Classical Diary: How to Appreciate Classical Music — Written at the Very Beginning（Part 1）

This is a brand-new column, one that the blog author has long wanted to write but has always struggled to begin. Classical music is not mysterious, nor is it superior. In the era when classical music was composed, it was genuinely “popular music.” However, as times have changed, the ways music is created and appreciated have evolved significantly, making the threshold for “understanding” classical music increasingly high. As the first entry in the entire Classical Diary series, this piece aims to tell you exactly what we need to do and how to go about appreciating classical music.

Next, the BLOG author will guide all music-loving friends in learning to appreciate classical music from scratch. Some content will be introduced by referencing Wikipedia. In the “Classical Diary” series of articles, you will see:

1. Following the footsteps of history, get to know the founders and masters of classical music in each era, walk the paths they once took, and understand the creative background of their important works throughout their lives.
2. Follow the BLOG author’s guidance and learn about various professional terms and knowledge of classical music in language that even a novice can understand. This will definitely be the simplest and most accessible introduction to classical music expertise online.
3. The “Classical Diary” series will provide a wealth of related classical music samples to accompany the articles. We can stroll through the life stories of classical masters while listening to the timeless compositions they wrote.

I. Mental Preparation for Appreciating Classical Music

1. Background Understanding as the Foundation of Appreciation
The creation of classical music is often closely tied to the historical context, the composer’s life, and the cultural environment. Understanding this background information can help us delve deeper into the emotional core of the work. For example, Beethoven’s *Symphony No. 5* was composed during a period when he was gradually losing his hearing, and the work is filled with a struggle against fate and a pursuit of hope. This contextual knowledge not only enriches the listener’s experience but also infuses the music with deeper humanistic meaning.

2. No Expertise Required, but Imagination Is Essential
Classical music does not require listeners to have knowledge of music theory or performance skills. Instead, it encourages everyone to interpret the music through their own feelings. Different people can have entirely different understandings, even when listening to well-known works. You can immerse yourself in the music, letting your thoughts flow with the melody, or weave your own story through the music. Free association is precisely one of the most precious aspects of appreciating classical music.

3. Don’t Hesitate to Say “No” to Works You Don’t Like
Appreciating classical music does not mean having to accept all works. Like any art form, classical music has its own limitations of era and style, and everyone’s aesthetic preferences and emotional connection points vary. Sometimes we may reluctantly praise certain works due to “authority” or “face,” but it is completely normal to find some pieces unappealing—this is not a lack of appreciation ability. True appreciation is about building a sincere connection, not forcing oneself to accept all “classics.” Only by bravely saying “no” to works you dislike can you more clearly discover and embrace the sounds that truly touch your soul.

4. Broad Culture and an Open Mind
The landscape of classical music is far more expansive than you might imagine, spanning over a hundred years of history and reaching across five continents and seven seas. It is not a description of a single type of music but a summary of that historical period. Therefore, actively embracing music from different cultures and eras is key to deepening your appreciation. This means that listeners need to adopt an open and accepting attitude, set aside judgment, remain curious, and try to understand the cultural logic behind the works. Enriching your historical knowledge and learning about different cultural backgrounds will further enhance your ability to appreciate classical music. Indeed, classical music is not difficult, but it requires you to spend some time learning about it. Of course, this does not mean you need to bury yourself in books while enjoying music—everything should stem from interest and be approached naturally.

II. The History of Classical Music

1. The Five Major Periods of Classical Music

Based on the development of classical music, the blog author has selected one of the most representative pieces for each period. From the Medieval era to the Romantic period, listening to them one by one feels like traveling through centuries of musical history, embarking on a uniquely personal romantic journey.

Medieval Period (5th–14th Century) This era was dominated by religious music, with Gregorian chant as its representative. Secular music developed slowly, with no widely circulated works, and overall, it was not highly valued.

The reason Roman Church chant is called Gregorian chant is said to be attributed to Pope Gregory I. For centuries, the popular belief has been that he sent people to collect and organize chants from various regions of Rome, compiling them into two chant books, unifying the liturgy and chant of the Roman Church, and establishing the Roman Church’s singing school. Gregorian chant is monophonic music, with lyrics in Latin, sung purely by human voices without accompaniment. The melodies are based on simple natural scales, with a gentle and smooth tone, primarily progressing in thirds. The singing styles include solo, unison, alternating singing, and responsorial singing. The combination of melody and lyrics includes syllabic style (one syllable per note), neumatic style (one syllable per group of notes), and melismatic style (one syllable per phrase). The forms of singing include psalm tones, antiphons, responsories, and hymns. Early Gregorian chant was sung exclusively by male voices. In the mid-period, children were sometimes used to replace female vocal lines, and later, female vocal parts were allowed to be incorporated.

Renaissance Period (Late 14th to Late 16th Century) Music gradually broke free from religious constraints. Polyphonic music developed from the multi-voiced chanting of choirs and gradually influenced various types of non-religious music. Representative composers include Palestrina.

Palestrina, known as the Father of Church Music, was an Italian composer of the late Renaissance. Due to his profound expertise in church music, he earned the title “Father of Church Music” and is considered one of the most outstanding composers of the Renaissance period. His works are classics of Renaissance polyphonic music. Palestrina composed a vast number of works, primarily vocal pieces, with masses and motets being particularly renowned. Many of his works are also a cappella choral pieces. He is credited with 105 confirmed masses, with an additional 10 of uncertain attribution. Furthermore, he wrote 375 motets, 68 offertories, approximately 80 hymns, 35 Magnificats, about 50 Italian sacred madrigals, as well as Lamentations and litanies. His most famous work, *Missa Papae Marcelli*, is believed by later generations to have been composed to persuade the Church to abandon its restrictions on polyphonic music.

Baroque Period (1600–1750) Music was characterized by ornamentation and emotional contrast. Genres such as opera, concerto, and sonata emerged. Bach and Handel were the pinnacle figures of this era.

The overture to *L’Orfeo*, an early Baroque representative work, is considered the first true opera in music history. Its opening *Toccata* is a perfect declaration of the Baroque spirit. The piece begins with brass instruments playing a brilliant, resounding fanfare, repeated multiple times, creating a grand and stirring opening atmosphere. This work symbolizes the formal beginning of the dramatic and grandiose musical era—the Baroque period.

The mid-Baroque masterpiece, the six Brandenburg Concertos, were composed by Bach for Margrave Christian Ludwig of Brandenburg, representing the pinnacle of the Baroque concerto grosso. Among them, the Third Concerto is particularly unique—it lacks a slow movement and eliminates the contrast between the solo group and the orchestra. Instead, it is composed of three violins, three violas, three cellos, and continuo, perfectly showcasing the competitive spirit and polyphonic counterpoint techniques of Baroque concertos. The first movement, with its distinct rhythm and vibrant energy, features interwoven dialogues among the voices, combining rigorous structure with vitality, making it a quintessential example of mid-Baroque instrumental music.

The late Baroque masterpiece, the oratorio Messiah, is Handel’s most renowned work, with the “Hallelujah” chorus serving as its immortal climax. Composed during Handel’s late period, when his musical craftsmanship had fully matured, this work fully embodies all the typical characteristics of Baroque music: grandiosity, the fusion of polyphonic and homophonic techniques, intense emotional expression, and the seamless integration of voices and instruments. When the chorus erupts with “Hallelujah,” the overwhelming, universal sense of jubilation elevates the magnificence and sublimity of Baroque art to its zenith. Legend has it that during the premiere, King George II of England was so moved upon hearing this section that he stood up in reverence, thus establishing the tradition of audiences rising to their feet during its performance.

The Classical Period (circa 1750-1820) marks the most flourishing era of classical music. Music from this period emphasizes clear structure, balanced melodies, and rational expression, with forms such as the symphony and string quartet reaching maturity. Haydn, Mozart, and Beethoven are the central representatives of this era.

Early Classical representative work “Prussian Sonatas,” this set of keyboard sonatas composed for Frederick the Great is a masterpiece by C.P.E. Bach. The first movement of the first sonata in F minor perfectly embodies the “Empfindsamer Stil” (Sensitive Style) of the early Classical period. The music no longer consists of the continuous polyphonic lines of the Baroque era but is instead composed of short, expressive phrases with stark dynamic contrasts and rapid emotional shifts, already showing the embryonic form of the Classical sonata. It demonstrates how music of the new era was exploring more direct and personal ways of expressing emotion.

The mid-Classical period masterpiece “Symphony No. 40 in G Minor, K. 550” is one of Mozart’s final three symphonies and one of his most dramatic and emotionally compelling works. Its first movement is a quintessential example of Classical sonata form, featuring a clear structure (with a very distinct exposition-development-recapitulation framework), beautiful melodies (the opening restless and slightly melancholic theme is one of the most famous melodies in music history), and rigorous logic (the musical material is masterfully fragmented, modulated, and reorganized in the development section, full of momentum and tension, ultimately resolved in the recapitulation). This work perfectly blends formal beauty with profound emotional expression, embodying both Classical restraint and the foreshadowing of Romanticism.

The late Classical masterpiece, “Piano Sonata No. 26 in E-flat major, ‘Les Adieux'”, is one of Beethoven’s most quintessential works from the late Classical period. It already begins to transcend purely Classical forms, incorporating certain Romantic musical characteristics. The musical language and piano techniques are more complex and expressive than those of mid-Classical works. Each of the three movements bears a distinct title—”Das Lebewohl” (The Farewell), “Abwesenheit” (The Absence), and “Das Wiedersehen” (The Reunion)—with the musical content closely tied to the narrative of these titles, a hallmark of Romanticism. The piece was composed to commemorate the departure of his friend and patron, Archduke Rudolf, who fled Vienna due to war, and is imbued with sincere personal emotion.

Romantic Period (19th century) Emphasizes personal emotional expression, nationalistic colors, and literary qualities, with expanded work scales and more complex harmonies. Representative composers include Schubert, Chopin, Wagner, and others.

“Erlkönig,” an early Romantic masterpiece by Schubert, stands as his crowning achievement and a manifesto of early Romanticism. Based on Goethe’s narrative poem of the same name, the music tells the terrifying story of a father riding through the night with his sick child in his arms, lured by the “Erlkönig,” a symbol of death. The composition is filled with fear, anxiety, temptation, and sorrow, pushing dramatic tension to its limits. The piano is not merely an accompaniment but a shaper of the scene, with its persistent triplets mimicking the hurried gallop of hooves and the low register creating the eerie atmosphere of a dark forest. The singer must portray four roles (narrator, father, child, and Erlkönig) using distinct vocal colors and tones, showcasing the powerful narrative capacity of music. This work epitomizes the Romantic pursuit of personal emotion, supernatural themes, and artistic synthesis.

The prelude to the mid-Romantic masterpiece *Tristan und Isolde* is a groundbreaking work by Wagner, hailed as “the origin of modern music.” Unlike the clear phrasing of Classicism, the music resembles an unceasing ocean of emotion, flowing endlessly. The famous opening chord (F, B, D#, G#) is profoundly ambiguous, belonging to no definite key, creating an unresolved longing and tension that symbolizes endless desire and suffering. The entire prelude is built on chromatic progressions, where the functionality of traditional harmony is diminished, and emotional expression becomes the sole driving force. This work pushes the Romantic pursuit of the infinite, desire, and transcendent emotion to its peak, nearly dismantling the traditional tonal system that had dominated Western music for centuries.

The fourth movement of the late Romantic masterpiece Symphony No. 1 in D Major, “Titan” is a monumental work by Gustav Mahler. The movement opens with a stormy, full-orchestra climax, depicting a desperate struggle—a journey “from hell to heaven.” This is followed by a middle section characterized by a serene, fairy-tale-like recollection, before building to a final, gloriously triumphant conclusion. Mahler expanded the orchestra’s scale and employed a rich array of orchestration techniques to achieve both overwhelming soundscapes and delicate shifts in tone. Bearing the title “Titan,” the symphony’s musical content is deeply intertwined with the composer’s personal experiences and inner emotional world, epitomizing the Romantic ideal of intense self-expression. Mahler’s music represents both the final, grand summation of the Romantic spirit and, through its bold explorations of harmony, structure, and its profound meditation on the emptiness of existence, it paved the way for the modernist music of composers like Arnold Schoenberg.

2、四大历史事件

The Reformation (16th-17th centuries), initiated by Martin Luther, centered on the doctrine of “justification by faith,” which held that believers could communicate directly with God without necessarily relying on church clergy. This idea directly influenced music, as the melodies of hymns were no longer the exclusive domain of professional choirs but became a musical activity in which all lay believers could participate. As a devout Lutheran, Bach’s extensive body of work was deeply rooted in Protestant hymns. He used hundreds of hymn melodies as the foundation for his highly complex cantatas and passions. For example, in the *St. Matthew Passion*, familiar hymn melodies resound repeatedly, guiding the congregation in understanding the intricate biblical narratives and theological ideas. Bach’s work achieved a perfect fusion of the “sacred and secular” and the “professional and popular” in music.

The representative music of the Papal Reformation period, *St. Matthew Passion*, is a large-scale vocal cycle based on the accounts of Jesus’ suffering and death in Chapters 26 and 27 of the Gospel of Matthew from the New Testament of the Bible. It is far more than just a musical work; it is a profound theological reflection and a dramatic religious experience. *St. Matthew Passion* is the grandest and most meaningful religious music he composed for church worship during his tenure in Leipzig, representing the pinnacle of late Baroque religious music art.

The Enlightenment (17th-18th centuries) championed reason, nature, and humanity, opposing authority and mysticism. This ideology permeated every corner of society, and music underwent a fundamental transformation as a result. The complex and heavy polyphony of the Baroque period gradually gave way to homophony. The relationship between melody (the protagonist) and harmonic accompaniment (the supporting role) became clear, and musical structures (such as sonata form) emphasized symmetry, logic, and balance, directly reflecting the aesthetics of rationalism. Music was no longer solely for the glory of God or the aristocracy but also began to serve the entertainment of the emerging middle-class citizens. The wit, elegance, and clarity found in the music of Haydn and Mozart precisely embody the Enlightenment spirit of “balancing reason and emotion.”

The representative work of the Enlightenment period, *Symphony No. 104 in D major, “London”*, is a quintessential example of the classical symphonic form composed by Haydn. Its sonata form (exposition-development-recapitulation) is meticulously structured and logically organized, akin to a carefully constructed logical argument, reflecting the Enlightenment’s pursuit of clear order and rational structure. The melodies are beautiful and natural, distinct from the complex polyphonic lines of the Baroque era. The balanced dialogue among the voices, along with the transparent and logical musical language, embodies the Enlightenment’s admiration for harmony, balance, and “naturalness.” Haydn’s music is both profound and accessible, designed to bring joy to a broader citizenry (not just the aristocracy), aligning with the Enlightenment ideals of knowledge dissemination and the democratization of art.

The French Revolution (1789-1799) dismantled the old system of aristocratic privileges and gave rise to the ideals of “liberty, equality, fraternity.” Music, in turn, moved from the courts to the public squares, becoming a vital tool for inspiring the masses and spreading revolutionary ideas. This era gave birth to the most iconic revolutionary battle hymn—”La Marseillaise.” Composed by Claude Joseph Rouget de Lisle, the song, with its stirring melody, trumpet-like tones, and battle-cry lyrics, perfectly embodies the spirit of struggle and collective ideals of the revolutionary age. Originally written for the Army of the Rhine in Strasbourg, it was later brought to Paris by volunteers from Marseille and quickly became a revolutionary symbol that united the people and boosted morale.

The representative music of the French Revolution period, “La Marseillaise,” was composed by Rouget de Lisle at the invitation of the mayor of Strasbourg for the departure of the Army of the Rhine, originally named “Chant de guerre pour l’Armée du Rhin.” In 1792, volunteers from Marseille marched into Paris singing this war song, and from then on, it became known as “La Marseillaise.” Its stirring melody and battle-calling lyrics (“Arise, children of the Fatherland, the day of glory has arrived!”) greatly boosted the morale of the revolutionary army, becoming an “eruption of republican spirit.” It was not just a song but also a military signal and a political declaration. Sung countless times in the streets, battlefields, and squares, it played a significant role in unifying thought and rallying strength. In 1795, it was designated as the French national anthem. Although it was abolished and reinstated several times, it was ultimately confirmed during the Third Republic and has been in use ever since.

The technological advancements brought by the First Industrial Revolution (late 18th to 19th century) fundamentally transformed the way music was produced, performed, and experienced. The flourishing sheet music publishing industry enabled the rapid and widespread dissemination of musical works. The emergence of music criticism guided public taste. All of this shifted music from being the exclusive domain of a privileged few to becoming a public commodity and cultural activity accessible to the broader citizenry. The introduction of iron-cast frames allowed pianos to withstand greater string tension, resulting in a wider range, greater volume, and richer tonal quality. This led to the widespread adoption of the modern piano, which became a standard fixture in middle-class households and the most important solo instrument for Romantic composers. The addition of piston systems to brass instruments enabled them to play a full chromatic scale, significantly elevating their role within the orchestra. Public concert halls proliferated, replacing court salons as the primary venues for musical performances. Orchestras expanded in size to accommodate these larger spaces and to achieve greater expressive power.

The creator of the representative music piece “Piano Etude ‘Gradus ad Parnassum'” from the First Industrial Revolution period, Clementi, was an Italian composer and pianist, as well as a successful piano manufacturer and music publisher. He was a true representative figure who combined music with the technology and commerce of the Industrial Revolution. The Industrial Revolution made the large-scale, standardized production of pianos possible, and pianos began to enter middle-class households, becoming the most important tool for family entertainment. Clementi’s own company mass-produced pianos. His “Gradus ad Parnassum” is a vast collection of etudes designed to systematically train piano performance techniques. This reflects the pursuit of standardized, systematic training in the industrial era, laying the technical foundation for a new generation of pianists and audiences.

III. Classification of Classical Music

1. Two Major Classifications of Classical Music

Program music is a type of instrumental composition that uses text, titles, or narrative descriptions to interpret the musical content. Composers depict specific scenes, emotions, or stories through music, guiding listeners to form associations. For example, Beethoven’s *Symphony No. 6 “Pastoral”* directly references natural imagery through its title and movement cues (such as “Scene by the Brook” and “Storm”). Program music reached its peak during the Romantic period (19th century), with representative genres including overtures, symphonic poems, and program symphonies. Broadly speaking, contemporary film scores and video game soundtracks can also be considered forms of program music.

Absolute music (also known as pure music or untitled music) does not rely on text or external interpretation, expressing emotions or aesthetic meaning solely through the formal elements of music itself (such as melody, harmony, rhythm). For example, Bach’s *The Art of Fugue* or most of Mozart’s symphonies derive their value from the purity and abstraction of musical structure. The core idea of absolute music is that music need not refer to the external world; its meaning resides in the combination of sounds. It emphasizes autonomy, meaning that music exists for its own sake. This concept is commonly found in the Classical period (e.g., Haydn, Mozart) and some Baroque works. Genres include sonatas, fugues, untitled symphonies, and others.

2. Ten Major Classical Music Forms

Symphony is a large-scale orchestral composition, typically consisting of four movements structured as “fast-slow-dance-fast.” It is usually performed by 80 to 100 musicians, requiring a full orchestra that includes string, woodwind, brass, and percussion sections. Symphonies are best suited for large concert halls, as their grand sound and rich expressive power require appropriate acoustic settings. The basic form of the symphony was established during the Classical period by Haydn and Mozart, while Beethoven developed it into a vehicle for expressing profound philosophy and emotion. During the Romantic period, its scale and expressive range were further expanded.

The concerto emphasizes the interplay and collaboration between a solo instrument and the orchestra, typically structured in three movements (fast-slow-fast). The soloist is usually a single performer (such as piano or violin), though there are occasional works for multiple soloists or instrumental groups (e.g., oboe and bassoon concertos). The orchestra is smaller than that of a symphony but fully equipped. The concerto originated from the Baroque-era concerto grosso (as exemplified by Corelli), and Mozart established the modern form of the solo concerto during the Classical period, highlighting the soloist’s technical skill and musical personality, making it well-suited for performance in medium to large concert halls.

Sonatas are mostly for solo performance (such as piano sonatas) or duets (such as violin and piano), with a strict structure, often consisting of three movements (fast-slow-fast), with the first movement typically using sonata form. The number of performers is small (1-2 people), and the combination of instruments is flexible, making it suitable for performance in small halls or salon settings. The sonata initially took shape during the Baroque period and was developed to maturity by Haydn, Mozart, and Beethoven during the Classical period, becoming an important genre for expressing personal emotions and technical skill.

Opera is an art form that integrates music, drama, literature, dance, and stage design, composed of singing (arias, recitatives), instrumental music (overtures, interludes), and plot progression. The performance scale is grand, including solo singers, a chorus, and an orchestra, with the number of participants reaching up to hundreds, and it requires a professional opera house for staging. Opera originated in Florence, Italy, in the late 16th century, with Monteverdi as its early founder. It later evolved into various styles and genres through the contributions of composers such as Mozart, Verdi, and Wagner.

Chamber Music refers to a small ensemble form where each part is played by one performer. Common combinations include the string quartet (two violins, viola, cello) and piano trio (piano, violin, cello). Typically performed by 2 to 9 musicians with diverse instrumental arrangements, it is suited for intimate settings such as private salons and small concert halls, emphasizing balance and dialogue among the parts. Chamber music reached its peak during the Classical period, with Haydn hailed as the “Father of the String Quartet.” His works are known for their intricate structure and delicate emotional expression.

Art song (Lied) is a small-scale vocal genre that combines poetry and music, typically featuring a solo singer accompanied by piano, with orchestral accompaniment rarely used. It is performed by a single vocalist, with the piano serving as an equally important partner rather than mere accompaniment. Art songs are suited for intimate settings, emphasizing the poetic imagery and nuanced musical expression. They flourished during the Romantic period, with Schubert being its greatest master.

A suite is composed of multiple movements with dance origins, such as Bach’s *French Suites*. The instrumentation is flexible, ranging from solo to small ensembles, and it originated during the Baroque period.

Overture originally served as the opening music for operas and oratorios, later evolving into independent concert overtures. Mendelssohn’s “Hebrides Overture” is considered a pioneer of program music and one of the precursors to the symphonic poem. It is typically performed by an orchestra.

Variations are based on a single theme and undergo multiple transformations, such as in Elgar’s “Enigma Variations.” The performance format and number of performers can vary widely, ranging from solo to full orchestra.

Symphonic Poem (Symphonic Poem) is a single-movement programmatic orchestral work founded by Liszt, emphasizing literary or narrative elements, such as Smetana’s “Vltava,” performed by a full orchestra.

IV. Important Figures in Classical Music

Classical music has many great figures that are widely recognized and often featured on music room walls. In future Classical Diary entries, the blog author will introduce their lives and works one by one, allowing everyone to appreciate their brilliance. Here, we’ll start with a modest introduction—if you’re interested, feel free to jump to Wikipedia for more information.

Bach (Baroque) is hailed as the “Father of Western Music,” and his works, such as *The Well-Tempered Clavier*, represent the pinnacle of counterpoint.

Mozart (Classical) composed a large number of symphonies, operas, and chamber music, characterized by beautiful melodies and perfect structure, with representative works such as *The Marriage of Figaro*.

Beethoven (Transition from Classical to Romantic) broke through the limitations of classical forms, with works full of drama and human brilliance, such as the *Ninth Symphony*.

Schubert (Romantic) The master of art songs, his melodies are highly lyrical. Although he lived only 31 years, he composed over hundreds of works. His final creation, “Winterreise,” is one of the most representative works of Romantic music.

Chopin (Romantic) almost exclusively specialized in piano music, earning the title of “Poet of the Piano.” He created hundreds of works, among which his *Nocturnes* are particularly beloved by people worldwide and are frequently used in numerous film and television productions.

Wagner (Romantic) reformed opera, establishing the concept of “music drama.” His masterpiece, *Der Ring des Nibelungen*, with its grand themes and harmonies, profoundly influenced later generations.

Beyond the figures mentioned above, the long history of classical music is filled with countless key individuals who created a vast galaxy of classic works. If the opportunity arises in the future, the blog author will introduce them one by one for everyone.

V. General Terminology

Text	Explanation
Grave	Extremely slow and solemn, often used in tragic or profound movements (such as the introduction of Beethoven’s “Piano Sonata ‘Pathétique'”)
Largo	Broad and slow, creating a grand or contemplative atmosphere (such as in the second movement of Dvořák’s Symphony No. 9 “From the New World”)
Adagio	Calm and gentle, often used for lyrical expression (e.g., Barber’s *Adagio for Strings*)
Andante	Walking speed, natural and flowing (like the theme of Mozart’s “Twinkle, Twinkle, Little Star” Variations)
Moderato	Medium tempo, balanced and steady
Allegro	Lively and spirited, commonly found in the first movement of a symphony (such as Beethoven’s “Symphony No. 5”)
Presto	Extremely fast, expressing intense or excited emotions (such as in Tchaikovsky’s “Trepak” from *The Nutcracker*)
Accelerando	Gradually increasing speed
Ritardando	Gradually slowing down

VI. Orchestra and Conductor

Orchestra Name	Country	Main Characteristics	Representative Conductors
Berlin Philharmonic Orchestra	Germany	Brilliant sound, flexible technique, rich tonal layers, authoritative in the core German-Austrian repertoire	Wilhelm Furtwängler, Herbert von Karajan, Claudio Abbado, Simon Rattle, Kirill Petrenko
Vienna Philharmonic Orchestra	Austria	Unique “Viennese Sound,” characterized by warm and mellow strings, bright woodwinds, and expertise in Viennese dance music	Karl Böhm, Herbert von Karajan, currently selects guest conductors through democratic voting
Royal Concertgebouw Orchestra	Netherlands	Consistently ranked among the top three in the world, renowned for its refined balance	Willem Mengelberg, Bernard Haitink
Bavarian Radio Symphony Orchestra	Germany	Ranked third in 2023, technically superb with a unified tone	Mariss Jansons, Kirill Petrenko
London Symphony Orchestra	United Kingdom	Representing the standard of the UK, standing as one of the three pillars alongside the BBC Symphony Orchestra and the London Philharmonic Orchestra	André Previn, Simon Rattle
Chicago Symphony Orchestra	United States	Possesses “America’s Most Powerful Brass Section”	Reiner, Georg Solti
Cleveland Orchestra	United States	Renowned for its precision and ensemble quality	George Szell, Franz Welser-Möst
Leipzig Gewandhaus Orchestra	Germany	Ranked ninth in 2023, a historic and prestigious German orchestra	Riccardo Chailly
Budapest Festival Orchestra	Hungary	One of the world’s top ten symphony orchestras, renowned for its flexibility and musicality	Iván Fischer (Top 10 Conductors of 2023)
Staatskapelle Dresden	Germany	One of the world’s oldest symphony orchestras, with a magnificent tone	Christian Thielemann

VII. International Music Festivals

Music Festival Name	Country	Year of Establishment	Features and Highlights	Remarks
Salzburg Festival	Austria	1920	The world’s highest-level comprehensive music festival, renowned for its opera, concert performances (particularly skilled in Mozart’s works), and theatrical productions	Located in Mozart’s hometown, being invited to perform here is the highest honor for musicians
Bayreuth Festival	Germany	1876	Dedicated to performing Richard Wagner’s operas, the Bayreuth Festival Theatre features a uniquely covered orchestra pit, creating the distinctive “Wagnerian” acoustic effect.	Tickets are notoriously difficult to obtain, with waiting periods stretching several years, and the festival remains in high demand, continuing fervently into 2024
Lucerne Festival	Switzerland	1938	Renowned for its top-tier resident orchestras (such as the Lucerne Festival Orchestra) and expansive programming	Summer, Easter, and Piano sections cover a wide range
Verbier Festival	Switzerland	1994	Still ongoing in 2024, each with unique characteristics, focusing on different repertoires or settings	One of Europe’s major summer music festivals
Bregenz Festival	Austria	1946	In full swing in 2024, renowned for its lakeside opera performances	Unique floating stage productions
The Proms	United Kingdom	1895	The world’s largest classical music festival, renowned for the carnival atmosphere of its “Last Night”	Promotes the concept of “casual listening,” breaking the serious image of classical music
Edinburgh International Festival	United Kingdom	1947	A comprehensive arts festival encompassing various art forms such as classical music, theater, and dance	Established after World War II to rebuild the cultural spirit of Europe

VIII. International Music Competitions

比赛名称	国家	创立时间	比赛项目	特色与影响力
International Chopin Piano Competition	Poland	1927	Piano	Dedicated to the performance of Chopin’s works, held every five years, renowned for its extremely high artistic standards and rigorous selection process
Tchaikovsky International Music Competition	Russia	1958	Piano, Violin, Cello, Vocal	Grand in scale and far-reaching in influence, Van Cliburn’s first championship victory was an iconic cultural event of the Cold War era
Queen Elisabeth International Music Competition	Belgium	1937	Piano, Violin, Vocal, Composition	Renowned for its challenging repertoire and unique competition format (the final round involves performing a newly commissioned work)
Leeds International Piano Competition	United Kingdom	1963	Piano	Held every three years, renowned for its high standards and discovery of new talent
International Henryk Wieniawski Violin Competition	Poland	1935	Violin	Established in memory of the renowned Polish violinist Henryk Wieniawski, specifically for young violinists
ARD International Music Competition Munich	Germany	1952	Multiple Instruments	One of the world’s music competitions with the most event categories, covering over 30 instruments
Geneva International Music Competition	Switzerland	1939	Multiple instruments, vocal	One of the world’s largest and most comprehensive music competitions with the most events

IX. Conclusion

All the content above essentially covers the most fundamental knowledge for entering the world of classical music. The beginning is always the hardest, so there’s no need to memorize everything by rote—just get a general impression. Moving forward, I plan to release a “Classical Diary” series approximately once a month. I’m still considering the specific topics, but ultimately, it will become a series suitable for beginners. Unlike other classical music introductory courses on the market, the blogger’s Classical Diary series will incorporate more audio-visual examples, historical stories, and biographical accounts to make the content as engaging as possible. I hope you’ll enjoy it. If you have any opinions or suggestions, feel free to leave a comment below. Thank you!

References for this article

This text is translated from the original Chinese version on the author’s blog. For quoted content, please refer to the original article.