Vaughan Williams's Symphony No. 2, "A London Symphony"

In 1903, Ralph Vaughan Williams began collecting folk songs. His dedication to his English heritage was evident early on in his career, from his editions of Purcell’s music for the Purcell Society to his assembling, editing, and contributing to The English Hymnal. It is fitting, then, that his first instrumental symphony should be called A London Symphony. Vaughan Williams's Symphony No. 2 is inspired by the vibrant city life of London, and has been described as the musical equivalent of Claude Monet’s paintings of the sun rising over the foggy Thames.

Sibelius's Symphony No. 2

At the close of the nineteenth century, Finnish natives were enjoying a renaissance of their native culture, in opposition to their Russian occupiers. Jean Sibelius was swept up in this nationalistic fervor, and composed several patriotic tone poems, including Finlandia. Symphony No. 2, misinterpreted at its premiere as a commentary on the Finnish political conflict, was composed mostly in Italy, where Sibelius was renting a studio. Working with fragments and sketches intended for four separate tone poems, Sibelius then assembled the pieces into this full-fledged symphony.

Bach’s Mass in B minor

Bach’s Mass in B minor can viewed as a compendium of all of the musical styles in which the composer was fluent. The work encompasses many different styles popular in the Baroque era, including polyphonic choral textures, instrumental solos, and operatic aria solos for the vocalists. A work of huge scale, it is unlikely that Bach ever heard the Mass performed in its entirety. Composed at intervals throughout his life and finally compiled into a complete work just before his death, the B minor Mass stands as an embodiment of Bach’s genius.

Mendelssohn's Symphony No. 4

On an extended journey through Italy in 1830 and 1831, Felix Mendelssohn began work on his Fourth Symphony.  A wildly talented composer who wrote his famous Octet when he was only sixteen, Mendelssohn was prompted to finish the work when the London Philharmonic Society requested a symphony from him (and offered payment of a hundred guineas). Mendelssohn called it the jolliest music he had ever composed. Although he remained dissatisfied with the symphony and planned numerous revisions, the Italian Symphony still stands as one of his most easily recognizable works.

Brahms's Serenade

In 1857, Johannes Brahms assumed the post of Clara Schumann, recently departed for Berlin, as piano teacher at the court of Prince Leopold.  His pupils and members of his choir loved him, and at the court he reveled in his time to compose, conduct, and study the repertory.  It also afforded him a period of cooling off following the death of his mentor Robert Schumann, and allowed him to work towards his great goal of composing symphonies.  This first Serenade was called a “Symphony-Serenade” by Joseph Joachim, and is a fresh, inventive, and spirited work.

Mozart's Requiem

Mystery and myth surround Mozart’s Requiem.  It was left uncompleted at the composer’s somewhat sudden death, and no one quite knows exactly how much music he left behind.  His widow, Constanze, was set with the task of finding another composer to complete the work, while still promoting it as a Mozart composition (in order to receive the full commission fee).  After Joseph Eyeler, one of Mozart’s students, was unable to complete the Requiem, Franz Xaver Süssmayr, another former student, finally completed a working version, which stands as the most popular of the many versions still performed today.

Mozart's Symphony No. 33

Throughout Mozart’s childhood, his father Leopold paraded him around the courts of Europe in the hope of gaining the boy’s employment, and therefore a steady cash flow for his family.  After many years of traveling, he was hired for a full time position in their hometown of Salzburg.  In spring 1779, Mozart met a traveling theater troupe that performed many of his operas and symphonies.  It’s likely that this Symphony No. 33, which Mozart composed while employed at the court at Salzburg, was meant as just that: an overture to a theatrical production.