The consensus is probably that no.24 with its great variations movement is the finest. After that I’d go for 27 and 23
What is your favorite composition of all time? (Try to pick one definitive answer)
81 - 100 of 138 Posts
Joined
·
98 Posts
Wow! What fun to read thru everyone's favorites. And what variety! In some ways I agree with those who said it was too difficult to pick just one or that it mattered what day it was.
For me, it was Mahler's 8th for years. But a few years ago I began really listening to Beethoven's Missa Solemnis, and and have come to realize that it is probably one of the most beautiful compositions ever written. What a supreme masterpiece. It's funny, people always point out that Beethoven was deaf when he wrote his 9th, but, for me, the 9th, although great, just isn't in the same league as his Missa Solemnis, and he was deaf when he wrote it! There are so many sublime moments. And the chorus is instructed to "shout" at the end of the Gloria! What joy!
So, it's Beethoven's Missa Solemnis as my #1 favorite with Mahler's 8th as a close second and Sibelius Kullervo as a firm 3rd. Oh, I could go on, but I won't.
For me, it was Mahler's 8th for years. But a few years ago I began really listening to Beethoven's Missa Solemnis, and and have come to realize that it is probably one of the most beautiful compositions ever written. What a supreme masterpiece. It's funny, people always point out that Beethoven was deaf when he wrote his 9th, but, for me, the 9th, although great, just isn't in the same league as his Missa Solemnis, and he was deaf when he wrote it! There are so many sublime moments. And the chorus is instructed to "shout" at the end of the Gloria! What joy!
So, it's Beethoven's Missa Solemnis as my #1 favorite with Mahler's 8th as a close second and Sibelius Kullervo as a firm 3rd. Oh, I could go on, but I won't.
Also try 17.
Joined
·
37,452 Posts
Yes, no. 17 is my favorite Mozart piano concerto. Other favorites are nos. 9/19/20/24.
Joined
·
2,439 Posts
Both the Missa solemnis and the 9th have passages where one might wonder if Beethoven was in fact impaired by his deafness because of the extreme vocal demands (although he did this for instruments long before and also in Fidelio when he could still hear well) and the density of combined orchestral/vocal forces that makes it almost impossible to hear half what is going on and tends to overwhelm the listener (and I think the Missa is "worse" in the last respect). BUT they have also passages that are among the most refined, colorful and sublime in sheer sound in all Beethoven, such as the Benedictus with the violin solo, so this seems to show that he was not really impaired.
I remember only that either 17 or 18 was very fine— probably was 17 then
Joined
·
2,439 Posts
They are both very good, but 17 K 453 is considerably and maybe justifiedly more famous; it figures in one of Bernstein's talks or essays (and I think he recorded only this one and #15 K 450).
Joined
·
1,228 Posts
Historically my favourite composition has been Mahler's Symphony No. 2.
Joined
·
1,945 Posts
Without thinking about it too much:
Brahms - Piano Trio 1
Brahms - Piano Trio 1
Joined
·
1,945 Posts
This might be sacrilege, but while I do love the Clarinet Quintet, there are numerous other Brahms chamber works I find myself returning to more frequently, including all of the other clarinet pieces (the op. 120 sonatas and the op. 114 trio). But that said, Brahms's chamber works probably account for about a quarter of my classical listening these days, so it's a high bar
.
Joined
·
288 Posts
Can anyone explain why some of Beethoven’s compositions, especially his later works such as certain piano sonatas and string quartets are only referred to by their opus number? I don’t see that happening as frequently with any other composer except maybe Mozart. But isn’t it easier to remember something as piano sonata no. 32?
Joined
·
1,079 Posts
I love the sharpness and precision of Boulez/Zimerman which is definitely my go-to recording. However, t I wouldn't want to go without Fischer/Schiff or Fricsay/Anda either. The piece is a tough nut to crack for the performes, so I suggest listening to verious recordings in order to hear different sides of it!
Joined
·
1,740 Posts
The G minor one? I love that one too, on the piano.
As to the OP, it is impossible to choose just one. It's like asking to pick a favourite child. But among the contenders would be:
Bach Goldberg
Bach WTC (both books)
Beethoven 3 symphony
Beethoven 4 symphony
Beethoven 5 symphony
Beethoven 7 symphony
Beethoven Waldstein
Beethoven SQ 14
Brahms 3 symphony
Brahms 4 symphony
Sibelius 5 symphony
Sibelius 7 symphony
I have a hard time deciding which of those I like better than the others. Each of them gives me enormous pleasure.
Joined
·
2,439 Posts
For many/most people it is in fact easier to use opus numbers for Beethoven and K numbers for Mozart. It's mostly convention and habit but it also adds a bit of information, i.e. roughly the neighborhood of pieces in other genres like op.53 Waldstein sonata, op.54 piano sonata, op.55 Eroica symphony, op. 56 triple concerto, op.57 Appassionata sonata, op.58 piano concerto #4, op.59-1-3 Razumovsky quartets etc.
And because of the "misnumbering" of quartets 13,14,15 I am always confused about the numbers but never about what is op.132,130,131.
81 - 100 of 138 Posts
Join the discussion
