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Saturday, July 26, 2025

Which Composer Wrote the Most Symphonies Ever?

  


Today we’re going to talk about symphonies.

What exactly is a symphony? Is it different from a sinfonia?

And, depending on your answer to that question, which composer has written the most symphonies of all time? And how many symphonies did that person write?

Keep reading to find out. The answers might surprise you!

Joseph Haydn (1732–1809)
104 Symphonies

Joseph Haydn

Joseph Haydn

If you love classical music, you know Haydn would be on this list!

Joseph Haydn was born in rural Austria in 1732. He went on to become one of the most celebrated composers of the Classical era.

A major part of his reputation rests on his output of symphonies.

He wrote his first surviving symphony in 1759. Haydn’s First is in three movements: a slow movement bracketed by two fast movements. A typical performance takes about fifteen minutes. 

He wrote his final symphony, numbered 104 and nicknamed the London, in 1795. This symphony demonstrates how far Haydn pushed the boundaries of the genre over his career.

The work has four movements (Adagio-Allegro, Andante Minnuet and Trio, and a finale marked “Spiritoso”) and takes about half an hour to perform. 

Nowadays, we think of a symphony as a four-movement work for orchestra, at least half an hour in length. Haydn’s creative evolution over the course of writing a hundred-plus symphonies contributed to that perception.

Christoph Graupner (1683–1760)
113 Sinfonias

Christoph Graupner

Christoph Graupner

Of course, Haydn’s development also leaves us with the question: should early orchestral sinfonias that aren’t as long as later symphonies count?

Music historians can argue the question, but for the purposes of this article, we’re going to say yes!

That’s why the next figure on our list is Christoph Graupner, who was born in 1683 (three years after Bach) in Saxony. He studied law in Leipzig, then music with Johann Kuhnau. Kuhnau was the music director of the renowned Leipzig-based Thomanerchor choir before Bach took the job.

Graupner spent most of his career at the court in Hesse-Darmstadt, where he worked between 1709 and 1754, when he went blind.

He wrote 113 sinfonias.

Here’s a recording of a particularly striking example. It’s a six-movement work composed for orchestra and six timpani. 

Derek Bourgeois (1941–2017)
116 Symphonies

Derek Bourgeois

Derek Bourgeois

Derek Bourgeois was a British composer born in 1941. He studied at Cambridge and the Royal College of Music.

Early in his career, he worked as a lecturer, youth orchestra conductor, and director of music at St. Paul’s Girls School in London. He also composed extensively and was especially noted for his works for brass and wind band.

He wrote his first symphony when he was eighteen, in 1959. He had seven to his name by 2001, when he retired.

However, during retirement, he kept composing. By 2009, he revealed in an interview with The Guardian that he was up to 44 symphonies. That marked him as the most prolific symphony writer in British history.

And these works weren’t short, either. That Guardian article reported: “The average length of a Bourgeois symphony is 47 minutes.”

Remarkably, as he grew older, he only became more prolific. Between 2009 and his death in 2017, he added a shocking 72 more to his tally, for a grand lifetime total of 116!  

Carl Ditters von Dittersdorf (1739–1799)
120+ Symphonies

Carl Ditters von Dittersdorf

Carl Ditters von Dittersdorf

Composer Carl Ditters von Dittersdorf was born Johann Carl Ditters in Vienna in 1739.

As a child, he studied the violin and eventually became a professional violinist. In 1771, he became the court composer at Château Jánský Vrch, in the present-day Czech Republic.

He was eventually promoted and received the noble title that transformed his name to Carl Ditters von Dittersdorf.

Dittersdorf wrote around 120 symphonies. Interestingly, he wrote twelve programmatic symphonies before the concept was popular, all inspired by Ovid’s Metamorphoses. Unfortunately, only half of them survive today.  

Johann Melchior Molter (1696–1765)
140+ Symphonies

Johann Melchior Molter

Johann Melchior Molter

Johann Melchior Molter was born near Bach’s hometown of Eisenach, sixteen years after Bach.

Much like Bach, records about Molter’s early training are scarce. Historians do know that by his early twenties, he had left Eisenach to take a job as a violinist in Karlsruhe.

Soon after, he decided to travel to Italy to continue his music studies. He lived there for two years, then returned to Karlsruhe, where he became Kapellmeister at the court there. In 1734, he accepted a job as Kapellmeister at the court of Duke Wilhelm Heinrich of Saxe-Eisenach.

Over the course of his career, he wrote 140+ symphonies and sinfonias.

These were written before Haydn and his generation revolutionised the genre, so most of them are only around ten minutes long and don’t adhere to the symphonic form as codified in the Classical era.

Still, this is exciting, attractive, striking music.  

František Xaver Pokorný (1729–1794)
140 Symphonies

František Xaver Pokorný

František Xaver Pokorný

František Xaver Pokorný was born in the town now known as Stříbro, Czech Republic.

He left to take lessons in Regensburg in present-day Germany. During the 1750s, he worked and studied in the cities of Wallerstein and Mannheim (where the virtuosity of the court orchestra would inspire a variety of eighteenth-century composers).

In the later part of his life, Pokorný returned to work at the court of Regensburg.

It is believed that over the course of his career, he wrote over 140 symphonies. However, after Pokorný died in Regensburg, fellow composer and court orchestra intendant Theodor von Schacht erased Pokorný’s name from his works and reattributed them to other composers, making certain identification difficult.  

And without further ado, here is the composer who has written the most symphonies ever, by far…

Leif Segerstam (1944–2024)
371 Symphonies

Leif Segerstam

Leif Segerstam

Leif Segerstam was born in Vaasa, Finland, in 1944. His family moved to Helsinki when he was a boy, and he studied violin and conducting at the Sibelius Academy there. He then finished his studies at Juilliard in the United States.

Between 1995 and 2007, he served as conductor of the Helsinki Philharmonic Orchestra. He also enjoyed an international conducting career.

Segerstam also composed and became famous for his 371 symphonies.

His first symphony – subtitled “Symphony of Slow Movements” – was written in the late 1970s. Beginning in 1998 with his 23rd symphony, he started writing multiple symphonies a year until 2023, ending with a grand total of 371.

Most of these symphonies last for around twenty minutes and are one movement long. Many feature unusual titles like “Symphonic Thoughts after the Change of the Millenium No. 1”, “Listening to the tree clapping your shoulder…”, and “Calling the 112 in woody galaxies of the multiverses….”

Thursday, July 24, 2025

Land of the Best Singers in the World - The Philippines | Female Category



Kashmir Led Zeppelin - Epic Symphonic Rock.



Monday, July 21, 2025

15 SONGS that CHANGED the History of MUSIC Forever!


🎧 Featured Songs & Artists: Boston – More Than a Feeling (1976) The Beatles – I Want to Hold Your Hand (1963) The Ronettes – Be My Baby (1963) Bob Dylan – Like a Rolling Stone (1965) Simon & Garfunkel – The Sound of Silence (1965 Re-release) The Who – My Generation (1965) The Beach Boys – Good Vibrations (1966) The Beatles – A Day in the Life (1967) Aretha Franklin – Respect (1967) The Doors – Light My Fire (1967) Jimi Hendrix – All Along the Watchtower (1968) Creedence Clearwater Revival – Fortunate Son (1969) Led Zeppelin – Stairway to Heaven (1971) The Rolling Stones – Gimme Shelter (1969) Queen – Bohemian Rhapsody (1975) 💬 Which of these legendary tracks is your favorite? Or is there one you think we missed? Tell us in the comments! 📌 Don’t forget to like, subscribe, and ring the bell for more deep dives into music that made history—only on Retro Rewind. #ClassicRock #MusicThatChangedTheWorld #RetroRewind #RockAnthems #MusicLegends #1960s #1970s #BohemianRhapsody #LikeARollingStone #Respect #StairwayToHeaven #MusicDocumentary 🔥 If you love nostalgic music content, don’t forget to: ✅ Like the video! 👍 ✅ Subscribe for more! 🎥 ✅ Hit the notification bell 🔔 so you never miss a new upload! 🎵 Let’s keep the music alive! #70sMusic #OneHitWonders #ClassicHits

Shostakovich - Waltz No. 2 | Berlin Philharmonic Orchestra (Waldbühne 2011)



1,438,088 views  Aug 20, 2024
From the Waldbühne Berlin 2011 "Fellini, Jazz & Co":
Excerpt of the Berliner Philharmoniker under the baton of Riccardo Chailly, performing the "Waltz No. 2" by Shostakovich.

The Waltz No. 2 is a part of the "Suite for Jazz Orchestra No. 1" from 1934 by Shostakovich.

what your favorite composer says about you! (complete version)



379,998 views  Oct 7, 2024  STOCKHOLM
0:00 - Bach - Toccata and Fugue in D Minor
0:09 - Barber - Adagio for Strings
0:19 - Bartók - String Quartet No. 4
0:32 - Beethoven - Symphony No. 4
0:41 - Berlioz - Symphonie Fantastique 
0:47 - Bizet - Carmen - Overture 
0:55 - Brahms - Hungarian Dance No. 5
01:01 - Bruckner - Symphony No. 7
01:13 - Chopin - Ballade No. 1
01:20 - Debussy - Prélude à l'après-midi d'un faune
01:29 - Dvorák - Symphony No. 9 
01:40 - Edward Elgar - Enigma Variations Op. 36
01:49 - Fauré - Pavane, Op. 50
01:59 - Grieg - Peer Gynt - Death of Åse
02:08 - Khachaturian - Masquerade Suite 
02:19 - Händel - Sarabande 
02:27 - Holst - The Planets 
02:38 - Liszt - La Campanella 
02:49 - Mahler - Symphony No. 3
02:59 - Mendelssohn - Symphony No. 1
03:07 - Mozart - Lacrimosa 
03:14 - Mussorgsky - Night on Bald Mountain 
03:20 - Offenbach - Can Can
03:28 - Prokofiev - Romeo and Juliet (Suite No. 2)
03:39 - Puccini - Turandot - Nessun Dorma 
03:49 - Rachmaninoff - Symphonic Dances 
03:58 - Ravel - Daphnis et Chloé 
04:11 - Respighi - Pini di Roma 
04:24 - R. Strauss - Ein Heldenleben 
04:31 - Rimsky-Korsakov - Scheherazade 
04:42 - Royer - Le Vertigo 
04:53 - Saint-Saëns - Aquarium
05:01 - Erik Satie - Gymnopédie No. 1 
05:09 - Schönberg - Verklärte Nacht 
05:17 - Haydn - Deutsche Nationalhymne 
05:29 - Schubert - Serenade 
05:40 - Schumann - Symphony No. 4
05:50 - Scriabin - Étude Op. 8 No. 12
06:00 - Shostakovich - Symphony No. 5
06:12 - Sibelius - Symphony No. 2
06:25 - Strauss II - The Blue Danube Waltz 
06:33 - Stravinsky - Le Sacre du Printemps 
06:44 - Tchaikovsky - Swan Lake
06:58 - Verdi - Requiem - Dies Irae
07:11 - Wagner - Rienzi - Overture
07:26 - Vivaldi - Winter

Sunday, July 20, 2025

Evolution of Music (2100 BC-2023 AD)



Top 10 metal moments in classical music


My personal list. There's so many more of these moments out there, it was tough to choose 10. Honorable mention for Bach, in part because he really started it all.

To me, these pieces evoke intensity, speed, rhythmic energy, dark chromatic harmonies, and/or general loudness characteristic of metal music.

0:00 - Bach - Harpsichord Concerto No. 1 in D minor, BWV 1052, pf. Jean Rondeau
0:36 - Scriabin - Étude in D-sharp minor, Op. 8 No. 12, pf. Vladimir Horowitz
1:10 - Vivaldi - La follia, pf. Il Giardino Armonico
1:44 - Schubert - Erlkönig, arr. for solo piano by Liszt, pf. Evgeny Kissin
2:18 - Bartók - The Miraculous Mandarin, pf. Borusan Istanbul Philharmonic
2:55 - Royer - Pièces de clavecin, No. 11: Le vertigo, pf. Jean Rondeau
3:40 - Holst - The Planets, Mars, pf. London Symphony, cond. André Previn
4:14 - Stravinsky - The Rite of Spring, Sacrificial Dance, pf. musicAeterna, cond. Teodor Currentzis
5:04 - Vivaldi - Summer, pf. Dover Quartet
6:15 - Bartók - String Quartet No. 4, pf. Belenus Quartett
7:29 - Shostakovich - String Quartet No. 8, pf. Dover Quartet

AFTER THE LOVE HAS GONE - September In The Park (Earth Wind & Fire Cover)



Friday, July 18, 2025

James Last orchestra & singers: " The world of the gentleman of music", ...



1.- "Fanfare" - 14.05.2002 & 15.05.2002 in "Stadthalle", Zwickau (Germany).

2.- Medley: "Bésame mucho"/ "A Gay Ranchero"/"Volare" - 14.05.2002 & 15.05.2002 in "Stadthalle", Zwickau (Germany).

3.- "My Heart Will Go On" (Titanic Love Theme) - 29.01.2000 & 30.01.2000 in Bayreuth (Germany).

Why D-Flat Major Should Be One of Our Favorite Keys

 by Janet Horvath

D-flat Major“What? D-Flat Major?” Most string players wail, “that’s a key signature with FIVE FLATS!

I don’t blame them. It’s so much more difficult to play in tune on string instruments without the resonance of the open strings.

Pianists, though, will be elated. They get to play on all of the black keys. Numerous composers have used D-flat major to depict lush, dreamy sounds, and to explore the richness and depth of expression imaginable in this key.

Perhaps you know that many composers associated specific emotions with certain keys. The key of E-flat major is a case in point, a key that is considered heroic. Think Beethoven’s Symphony No. 3 The Eroica, Strauss’ Ein Heldenleben, a Hero’s Life, and dozens of string quartets and symphonies by Haydn, Sibelius, Elgar, Dvořák, Mozart, Bruckner, Shostakovich, Mahler.

Let’s explore the richness and depth of expression imaginable in this key

Frédéric Chopin © Getty Image

One of the most famous piece for piano in D-flat is the Chopin Prelude Op. 28 No. 15 “Raindrop.” Chopin did not ascribe the name to this prelude. It begins hushed and pensive, and the affecting melody leaves us in a subdued mood. It turns suspenseful, becoming more chordal and powerful. The right hand continues the inexorable rhythm and generates the feeling of inevitability with its repeated and steady A-flats that seem to imitate raindrops. But the opening melodic line returns reassuring us, and the piece resolves peacefully. Whatever you imagine when you hear it, there is no denying the emotions generated.

Jean Sibelius

Jean Sibelius

Romance in D-flat is an exquisite piece by Sibelius. Upon first hearing, you might think it’s a work of Chopin and I wouldn’t blame you. It’s amorous with flourishes and emotions you would associate with Chopin. Sibelius is not necessarily known as a solo piano composer. Ten pieces make up Sibelius’ Opus 24, composed between 1895 and 1903, and they are stunning. Diverging from his huge symphonic works puzzled Sibelius’ children too who asked him why he wrote these solo piano works, he responded, “In order for you to have bread and butter.”    

Sergei Prokofiev

Sergei Prokofiev © Esoterica Art Agency 2018

Written in 1901 as a birthday gift, the D-flat major Romance has been published and performed separately. The Andantino opens with a two-bar chordal introduction in the right hand with a lyrical cello-like melody entering in the left hand. It’s gorgeous. The middle section becomes vibrant and agitated with octaves and chords marked with accents on each note, and the instruction, “forte crescendo possible.” A cadenza with rapid notes, is breathtakingly dramatic. The magnificent resonance achieved in this piece is due in part to the pianist flying all over the black keys.

Prokofiev Piano Concerto No. 1, Op. 10 was composed in 1911, and is dedicated to the Russian composer, pianist, and conductor, the “dreaded Tcherepnin” with whom Prokofiev worked at the St. Petersburg Conservatory. Although the piano concerto is only fifteen minutes long, in one movement, Prokofiev marked eleven distinct sections of varying tempos and disposition. From charm to the grotesque, every mood is depicted. The piece begins as it ends with an expansive, yearning, and deliberate theme in D-flat major with heart-thumping punctuation in the timpani. Electrifying octaves in the piano bring the piece to a finish.

Gabriel Fauré

Gabriel Fauré

Gabriel Fauré Cantique de Jean Racine, Op. 11 is a work for mixed chorus and piano or organ, with lyrics by the 17th-century poet Racine. A version for strings and harp is breathtaking. The text “Verbe égal au Très-Haut” or Word One with the Highest, is from a Latin hymn “O Light of Light” attributed to the fourth century bishop of Milan, St. Ambrose. The refined and sublime piece hints at the music of the Requiem Fauré composed later in life. Only 20 years old when he composed this piece, we are assured of his position as one of the greatest composers of French choral music when we hear the Cantique. A dazzling lilting melody opens the piece. The chorus enters with the lowest voices first and gradually expands to include the higher voices. After another interlude of the instruments alone, Fauré continues this technique and we experience a ravishing series of colors, dynamics, and textures, enhanced by the resounding key of D-flat.

Antonín Dvořák

Antonín Dvořák

Dvořák Scherzo Capriccioso Op.66 B.131, is an orchestral work composed in 1883. The D-flat major key allows the composer to explore not only the Czech folk music we usually expect but a more dark, opaque, and restless mood. Featuring a full complement of instruments such as the harp, triangle, English horn, and bass clarinet, Dvořák achieves a brilliant variety of tone colors and wondrous melodies, his forte. The English horn solo is especially poignant.


Amy Beach

Amy Beach © Amybeach.org

Some composers actually see colors when he or she hears certain keys or pitches, a condition called synesthesia, in other words the perception of one sense through another. Amy Beach was one of these composers and D-flat major, for Beach, represented the color violet, traditionally associated with wealth, royalty, and the divine. The first section of her 1925 work Canticle of the Sun a cantata for chorus, soloists, and orchestra Op. 123, sets a thirteenth century text by St. Francis of Assisi. The piece begins Lento con Maesta, with the feelings of searching, of hesitancy, and then bursts into the key of D-flat major—the strong D-flat major chord used on the word “God” imbuing the word with wonder and veneration. The use of the key here is powerful as well as opulent.

I’m convinced and I hope you are too. D-flat major should be considered one of our favorite keys!

On This Day 18 July: Kurt Masur Was Born

by Georg Predota

Kurt Masur, 1968

Kurt Masur, 1968

For well over three decades, Kurt Masur was one of the world’s most celebrated conductors, having established an international reputation as “a sensitive and innovative interpreter of the Classical and Romantic repertoire, specifically Mendelssohn, Brahms and Tchaikovsky.” He was also known as the most prominent musician from communist East Germany. Masur never joined the Communist Party, and he was a thorn in the side of communist leadership. Masur declined repeated offers to leave East Germany, and instead became actively involved in the cause for freedom. In 1989, growing anti-government protests shook the city of Leipzig, and Masur publically criticized the violence by riot police against the demonstrators. On 9 October 1989, he read a public appeal for freedom of discussion in the socialist state. His appeal is widely regarded as helping convince Leipzig police to disregard orders from Berlin and allowed the protests to continue. “In the same century that saw two world wars, I was witness to a peaceful revolution,” he told reporters. The Berlin Wall fell in 1990 and led to the reunification of Germany, with Masur mentioned as a possible candidate for the German presidency. He declined, “I am a musician, not a politician,” he said. “I was only one among many people who overcame their fear. 

Interior of the Gewandhaus, 1886

Interior of the Gewandhaus, 1886

Kurt Masur was born on 18 July 1927 in the city of Brieg, Silesia, now Brzeg, Poland. His father was an electrician, and he was destined to follow in his father’s footsteps. However, it became clear early on that his true passion and happiness lay in music. He taught himself to play the piano as a young child, and initially studied piano and cello at the Landesmusikschule in Breslau. Once he returned from conscription to the Second World War, he entered the University of Music and Theatre in Leipzig and studied composition and piano. However, Masur quickly specialized in conducting, “despite suffering from a nervous stutter.” He discontinued his studies in order to take up the position of répétiteur and staff conductor at the Halle Landestheater in 1948 and was subsequently first Kapellmeister at the city theatres of Erfurt and Leipzig, and conductor of the Dresden Philharmonic Orchestra and the Komische Oper of East Berlin. In 1970 Masur received the crowing appointment of his early career: music director of the Leipzig Gewandhaus Orchestra, a position he would hold for 26 years. 

Kurt Masur laying the foundation stone of the current Gewandhaus

Kurt Masur laying the foundation stone of the current Gewandhaus

In the early 1970s, Leipzig was the industrial center of the communist run German Democratic Republic. The city’s main concert hall, the fabled Gewandhaus had been completely destroyed during the Second World War, and it had not been rebuilt nor restored. During his first year of tenure in Leipzig, the Gewandhausorchester was housed in a convention hall near the city’s zoological garden. Masur recalled, “When the music was quieter you could hear the lions roar…we were on the verge of embarrassing ourselves.”

Modern Gewandhaus, 1981

Modern Gewandhaus, 1981

Masur made it his mission for his orchestra to be taken seriously, and he wrote to Erich Honecker, the leader of the GDR’s ruling Socialist Party. Masur campaigned for a new concert hall and recognizing the cultural and symbolic importance of the Leipzig Orchestra, the GDR leader authorized the construction of a new venue. The “Neue Gewandhaus” was opened in commemoration of the 200th anniversary of the orchestra taking up residence in the original Gewandhaus, on 9 October 1981. While in Leipzig Masur was credited with restoring a vanished glory to that ensemble and city’s musical life, “and made recordings of Beethoven (including a complete cycle of the symphonies), Mendelssohn, Bruckner, and Brahms, praised for their clarity, unforced expressiveness, and warm, cultivated sonorities.”  

Kurt Masur and his family, 1981

Kurt Masur and his family, 1981

Despite the political challenges, Masur was allowed to take his orchestra on international tours, culminating in a performance at Carnegie Hall in 1974. The visit turned out to be prophetic as Masur was named the music director of the New York Philharmonic in 1991. As in Leipzig, Masur was charged with rebuilding the orchestra from the ground up. The ensemble, once considered one of the premiere American orchestras, “had devolved into a lackluster group: critically skewered, internally contentious and lacking clear artistic vision.” A critic wrote, “Before Mr. Masur arrived, the Philharmonic’s reputation was justly at a low point. Audiences were disenchanted. The players had long been unhappy; recording engagements were hard to come by, and radio broadcasts were nonexistent. Symphonic music was becoming less important to the culture of New York. The orchestra’s status had so fallen that the director’s post was rejected by major maestros.” A former concertmaster explained in 2012, “He was just so demanding and intense, and by the sheer intensity of his personality, it sorts of transformed most of us.” Masur’s tenure with the New York Philharmonic represents “one of its golden eras, in which music-making was infused with commitment and devotion, with the belief in the power of music to bring humanity closer together.” Masur once famously said, “If every school would hire two more music teachers, we would need two fewer police officers on the streets.”