t jazz or popular songs or folk music, just because there isn’t any other word that seems to describe it better,” the great composer and conductor Leonard Bernstein said in an installment of TV’s Young People’s Concerts, broadcast in January 1959.

Bernstein goes on to say in his programme that ‘classical’ is better than the problematic alternatives of ‘good’, ‘serious’ and ‘art’ music – all terms which of course also apply to myriad other genres, from Jazz and RnB, to folk, country pop and beyond.

We like this idea very much. And if ‘classical’ is good enough for Bernstein, it’s good enough for us.