Montage of great classical music composers. From left to right:
Top row – Antonio Vivaldi, Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, Ludwig van Beethoven;
second row – Gioachino Rossini, Felix Mendelssohn, Frédéric Chopin, Richard Wagner, Giuseppe Verdi;
third row – Johann Strauss II, Johannes Brahms, Georges Bizet, Pyotr Ilyich Tchaikovsky, Antonín Dvořák;
bottom row – Edvard Grieg, Edward Elgar, Sergei Rachmaninoff, George Gershwin, Aram Khachaturian

Classical music is the art music produced in, or rooted in, the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 11th century to present times.^[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period. It should not be confused with the Classical Era.

European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.^[2] Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music and popular music.^[3][4][5]

The term "classical music" did not appear until the early 19th century, in an attempt to "canonize" the period from Johann Sebastian Bach to Beethoven as a golden age.^[6] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.^[1][7]

Characteristics[link]

Given the extremely broad variety of forms, styles, genres, and historical periods generally perceived as being described by the term "classical music," it is difficult to list characteristics that can be attributed to all works of that type. Vague descriptions are plentiful, such as describing classical music as anything that "lasts a long time," a statement made rather moot when one considers contemporary composers who are described as classical; or music that has certain instruments like violins, which are also found in other genres. However, there are characteristics that classical music contains that few or no other genres of music contain.^{[examples needed][8]}

Literature[link]

The most outstanding and particular characteristic of classical music is that the repertoire tends to be written down. Composers and performers alike are typically highly literate in understanding notation. The written quality of the music has, in addition to preserving the works, led to a high level of complexity within them.

Instrumentation[link]

The Dublin Philharmonic Orchestra performs Tchaikovsky's Fourth Symphony.

The instruments used in most classical music were largely invented before the mid-19th century (often much earlier), and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra, together with a few other solo instruments (such as the piano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music.^[9] The orchestra includes members of the string, woodwind, brass, and percussion families.

Electric instruments such as the electric guitar appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and the sounds of instruments from other cultures such as the gamelan.

None of the bass instruments existed until the Renaissance. In Medieval music, instruments are divided in two categories: loud instruments for use outdoors or in church, and quieter instruments for indoor use. The Baroque orchestra consisted of flutes, oboes, horns and violins, occasionally with trumpets and timpani.^[9] Many instruments which are associated today with popular music used to have important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, which used to be associated mainly with popular music, have gained prominence in classical music through the 19th and 20th centuries.

While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament. Keyboards almost all share a common layout (often called the piano keyboard).

Form[link]

Whereas the majority of popular styles lend themselves to the song form, classical music can also take on the form of the concerto, symphony, sonata, opera, dance music, suite, étude, symphonic poem, and others.

Classical composers often aspire to imbue their music with a very complex relationship between its affective (emotional) content and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, the process by which a musical idea or motif is repeated in different contexts or in altered form. The sonata form and fugue employ rigorous forms of musical development.

Technical execution[link]

Along with a desire for composers to attain high technical achievement in writing their music, performers of classical music are faced with similar goals of technical mastery, as demonstrated by the proportionately high amount of schooling and private study most successful classical musicians have had when compared to "popular" genre musicians, and the large number of secondary schools, including conservatories, dedicated to the study of classical music. The only other genre in the Western world with comparable secondary education opportunities is jazz.

Complexity[link]

Performance of classical music repertoire demands a significant level of technical mastery on the part of the musician; proficiency in sight-reading and ensemble playing, thorough understanding of tonal and harmonic principles, knowledge of performance practice, and a familiarity with the style/musical idiom inherent to a given period, composer or musical work are among the most essential of skills for the classically trained musician.

Works of classical repertoire often exhibit artistic complexity through the use of thematic development, phrasing, harmonization, modulation (change of key), texture, and, of course, musical form itself. Larger-scale compositional forms (such as that of the symphony, concerto, opera or oratorio, for example) usually represent a hierarchy of smaller units consisting of phrases, periods, sections, and movements. Musical analysis of a composition aims at achieving greater understanding of it, leading to more meaningful hearing and a greater appreciation of the composer's style.

Society[link]

Classical music regularly features as background music for movies, television programmes, advertisements and events. Nessun dorma from Giacomo Puccini's opera Turandot for example was the theme tune for the 1990 FIFA World Cup.

History[link]

The major time divisions of classical music are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600), the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1949) periods, and the modern and contemporary period, which includes 20th century (1900–2000) and contemporary (1975–current).

The dates are generalizations, since the periods overlapped and the categories are somewhat arbitrary. For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era, was continued by Haydn, who is classified as typical of the Classical period. Beethoven, who is often described as a founder of the Romantic period, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their period.

The prefix neo is used to describe a 20th century or contemporary composition written in the style of an earlier period, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical period.

Roots[link]

The roots of Western classical music lie in early Christian liturgical music, and its influences date back to the Ancient Greeks. Development of individual tones and scales was done by ancient Greeks such as Aristoxenus and Pythagoras.^[10] Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra.^[11] The antecedent to the early period was the era of ancient music from before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from Ancient Greece.

Early period[link]

A musician plays the vielle in a fourteenth-century Medieval manuscript.

The chanson Belle, bonne, sage by Baude Cordier, an ars subtilior piece included in the Chantilly Codex.

Johannes Ockeghem, Kyrie "Au travail suis," excerpt.

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian Chant, was the dominant form until about 1100.^[12] Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets. The Renaissance period was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize.

It is in this time that the notation of music on a staff and other elements of musical notation began to take shape.^[13] This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence.^[12] The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.^[14]

Typical stringed instruments of the Early Period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipe. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties.^[15] Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.^[16]

Common practice period[link]

The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

Baroque music[link]

Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and baroque guitar.

Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods.^[9] The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.^[17]

During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common.^[18] Vocalists began adding embellishments to melodies.^[9] Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple. The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.^[19]

Classical period music[link]

Joseph Haydn (1732–1809) ca. 1770.

The Classical period, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8–10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).^[20]

Wind instruments became more refined in the Classical period. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.

Romantic era music[link]

The music of the Romantic era, from roughly the first decade of the 19th century to the middle 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized.^[21] The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing.^[22] The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.^[23]

In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era.^[22] Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.^[24]

The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100.^[22] Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.

European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.^[25]

20th-century, modern, and contemporary music[link]

Modernism (1905–1985) marked a period when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. Composers, academics, and musicians developed extensions of music theory and technique.^{[citation needed]} 20th century classical music, encompassing a wide variety of post-Romantic styles composed through the year 1999, includes late Romantic, Modern and Postmodern styles of composition. The term "contemporary music" is sometimes used to describe music composed in the late 20th century through to the present day.

Significance of written notation[link]

Modernist view of the significance of the score[link]

The modernist views hold that Classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances. While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work. The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.

Criticism of the modernist view[link]

Some critics express the opinion that it is only from the mid 19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation, rhythmic flexibility, improvisatory deviation from the score and oral tradition of playing was integral to style of music. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians use the score to play music, yet even given the score, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performing styles that emphasize metrically strict block-rhythms (just as the music is notated in the score).

Some quotes that highlight this criticism of modernist overvaluing of the score:

• [...] one of the most stubborn modern misconceptions concerning baroque music is that a metronomic regularity was intended (Baroque Interpretation in Grove 5th edition by Robert Donington)
• [...] The history of this particular idea is littered with dead ends and failed projects. It is high time these misconceptions are addressed with academic rigour. History of Metaphysics by Andrew Pyle
• Too many teachers, conditioned to 20th Century ideas, teach Bach and other Baroque music exactly the wrong way. This leads to what musicologist Sol Babitz calls "sewing machine Bach."^[26]
• [...] tendency to look alike, sound alike and think alike. The conservatories are at fault and they have been at fault for many years now. Any sensitive musician going around the World has noted the same thing. The conservatories, from Moscow and Leningrad to Juilliard, Curtis and Indiana, are producing a standardized product.
  [...] clarity, undeviating rhythm, easy technique, "musicianship". I put the word musicianship in quotes, because as often as not, it is a false kind of musicianship – a musicianship that sees the tree and not the forest, that takes care of the detail but ignores the big picture; a musicianship that is tied to the printed note rather than to emotional meaning of a piece.
  The fact remains that there is a dreadful uniformity today and also an appalling lack of knowledge about the culture and performance traditions of the past. (Music Schools Turning out Robots?^[26] by Harold C. Schonberg)

Improvisation[link]

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend – admiration of performers for new "interpretations" of the composer's work – can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve very high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque era and in the nineteenth, yet lessened strongly during the 2nd half of the 19th and in the 20th centuries. Recently the performance of such music by modern classical musicians has been enriched by a revival of the old improvisational practices. During the classical period, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score i.e. come scritto, is famously propagated by Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Relationship to other music traditions[link]

Popular music[link]

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano.^[27] Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.^[28]

There are numerous examples of influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena.^[29]

Folk music[link]

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana,^[30] have used folk themes to impart a nationalist flavor to their work, while others (like Bartók) have used specific themes lifted whole from their folk-music origins.^[31]

Commercialism[link]

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's "Flight of the Bumblebee", and excerpts of Aaron Copland's Rodeo. Shawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation. ^[32]

Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.

Education[link]

Throughout history, parents have often made sure that their children receive classical music training from a young age. Some parents pursue music lessons for their children for social reasons or in an effort to instill a sense of self-discipline.^{[citation needed]} Some believe that knowledge of important works of classical music is part of a good general education.

During the 1990s, several research papers and popular books wrote on what came to be called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points.^[33] This popularized version of the theory was expressed succinctly by a New York Times music columnist: "researchers... have determined that listening to Mozart actually makes you smarter."^[34] Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs."^[35]

In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.^[36]

See also[link]

Classical music portal

Wikimedia Commons has media related to: Classical music

• List of classical music composers
• List of classical and art music traditions

Nation specific:

• American classical music
• Australian classical music
• Canadian classical music
• French classical music
• Indian classical music
• Iranian classical music
• Italian classical music
• Ottoman classical music
• Russian classical music
• Classical music of the United Kingdom

Notes[link]

References[link]

• Lebrecht, Norman (1996). When the Music Stops: Managers, Maestros and the Corporate Murder of Classical Music. Simon & Schuster. ISBN 978-0-671-01025-6. 
• Grout, Donald Jay (1973). A History of Western Music. Norton. ISBN 0-393-09416-2. 
• Grout, Donald J.; Palisca, Claude V. (1988). A History of Western Music. Norton. ISBN 978-0-393-95627-6. 
• Kennedy, Michael (2006), The Oxford Dictionary of Music, 985 pages, ISBN 0-19-861459-4
• Swafford, Jan (1992). The Vintage Guide to Classical Music. New York: Vintage Books. ISBN 0-679-72805-8. 

Further reading[link]

• Copland, Aaron (1957) What to Listen for in Music; rev. ed. McGraw-Hill. (paperback).
• --"-- (1988) --"--; with an introduction by William Schuman. McGraw-Hill ISBN 0-07-013091-4
• --"-- (2002) --"--; with a foreword and epilogue by Alan Rich; with an introduction by William Schuman. New American Library ISBN 0-451-52867-0 (reissued 2009 with new appreciation by Leonard Slatkin)
• Grout, Donald Jay; Palisca, Claude V. (1996) A History of Western Music, Fifth edition. W. W. Norton & Company. ISBN 0-393-96904-5 (hardcover).
• Hanning, Barbara Russano; Grout, Donald Jay (1998 rev. 2009) Concise History of Western Music. W. W. Norton & Company. ISBN 0-393-92803-9 (hardcover).
• Johnson, Julian (2002) Who Needs Classical Music?: cultural choice and musical value. Oxford University Press. ISBN 0-19-514681-6.
• Kamien, Roger (2008) Music: an appreciation; 6th brief ed. McGraw-Hill ISBN 978-0-07-340134-8
• Lihoreau, Tim; Fry, Stephen (2004) Stephen Fry's Incomplete and Utter History of Classical Music. Boxtree. ISBN 978-0-7522-2534-0
• Scholes, Percy Alfred; Arnold, Denis (photographer) (1988) The New Oxford Companion to Music. Oxford University Press. ISBN 0-19-311316-3 (paperback).
• Taruskin, Richard (2005, rev. Paperback version 2009) Oxford History of Western Music. Oxford University Press (USA). ISBN 978-0-19-516979-9 (Hardback), ISBN 978-0-19-538630-1 (Paperback)
• Sorce Keller, Marcello (2011) What Makes Music European. Looking Beyond Sound. Latham, NJ: Scarecrow Press (USA).

External links[link]

• Historical classical recordings from the British Library Sound Archive (available only to users in the member countries of the European Union)
• Chronological list of recorded classical composers

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009)

David Munrow (12 August 1942 – 15 May 1976) was a British musician and early music historian.

Biography and career[link]

Munrow was born in Birmingham and was the son of Birmingham University dance teacher Hilda Norman Munrow and Albert Davis 'Dave' Munrow, a Birmingham University lecturer and physical education instructor who wrote a book on the subject. David Munrow attended King Edward's School, Birmingham until 1960. He excelled academically.

In 1960 David Munrow went to Peru, teaching English under the British Council student teacher scheme.^[1] He returned with Bolivian flutes and other obscure instruments. Studying English at Pembroke College, Cambridge, he noticed a crumhorn on a friend's wall and threw himself into independent study that climaxed in his book Instruments of the Middle Ages and Renaissance (1976). From his starting position as a pianist, singer and bassoonist he taught himself many old instruments. He joined the Royal Shakespeare Company as a bassoonist but soon played instruments of Shakespeare's time. Although he displayed talent on a wide variety of instruments, he had a particular lasting influence as a recorder player. His English style of discreet, controlled expression contrasts to the greater tonal flexibility of the Continental style espoused by the Dutch recorder player Frans Brüggen and others.

By 1967 he was a lecturer in early music at the University of Leicester and married to Gillian Reid. With Christopher Hogwood he formed the Early Music Consort, each of whose core members was an expert in his or her own right. Sometimes other professional musicians were employed when necessary, such as Nigel North and Robert Spencer, both highly regarded lutenists. Beginning in 1968, he toured the world, unearthing obscure instruments in every country he visited. He commissioned reconstructions of instruments related to the cornett and rackett from, amongst others, Otto Steinkopf. Two television programmes made him a household name: The Six Wives of Henry VIII (1970) and Elizabeth R (1971).

Munrow's two contributions to film music were, fittingly, for visionary British directors: Ken Russell's The Devils (1971) and Zardoz (1974), written and directed by John Boorman. The latter included arrangements of Beethoven's Symphony No. 7 for early music instruments.

He was a man of manic energy. In his relatively short life he released over 50 albums, some of which are now available on CD. As well as his recordings with the Early Music Consort, he recorded with Michael Morrow's Musica Reservata, Alfred Deller and the King's Singers. He recorded Bach and Monteverdi many times but his widest influence was in the Medieval and Renaissance periods. His 3-record set with the Early Music Consort The Art of the Netherlands issued in 1976 (EMI SLS5049), was particularly influential in popularising the genre [1].

On BBC Radio 3 he presented Pied Piper, a multi-ethnic, centuries-spanning spread of music from Monteverdi to the Electric Light Orchestra rock group. Munrow also had dealings notably with The Young Tradition and Shirley and Dolly Collins.

Apart from his regular radio slot and other programmes, he also appeared on television, most notably in a series entitled Ancestral Voices (BBC2) in a London studio, and Early Musical Instruments (ITV) filmed on location at Ordsall Hall, Salford. By such means, he introduced many people to a whole new world of audio experience. Sadly, these specific programmes were transmitted posthumously.

His personal interests were travel, sailing, jazz and antiques. He was also a linguist. In addition, he wrote some articles on music, especially for his own recordings.

Munrow committed suicide in 1976;^[2] the deaths of his father and father-in-law, to whom he dedicated his last book, are thought to have contributed to his death by hanging.^{[citation needed]}

Legacy[link]

Arguably, David Munrow did more than anyone else in the second half of the 20th century to popularise early music in Great Britain, despite a career lasting barely ten years. Indeed, this fact was underscored when the committee selected one of his recordings for the Voyager Golden Record, which was sent on the Voyager space probes on an interstellar journey.

David Munrow left behind him not only his recordings, but a large collection of musical instruments. The Munrow Archive at the Royal Academy of Music holds a collection of his letters, papers, TV scripts, scores, musical compositions and books. The collection is accessible to the public. The online catalogue of the British Library Sound Archive reveals his many recording entries, and those of many other noted personages.

Information about the life and work of David Munrow can be found in obituaries about him in 1976 (particularly the OUP journal Early Music), and in the following sources: a detailed piece in the Oxford Dictionary of National Biography by Christopher Hogwood; The New Grove Dictionary of Music and Musicians; The Art of David Munrow, a record set with a biography by Arthur Johnson, the producer of Pied Piper and on the old vinyl sleeve of the Renaissance Suite.

Selected discography[link]

• Recordings with Musica Reservata
  • French Court Music of the Thirteenth Century (1967)
  • Music from the 100 Years War (1968)
  • Music from the Decameron (1969)
  • 16th Century Italian Dance Music (1970)
  • Music from the Court of Burgundy (1971)
• Recordings with The Early Music Consort, directed by David Munrow
  • Ecco la primavera - Florentine Music of the 14th Cent (1969)
  • Music of the Crusades (1970)
  • The Triumphs of Maximilian I (1970)
  • Music for Ferdinand and Isabella of Spain (1972)
  • The Art of Courtly Love (1973)
  • Praetorius - Dances and Motets (1973)
  • Music of Guillaume Dufay: Missa "Se La Face Ay Pale" (1974)
  • Instruments of the Middle Ages and Renaissance (1976)
  • Monteverdi's Contemporaries (1976)
  • Music of the Gothic Era (1976)
  • Greensleeves to a Ground (1976)
  • Festival of Early Music - Music from 14th Century Florence, Music of the Crusades & The Triumphs of Maximilian (1976)
  • Henry Purcell: Birthday Odes for Queen Mary (1976)
  • The Art of the Netherlands (1976)
• The Young Tradition and Early Music Consort
  • Galleries (1968)
• The Round Table & David Munrow
  • Spinning Wheel (1969)
  • "Saturday Gigue/Scarborough Fair" (single) (1969)
• Shirley and Dolly Collins & the Early Music Consort of London
  • Anthems in Eden (1969)
• Royal Shakespeare Wind Band, directed by Guy Wolfenden
  • Music From Shakespeare's Time (1969)
• David Munrow, Gillian Reid, Christopher Hogwood
  • Pleasures of the court - Festival dance music by Susato & Morley (1971)
• David Munrow, Oliver Brookes, Robert Spencer, Christopher Hogwood
  • The amorous flute (1973)
• David Munrow solo or in various combinations
  • Telemann: Suite for Recorder and Orchestra, Concerti for Recorder and Orchestra by Sammartini and Handel
  • The Art of the Recorder (1975)
  • The Art of David Munrow (1971 - 1976)
• Music for radio, television and cinema
  • The Six Wives of Henry VIII (BBC TV) (1970)
  • Elizabeth R (BBC TV) (1970)
  • The Devils (directed by Ken Russell) (1971)
  • Zardoz (directed by John Boorman) (1973)
  • Tolkien's The Hobbit (BBC radio) (1973)
  • La Course en tête Documentary on Belgium Cyclist Eddie Merckx. Soundtrack released as Renaissance Suite (1974)

Awards and recognitions[link]

Grammy Award for Best Chamber Music Performance:

• David Munrow (conductor) & the Early Music Consort of London for The Art of Courtly Love (1977)

See also[link]

• Jordi Savall
• Philip Pickett

Similar early music performers with an interest in renaissance and medieval music.

References[link]

1. ^ David Munrow: Pied Piper. "Biography". Accessed on 31 October 2011 at: http://www.davidmunrow.org/biography.htm.
2. ^ "Henry VIII And His Six Wives: David Munrow Conducting The Early Music Consort Of London". http://www.enjoythemusic.com/magazine/music/1104/classical/various.htm. Retrieved 1 June 2009. 

External links[link]

• Website dedicated to David Munrow, with biography
• Discography
• Podcast interview with Munrow's recording producer and other resources.

Rowan Atkinson
Atkinson at the Johnny English Reborn Premiere
Birth name	Rowan Sebastian Atkinson
Born	(1955-01-06) 6 January 1955 (age 57)[1][2] Consett, Durham, England, United Kingdom
Medium	Stand up, Television, Film
Years active	1978–present
Genres	Physical comedy, Satire, Black comedy
Influences	Peter Sellers, Charlie Chaplin, Jacques Tati[3]
Influenced	Steve Pemberton David Walliams
Spouse	Sunetra Sastry (m. 1990) «start: (1990)»"Marriage: Sunetra Sastry to Rowan Atkinson" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Rowan_Atkinson)
Notable works and roles	Not the Nine O'Clock News Blackadder Mr. Bean The Thin Blue Line Johnny English
BAFTA Awards Best Light Entertainment Performance 1981 Not the Nine O'Clock News 1990 Blackadder Goes Forth Laurence Olivier Awards Best Comedy Performance 1981 Rowan Atkinson in Revue

Rowan Sebastian Atkinson (born 6 January 1955) is a British actor, comedian, and screenwriter. He is most famous for his work on the satirical sketch comedy show Not The Nine O'Clock News, and the sitcoms Blackadder, Mr. Bean and The Thin Blue Line. He has been listed in The Observer as one of the 50 funniest actors in British comedy,^[4] and amongst the top 50 comedians ever in a 2005 poll of fellow comedians.^[5] He has also had cinematic success with his performances in the Mr. Bean movie adaptations Bean and Mr. Bean's Holiday and in Johnny English and its sequel Johnny English Reborn. He also starred in the film Never Say Never Again (a spy film based on the James Bond novel Thunderball) in 1983.

Early life and education[link]

Atkinson, the youngest of four brothers, was born in Consett, County Durham, England.^[6] His parents were Eric Atkinson, a farmer and company director, and Ella May (née Bainbridge), who married on 29 June 1945.^[6] His three older brothers were Paul, who died as an infant, Rodney, a Eurosceptic economist who narrowly lost the United Kingdom Independence Party leadership election in 2000, and Rupert.^[7][8] Atkinson was brought up Anglican,^[9] and was educated at Durham Choristers School, St. Bees School, and Newcastle University.^[10] In 1975, he continued for the degree of MSc in Electrical Engineering at The Queen's College, Oxford, the same college his father matriculated at in 1935,^[11] which made Atkinson an Honorary Fellow in 2006.^[12] First achieving notice at the Edinburgh Festival Fringe in 1976,^[10] while at Oxford, he also acted and performed early sketches for the Oxford University Dramatic Society (OUDS), the Oxford Revue and the Experimental Theatre Club (ETC), meeting writer Richard Curtis^[10] and composer Howard Goodall, with whom he would continue to collaborate during his career.

Career[link]

Radio[link]

Atkinson had starred in a series of comedy shows for BBC Radio 3 in 1978 called The Atkinson People. It consisted of a series of satirical interviews with fictional great men, who were played by Atkinson himself. The series was written by Atkinson and Richard Curtis, and produced by Griff Rhys Jones.^[13]

Television[link]

After university, Atkinson toured with Angus Deayton as his straight man in an act that was eventually filmed for a television show. After the success of the show, he did a one-off pilot for London Weekend Television in 1979 called Canned Laughter. Atkinson then went on to do Not the Nine O'Clock News for the BBC, produced by his friend John Lloyd. He starred on the show along with Pamela Stephenson, Griff Rhys Jones and Mel Smith, and was one of the main sketch writers.

The success of Not the Nine O'Clock News led to his starring in the medieval sitcom The Black Adder, which he also co-wrote with Richard Curtis, in 1983. After a three-year gap, in part due to budgetary concerns, a second series was written, this time by Curtis and Ben Elton, and first screened in 1986. Blackadder II followed the fortunes of one of the descendants of Atkinson's original character, this time in the Elizabethan era. The same pattern was repeated in the two sequels Blackadder the Third (1987) (set in the Regency era), and Blackadder Goes Forth (1989) (set in World War I). The Blackadder series went on to become one of the most successful BBC situation comedies of all time, spawning television specials including Blackadder's Christmas Carol (1988) and Blackadder: The Cavalier Years (1988).

Atkinson's other famous creation, the hapless Mr. Bean, first appeared on New Years Day in 1990 in a half-hour special for Thames Television. The character of Mr. Bean has been likened somewhat to a modern-day Buster Keaton.^[14] During this time, Atkinson appeared at the Just for Laughs comedy festival in Montreal in 1987 and 1989. Several sequels to Mr. Bean appeared on television in the 1990s, and it eventually made into a major motion picture in 1997. Entitled Bean, it was directed by Mel Smith, his former co-star from Not the Nine O'Clock News. A second movie was released in 2007 entitled Mr. Bean's Holiday. In 1995 and 1997, Atkinson portrayed Inspector Raymond Fowler in the popular The Thin Blue Line television series, written by Ben Elton, which takes place in a police station located in fictitious Gasforth.

Atkinson has fronted campaigns for Kronenbourg,^[15] Hitachi electrical goods,^{[citation needed]} Fujifilm, and Give Blood. Atkinson appeared as a hapless and error-prone espionage agent in a long-running series for Barclaycard, on which character his title role in Johnny English and Johnny English Reborn was based.

He also starred in a comedy spoof of Doctor Who as the Doctor, for a "Red Nose Day" benefit.

Atkinson has also starred as the Star in a Reasonably Priced Car in the motoring show, Top Gear in July 2011, where he recorded the second fastest lap in the Kia Cee'd with a time of 1:42.2.

Rowan Atkinson in 1997, promoting Bean

Film[link]

Atkinson's film career began in 1983 with a supporting part in the 'unofficial' James Bond movie Never Say Never Again and a leading role in Dead on Time with Nigel Hawthorne. He appeared in former Not the Nine O'Clock News co-star Mel Smith's directorial debut The Tall Guy in 1989. He also appeared alongside Anjelica Huston and Mai Zetterling in Roald Dahl's The Witches in 1990. In 1993 he played the part of Dexter Hayman in Hot Shots! Part Deux, a parody of Rambo III, starring Charlie Sheen.

Atkinson gained further recognition with his turn as a verbally bumbling vicar in the 1994 hit Four Weddings and a Funeral. That same year he was featured in Disney's The Lion King as the voice of Zazu the Red-billed Hornbill. Atkinson continued to appear in supporting roles in successful comedies, including Rat Race (2001), Scooby-Doo (2002), and Love Actually (2003).

In 2005, he acted in the crime/comedy Keeping Mum, which also starred Kristin Scott Thomas, Maggie Smith and Patrick Swayze.

In addition to his supporting roles, Atkinson has also had success as a leading man. His television character Mr. Bean debuted on the big screen in 1997 with Bean to international success. A sequel, Mr. Bean's Holiday, was released in March 2007 and this, as recently mentioned by Atkinson in 2011, was the last time he played the character.^[16] He has also starred in the James Bond parody Johnny English in 2003. Its sequel, Johnny English Reborn was released on 7 October 2011.

Theatre[link]

Rowan Atkinson did live on-stage skits – also appearing with members of Monty Python – in The Secret Policeman's Ball (1979).

Rowan Atkinson appeared in the 2009 revival of the West End musical Oliver! in the role of Fagin.^[17] The production was directed by Rupert Goold. A year prior he starred in a pre-West End run of the show in Oxford, directed by Jez Bond.

Comedic style[link]

Best known for his use of physical comedy in his trademark character of Mr. Bean, Atkinson's other characters rely more heavily on language. Atkinson often plays authority figures (especially priests or vicars) speaking absurd lines with a completely deadpan delivery.

One of his better-known trademark comic devices is over-articulation of the "B" sound, such as his pronunciation of "Bob" in a Blackadder episode. Atkinson suffers from stuttering,^[18] and the over-articulation is a technique to overcome problematic consonants.

Atkinson's often visually based style, which has been compared to Buster Keaton,^[14] sets him apart from most modern television and film comedies, which rely heavily on dialogue, as well as stand-up comedy which is mostly based on monologues. This talent for visual comedy has led to Atkinson being called "the man with the rubber face": comedic reference was made to this in an episode of Blackadder the Third, in which Baldrick (Tony Robinson) refers to his master, Mr. E. Blackadder, as a "lazy, big nosed, rubber-faced bastard".

Personal life[link]

Rowan Atkinson at the Mr. Bean's Holiday premiere at Leicester Square in London (2007)

Marriage and children[link]

Rowan Atkinson first met Sunetra Sastry in the late 1980s, when she was working as a make-up artist with the BBC.^[19] Sastry is of mixed descent, being the daughter of an Indian father and a British mother.^[20] The couple married at the Russian Tea Room in New York City on 5 February 1990. They have two children and live in Oundle, Northamptonshire as well as in Ipsden, Oxfordshire and in Highbury, London.^{[citation needed]} In October 2010, his Blackadder co-star Stephen Fry confessed on The Rob Brydon Show and in his second autobiography (The Fry Chronicles) that, although he was already openly homosexual at the time, he had considered asking Sastry (who was his make-up artist) out. However, when Rowan came to him one day and asked if he could swap make-up artists because he wanted to ask Sastry out, 'all idea of [his] asking out Sunetra left [him]'.^[21] Fry was best man at Atkinson's wedding in 1990. Atkinson was formerly in a relationship with actress Leslie Ash.^[22]

Politics[link]

In June 2005, Atkinson led a coalition of the UK's most prominent actors and writers, including Nicholas Hytner, Stephen Fry, and Ian McEwan, to the British Parliament in an attempt to force a review of the controversial Racial and Religious Hatred Bill, which they felt would give overwhelming power to religious groups to impose censorship on the arts.^[23] In 2009, he criticised homophobic speech legislation, saying that the House of Lords must vote against a government attempt to remove a free speech clause in an anti-gay hate law.^[24]

Cars[link]

With an estimated wealth of £100 million, Atkinson is able to indulge his passion for cars that began with driving his mother's Morris Minor around the family farm. He has written for the British magazines Car, Octane, Evo, and "SuperClassics", a short-lived UK magazine, in which he reviewed the McLaren F1 in 1995.

Atkinson holds a category C+E (formerly 'Class 1') lorry driving licence, gained in 1981, because lorries held a fascination for him, and to ensure employment as a young actor. He has also used this skill when filming comedy material.

Atkinson in 2009

A lover of and participant in car racing, he appeared as racing driver Henry Birkin in the television play Full Throttle in 1995. In 1991, he starred in the self-penned The Driven Man, a series of sketches featuring Atkinson driving around London trying to solve his obsession with cars, and discussing it with taxi drivers, policemen, used-car salesmen and psychotherapists.^[25]

Atkinson has raced in other cars, including a Renault 5 GT Turbo for two seasons for its one make series. He owns a McLaren F1, which was involved in an accident in Cabus, near Garstang, Lancashire with an Austin Metro in October 1999. It was damaged again in a serious crash in August 2011 when it caught fire after Atkinson reportedly lost control and hit a tree.^[26][27][28] He also owns a Honda NSX. Other cars he owns include an Audi A8,^[29] and a Honda Civic Hybrid.^[30]

The Conservative Party politician Alan Clark, himself a devotee of classic motor cars, recorded in his published Diaries this chance meeting with a man he later realised was Atkinson while driving through Oxfordshire in May 1984: "Just after leaving the motorway at Thame I noticed a dark red DBS V8 Aston Martin on the slip road with the bonnet up, a man unhappily bending over it. I told Jane to pull in and walked back. A DV8 in trouble is always good for a gloat." Clark writes that he gave Atkinson a lift in his Rolls-Royce to the nearest telephone box, but was disappointed in his bland reaction to being recognised, noting that: "he didn't sparkle, was rather disappointing and chétif."^[31]

One car Atkinson has said he will not own is a Porsche: "I have a problem with Porsches. They're wonderful cars, but I know I could never live with one. Somehow, the typical Porsche people—and I wish them no ill—are not, I feel, my kind of people. I don't go around saying that Porsches are a pile of dung, but I do know that psychologically I couldn't handle owning one."^[32][33]

He appeared in episode 4, series 17 of Top Gear in the "Star in a reasonably priced car" section, where he drove the Kia Cee'd on the test track in 1"42.2, taking first place on the board, but was later beaten by Matt LeBlanc during the second episode of the eighteenth series, with a lap time of 1"42.1.

He attended the inaugural Indian Grand Prix as a guest of McLaren.

Television appearances[link]

• Canned Laughter (1979), an experimental sitcom pilot for LWT
• The Secret Policeman's Ball (1979), a charity special for Amnesty International
• Not the Nine O'Clock News (1979–1982)
• Peter Cook & Co (1980)
• The Innes Book of Records (1980), guest appearance
• Never Say Never Again (1983)
• Blackadder as Prince Edmund (The Black Adder); Lord Blackadder (Blackadder II); Edmund Blackadder (Blackadder III); Ebenezer Blackadder (Blackadder's Christmas Carol); and Captain Blackadder (Blackadder Goes Forth) (1983–1989)
• Saturday Live as guest host (1986)
• Mr. Bean as Mr. Bean (1990–2009 various times)
• Rowan Atkinson Live as assorted characters (1992) (VHS of live sketches)
• Bernard and the Genie as Bernard's Boss (1991) (TV movie)
• Funny Business (1992), a documentary about the craft of comedy
• A Bit Of Fry And Laurie (1992), guest appearance
• The Thin Blue Line as Inspector Raymond Fowler (1995–1996)
• The Story of Bean as himself (1997)
• Blackadder: Back and Forth as Blackadder (2000)
• Mr. Bean (animated TV series) as Mr. Bean, voice (2002)
• The Comic Relief "Red Nose Day" telecasts, including appearances in:
  • Blackadder: The Cavalier Years as Edmund Blackadder (1988)
  • Nosenight sketches (1989)
  • Mr Bean's Red Nose Day as Mr. Bean (1991)
  • (I Wanna Be) Elected as Mr. Bean (1992)
  • Blind Date with Mr Bean as Mr. Bean (1993)
  • Torvill and Bean as Mr Bean (1995)
  • Doctor Who and the Curse of Fatal Death as The Doctor (1999)
  • Popsters as Nasty Neville (2001)
  • Lying to Michael Jackson as Martin Bashir (2003)
  • Spider-Plant Man as Peter Piper and Spider-Plant Man (2005)
  • Mr Bean's Wedding as Mr. Bean (2007)
  • The Greatest Worst Bits of Comic Relief as himself (2007)
• We Are Most Amused (2008), a special show to celebrate Prince Charles' 60th birthday
• Blackadder Rides Again as himself (2008)
• Not Again: Not the Nine O'Clock News as himself (2009)

Guest appearances[link]

• Wogan (1988, 1991)
• Children in Need (1988), guest appearance as Mr. E. Blackadder
• Noel's House Party, guest appearance as Blackadder
• Going Live, guest appearance as Mr. Bean
• This Morning (1995), guest appearance as Mr. Bean
• Big Breakfast
• Parkinson (2003)
• Blue Peter (2004, 2007), guest appearance as Mr. Bean
• London Tonight (2005)
• BBC Breakfast (2007)
• Richard & Judy (2007)
• The Dame Edna Treatment (2007), guest appearance as Mr. Bean
• Top Gear (2011)

Filmography[link]

Live comedy albums[link]

• Live in Belfast (1980)
• Not Just a Pretty Face (1987)

References[link]