Beethoven and other German composers. Musical culture of Germany in the second half of the 19th century Contradictions in the development of German music

Max Bruch's symphonies are not as popular as his violin concertos or the Scottish Fantasy and are rarely performed. However, Harmony reigns supreme in them, awakening in the soul of the listener the aspiration for wisdom and strength, strengthening the spirit and helping to cope with all difficulties. Notable recordings of Bruch's works, in addition to the main concert pieces, include a set of three of his rarely performed symphonies; project carried out by conductor Kurt Masur. One of these recordings will sound now - A very beautiful Adagio from the Third Symphony in E major

Gewandhausorchester Leipzig

Kurt Masur, conductor

Music is the art of sounds and each sound in it has its own designation. Note (lat. nōta - “sign”, “mark”) in music is a graphic designation of the sound of a musical work, one of the main symbols of modern musical notation. Variations in…

The name of Max Bruch (1838-1920) is not as loud in the musical world as the names of Mendelssohn and Brahms. But his Violin Concerto No. 1 in G minor, Op. 26, occupies a worthy place in the pedigree of the great romantic masterpieces. Max Bruch was born in the same year that Mendelssohn made the first drafts of his Violin Concerto in E minor. The Bruch Concerto premiered ten years after Schumann's death. A decade later there was famous concert for violin and orchestra by Brahms. However, there is one more great musician, whose art united the named violin concertos into a tradition that has been uninterrupted for a century. His name was Joseph Joachim. On title page the score of the Bruch Violin Concerto is dedicated to: Josef Joachim as a token of friendship.

The sketches for the concerto in G minor may date back to 1857, when 19-year-old Bruch graduated from the Cologne conservatory, where Ferdinand Hiller and Carl Reinecke were his teachers. At the age of 20, Bruch was already teaching music-theoretical subjects at the conservatory. One after another, the premieres of his operas, oratorios, symphonies, instrumental concerts, chamber ensembles, vocal cycles... Bruch's choirs are especially popular in Germany. He conducts opera performances and symphony concerts in various cities in Germany and abroad. Among the students of Max Bruch are representatives of national composer schools, such outstanding masters of the twentieth century as the Italian Ottorino Respighi, the Englishman Ralph Vaughan Williams.

Max Bruch

Johann Philipp Kirnberger (German Johann Philipp Kirnberger; baptized April 24 1721, Saalfeld - July 27, 1783, Berlin) - German music theorist, composer, violinist, teacher.

According to F. W. Marpurg, in 1739-41 Kirnberger studied in Leipzig with J. S. Bach, whom he considered the greatest German composer. In 1741 - 50 he served as a music teacher and bandmaster in Polish aristocratic families, was bandmaster convent in Lviv. Since 1754, Kirnberger, a violinist and bandmaster at the court chapel in Berlin, taught composition to Anna Amalia of Prussia, the younger sister of King Frederick the Great of Prussia.
Kirnberger sought the publication of Bach's choral arrangements, about which he wrote in a letter to the Leipzig publisher Breitkopf:

With regard to the more than 400 Bach chorales that C. F. E. Bach collected and many of which were transcribed by his own hand, it is extremely important to me that these chorales, which are now at my disposal, be preserved for future musicians, composers and music connoisseurs .

Kirnberger bought the chorale manuscripts from C. F. E. Bach. To promote publication, Kirnberger gave these manuscripts free of charge to Breitkopf's publishing house (which remained their owner after Kirnberger's death).

The most prominent representative of violin playing in Germany in the first half of the 19th century was the famous Ludwig Spohr.

The son of a doctor who lived in Braunschweig, Spohr was placed from a very early age in conditions extremely favorable for the development of his musical talent. Spohr's father played the flute (!), and his mother was a singer and quite a good pianist. The boy listened with particular pleasure to home music and was very glad when they bought him a small violin: he could play songs and romances sung by his mother by ear. The boy's talents were noticed by one French emigrant, Dufour, who lived in the town where Spohr's parents also moved from Braunschweig. Dufour, who himself played quite well on the violin and cello, supervised Spohr's studies and he began to write his own compositions (they say that Spohr's violin duets date back to this time).

This was followed by years of study, work as a soloist in the chapel of the Duke of Brunswick, tours of European cities. For example, in Denmark Spohr happened to be talking to a lady who was a great admirer of his talent. She asked me to tell her some details from his past life and casually asked if Spohr would not have done better by taking up his father's trade. Spur responded as follows:

Christian Cannabich (German: Christian Cannabich; December 28th 1731 - January 20, 1798, Frankfurt am Main) - German bandmaster, violinist and composer, representative of the Mannheim school.

Student of J. Stamitz, N. Jommelli (composition). He worked in the orchestras of Mannheim and Munich. Violinist of the Mannheim Court Chapel (since 1774 its director). From 1778 he lived in Munich. After the death of J. Stamitz, he was recognized as the head of the Mannheim School. Friend V.A. Mozart. Cannabih applied new principles of orchestration based on the even distribution of thematic material among all orchestral groups, one of the first to introduce symphony orchestra clarinets. The leading genre of creativity is the symphony. Author of about 90 symphonies, 40 operas and ballets, concertos for violin and orchestra, chamber and instrumental ensembles. Mozart in his letters speaks with praise of Cannabih's talent. Be that as it may, Mozart describes him as the best music director he has ever seen.

Carl Orff (Carl Orff; Carl Heinrich Maria Orff, July 10, 1895, Munich - March 29, 1982, Munich) is a German composer and teacher, best known for the cantata Carmina Burana (1937). As a major composer of the 20th century, he also made a great contribution to the development music education.

Karl Orff's father, an officer, played the piano and several string instruments. His mother was also a good pianist. It was she who discovered her son's talent for music and took up his training.

Orff learned to play the piano at the age of 5. At the age of nine he was already writing long and short pieces of music for his own puppet theater.

In 1912-1914, Orff studied at the Munich Academy of Music. In 1914 he continued his studies with Herman Zilcher. In 1916 he worked as a bandmaster at the Munich Chamber Theatre. In 1917, during the First World War, Orff went to voluntary service in the army in the First Bavarian Field Artillery Regiment. In 1918 he was invited to the post of bandmaster in National Theater Mannheim under the direction of Wilhelm Furtwängler, and then he began to work at the Palace Theater of the Grand Duchy of Darmstadt.

In 1923, he met Dorothea Günther and in 1924, together with her, created the Günther-Schule school of gymnastics, music and dance (German: Günther-Schule) in Munich. From 1925 until the end of his life, Orff was the head of the department at this school, where he worked with young musicians. Having constant contact with children, he developed his theory of music education.

Carl (Heinrich Carsten) Reinecke(German Carl (Heinrich Carsten) Reinecke ; June 231824, Altona, now part of Hamburg - March 10, 1910, Leipzig) - German composer, conductor and pianist.

From the age of six he studied music with his father, Johann Rudolf Reinecke. IN 1835 made his debut in his native city as a pianist, then toured Europe, where he gained fame as a "graceful performer of works Mozart ". The musical idols of the young men were Clara Wieck and Franz List; due to the timid nature of Reinecke, he was ill-suited for the role of a touring virtuoso pianist.

WITH 1843 to 1846 thanks to a scholarship from King Christian VIII of Denmark, he studied at the Leipzig Conservatory in piano and composition. Felix Mendelssohn, who was at that time bandmaster of the Gewandhaus, organized public performances for him. During the same period, Reinecke met Robert Schumann. Reinecke was greatly influenced by the works of Mendelssohn and Schumann, who had a great influence on his own compositions.

What would our life be like without music? For years, people have been asking themselves this question and coming to the conclusion that without the beautiful sounds of music, the world would be a very different place. Music helps us to experience joy more fully, to find our inner self and to cope with difficulties. Composers, working on their works, were inspired by a variety of things: love, nature, war, happiness, sadness and many others. Some of the ones they created musical compositions will forever remain in the hearts and memory of people. Here is a list of the ten greatest and most talented composers of all time. Under each of the composers you will find a link to one of his most famous works.

10 PHOTOS (VIDEO)

Franz Peter Schubert - Austrian composer, who lived only 32 years, but his music will live on for a very long time. Schubert wrote nine symphonies, about 600 vocal compositions, as well as a large number of chamber and solo piano music.

"Evening Serenade"

German composer and pianist, author of two serenades, four symphonies, and concertos for violin, piano and cello. He performed at concerts from the age of ten, first performed with solo concert at 14 years old. During his lifetime, he gained popularity primarily thanks to the waltzes and Hungarian dances he wrote.

"Hungarian Dance No. 5".

Georg Friedrich Handel - German and English composer Baroque era, he wrote about 40 operas, many organ concertos, as well as chamber music. Handel's music has been played at the coronation of English kings since 973, it is also heard at royal wedding ceremonies and is even used as the anthem of the UEFA Champions League (with a little arrangement).

"Music on the Water"

Joseph Haydn- a famous and prolific Austrian composer of the Classical era, he is called the father of the symphony, since he made a significant contribution to the development of this musical genre. Joseph Haydn is the author of 104 symphonies, 50 piano sonatas, 24 operas and 36 concertos

"Symphony No. 45".

Pyotr Ilyich Tchaikovsky is the most famous Russian composer, the author of more than 80 works, including 10 operas, 3 ballets and 7 symphonies. He was very popular and known as a composer during his lifetime, performed in Russia and abroad as a conductor.

"Waltz of the Flowers" from the ballet "The Nutcracker".

Frederic Francois Chopin is a Polish composer who is also considered one of the best pianists of all time. He wrote a lot musical works for piano, including 3 sonatas and 17 waltzes.

"Rain waltz".

The Venetian composer and virtuoso violinist Antonio Lucio Vivaldi is the author of more than 500 concertos and 90 operas. He had a great influence on the development of Italian and world violin art.

"Elven Song"

Wolfgang Amadeus Mozart is an Austrian composer who amazed the world with his talent with early childhood. Already at the age of five, Mozart was composing small pieces. In total, he wrote 626 works, including 50 symphonies and 55 concertos. 9.Beethoven 10.Bach

Johann Sebastian Bach - German composer and organist of the Baroque era, known as a master of polyphony. He is the author of more than 1000 works, which include almost all significant genres of that time.

"Musical Joke"

Hans Leo Hassler(baptized 10/26/1564 - 06/08/1612) - German composer and organist of the late Renaissance and early Baroque. One of the most significant composers who developed the Italian style in Germany in the early seventeenth century.

Johann Heinrich Scheidemann(circa 1595 - September 26, 1663) - German organist and composer of the Baroque era. One of the leaders of the North German organ school. An important predecessor of Dietrich Buxtehude and J.S. Bach.

Heinrich Schutz(10/08/1585 - 11/06/1672) - the great German composer and organist of the Baroque era. Considered on a par with Claudio Monteverdi and Johann Sebastian Bach. He combined the Venetian antiphonal and monodic technique with Protestant music, and also created the first German opera.

Hieronymus Praetorius(08/10/1560 - 01/27/1629) - North German composer and organist late Renaissance and early Baroque. The namesake of the more famous composer Michael Pretorius, although there were many in the family of Jerome Pretorius outstanding musicians 16th-17th centuries

Johann Adam Reincken(baptized December 10, 1643 - November 24, 1722) - Dutch-German composer and organist of the Baroque period. One of the prominent representatives of the North German school, a friend of Dietrich Buxtehude, had a great influence on the young Johann Sebastian Bach.

Johann Hermann Schein (Schein) (Johann Hermann Schein)(01/20/1586 - 11/19/1630) - German composer and poet of the early Baroque era. He was among the first to develop the innovative Italian style in German music. He was considered a refined and elegant composer of his time.

Johannes Nucius (Nux, Nucis))(c. 1556 - 03/25/1620) - German composer and musical theorist of the late Renaissance and early Baroque. Being far away from major centers musical activity, he was an exquisite composer in the style of the Franco-Flemish composer Orlando di Lasso. Compiled a very influential treatise about the rhetorical application of compositional techniques.

Johann Ulrich Steigleder(March 22, 1593 - October 10, 1635) - South German composer and organist of the Baroque era. The best known member of the Steigleder musical family from Stuttgart, which includes his father Adam (1561-1633) and grandfather Utz (d. 1581), who was a court musician and diplomat.

Johann Jakob Froberger(baptized May 19, 1616 - May 7, 1667.) - German Baroque composer, virtuoso harpsichordist and organist. One of the most famous composers of the era, he made a great contribution to the development of the clavier repertoire and created the first examples of program music. Thanks to numerous travels, he made a great contribution to the exchange musical traditions Germany, Italy and France. His work was studied by musicians in the 18th century, including composers such as Handel and Bach, and even Mozart and Beethoven.

Richard Wagner had a significant impact on the development of not only the music of the European tradition, but also the world artistic culture generally. Wagner did not receive a systematic musical education, and in his development as a master of music he is decisively obliged to himself. Comparatively early, the composer's interests, wholly focused on the genre of opera, became apparent.

To a much greater extent than all European composers XIX century, Wagner considered his art as a synthesis and as a way of expressing a certain philosophical concept. Its essence is put into the form of an aphorism in the following passage from Wagner's article " Piece of art of the future”: “Just as a person will not be free until he joyfully accepts the bonds that connect him with Nature, so art will not become free until he has no reason to be ashamed of his connection with life.” From this concept stem two fundamental ideas: art must be created by a community of people and belong to this community; the highest form of art is musical drama, understood as an organic unity of word and sound. Bayreuth became the embodiment of the first idea, where Opera theatre for the first time began to be interpreted as a temple of art, and not as an entertainment institution; the embodiment of the second idea is the new operatic form "musical drama" created by Wagner. It was her creation that became the goal creative life Wagner. Some of its elements were embodied in early operas composer of the 1840s - "The Flying Dutchman", "Tannhäuser" and "Lohengrin".

The theory of musical drama was most fully embodied in Wagner's Swiss articles ("Opera and Drama", "Art and Revolution", "Music and Drama", "Artwork of the Future"), and in practice - in his later operas: "Tristan and Isolde ", the tetralogy "Ring of the Nibelung" and the mystery "Parsifal". According to Wagner, a musical drama is a work in which the romantic idea of ​​the synthesis of the arts (music and drama) is realized, an expression of programmaticity in opera. To implement this plan, Wagner abandoned the traditions of opera forms that existed at that time - primarily Italian and French. He criticized the first for excesses, the second for pomp. With furious criticism, he attacked the works of the leading representatives of classical opera (Rossini, Meyerbeer, Verdi, Aubert), calling their music "candied boredom." Trying to bring the opera closer to life, he came up with the idea of ​​a through dramatic development - from beginning to end, not only of one act, but of the entire work and even a cycle of works (all four operas of the Der Ring des Nibelungen cycle).

IN classical opera Verdi and Rossini separate numbers (arias, duets, ensembles with choirs) divide a single musical movement into fragments. Wagner completely abandoned them in favor of large end-to-end vocal and symphonic scenes flowing one into another, and replaced arias and duets with dramatic monologues and dialogues. Wagner replaced overtures with preludes - short musical introductions to each act, on a semantic level, inextricably linked with the action. Moreover, starting with the opera Lohengrin, these preludes were performed not before the opening of the curtain, but already with the stage open. External action in the late Wagner operas (especially in Tristan and Isolde) is reduced to a minimum, it is transferred to the psychological side, to the realm of the characters' feelings. Wagner believed that the word is not capable of expressing the full depth and meaning of inner experiences, therefore, it is the orchestra, and not the vocal part, that plays the leading role in the musical drama. The latter is entirely subordinated to orchestration and is considered by Wagner as one of the instruments of a symphony orchestra. At the same time, the vocal part in a musical drama is the equivalent of a theatrical dramatic speech. There is almost no song, arioznost in it. In connection with the specifics of vocals in Wagner's opera music (exceptional length, mandatory requirement for dramatic skill, merciless exploitation of the extreme registers of the tessitura of the voice), new stereotypes have been established in solo performance practice. singing voices- Wagnerian tenor, Wagnerian soprano.

Wagner attached exceptional importance to orchestration and, more broadly, to symphony. Wagner's orchestra is compared to an ancient choir that commented on what was happening and conveyed a "hidden" meaning. Reforming the orchestra, the composer created a tuba quartet, introduced a bass tuba, a contrabass trombone, expanded string group, used six harps. In the entire history of opera before Wagner, no composer used an orchestra of this magnitude (for example, Der Ring des Nibelungen is performed by a quadruple orchestra with eight horns). Wagner's innovation in the field of harmony is also generally recognized. The tonality inherited by him from the Viennese classics and early romantics, he greatly expanded by intensifying chromatism and modal alterations. Having weakened (straightforward for the classics) the uniqueness of the connections between the center (tonic) and the periphery, deliberately avoiding the direct resolution of dissonance into consonance, he gave tension, dynamism and continuity to the modulation development. calling card Wagnerian harmony are considered "Tristan-chord" (from the prelude to the opera "Tristan and Isolde") and the leitmotif of fate from the "Ring of the Nibelungs". Wagner introduced a developed system of leitmotifs. Each such leitmotif (short musical characteristic) is a designation of something: a specific character or living being (for example, the leitmotif of the Rhine in the Rhine Gold), objects that often act as character characters (the ring, sword and gold in the Ring , a love potion in Tristan and Isolde), scenes of action (the leitmotifs of the Grail in Lohengrin and Valhalla in the Rhine Gold) and even an abstract idea (numerous leitmotifs of fate and fate in the Ring of the Nibelung cycle, languor, a loving look in Tristan and Isolde).

The Wagnerian system of leitmotifs was most fully developed in The Ring - accumulating from opera to opera, intertwining with each other, each time receiving new development options, all the leitmotifs of this cycle as a result combine and interact in the complex musical texture of the final opera The Death of the Gods. Understanding music as the personification of continuous movement, the development of feelings led Wagner to the idea of ​​​​merging these leitmotifs into a single stream of symphonic development, into an “endless melody” (unendliche Melodie). The absence of a tonic support (throughout the entire opera Tristan und Isolde), the incompleteness of each theme (throughout the entire Der Ring des Nibelungen cycle, with the exception of the climactic funeral march in the opera The Death of the Gods) contribute to a continuous build-up of emotions that does not receive resolution, which allows keep the listener in constant tension (as in the preludes to the operas Tristan and Isolde and Lohengrin). A. F. Losev defines the philosophical and aesthetic basis of Wagner's work as “mystical symbolism”.

The key to understanding the ontological concept of Wagner are the tetralogy "Ring of the Nibelungen" and the opera "Tristan and Isolde". Firstly, Wagner's dream of musical universalism was fully embodied in The Ring. “In The Ring, this theory was embodied through the use of leitmotifs, when every idea and every poetic image is immediately specifically organized with the help of a musical motif,” writes Losev. In addition, the "Ring" fully reflected the passion for the ideas of Schopenhauer. However, it must be remembered that acquaintance with them happened when the text of the tetralogy was ready and work began on the music. Like Schopenhauer, Wagner feels the unfavorable and even senseless basis of the universe. The only meaning of existence is thought to be to renounce this universal will and, plunging into the abyss of pure intellect and inaction, to find true aesthetic pleasure in music. However, Wagner, unlike Schopenhauer, considers it possible and even predetermined a world in which people will no longer live in the name of the constant pursuit of gold, which in Wagnerian mythology symbolizes the will of the world. Nothing is known for sure about this world, but there is no doubt about its coming after the global catastrophe. The theme of the global catastrophe is very important for the ontology of the "Ring" and, apparently, is a new rethinking of the revolution, which is no longer understood as a change in the social system, but as a cosmological action that changes the very essence of the universe.

As for Tristan and Isolde, the ideas embodied in it were significantly influenced by a short fascination with Buddhism and at the same time dramatic story love for Mathilde Wesendonck. This is where Wagner's long-sought merging of divided human nature takes place. This connection occurs with the departure of Tristan and Isolde into oblivion. Thought of as a completely Buddhist fusion with the eternal and imperishable world, it resolves, according to Losev, the contradiction between the subject and the object on which the European culture. The most important is the theme of love and death, which for Wagner are inextricably linked. Love is inherent in a person, completely subordinating him to himself, just as death is the inevitable end of his life. It is in this sense that Wagner's love potion should be understood. “Freedom, bliss, pleasure, death and fatalistic predetermination - this is what a love drink is, so brilliantly depicted by Wagner,” writes Losev. Wagner's operatic reform had a significant impact on European and Russian music, marking the highest stage of musical romanticism and at the same time laying the foundations for future modernist movements. Direct or indirect assimilation of Wagnerian operatic aesthetics (especially innovative "through" musical dramaturgy) marked a significant part of subsequent operatic works. The use of the leitmotif system in operas after Wagner became trivial and universal. No less significant was the impact of innovative musical language Wagner, especially his harmony, in which the composer revised the "old" (previously considered unshakable) canons of tonality.

Among Russian musicians, Wagner's friend A. N. Serov was an expert and propagandist. N. A. Rimsky-Korsakov, who publicly criticized Wagner, nevertheless experienced (especially in later work) Wagner's influence in harmony, orchestral writing, and musical dramaturgy. Valuable articles about Wagner were left by a major Russian musical critic G. A. Larosh. In general, "Wagnerian" is more directly felt in the works of "pro-Western" composers. Russia XIX century (for example, A. G. Rubinshtein) than representatives of the national school. The influence of Wagner (musical and aesthetic) is noted in Russia in the first decades of the 20th century, in the works of A. N. Scriabin. In the west, the so-called Weimar school (self-name - New german school), which developed around F. Liszt in Weimar. Its representatives (P. Cornelius, G. von Bülow, I. Raff and others) supported Wagner, primarily in his desire to expand the scope musical expressiveness(harmony, orchestral writing, operatic dramaturgy).

Among Western composers influenced by Wagner are Anton Bruckner, Hugo Wolf, Claude Debussy, Gustav Mahler, Richard Strauss, Bela Bartok, Karol Szymanowski, Arnold Schoenberg (in early work). The reaction to the cult of Wagner was the “anti-Wagnerian” tendency that opposed itself to him, major representatives which were the composer Johannes Brahms and musical aesthetic E. Hanslik, who defended the immanence and self-sufficiency of music, its unconnectedness with external, non-musical "irritants"

In Russia, anti-Wagnerian sentiments are characteristic of the national wing of composers, primarily M. P. Mussorgsky and A. P. Borodin. The attitude towards Wagner among non-musicians (who evaluated not so much Wagner's music as his contradictory statements and his "aestheticizing" publications) is ambiguous. For example, Friedrich Nietzsche wrote in his article "Casus Wagner":

Was Wagner a musician at all? In any case, he was more than something else ... His place is in some other area, and not in the history of music: he should not be confused with its great true representatives. Wagner and Beethoven are blasphemy…” According to Thomas Mann, Wagner “saw in art a sacred occult action, a panacea against all the sores of society…”.

The musical creations of Wagner in the XX-XXI centuries continue to live on the most prestigious opera stages, not only Germany, but the whole world (with the exception of Israel).Wagner wrote Der Ring des Nibelungen with little hope that a theater would be found that could stage the whole epic and convey its ideas to the listener. However, contemporaries were able to appreciate its spiritual necessity, and the epic found its way to the viewer. The role of the "Ring" in the formation of the German national spirit cannot be overestimated. IN mid-nineteenth the century when the "Ring of the Nibelung" was written, the nation remained divided; the Germans remembered the humiliation of the Napoleonic campaigns and the Vienna treaties; recently a revolution thundered that shook the thrones of the appanage kings - when Wagner left the world, Germany was already united, became an empire, the bearer and center of all German culture. The "Ring of the Nibelung" and the work of Wagner as a whole, although not the only one, was for the German people and for the German idea that mobilizing impetus that forced politicians, the intelligentsia, the military and the whole society to unite.

In 1864, having achieved the favor of the Bavarian king Ludwig II, who paid his debts and supported him further, he moved to Munich, where he wrote comic opera"The Nuremberg Mastersingers" and the last two parts of the Ring of the Nibelungs: "Siegfried" and "The Death of the Gods". In 1872, the laying of the foundation stone for the House of Festivals took place in Bayreuth, which opened in 1876. Where the premiere of the tetralogy Ring of the Nibelungen took place on August 13-17, 1876. In 1882, the mystery opera Parsifal was staged in Bayreuth. In the same year, Wagner left for Venice for health reasons, where he died in 1883 of a heart attack. Wagner is buried in Bayreuth.

World's Greatest Composers of All Time: Chronological and Alphabetical Listings, References and Works

100 Great Composers of the World

List of composers in chronological order

1. Josquin Despres (1450-1521)
2. Giovanni Pierluigi da Palestrina (1525-1594)
3. Claudio Monteverdi (1567 -1643)
4. Heinrich Schütz (1585-1672)
5. Jean Baptiste Lully (1632-1687)
6. Henry Purcell (1658-1695)
7. Arcangelo Corelli (1653-1713)
8. Antonio Vivaldi (1678-1741)
9. Jean Philippe Rameau (1683-1764)
10. Georg Handel (1685-1759)
11. Domenico Scarlatti (1685 -1757)
12. Johann Sebastian Bach (1685-1750)
13. Christoph Willibald Gluck (1713-1787)
14. Joseph Haydn (1732 -1809)
15. Antonio Salieri (1750-1825)
16. Dmitry Stepanovich Bortnyansky (1751-1825)
17. Wolfgang Amadeus Mozart (1756 –1791)
18. Ludwig van Beethoven (1770 -1826)
19. Johann Nepomuk Hummel (1778 -1837)
20. Nicollo Paganini (1782-1840)
21. Giacomo Meyerbeer (1791 -1864)
22. Carl Maria von Weber (1786 -1826)
23. Gioacchino Rossini (1792 -1868)
24. Franz Schubert (1797 -1828)
25. Gaetano Donizetti (1797 -1848)
26. Vincenzo Bellini (1801 –1835)
27. Hector Berlioz (1803 -1869)
28. Mikhail Ivanovich Glinka (1804 -1857)
29. Felix Mendelssohn-Bartholdy (1809 -1847)
30. Fryderyk Chopin (1810 -1849)
31. Robert Schumann (1810 -1856)
32. Alexander Sergeevich Dargomyzhsky (1813 -1869)
33. Franz Liszt (1811 -1886)
34. Richard Wagner (1813 -1883)
35. Giuseppe Verdi (1813 -1901)
36. Charles Gounod (1818 -1893)
37. Stanislav Moniuszko (1819 -1872)
38. Jacques Offenbach (1819 -1880)
39. Alexander Nikolaevich Serov (1820 -1871)
40. Cesar Franck (1822 -1890)
41. Bedrich Smetana (1824 -1884)
42. Anton Bruckner (1824 -1896)
43. Johann Strauss (1825 -1899)
44. Anton Grigorievich Rubinstein (1829 -1894)
45. Johannes Brahms (1833 -1897)
46. ​​Alexander Porfiryevich Borodin (1833 -1887)
47. Camille Saint-Saens (1835 -1921)
48. Leo Delibes (1836 -1891)
49. Mily Alekseevich Balakirev (1837 -1910)
50. Georges Bizet (1838 -1875)
51. Modest Petrovich Mussorgsky (1839 -1881)
52. Pyotr Ilyich Tchaikovsky (1840 -1893)
53. Antonin Dvorak (1841 -1904)
54. Jules Massenet (1842 -1912)
55. Edvard Grieg (1843 -1907)
56. Nikolai Andreevich Rimsky-Korsakov (1844 -1908)
57. Gabriel Fauré (1845 -1924)
58. Leos Janacek (1854 -1928)
59. Anatoly Konstantinovich Lyadov (1855 -1914)
60. Sergei Ivanovich Taneev (1856 -1915)
61. Ruggero Leoncavallo (1857 -1919)
62. Giacomo Puccini (1858 -1924)
63. Hugo Wolf (1860 -1903)
64. Gustav Mahler (1860 -1911)
65. Claude Debussy (1862 -1918)
66. Richard Strauss (1864 -1949)
67. Alexander Tikhonovich Grechaninov (1864 -1956)
68. Alexander Konstantinovich Glazunov (1865 -1936)
69. Jean Sibelius (1865 -1957)
70. Franz Lehár (1870–1945)
71. Alexander Nikolaevich Skryabin (1872 -1915)
72. Sergei Vasilyevich Rachmaninov (1873 -1943)
73. Arnold Schoenberg (1874 -1951)
74. Maurice Ravel (1875 -1937)
75. Nikolai Karlovich Medtner (1880 -1951)
76. Bela Bartok (1881 -1945)
77. Nikolai Yakovlevich Myaskovsky (1881 -1950)
78. Igor Fedorovich Stravinsky (1882 -1971)
79. Anton Webern (1883 -1945)
80. Imre Kalman (1882 -1953)
81. Alban Berg (1885 -1935)
82. Sergei Sergeevich Prokofiev (1891 -1953)
83. Arthur Honegger (1892 -1955)
84. Darius Millau (1892 -1974)
85. Carl Orff (1895 -1982)
86. Paul Hindemith (1895 -1963)
87. George Gershwin (1898–1937)
88. Isaak Osipovich Dunayevsky (1900 -1955)
89. Aram Ilyich Khachaturian (1903 -1978)
90. Dmitry Dmitrievich Shostakovich (1906 -1975)
91. Tikhon Nikolaevich Khrennikov (born in 1913)
92. Benjamin Britten (1913 -1976)
93. Georgy Vasilievich Sviridov (1915 -1998)
94. Leonard Bernstein (1918 -1990)
95. Rodion Konstantinovich Shchedrin (born in 1932)
96. Krzysztof Penderecki (b. 1933)
97. Alfred Garievich Schnittke (1934 -1998)
98. Bob Dylan (b. 1941)
99. John Lennon (1940-1980) and Paul McCartney (b. 1942)
100. Sting (b. 1951)

MASTERPIECES OF CLASSICAL MUSIC

The most famous composers in the world

List of composers in alphabetical order