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The 30 Greatest Orchestral Works

The 30 Greatest Orchestral Works

Professor Robert Greenberg Ph.D.
San Francisco Performances
Course No.  7330
Course No.  7330
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Course Overview

About This Course

32 lectures  |  46 minutes per lecture

From the majesty of Baroque and Classical era masterpieces to the daring visions of modernism, orchestral music is undoubtedly one of the supreme artistic traditions of Western culture. And, over the centuries, this amazing medium has given us a special category of works that stand apart from the rest as transcendent expressions of the human spirit.

These "greatest of the great" orchestral pieces share several compelling features:

  • They have the uncanny ability to express humanity's dreams, struggles, tragedies, and triumphs in the most stunning and unforgettable terms.
  • They ingeniously challenged, at the time of their creation, the traditional forms and conceptions of orchestral composition, extending both the creative resources available to composers and the expressive content of the music itself.
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From the majesty of Baroque and Classical era masterpieces to the daring visions of modernism, orchestral music is undoubtedly one of the supreme artistic traditions of Western culture. And, over the centuries, this amazing medium has given us a special category of works that stand apart from the rest as transcendent expressions of the human spirit.

These "greatest of the great" orchestral pieces share several compelling features:

  • They have the uncanny ability to express humanity's dreams, struggles, tragedies, and triumphs in the most stunning and unforgettable terms.
  • They ingeniously challenged, at the time of their creation, the traditional forms and conceptions of orchestral composition, extending both the creative resources available to composers and the expressive content of the music itself.
  • They remain hallmarks of the orchestral repertoire and continue to transfix audiences, not infrequently in the face of carping by critics and musicologists.

In The 30 Greatest Orchestral Works, Great Courses favorite Professor Robert Greenberg of San Francisco Performances takes you on a sumptuous grand tour of the symphonic pieces he counts, as a highly respected composer and music historian, as being among the very greatest ever written—inviting you to an in-depth contemplation of what makes these works so memorable, and why they live at the center of our musical culture. These 30 masterworks form an essential foundation for any music collection and a focal point for understanding the orchestral medium and deepening your insight into the communicative power of music. While seasoned music lovers will find the lectures a fascinating and revealing journey through the repertoire, the course welcomes newcomers to orchestral music, offering a very accessible point of entry to this magnificent repertoire.

A Deep and Far-Ranging Exploration

In 32 richly detailed lectures, you encounter symphonies, concerti, tone poems, symphonic poems, and suites, covering over 200 years of music history and delving into the works through extensive musical excerpts. As a broad-based exploration of the literature, the course covers the major eras and stylistic periods in Western music from the early 18th to the mid-20th centuries and highlights a wide range of European and American composers. With his trademark brilliance as a lecturer, Professor Greenberg guides you in a direct and dynamic engagement with the music, opening you to the profound enjoyment and meanings of these landmark creations. In the design of the course, each lecture is a stand-alone entity. You can enjoy the lectures in sequence, as a full musical-historical survey, or use them individually, as preconcert talks or audio program notes.

The Heights of an Astonishing Repertoire

The 30 focal works of the course expose you to an extraordinary diversity of style and expression. Your journey through the literature includes these masterpieces:

  • Haydn's Symphony no. 104: Penned by the "father of the symphony," Haydn's no. 104 stands as a glorious realization of the Viennese Classical style. Compared on its premiere to "what Apollo and the Muses compose," you study the elements of Haydn's mature symphonic writing and its superlative balance of head and heart.
  • Beethoven's Ninth Symphony: Living at the pinnacle of Western art, Beethoven's magnum opus redefined the genre of the symphony, daringly incorporating solo voices, chorus, and poetry. You study its dramatic, grand-scale musical narrative, leading through heroic/tragic struggle to its ultimate, utopian vision of the future.
  • Dvorák's Concerto for 'Cello: The passionate lyricism of the solo 'cello, the symphonic richness, and deep intimacy of its writing make this one of the great monuments of the repertoire. You contemplate its brilliant musical architecture, its haunting beauty, and its poignant personal meanings to the composer.
  • Strauss's Thus Spoke Zarathustra: Richard Strauss's magisterial tone poem, based on Friedrich Nietzsche's poetic/philosophic masterpiece, is a sonic canvas of awe-inspiring power. You delve into Strauss's hypnotic rendering of Nietzsche's "sermons," incarnating the spiritual quest of the ancient Persian sage.
  • Stravinsky's The Rite of Spring: This explosive, revolutionary work, written for the celebrated Ballets Russes, caused a riot at its premiere in 1913. You uncover the mold-breaking compositional techniques that made this the single most influential musical creation of its time.
  • Shostakovich's Symphony no. 5: A smoldering response to the political terror under Joseph Stalin, Shostakovich's deception of the Soviet authorities allowed this work to be heard, to devastating effect. You grasp the musical means whereby Shostakovich managed to "speak" unforgettably of the unspeakable.

A Dynamic Grappling with Musical Substance

At the heart of the course, you experience each of the 30 works in a fresh and direct investigation of the music. Importantly, you learn about the major musical forms found in orchestral writing and how they're used in conveying expressive meanings. The primary forms include these:

  • Ritornello: A refrain-type form in which a musical theme is stated and then returns periodically in fragments
  • Minuet and Trio: An A-B-A musical form in which a minuet (a stately dance) is presented, followed by a contrasting minuet or "trio," and concluding with a return to the original
  • Sonata: A structure in which two or more contrasting musical themes are presented, creatively explored, and ultimately reconciled to each other.

Knowing how these forms work offers two critical benefits: One, it allows you to grasp the structure of the music as you hear it, giving you a solid basis for deeper, nuanced listening. Two, understanding these forms allows you to appreciate, in specific musical terms, how the greatest composers used them, extended them, and finally departed from them in sublimely original ways. And it's here, in the rich details of composition and expressive substance, that you witness the genius and the human greatness of this music.

In Strauss's Zarathustra, you take apart the structure of the famous "Nature theme," grasping the harmonic elements that make this one of the most monumental passages in the repertoire.

In Beethoven's radical Symphony no. 3, you see how a single four-phrase theme creates a masculine "character"—a musical "personality" that carries within it both heroic affirmation and the seeds of ruin and despair.

In Charles Ives's Three Places in New England, you study the composer's deeply evocative musical "landscape," poetically imbued with echoes of American folk song.

Rich Contexts, Culture, and History

As another core element of the course, Professor Greenberg develops a full and layered background for each work, taking you deeply into the composers' lives, the circumstances of their works' creation, and the evolutionary unfolding of music history. You learn how Haydn's and Mozart's music embodied the philosophical ideals of the Enlightenment, and how Beethoven forged a path of personal expression that fired the spirit of Romanticism. You learn, perhaps surprisingly, that many of these symphonic works were directly influenced by political events, including the currents of nationalism that shaped the music of Smetana, Tchaikovsky, and Debussy.

While we may think of concert music as highly abstract, Professor Greenberg uncovers numerous concrete meanings that drive these works, giving you deeper access to them as a listener. You study the musical narrative of many "program" (storytelling) symphonic works, from Vivaldi's depiction of the forces of nature in The Four Seasons to Smetana's evocation of Bohemian landscapes to Rimsky-Korsakov's sensuous tales from The Arabian Nights. And you discover personal, interior meanings: Schumann's mystical awe of Catholic ritual, which permeates his "Rhenish" Symphony; the deep personal loss behind the sublime coda of Dvorák's Concerto for Cello; Gustav Mahler's meditation on death, grieving, and rebirth in his Symphony no. 5.

Musical Creation and Human Genius

Finally, in Professor Greenberg's incisive presentation, your encounter with these works unfolds as a simply incredible story—a story of fierce struggle and aspiration, of unyielding commitment to grand ideals, and of the vulnerable human vehicles of great art. You ponder Mozart's desperate circumstances as he scrawled out the great "Jupiter" symphony, and Beethoven's artistic self-reinvention out of suicidal despair. You hear of the young Franz Schubert's poignant dying wish, of Schumann's descent into madness, and of Tchaikovsky's inner torment that found release in his Symphony no. 4.

You trace Rachmaninoff's triumphant comeback from devastating failure, and you see how Shostakovich drilled his own signature, "spelled" with musical tones, into his Symphony no. 10, defiantly declaring his survival from a murderous political regime.

With his rare combination of musical and historical insight, Professor Greenberg offers you a uniquely memorable gift: He brings alive, in visceral and penetrating terms, the amazing human dimensions of these incomparable works and their writing. In The 30 Greatest Orchestral Works you encounter both the works themselves, in their phenomenal power and beauty, and also that fragile interface—alternately astounding, mystifying, and heart-rending— between flesh-and-blood musical geniuses and their creations that stand among the most universal and revelatory expressions of the spirit. Join one extraordinary teacher in experiencing these works that speak to and reveal the finest, the most life-giving, and the most visionary in ourselves.

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32 Lectures
  • 1
    Game Plan and Preliminaries
    What defines a great orchestral work? Is it a piece’s enduring expressive impact? Its compositional achievements? Find answers in this lecture, which tracks the evolution of the orchestra from its beginnings in accompanying operas to its flowering as a free-standing artistic medium. Then define the stylistic eras you’ll encounter in this course, survey the seven predominant musical forms used in orchestral writing, and look at orchestral “genres” such as the symphony, concerto, and tone poem. x
  • 2
    Vivaldi—The Four Seasons
    Antonio Vivaldi ranks as one of the great geniuses of concerto writing, and The Four Seasons is one of his most enduring masterpieces. Start by exploring Vivaldi’s life and musical innovations in Baroque-era Venice. Then, delve into the four separate concertos of The Four Seasons, depicting humanity’s relationship to nature. Using extensive musical examples, study Vivaldi’s dynamic use of the solo violin and orchestral textures to evoke the characteristics of spring, summer, autumn, and winter. x
  • 3
    Bach—Brandenburg Concerto No. 2
    Follow Bach’s career as he navigates the challenges of musical life in Baroque Germany. Also learn about the writing, loss, and rediscovery of the six beloved Brandenburg Concerti. In the Brandenburg No. 2’s opening movement, discover Bach’s brilliant interpretation of ritornello form, using four solo instruments in complex interactions with each other and the orchestra. Study key passages of the second-movement “nocturne” and the majestic concluding fugue, with its echoes of the ritornello theme. x
  • 4
    Bach—Violin Concerto in E Major
    In reviewing contemporary criticism of Bach’s music, reflect on the ways in which the very originality and complexity we prize in Bach made him controversial in his own time. Highlighting the first two movements of the E Major violin concerto, see how Bach pushes the limits of both ritornello and passacaglia forms, transcending the episodic nature of these forms to create a compelling sense of dramatic narrative. x
  • 5
    Haydn—Symphony No. 104
    Learn about Haydn’s “on the job” musical education, his illustrious life in the court of Prince Nikolaus Esterházy, and the creation of his celebrated “London” symphonies. In his great, final symphony, grasp important elements of Haydn’s masterful symphonic writing. Study his creation of contrast and variety from a minimum of thematic strands, the lilting elegance and beauty of the inner movements, and the intertwining themes of the finale. x
  • 6
    Mozart—Piano Concerto No. 24 in C Minor
    Consider Mozart’s relationship with the piano concerto, where his urge to self-expressive originality became a prime moving force. Explore the jarring opening theme, Mozart’s use of the piano as an “operatic” character, and the ways in which he breaks the conventions of Classical style. Uncover the structure of the exquisite larghetto and of the final theme and variations, ending the work in a dramatic dialogue between soloist and orchestra. x
  • 7
    Mozart—Symphony in C Major, “Jupiter”
    Ponder Mozart’s astounding facility for composing, as he routinely “wrote” masterworks entirely in his head. Continue with the circumstances surrounding the creation of his renowned final symphonies, amid great personal hardships. In the “Jupiter” symphony, take apart the thematic structure of the first and final movements, grasping Mozart’s extraordinary inventiveness with sonata form, which unites “masculine” and “feminine” melodic material and a huge diversity of musical interplay in a joyously expressive whole. x
  • 8
    Beethoven—Symphony No. 3
    Beethoven’s Eroica symphony is deeply linked to critical events in his life. Reflect on his identification and later disillusionment with Napoleon, and his “heroic” self-reinvention following the overwhelming trauma of his hearing loss. Study the narrative arc of the Third Symphony and the brilliant musical means by which Beethoven expresses heroic struggle in the first movement, followed by death, rebirth, and final apotheosis, as the composer dramatically reconceives both himself and the spirit of Western music. x
  • 9
    Beethoven—Piano Concerto No. 4
    Consider Beethoven’s explosive impact on Vienna as a pianist and the thought process that led to his innovations in this concerto. See how he creates a melodically splendorous opening movement by introducing the solo piano alone and altering the traditional “exposition” form. Across all three movements, witness how Beethoven uses the full symphonic resources of the orchestra while establishing the piano as a full and equal expressive partner. x
  • 10
    Beethoven—Symphony No. 9
    Learn about three critical moments where Beethoven “reinvented” himself in the face of terrible hardships, leading to his redefining the genre of the symphony in this historic, monumental work. Study the Ninth Symphony’s musical architecture and dramatic narrative, from its depiction of the struggle between the heroic and the tragic to the final resolution of that struggle in a utopian vision of the future, realized in the celestial “Ode to Joy.” x
  • 11
    Schubert—Symphony No. 9
    In the brief life of Franz Schubert, contemplate the composer’s astonishing creative output, the interconnections between Schubert and Beethoven, and the effect on Schubert’s music of his tragic ordeal with syphilis. Savor the musical treasures of the “grand” Ninth Symphony, including the melodically original introduction, the vivacious scherzo, and the majestic finale, fusing Classical lyricism with tremendous expressive power. x
  • 12
    Mendelssohn—“Italian” Symphony
    Mendelssohn’s record as a musical prodigy—surpassing even Mozart—played an ironic role in his later life. Regarding this symphony, track the “Mendelssohn problem,” the controversial perception that his mature style showed an increasing conservatism. Through the four movements of this work, find the heart of Mendelssohn’s extraordinary musical voice—its lyric beauty, formal lucidity, and ideal of communicative directness. x
  • 13
    Schumann—Symphony No. 3
    Trace the movement of Romanticism as it shaped Robert Schumann. Also learn about the “program” or storytelling symphony, and about Schumann’s fascination with the landscape and history of Germany’s Rhineland. In his Third Symphony, experience the rich textures of Schumann’s impressions of the Rhine and the life surrounding it, highlighting the warm grandeur of the opening theme, the fourth movement’s evocation of Cologne’s Cathedral, and the glowing, exuberant finale. x
  • 14
    Brahms—Symphony No. 4
    Investigate the difficult unfolding of Brahms’s career, complicated by Schumann’s early pronouncement that Brahms was the new messiah of German music. In the celebrated Fourth Symphony, track Brahms’s genius in the opening movement, with its endless metamorphosis of a single musical idea, and in the final passacaglia, where he uses a restricting, Baroque-era form as the foundation of a resplendent Romantic vision. x
  • 15
    Brahms—Violin Concerto
    First, trace important elements of Brahms’s development, including his fanatical perfectionism, the damaging circumstances of his early musical life, and his bond with the violinist Joseph Joachim, who played a critical role in the creation of the Violin Concerto. Among the concerto’s riches, hear Brahms’s brilliant structuring of the opening movement, giving the violin the chance to gloriously elaborate the main themes. Savor the aria-like lyricism of the adagio and the hot-blooded gypsy heart of the finale. x
  • 16
    Tchaikovsky—Symphony No. 4
    The musical content of Tchaikovsky’s Fourth Symphony, mirroring events in his life, is directly explained in his letters. As background, reflect on his difficult youth, his disastrous marriage, and the pivotal support of his longtime benefactress. Through his letters, chart the symphony’s narrative “story,” from the struggle against relentless fate in the first movement, told through dramatically contrasting musical material, to the passionately affirmative finale, which incorporates a deeply symbolic Russian folk song. x
  • 17
    Tchaikovsky—Violin Concerto
    Here, investigate key elements of Tchaikovsky’s musical sensibility: his adherence to Western compositional principles, his Slavic temperament, and his dazzling melodic gifts. In the Violin Concerto’s opening, hear his soaring use of the solo instrument and his unusual interpretation of sonata form, allowing him to bask in the central theme through creative restatement and variations. Then, enjoy the pyrotechnical rondo, a supreme achievement in violin writing. x
  • 18
    Bedrich Smetana—Má Vlast
    Written by the “father” of Czech music, the grand symphonic poem Má Vlast evokes Bohemia’s landscape, history, and people. Learn about Smetana’s life in turbulent political times, and his role in the “musical nationalism” that sought an authentic Czech musical style. Focusing on four of the six movements, hear Smetana’s extraordinary tonal “painting,” his precise musical evocation of historical events, the great Vlatava River, and the majesty of the Bohemian countryside. x
  • 19
    Dvorák—Symphony No. 8
    Another Czech icon, Dvorák melded the forms of Classicism with the expressive thrust and nationalist spirit of Romanticism. In the symphony’s opening, study the tonal shifts between major and minor—a hallmark of Czech folk music—as well as the composer’s evocative use of birdsong. Discover Dvorák’s unique voice in the enigmatic expressive extremes of the funeral march, the singular beauty of the third movement, and the melodically compelling theme and variations. x
  • 20
    Dvorák—Concerto for ’Cello
    Learn about Dvorák’s life in 1890s New York and the origins of this superlative work, inspired by the ‘cello writing and symphonic textures of Victor Herbert’s second ‘cello concerto. Explore unforgettable passages and personal meanings in the Dvorák concerto, including the solemnity and lyric passion of the opening, the idyllic second theme, and the intimate significance to the composer of the adagio and the concerto’s final moments. x
  • 21
    Rimsky-Korsakov—Scheherazade
    Nicolai Rimsky-Korsakov played a pivotal role in the development of Russian concert music in the 19th century. Learn about his unusual entry into Russian musical life, his vast influence as a teacher, and the literary base of Scheherazade. In this tour-de-force of program music, study the musical “voices” of the Persian princess Scheherazade, the despotic Sultan Shahryar, and the sonic unfolding of four exotic Persian folk tales. x
  • 22
    Richard Strauss—Thus Spoke Zarathustra
    Strauss’s majestic tone poem is based on the philosophical masterwork of Friedrich Nietzsche. Begin by tracing Strauss’s musical education, his points of connection with Nietzsche, and the philosophical underpinnings of Nietzsche’s work. In Strauss’s musical rendering, grasp the structure of the famous “Nature theme” and follow Strauss’s interpretation of eight “sermons” from Nietzsche’s original, dramatizing the sage Zarathustra’s quest to enlighten and elevate humanity. x
  • 23
    Mahler—Symphony No. 5
    This groundbreaking work fuses the musical language of Romanticism with an entirely modern expressive content. Explore Mahler’s cultural milieu (including the influence of Freud and the ethos of Expressionism) as he develops the symphony as a medium for philosophical/spiritual contemplations. Track the Fifth Symphony’s unusual musical narrative, which depicts the rituals of death and the progressive states of the grieving process—its penetrating evocation of sadness, grief, intimate serenity, and ultimate rebirth. x
  • 24
    Rachmaninoff—Symphony No. 2
    Rachmaninoff’s music is controversial, both for its independence from the modernism of his times and for its popularity in the face of criticism from scholars. In this symphony, investigate the opening melodic idea, as it ingeniously infuses successive themes throughout the work. Experience Rachmaninoff’s richly beautiful melodic art and orchestration, and grasp his brilliant thematic “architecture,” linking each movement to preceding elements. x
  • 25
    Debussy—La Mer
    Debussy’s revolutionary music flowed from his fascination with timbres and colors of sound, as well as from the movement to create an authentically French music that followed the Franco-Prussian War. In La Mer (The Sea), enter the world of Debussy’s dazzling musical language; his sensuous instrumental textures depicting the shimmering play of light and color, the surging motion and awesome natural force of the oceans. x
  • 26
    Stravinsky—The Rite of Spring
    Created for the legendary Ballets Russes, this trailblazing score was the single most influential musical work of its time. Learn about Stravinsky’s development as a composer, his “discovery” by the theater impresario Diaghilev, and the genesis of the Rite. In the work’s two parts, see how Stravinsky incarnates Bronze Age tribal rituals and the creative power of Spring, by studying his use of musical effects including “accumulation,” asymmetrical rhythmic accents, and bitonal sonorities. x
  • 27
    Saint-Saëns—Symphony No. 3
    As a prodigy who began playing the piano at age two, Camille Saint-Saëns’s musical life spanned the decades of the post-Beethoven era to the beginning of the jazz era. Learn why Saint-Saëns—one of the most popular composers of his time—is often misrepresented as an arch-conservative who never lived up to his potential, and examine how his Danse macabre achieves its intentionally devilish effect. Conclude with an analysis of his four-movement Symphony no. 3 in C Minor, a piece generally considered his great orchestral masterwork. x
  • 28
    Holst—The Planets
    Holst’s popular symphonic suite enchants through its exquisite orchestration, sheer tonal beauty, and expressive directness. Your investigation assesses the character of Holst the man, his music, and the astrological basis of this work’s conception. In the suite’s seven “mood pictures,” identify each movement’s core thematic material and the way each depicts the zodiacal character of the individual planets, from the warlike fury of ”Mars” to the ineffable mysticism of ”Neptune.” x
  • 29
    Copland—Appalachian Spring
    In approaching this extraordinary work, trace the development of American concert music and the economic, social, and political reasons it emerged only in the 20th century. Learn also about Copland’s influences and his desire to create a distinctly American musical voice. In the concert version of this ballet score, study the elements of Copland’s unique style—his widely spaced melodies, “Stravinskyan” rhythms, and folklorist colorings—movingly evoking a rural couple’s rite of passage into married life. x
  • 30
    Shostakovich—Symphony No. 5
    The writing of Shostakovich’s Fifth Symphony was inextricably linked to the horrific political repression in Russia under Stalin and the terror of the composer’s condemnation by the Soviet authorities. Grasp his philosophical-artistic triumph in this symphony—its menacing representation of brutality in the opening, its impassioned third movement, and psychologically harrowing finale, communicating through music what could not be spoken without risking death or exile. x
  • 31
    Shostakovich—Symphony No. 10
    Track the murderous postwar purges by the Soviet government, Shostakovich’s second political condemnation, and the writing of the Tenth Symphony in the wake of Stalin’s death. In the symphony’s metaphoric confrontation between the artist and the despot, experience Shostakovich’s self-revelation in the first movement, his wrenching depiction of Stalin, and the poignant recurrence of his own musical “signature”—its implacable, visceral proclamation that, after everything, “I am alive!” x
  • 32
    The Ones That Got Away
    Finally, reflect on the rich scope of the orchestral literature. In concentrated excerpts, taste the greatness of Hindemith’s Mathis der Maler and of symphonies by Bizet, Prokofiev, William Walton, and Ralph Vaughn Williams. Conclude with Professor Greenberg’s proposals for surmounting the survival challenges facing modern orchestras—the specific actions available to orchestral managements, conductors, composers, the media, and the public itself in seeding new music and safeguarding the magnificent orchestral tradition. x

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Robert Greenberg
Ph.D. Robert Greenberg
San Francisco Performances

Dr. Robert Greenberg is Music Historian-in-Residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in Music Composition from the University of California, Berkeley. He has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy, and the Netherlands.

He has served on the faculties of the University of California, Berkeley; California State University, Hayward; and the San Francisco Conservatory of Music, and has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony, the Lincoln Center for the Performing Arts, the Van Cliburn Foundation, and the Chicago Symphony. For The Great Courses, he has recorded more than 500 lectures on a range of composers and classical music genres.

Professor Greenberg is a Steinway Artist. His many other honors include three Nicola de Lorenzo Composition Prizes and a Koussevitzky commission from the Library of Congress. He has been profiled in various major publications, including The Wall Street Journal; Inc. magazine; and the London Times.

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Reviews

Rated 4.8 out of 5 by 27 reviewers.
Rated 5 out of 5 by Early into course, but enjoying it immensely! So, I am early into the course now, at lecture 3, Bach, Brandenberg Concerto. This is so enjoyable that I went back in with my father's email, made him an account and purchased the course again for him! The reason that I am so excited and want to post a good review is that I purchased a Great Course on music many years ago and found the presentation dry, academic, slow and simply uninteresting making the content inaccessible for my purposes. I tried 2 courses back then, it was about 15 or so years back. The writers at the weblog, Maggie's Farm, recently wrote a review of the Great Courses and so I was convinced to try again. Oho, well, times have changed and the presentation style has changed. Professor Greenberg is fabulous and this is a wonderful course full of, of course, music information, but so much more about the composers and the times. All of this is presented with enthusiasm and, yes, joy, that is so fun; I am a fan! Thank you, thank you, Professor Greenberg. November 14, 2014
Rated 4 out of 5 by An Entertaining Aural Experience Overall, a favorable rating with several pluses and one minus. First the pluses. Professor Greenberg is a superb instructor. He is erudite, well spoken and a great communicator. His jokes, cringe-worthy at times, do provide an appealing comic relief that makes the material less "highbrow". Some reviewers were not enthralled, but I ABSOLUTELY LOVED the biographical backgrounds of the composers. For me, this information provided a historical perspective that led to a greater appreciation of the composer's music and the times in which that music was crafted. Now the one minus, but it is a big one: there was comparatively little time devoted to hearing the chosen selections. Ten to twelve minutes of music in a forty-five minute lecture is not nearly enough time for the music itself. In order to have more time for music, two suggestions: less reliance on quotes and less technical explanation. While the quotes do provide context, having seven, eight (or more) quotes to illuminate a particular composer may be appropriate for a scholarly treatise, but not a survey course. Similarly, some of the music specifics....for example: this interval is a perfect fourth, or the exposition theme begins as a descending motive in B-minor...may well inform someone with musical training, but seem superfluous for a general survey course. In short, fewer quotes, less musical minutia and more music. September 18, 2014
Rated 5 out of 5 by Another Home Run Having become an addict to Prof Greenberg's courses, all I can say is another winner here. First, I would say this is not a course for beginners. If you are not familiar with terms such as "sonata form" , "scherzo", or "recapitulation" it would be advisable to take Prof Greenberg's earlier courses where he explains all you need to understand music (How to Listen to and Understand Classical Music is the best Great Courses DVD I own). Before getting this course I had enjoyed listening to about half of the works covered on this DVD, but now that I know the background, they mean so much more. As for the other half of the works, I enjoyed being exposed to new works and composers. I was always a Mozart and Beethoven fan, but now I feel comfortable exploring works by Richard Strauss, Mahler, Ives, and Schostakovich (my new favorite in Dvorak). If you know all these works, you will learn the background stories as well as the musical structure of these amazing works. If you are not familiar with many of these works, get this DVD and enjoy. Of course, if Prof Greenberg did a course "The 100 Greatest Orchestral Works" people would still complain about the omission of their favorite. Once again, thank you Prof Greenberg for enriching my life and filling my iPod. (P.S. I never liked Brahms, still don't, but that's not your problem...LOL) May 7, 2014
Rated 5 out of 5 by another day well spent with Prof Greenberg I loved this course, which is literally a day of lecture (32 lectures at 45 minutes = 24 hours). Prof Greenberg is a superb lecturer whose love of the material, polished delivery, and sense of humor makes the time fly and leaves me wanting more. I learned a lot about composers and works that I already knew well, and was exposed in this course to other beautiful works that I had heard of and sometimes heard before, but never really heard before -- until Greenberg helped me understand them. You do not need any grasp of musical notation or theory to fully enjoy this course, which is an utter delight. April 1, 2014
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