Melody and the Bourgeoisie
IF YOU are stubbornly bourgeois, you may enjoy the links to recordings of some of the most sumptuously melodic classical compositions of mid-nineteenth century Europe in this entry. If you take the time to listen to these recordings, I guarantee you will not be disappointed. Thomas F. Bertonneau has added some great examples to the list.
Mr. Bertonneau writes:
Bruch’s D-Minor Violin Concerto, his Scottish Fantasy, Raff’s C-Minor Piano Concerto, and Lalo’s Norwegian Fantasyhave in common, with each other and with much of mid-nineteenth century “classical” composition, a basis in folk music. Bruch, Raff, and Lalo, representatively for Romantic composers, strove to write singable melody; they often did this by mining the treasury of actual folksong, in a way that is obvious in Bruch’s Scottish Fantasy and Lalo’s Norwegian Fantasy,but rather less obvious (but no less the case) in the purely abstract scores. The snobbism of twentieth century academicism declared peremptorily that such immediate appeal to ordinary and recognizable emotion was “inauthentic.” (See Theodore W. Adorno.) (more…)

