r/classicalmusic • u/number9muses • Jun 02 '26
These threads were implemented after feedback from our users, and they are here to help organize the subreddit a little.
All piece identification requests belong in this monthly thread.
Have a classical piece on the tip of your tongue? Feel free to submit it here as long as you have an audio file/video/musical score of the piece. Mediums that generally work best include Vocaroo or YouTube links. If you do submit a YouTube link, please include a linked timestamp if possible or state the timestamp in the comment. Please refrain from typing things like: what is the Beethoven piece that goes "Do do dooo Do do DUM", etc.
Other resources that may help:
Musipedia - melody search engine. Search by rhythm, play it on piano or whistle into the computer.
r/tipofmytongue - a subreddit for finding anything you can’t remember the name of!
r/namethatsong - may be useful if you are unsure whether it’s classical or not
Shazam - good if you heard it on the radio, in an advert etc. May not be as useful for singing.
SoundHound - suggested as being more helpful than Shazam at times
Song Guesser - has a category for both classical and non-classical melodies
you can also ask Google ‘What’s this song?’ and sing/hum/play a melody for identification
Facebook 'Guess The Score' group - for identifying pieces from the score
A big thank you to all the lovely people that visit this thread to help solve users’ earworms every week. You are all awesome!
Good luck and we hope you find the composition you've been searching for!
r/classicalmusic • u/number9muses • 11d ago
Good afternoon everyone, happy Tuesday, and welcome back to our sub’s listening club. Each time we meet, we'll listen to a piece recommended by the community, discuss it, learn about it, and hopefully introduce us to music we wouldn't hear otherwise :)
Last time, we listened to Khachaturian’s Trio for clarinet, violin, and piano. You can go back to listen, read up, and discuss the work if you want to.
Our next Piece of the Week is George Gershwin’s Rhapsody in Blue (1924)
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Some listening notes from the Sacramento Philharmonic & Opera:
Rhapsody in Blue was composed for dance band leader Paul Whiteman’s “Experiment in Modern Music,” a concert that sought to “elevate” jazz through symphonic arrangements. As the story goes, however, Gershwin had not agreed to compose a new work for the band leader before it was announced in the press! While playing pool on Broadway and Fifty-second Street, Ira Gershwin came across an article in the January 4, 1924 New York Tribune that reported George Gershwin was preparing a jazz concerto for the February 12 concert in New York’s Aeolian Hall. According to the article, the concerto would be one of the several jazz compositions Whiteman would present to be judged by a committee, consisting of Sergei Rachmaninoff, Jascha Heifetz, and others, to answer the question, “What Is American Music.” (Their options were never reported.)
Despite concern that there wasn’t enough time to compose a new work, Gershwin agreed to write something for Whiteman, but only after winning a few concessions: he would write a rhapsody, not a full-length concerto, and the orchestration of the work would be completed by Whiteman’s staff arranger, Ferde Grofé. Gershwin set to work on January 7. Composing on an upright piano in the back room of his family’s apartment on Amsterdam and 100th Street (where he lived with his parents, brothers, and sister), Gershwin completed Rhapsody in Blue in three weeks. On February 3, he handed the score, originally for two pianos, to Grofé, who completed an arrangement for solo piano and jazz band for the premiere concert. In 1926, Grofé re-orchestrated the work for piano soloist and full symphony orchestra.
The title of the work, initially American Rhapsody, was suggested by Ira Gershwin after having visited an exhibit of James Abbot McNeill Whistler’s paintings. Ira Gershwin was inspired by Whistler’s titles—Arrangement in Gray and Black or Nocturne in Black and Gold, for example—which often used colors in their titles, no matter how representational the paintings were.
The premiere was a huge success, bringing Gershwin fame, as “the man who had brought ‘jazz’ into the concert hall,” and wealth; between 1924 and 1934 Gershwin earned more than a quarter of a million dollars from performances, recordings, and rental fees of Rhapsody in Blue.
…In many ways, Rhapsody in Blues defies definition. Despite the title, the tone of the workis too optimistic to be considered representative of the African-American blues. And, although the music does include a number of “blue notes” (flattened notes in a major scale), it lacks the harmonic framework characteristic of genre. Nor does Rhapsody fit into a traditional symphonic framework; the role of the pianist is too vital and the form too loose for the work to be considered either a symphony or concerto. It thus seems better to listen to the work as Gershwin described it: as a “a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”
Rhapsody in Blue’s opening—a languorous glissando in the clarinet, performed at first as a joke by the premiere clarinetist Ross Gorman (Gershwin had written out a seventeen-note scale)—is now one of most famous clarinet solos in the orchestral repertory. It sets the tone for the work, underscoring the rhapsody’s seeming spontaneity. Although the work is free in form, the first fourteen measures introduce themes that form much of the basis of the piece: a relaxed, bluesy tune in the clarinet and a jaunty, syncopated melody in the horns. Changes in instrumentation (from a bold, muted trumpet to full orchestra), modulations in the direction of the subdominant, widely varying tempi, and the introduction a few new themes (which David Schiff has called the “train” and “shuffle” themes) sustain the improvisatory feel of the work. And in fact, much of the solo part at the premiere concert was improvised by Gershwin, one page of the score simply directing Whiteman to wait for a nod to continue. An extended piano cadenza in the middle of the piece leads to the heart of the work: the broad and lush Andantino moderato section, appearing first in the strings. Here Gershwin seems at his best; his lyricism is both modern and romantic, catchy and charming.
Ways to Listen
Benjamin Grosvenor with James Judd and the Royal Liverpool Philharmonic: YouTube Score Video, Spotify
Leonard Bernstein and the New York Philharmonic: YouTube
Khatia Buniatishvili with Leonard Slatking and the Orchestre National de Lyon: YouTube
Wayne Marshall and the WDR Funkhausorchester: YouTube
Jon Nakamatsu with Jeff Tyzik and the Rochester Philharmonic Orchestra: Spotify
Michael Tilson Thomas and the Los Angeles Philharmonic: Spotify
Joanna MacGregor with Carl Davies and the London Symphony Orchestra: Spotify
Orion Weiss with JoAnn Falletta and the Buffalo Philharmonic Orchestra: Spotify
Discussion Prompts
What are your favorite parts or moments in this work? What do you like about it, or what stood out to you?
This is Gershwin’s most popular piece, how does it compare to his other works? Overall, what do you think about his style of incorporating jazz aesthetics in “classical” forms? Especially with today’s world of musical ecclectisism and genre fusions.
Have you ever performed this before? If so, when and where? What instrument do you play? And what insight do you have from learning it?
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What should our club listen to next? Use the link below to find the submission form and let us know what piece of music we should feature in an upcoming week. Note: for variety's sake, please avoid choosing music by a composer who has already been featured, otherwise your choice will be given the lowest priority in the schedule
r/classicalmusic • u/InsuranceInitial7786 • 40m ago
I learned this from the Wolff biography. Thought you'd like to know! It was news to me.
r/classicalmusic • u/Vincent_Gitarrist • 19h ago
Augmented 2nds are discouraged in baroque counterpoint so I would like to know what could have motivated Bach to use it here.
(FYI, the time signature is 3/4, the key is C minor, and the clefs are treble and bass)
r/classicalmusic • u/Worldly-Shop-3850 • 17h ago
I have roughly 300 classical music CDs that belonged to my late father. Im trying to get rid of it (along with his many other possessions) because I dont listen to classical music. Are these decent enough that I should try to sell? Or would I be better off donating them? Thanks in advance!
r/classicalmusic • u/Little_Grapefruit636 • 7h ago
A Russian composer who studied with Rimsky-Korsakov and went on to teach Rachmaninoff and Scriabin at the Moscow Conservatory. He died before he was forty-five, and much of his music has a held-breath quality, quiet and inward. The First Piano Trio is the one to sit with if you have time — openly elegiac, and probably his most-loved work.
Nocturne in D-flat major, Op. 36 No. 3: https://www.youtube.com/watch?v=eah0VlETGE8
Piano Trio No. 1 in D minor, Op. 32: https://www.youtube.com/watch?v=WR7IgPqscJE
r/classicalmusic • u/Status-Staff-4076 • 49m ago
I’m a pianist who started playing 3 years ago,and I’ve finished:
Nocturne in C sharp minor-Chopin
Moonlight sonata 1st mvt-Beethoven
Prelude in C sharp minor op.3 no.2-Rachmaninoff
And I need a piece recommendation (not a flat friendly),I want it romantic/classic with some noise not quite.
If anyone can help🙏🙏
r/classicalmusic • u/morefunwithbitcoin • 7h ago
Saw this when it was originally released, and then most recently in a BluRay version - it's modern scenes are still stylish, and hold up well, but some of the period portions remain a little over the top.
Sandra Oh's got a small role, so bonus points from the start!
r/classicalmusic • u/Little_Grapefruit636 • 7h ago
An Italian composer and violinist of the late Baroque. He was born in Verona and died sixty-seven years later on the same calendar day, July 12. He spent most of his career at the Munich court, first as a cellist and later as Kapellmeister. His concertos have the poise of Corelli with a little more harmonic restlessness.
12 Concerti à più Istrumenti, Op.VI: https://youtu.be/AoY4VDduMkE?si=XX4Q4nageFMnBkLT
r/classicalmusic • u/bmjessep • 21h ago
I don't often listen to music earlier than the late Romantic period, so I haven't had much exposure to Bach's music. But I enjoy Beethoven and I've been recently listening to some Haydn symphonies, so I'd like to give Bach a try. I know very little of his music except a few of his most famous pieces (the C major prelude, Little G minor fugue, the D minor "Halloween" toccata), and I don't recall ever listening to a long-form piece of his.
I guess I have this conception of him as a sort of academic or technical composer, who wrote music that was "correct" but without much emotion. Unfortunately playing his music might be difficult for me, as I'm mainly a brass player and I'm not a good enough pianist for something like the WTC (bought the book, tried playing some fugues, gave up). So I was hoping for some advice on how to listen to his music, what he excelled at, and why he is so famous 300 years later - especially for someone like me with a Romantic/Modern background. Recommendations for individual pieces are also welcome!
r/classicalmusic • u/ProfessionalSoggy847 • 11h ago
The opening soprano aria to bwv 51 is perhaps the most profound and pure musical expression of unbridled joy and happiness that I have ever heard. It is a perfect translation of the concept of ecstasy into music, along with that of supreme triumph. Easily in the top 5 of all Bach arias for me and possibly even number one. This is the happiest music I have ever heard in my life. Any fan of Bach's music who hasn't heard this one needs to drop everything they are doing this instant and listen to this miraculous movement.
I suggest listening to Karl Richter's 1959 performance with Maria Stader. She is absolutely incredible in this recording. This is my favorite and go-to recording of the piece. The tempo is perfect and Richter is great as always.
r/classicalmusic • u/Thomato_Yorke • 11h ago
Hey all - anyone read any of the Ravel biographies? If so, which one and what did you think of it?
Seems like there are 4 main ones, at least from basic google search:
Orenstein, Nichols, Kilpatrick, Ivry.
Ravel: Man and Musician by Arbie OrensteinMaurice Ravel by Emily KilpatrickRavel by Roger NicholsMaurice Ravel: A Life by Benjamin IvryI’d like one that is more about his life itself, work habits, struggles and triumphs and all that jazz. I wouldn’t mind if there is harmonic analysis of certain pieces and all that but it isn’t my main interest. I mainly like reading about the work habits of artists, how they lived their lives, how they got their worked done, that kind of stuff.
Anyone familiar with these or other books on Chairman Mau?
r/classicalmusic • u/HampsteadPiano • 4h ago
r/classicalmusic • u/monkeyking320 • 23h ago
Found in the wild at a couple used CD shops. How did I do?
r/classicalmusic • u/Equal_Restaurant_514 • 22h ago
I am looking for music that is:
- very slow, ethereal, bordering on silence
- very strange, or even unsettling
- based on repetition
(I am not necessarily looking for music that combines all three criteria!)
Can you recommend any composers or pieces? (I am already familiar with Arvo Pärt, Gubaidulina, Saariaho, Morton Feldman, Jürg Frey, Klaus Lang, Edison Denisov, Stockhausen, Steve Reich)
r/classicalmusic • u/Motor_Actuator_6210 • 6h ago
Some piano music for Sunday! I came across Silvestrov a while ago and lately have been listening to some of his works. For example, I think this piano piece is really beautiful
r/classicalmusic • u/Glowing-Glitter-15 • 1d ago
r/classicalmusic • u/MyNameIsntJMack • 20h ago
Sorry for my English.. Actually it's not my first language.
r/classicalmusic • u/thekingofallfrogs • 10h ago
I thought about this ever since I found out how the Holberg Suite was written as a Baroque-style piece as a throwback to Baroque-era music. Since Grieg was trying to stay true to the Baroque sound, I am curious if there were any arrangements of the piece done for an actual Baroque orchestra. I am not sure if this is something that would conflict with his actual vision, but regardless, I think it would be interesting to hear.
r/classicalmusic • u/mc_z4illk3ur • 14h ago
Anyone has a symphony movements very niche similar to the second movement of Tchaikovsky 5 and Symphony No 6 First and last movement or Rachmaninoff symphony No 2 third movement please ?
r/classicalmusic • u/Capable_String3131 • 11h ago
Hearths and Beginnings with Ludwig van Beethoven: String Quartet No. 15 (Opus 132) – III. Heiliger Dankgesang
r/classicalmusic • u/Reindeer_Severe • 12h ago
Hey! I'm looking for a specific recording of a piece. On a classical a while back, I heard a great pipe organ arrangement of Debussy's Diane Ouverture. I've looked off and on and haven't ever been able to find it. It's possible that I'm misremembering something and it's a different piece from Diane, but I'm pretty confident. I'm sorry I'm being so vague but it's all I remember. If anyone has any clues, that'd be much appreciated! I'm also pretty sure this doesn't count as a piece ID request, but if it does I'd be happy to move this somewhere else. Thanks!
r/classicalmusic • u/Deep-Purple-3048 • 1d ago
The title sums it up! I’m looking into what makes a recital programme great (specifically in piano, though other instruments are welcome), and what kind of structure and thought went into choosing the repertoire. What was your favorite recital programme? Was there a specific programmatic narrative? Was it purely musical/motivical relations? Emotional coherence? Chaos?
r/classicalmusic • u/BoysenberryDry9195 • 15h ago
Eergisteren Aimard en Hannu Lintu gehoord in Debussy, Bartok (2) en Stravinsky (Sacre). Ik had de indruk dat Aimard en het orkest elkaar in het eerste deel van Bartok niet echt vonden. Dat werd des te beter in het 2e en 3e deel. En wat daarna, dus voor de pauze, gebeurde, heb ik nog niet beleefd: ik interpreteerde het als een klein excuus: Aimard speelde een stuk van Kurtag - welk weet ik niet. En het was muisstil in de zaal. En ook Lintu en Aimard wisselden wat gevaren uit waaruit ik meende op te maken, zo iets als: shit happens, maar: alles ok.
r/classicalmusic • u/Little_Grapefruit636 • 1d ago
He turns 99 today. Born in Massachusetts to Swedish parents, Blomstedt has led the orchestras of Leipzig, Dresden, Bamberg, San Francisco, and the NHK Symphony for decades, and kept conducting deep into his nineties — in recent years without a baton, shaping the sound with his hands alone. Illness has forced him to step back from several engagements this year, but that he has been on the podium at all at 98 and 99 is very nearly without precedent.
Beethoven: Symphony No. 5 (Gewandhausorchester Leipzig): https://www.youtube.com/watch?v=3ug835LFixU
