HOW TO FIND CLASSICAL MUSIC YOU LIKE

The basic methodology I found to be effective in building a good library of recordings, even though I didn't know much about it when I started, was to use some combination of the following strategies, depending on the resources available at any given time.

1) Listen to as much music as you can.

Many college and community libraries have very large collections of classical CDs that can be checked out. Also, listening to the radio can be a good source. Concerts can be very effective as well, though they can be expensive. Many colleges have free recitals and very low cost concerts available, and community music groups often have low-cost concerts throughout the year. Experiencing live music will help to familiarize you with what real music sounds like and help make you a better judge of recording and performance quality.

Participating in various newsgroups and mailing lists available on the Internet, CompuServe and other on-line services is also an effective to become a part of ongoing conversations about music, performers, recordings, composers and many related topics.

2) Make note of the piece and composer.

A) Most pieces fall into four basic categories:
Orchestral (symphonies, concertos, suites, overtures, serenades, etc.)
Chamber (piano trios, string quartets, wind quintets, etc.)
Keyboard (piano sonatas, organ works, harpsichord works, etc.)
Vocal (opera, lieder/song, oratorios, sacred choral music such as masses and motets, etc.).
Many people prefer one category over the other, at least initially.

B) Get to know the composer
Knowing the composer is important because this provides a somewhat reliable guide to other pieces that should investigated. If you hear one piece you like by a certain composer, then there is a fair chance you'll like other major pieces by the same composer. Learning about times and lives of major composers can be very enlightening. There are many beginner-oriented biographies and dictionaries available that can provide basic information about a composer's life and works, and about musical terminology in general. Even the notes that come with the recordings can be a good source of basic information.

3) Find A Good Recording

Once you know the piece and its composer, you can then check any one of several sources for the best recording of that work. Other than the All-Music Guide, I suggest the Stevenson Guide as the best overall source. Also the Penguin Guide is a good reference, as are the primary review publications: Fanfare, American Record Guide & Gramophone. Once you have some experience you can determine which source best fits your own personal taste and needs. Above all, remember that, in the end, it matters little if your tastes coincide with those of the critics. There is no one best performance of a piece, so if you like it, and it brings you pleasure, don't be dissuaded by reviews you might read. There are often many excellent recordings and performances of a major work available, so don't get discouraged by the varied selection. One of the most controversial topics in performance and interpretation is the use of historical instruments, and/or employing historical performance practices (A discussion of historically-informed performance practice). Another thing to keep in mind when deciding on a certain CD may be price. Unlike any other musical genre, there are many great performances of a certain piece, and some of them may cost as little as $5. Don't let the low price fool you. There is often no correlation between price and recording/performance quality, and the extremely low cost of some releases can provide great opportunities for experimentation without a lot of risk. Don't be afraid to trust your own instincts. If a recording and performance moves you, you don't need to check other sources to see if it's OK. Music is a personal experience.

4) Find A Good CD Store or Mail Order Source

Finding a good retail outlet from which to buy the CD you want can be a little frustrating in certain parts of the world. My basic advice is to find a store that has a good selection and wait for sales. Most stores have monthly or quarterly sales which can save you $1-4 per CD. This is less critical for bargain ($5-7) CDs. A good store should also have copies of the Stevenson and/or Penguin guides for in-store use. It is also nice if the store has a knowledgeable and helpful staff, but this is very rare. Since many less-urban areas don't have a good store, mail order is often the least expensive, or only way to find the music you want. Any of the above-mentioned publications lists several good mail order firms.

5) What's Next?

OK, so now you have a good CD of music you really like, what next? This Basic Repertoire List and associated files is designed in such a way that once you know you like at least one piece by given composer, you can begin to branch out to other works, composers and periods. For instance, let's say you've bought a CD of Mozart's symphonies #40 & 41, and like them a great deal. You may try other symphonies by Mozart (e.g., #38), or you might want to try symphonies by another composer. In this case, it might be best to stay within the same period (in this case Classicism), so the symphonies by Haydn (#45, 94, 101 & 104) or Beethoven (e.g., #3, 5, 6 & 9) would be a good place to start. If you find you particularly like Mozart, you might start exploring the major piano concertos (e.g., #20, 21 & 23) or serenades (e.g., #7, #10-13). You can then start branching out and listen to Mozart's piano sonatas or string quartets, and so on.

Another avenue might be to investigate the roots of the symphony (via the concerto grosso, suites and sinfonias of the Baroque era) or to see how the symphony developed after Mozart, Beethoven and Haydn by looking into the symphonies of the Romantic period. The Basic Repertoire List provides a "road map" for any of these explorations. Repeat steps #1-4 each time you identify a new piece you want to know more about, and don't be afraid to customize the process depending on your own likes or dislikes. I've always found that keeping lists of potential pieces or recordings I want to add to my collection (a want list) is very helpful. After a while the whole process will become second nature.

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