{"id":48858,"date":"2024-10-18T15:39:58","date_gmt":"2024-10-18T13:39:58","guid":{"rendered":"http:\/\/bdb0eebe-7da3-4fef-bd31-5665e11001e5"},"modified":"2024-10-18T17:07:18","modified_gmt":"2024-10-18T15:07:18","slug":"do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears\/","title":{"rendered":"Do you need a good cry? These pieces of classical music will reduce you to tears"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Friday, 18 October 2024 at 13:39 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p><strong>Some pieces \u2013 operas, in particular \u2013 set out to make you cry. It would take a stony-hearted listener not to tear up, at least a little, as they have their heartstrings pulled by master manipulators such as <a href=\"https:\/\/www.classical-music.com\/composers\/giuseppe-verdi\/\">Verdi<\/a> in <em>La traviata<\/em>, <a href=\"https:\/\/www.classical-music.com\/composers\/giacomo-puccini\/\">Puccini<\/a> in <a href=\"https:\/\/www.classical-music.com\/features\/works\/what-happened-at-the-premiere-of-madame-butterfly\/\"><em>Madam Butterfly<\/em><\/a> or <a href=\"https:\/\/www.classical-music.com\/composers\/leos-janacek\/\">Jan\u00e1\u010dek<\/a> in <em>Jen\u016ffa<\/em>. In these instances, the tragic plot is enough to trigger the emotions.<\/strong><\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/what-are-the-saddest-pieces-of-classical-music\/\">What are the saddest pieces of classical music?<\/a><\/strong><\/li><\/ul><p>But music also works on an altogether more subtle level. Sometimes we find ourself reaching for the handkerchief while listening to works that, on the face of it, have no tragic content whatsoever. Perhaps they trigger some recollection or association? Or maybe there\u2019s something in the structure of the music that causes an emotional response? Plus, of course, tears are not always shed through sadness \u2013 joy, relief and fondness can also come into play.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/does-listening-sad-music-actually-make-you-happier\/\">Does listening to sad music actually make you happier?<\/a><\/strong><\/li><\/ul><p>Some works make us cry just the once, and that\u2019s it, we\u2019re done. Others, in contrast, turn on the taps every single time we hear them. We asked our reviewers to tell us the pieces that are guaranteed to get the tears rolling\u2026 <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-funeral-music\/\">Best classical music and hymn choices for funerals<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-what-are-the-pieces-of-music-that-make-our-critics-cry\">What are the pieces of music guaranteed to make us cry?<\/h2><h3 class=\"wp-block-heading\" id=\"h-humperdinck-s-dream-pantomime-from-hansel-and-gretel\">Humperdinck&#8217;s &#8216;Dream-Pantomime&#8217; from <em>Hansel and Gretel<\/em><\/h3><p>Nightfall, and the two children are lost in a forest. They sing their evening prayer and go to sleep. As they slumber, the orchestra depicts 14 angels coming down to watch over them. And the insanely gorgeous creation that is <strong><a href=\"https:\/\/www.classical-music.com\/composers\/engelbert-humperdinck\/\">Humperdinck<\/a><\/strong>\u2019s <strong>Dream-Pantomime from <em>Hansel and Gretel<\/em><\/strong> reduces me every time to a blubbing puddle. <\/p><ul><li><strong><a class=\"standard-card-new__article-title\" href=\"https:\/\/www.classical-music.com\/features\/works\/how-hansel-and-gretel-became-the-first-opera-to-be-shown-on-television\/\">How Hansel and Gretel became the first opera to be shown on television<\/a><\/strong><\/li><\/ul><p>It ought really to classify as \u2018mawkish Victorian sentimentality\u2019, but no. Instead, perhaps it strikes a chord deep in the psyche, maybe (wild speculation) to do with childhood memories: our fear, aged two, of the dark, or of abandonment, or the eternal longing to feel there\u2019s someone looking after us. I know countless people who are likewise affected. I\u2019ve even seen musicians trooping out of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/what-instruments-make-up-an-orchestra\/\">orchestra<\/a><\/strong> pit dabbing at their eyes after playing it.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/jessicaduchen\/\">Jessica Duchen<\/a><\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p>Philharmonia Orchestra\/Herbert von Karajan<br\/><em>Warner Classics 6407162<\/em><\/p><ul><li><a href=\"https:\/\/www.amazon.co.uk\/Hansel-Gretel-Herbert-von-Karajan\/dp\/B00066VT94\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Buy from Amazon<\/strong><\/a><\/li><\/ul><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Hansel and Gretel: Dream Pantomime\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/HR6EmxZYMJQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-mahler-s-third-symphony-finale\">Mahler&#8217;s Third Symphony: Finale<\/h3><p>Some music seems almost calculated to set the tear ducts pricking \u2013 the introduction to the finale of <strong><a href=\"https:\/\/www.classical-music.com\/composers\/mozart\/\">Mozart<\/a><\/strong>\u2019s G minor String Quintet, say. But tears of joy or of gratitute can be just as potent. The founding fathers of the Edinburgh Festival spoke of the \u2018flowering of the human spirit\u2019, and nowhere does it flower more exaltedly than in the finale of <strong><a href=\"https:\/\/www.classical-music.com\/composers\/gustav-mahler\/\">Mahler<\/a><\/strong>\u2019s Third Symphony. After the questions, the fretting and Nietzschean warning comes a finale Mahler marks \u2018Ruhevoll\u2019 (peaceful); it\u2019s a peace hard won, and unfolded over a span of abiding generosity. It opens hushed and reassuring, and reassurance always returns whenever anguish threatens or is given its head. From there the final act of reconciliation and transcendent apotheosis can begin \u2013 discharged in an extended close that blazes hope, affirmation and, yes, the human spirit in full flower.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/paulriley\/\">Paul Riley<\/a><\/strong><\/em><\/p><p><em>Where did the Third Symphony appear in our list of <a href=\"https:\/\/www.classical-music.com\/features\/works\/which-is-the-best-mahler-symphony\/\"><strong>Mahler symphonies, ranked worst to best?<\/strong><\/a><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p><a href=\"https:\/\/www.classical-music.com\/reviews\/orchestral\/gerhild-romberger-and-bavarian-radio-symphony-orchestra-perform-mahlers-symphony-no-3\/\"><strong>Bavarian Radio Symphony Orchestra et al\/Bernard Haitink <em>BR Klassik 900149<\/em><\/strong><\/a><\/p><ul><li><a href=\"https:\/\/www.amazon.co.uk\/Mahler-Symphonie-No-3-Brso\/dp\/B01M6AIEO0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Buy from Amazon<\/strong><\/a><\/li><\/ul><h3 class=\"wp-block-heading\">Music to make us cry&#8230; Mozart&#8217;s <em>The Marriage of Figaro<\/em><\/h3><p>Throughout <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mozart\">Mozart<\/a><\/strong>&#8216;s wonderful opera, <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/mozarts-marriage-of-figaro-guide\">The Marriage of Figaro<\/a><\/strong><\/em>, the scheming and bullying Count Almaviva is persistently trying to exercise his right to bed a servant girl on her wedding night. Said servant girl is Figaro&#8217;s bride-to-be, Susanna, who is the Countess&#8217;s maid. Despite the bawdy subject matter, there is real depth of feeling here. The Countess is in fact heartbroken that her husband the Count is no longer interested in her, and in the opera&#8217;s final moments, when all has been revealed, she forgives her wayward husband with the most beautifully heartbreaking melody. As the character of Salieri outlines, in the film <em><a href=\"https:\/\/www.classical-music.com\/articles\/amadeus-film\"><strong>Amadeus<\/strong><\/a><\/em>: &#8216;l heard the music of true forgiveness filling the theatre, conferring on all who sat there perfect absolution&#8217;. Guaranteed to melt even the most hardened of hearts.<\/p><p><strong><em>Chosen by the BBC Music Magazine team<\/em><\/strong><\/p><p><strong>Recommended recording:<\/strong><\/p><p><strong><a href=\"https:\/\/www.amazon.co.uk\/music\/player\/albums\/B004LPXLH4?ref=sr_1_1&amp;s=dmusic&amp;keywords=figaro+mcnair&amp;crid=1E4T3FTQ09SXV&amp;sprefix=figaro+mcnair%2Cdigital-music%2C50&amp;qid=1659430184&amp;sr=1-1\">Claudio Abbado with the Wiener Philharmoniker<\/a><\/strong><\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Le nozze di Figaro: 'Contessa perdono' ('Countess, forgive me') \u2013 Glyndebourne\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/KmTcYiuwYCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-purcell-s-evening-hymn\">Purcell&#8217;s <em>Evening Hymn<\/em><\/h3><p>Few people remain unmoved by <strong><a href=\"https:\/\/www.classical-music.com\/composers\/henry-purcell\/\">Purcell<\/a><\/strong>\u2019s <em>Evening Hymn<\/em> \u2013 an elegiac setting of William Fuller\u2019s poetic reflection on death: \u2018Now that the sun hath veil\u2019d his light, And bid the world goodnight; To the soft bed my body I dispose, But where shall my soul repose?\u2019 Purcell\u2019s hauntingly wistful melody floats over a hypnotic ground bass which, in turn, is an elaboration of the descending tetrachord whose inevitable and constant descent was a symbol of lamentation in Baroque music \u2013 and a poignant reminder of human mortality. Purcell\u2019s subtle dissonances and harmonic shift on the words \u2018can there be any so sweet security\u2019 conveys at once the uncertainty of the sceptic and the optimism of the believer.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/kateboltonporciatti\/\">Kate Bolton-Porciatti <\/a><\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p><a href=\"https:\/\/www.classical-music.com\/reviews\/purcell-o-solitude\/\"><strong>Andreas Scholl, Christophe Dumaux (countertenor); Accademia Bizantia\/Stefano Montanari<\/strong><\/a><br\/><a href=\"https:\/\/www.classical-music.com\/reviews\/purcell-o-solitude\/\"><strong><em>Decca 478 2262<\/em><\/strong><\/a><\/p><ul><li><a href=\"https:\/\/www.amazon.co.uk\/Solitude-Andreas-Scholl\/dp\/B003XT8Y3U\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Buy from Amazon<\/strong><\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-beethoven-s-fidelio\">Music to make us cry&#8230; Beethoven&#8217;s <em>Fidelio<\/em><\/h3><p><strong><a href=\"https:\/\/www.classical-music.com\/composers\/ludwig-van-beethoven\/\">Beethoven\u2019<\/a><\/strong>s only opera, <strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-beethovens-fidelio\/\">Fidelio<\/a><\/strong>, has its flaws, but I love it for its idealism and for one transcendental five-minute passage that never fails to moisten the eyes. It\u2019s the Act I quartet, where four characters each disclose to us their most cherished dreams \u2013 dreams so contradictory that you realise (though they don\u2019t) that they can\u2019t all come true. So there\u2019s immediately that tension, inherent in life itself, between those destined to be winners and those who will end up losers. That\u2019s sad enough.<\/p><p>But then there\u2019s Beethoven\u2019s astonishing musical response: the low strings\u2019 hymn-like introduction, the poignant clarinet curling round the voice, and that limpid, exquisitely simple tune passed from voice to voice while the counterpoint around it (like the opera\u2019s plot) becomes more and more entangled. \u2018To live is to suffer,\u2019 wrote Nietzsche. Beethoven shows that even suffering can be sublimely beautiful.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/richard-morrison\">Richard Morrison<\/a><\/strong><\/em><\/p><p>We named the <a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-beethovens-fidelio\/\"><strong>best recordings of Beethoven&#8217;s <em>Fidelio <\/em>here<\/strong><\/a>.<\/p><p><strong>Recommended recording:<\/strong><\/p><p>Philharmonia Orchestra\/Otto Klemperer<br\/><em>Warner Classics 2564695614<\/em><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/Beethoven-Fidelio-Otto-Klemperer\/dp\/B017OHASM6?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-6949\" target=\"_blank\" rel=\"noreferrer noopener\">Buy from Amazon<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\">Vaughan Williams&#8217;s Symphony No. 5 &#8211; Romanza<\/h3><p>Written between 1938 and 1943, at the height of the Second World War, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/ralph-vaughan-williams\">Vaughan Williams<\/a><\/strong>&#8216;s gorgeous <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-vaughan-williamss-symphony-no-5\">Fifth Symphony<\/a><\/strong> evokes the deep beauty of a peaceful, pastoral landscape &#8211; an ideal of Britain that has been lost to violence and terror. For all its warmth, melodic generosity and seeming spaciousness, this is also an intricate, highly sophisticated piece of work. The tonal ambiguity of its opening is ultimately resolved in radiant orchestral polyphony, which recalls the spirit of the Elizabethan choral masters, <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/thomas-tallis\">Tallis<\/a><\/strong> and\u00a0<a href=\"http:\/\/www.classical-music.com\/topic\/william-byrd\"><strong>Byrd<\/strong><\/a>, yet which could only be from the 20th century. At its heart is a deep melancholy, that particularly in the still and poignant Romanza cannot help but move the listener to tears.<\/p><p>We ranked <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/which-is-the-best-vaughan-williams-symphony\">all nine Vaughan Williams symphonies<\/a><\/strong><\/p><p><strong><em>Chosen by the BBC Music Magazine team<\/em><\/strong><\/p><p><strong>Recommended recording:<\/strong><\/p><p>The London Philharmonic \/ Bernard Haitink <em>EMI Classics 7243 5 55487 2<\/em><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/dp\/B000002RVL\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Buy from Amazon<\/a><\/strong><\/li><\/ul><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Ralph Vaughan Williams: Symphony No 5 'Romanza' \/\/ Sir Antonio Pappano &amp; LSO\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/oX4pTSRcgSc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-janacek-s-the-cunning-little-vixen\">Music to make us cry&#8230;. Jan\u00e1\u010dek\u2019s <em>The Cunning Little Vixen<\/em><\/h3><p>Music related to wildlife and the natural world regularly reduces me to tears. Despite the number of times I\u2019ve listened to them, Vaughan Williams\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/four-of-the-best-recordings-of-vaughan-williamss-the-lark-ascending\">The Lark Ascending<\/a><\/strong><\/em> and the <em>Sea Interludes<\/em> from <strong><a href=\"https:\/\/www.classical-music.com\/composers\/benjamin-britten\/\">Britten<\/a><\/strong>\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/peter-grimes-britten\">Peter Grimes<\/a><\/strong><\/em> invoke the same overwhelming wonder as a breathtaking landscape. There\u2019s nothing more powerful than music \u2013 except when it is combined with thoughtful words. Laura Bowler\u2019s <em>Houses Rising<\/em>, an oratorio about climate change recently premiered at the Southbank, left me unsettled for days. And the story and sound of <strong><a href=\"https:\/\/www.classical-music.com\/composers\/leos-janacek\/\">Jan\u00e1\u010dek<\/a><\/strong>\u2019s <em>The Cunning Little Vixen<\/em> is certain to make me blub: our heroine is last seen on stage as a fur worn by the poacher\u2019s wife, illuminated by an urgent, haunting score.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/clairejackson\/\">Claire Jackson <\/a><\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p>Vienna Philharmonic\/Charles Mackerras<br\/><em>Decca 4758670<\/em><\/p><ul><li><a href=\"https:\/\/www.amazon.co.uk\/Leos-Jan-Ecek-Philharmonic-Mackerras\/dp\/B019GQY2AW\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Buy from Amazon<\/strong><\/a><\/li><\/ul><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Jan\u00e1\u010dek: THE CUNNING LITTLE VIXEN (Glyndebourne)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/CQvLOfbvRwE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-ravel-s-miroirs-vallee-des-cloches\">Ravel\u2019s <em>Miroirs<\/em>: \u2018Vall\u00e9e des cloches\u2019<\/h3><p>There\u2019s one moment in <strong><a href=\"https:\/\/www.classical-music.com\/composers\/maurice-ravel\/\">Ravel<\/a><\/strong>\u2019s \u2018Vall\u00e9e des cloches\u2019, from the piano suite <em>Miroirs<\/em>, that never fails. The imagery, too, is always the same. I\u2019m standing in a Mediterranean valley at sunset, looking down towards the sea. Distantly, all around, church bells are ringing. It\u2019s peaceful, but slightly eerie. Then, about two minutes in, comes the twist to B flat minor (why is it always B flat minor?), and there it is again \u2013 loss. Tenderness, wonder, irrevocable pain \u2013 it\u2019s all there; but it\u2019s also so contained, so dignified, so exquisitely stoical \u2013 and that somehow makes it worse, and at the same time achingly beautiful. Sometimes just thinking about it is enough.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/stephenjohnson\/\">Stephen Johnson<\/a> <\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p><a href=\"https:\/\/www.classical-music.com\/reviews\/instrumental\/ravel-miroirs-etc-stravinsky-the-firebird-etc\/\"><strong>Beatrice Rana (piano)<\/strong><\/a><br\/><a href=\"https:\/\/www.classical-music.com\/reviews\/instrumental\/ravel-miroirs-etc-stravinsky-the-firebird-etc\/\"><strong><em>Warner Classics 9029541109<\/em><\/strong><\/a><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/Stravinsky-Ravel-Beatrice-Rana\/dp\/B07TNVWMQY?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-138107\" target=\"_blank\" rel=\"noreferrer noopener\">Buy from Amazon<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-linda-catlin-smith-s-drifter\">Music to make us cry&#8230; Linda Catlin Smith&#8217;s <em>Drifter<\/em><\/h3><p>The American-born Canadian composer Linda Catlin Smith creates exquisite music with all sorts of instrument combinations. But there\u2019s something especially moving about the subtlety she achieves in <em>Drifter<\/em>, a 20-minute piece composed in 2009 for the highly unusual pairing of <strong><a href=\"https:\/\/www.classical-music.com\/articles\/a-quick-guide-to-the-classical-guitar\">guitar<\/a><\/strong> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/piano-parts\">piano<\/a><\/strong>. It\u2019s all about listening: the musicians to each other and us to them, as they come together in gentle, mutual exploration of chords, timbres and melodic fragments. I imagine an itinerant guitarist finding an old bar off a dusty road where a lone pianist is softly pressing keys; this is their beautifully understated yet eloquent conversation. Their meeting has a quiet grace and wisdom, and a sweet melancholy that I find always invokes a tearful sense of release.<\/p><p><em><strong>Chosen by Steph Power <\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p>Emma Richards (viola), Simon Limbrick (vibraphone), Philip Thomas (piano), Diego Castro Magas (guitar), Mira Benjamin (violin), Simon Limbrick (percussion), Anton Lukoszevieze (cello), Quatuor Bozzini<br\/><em>Another Timbre at105<\/em><\/p><h3 class=\"wp-block-heading\" id=\"h-tibor-harsanyi-s-tale-of-the-little-tailor\">Tibor Hars\u00e1nyi&#8217;s <em>Tale of the Little Tailor<\/em><\/h3><p>A colleague, Vittorio Rieti, described the Paris-based Hungarian composer Tibor Hars\u00e1nyi (1898-1954) as \u2018a very good musician, but rather shy and sad\u2019. In the late 1930s, Hars\u00e1nyi wrote a <strong><a href=\"https:\/\/www.classical-music.com\/features\/jazz\/what-is-jazz\">jazz<\/a><\/strong>-and-<strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/igor-stravinsky\">Stravinsky<\/a><\/strong>-inspired score for the Grimm Brothers\u2019 <em>Tale of the Little Tailor<\/em>, which includes a cue of particularly potent melancholy. The tailor, having defeated the wild boar and the two giants, suddenly baulks at his final task and longs for home. The following <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/history-of-the-clarinet-its-invention-evolution-and-famous-clarinet-makers\">clarinet<\/a><\/strong>-led <em>sotto voce<\/em> lament is understated yet telling, its short-winded phrases reflecting our hero\u2019s despair. In its central section, after a lugubrious solo <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/cello\">cello<\/a><\/strong> phrase, a muted <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/the-history-of-the-trumpet-its-invention-evolution-and-famous-trumpet-makers\">trumpet<\/a><\/strong> plays short-breathed wisps of child-like entreaty, ending in a despairing wail before the clarinet resumes. The major chord ending offers some consolation, at least.<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/danieljaffe\/\">Daniel Jaff\u00e9 <\/a><\/strong><\/em><\/p><h3 class=\"wp-block-heading\" id=\"h-elgar-s-dream-of-gerontius\">Music to make us cry&#8230; Elgar&#8217;s <em>Dream of Gerontius<\/em><\/h3><p>Undignified as it may be for an academic to admit it, my responses to music are as much about the heart as the head. I\u2019m a sucker for anything that evokes nostalgia for times past, innocence lost or love thwarted: rousing hymns that transport me back to the school hall, anything sung by boy trebles, the most self-consciously heart-rending of operas. A particular personal tear-jerker is <em>The Dream of Gerontius<\/em>, not for any religious reason, but because of the sheer lushness of <strong><a href=\"https:\/\/www.classical-music.com\/composers\/edward-elgar\/\">Elgar<\/a><\/strong>\u2019s orchestral writing and the vocal music that is so expressive, so heart-on-sleeve that it seems simultaneously to encapsulate life\u2019s highest joys and its ultimate fragility. When it comes to this piece, I could weep for England.<\/p><p><em><strong>Chosen by Alexandra Wilson<\/strong><\/em><\/p><p>We named <em>Dream of Gerontius <\/em>as one of the <a href=\"https:\/\/www.classical-music.com\/features\/articles\/five-essential-works-elgar\/\"><strong>best works by Elgar<\/strong><\/a>.<\/p><p><strong>Recommended recording:<\/strong><\/p><p>London Philharmonic Orchestra\/Adrian Boult<br\/><em>EMI 764 0152<\/em><\/p><h3 class=\"wp-block-heading\" id=\"h-poulenc-s-deux-poemes-de-louis-aragon\">Poulenc&#8217;s <em>Deux po\u00e8mes de Louis Aragon<\/em><\/h3><p>In September 1943 <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/francis-poulenc\">Poulenc<\/a><\/strong>, in occupied France, received from Switzerland a printed copy of the Communist r\u00e9sistant Louis Aragon\u2019s book of poems, <em>Les Yeux d\u2019Elsa<\/em>. Within a week he had set two of them. \u2018C\u2019 is a lament for France\u2019s defeat. The poet notes the links in French poetry between the popular and sophisticated styles \u2013 in line with Poulenc\u2019s love of what he called \u2018la d\u00e9licieuse mauvaise musique\u2019. The phrasing is popular (regular quavers, ten four-bar phrases, plus one bar for the final cadence); sophistication lies in the harmonies. My lachrymose moment comes on the heartbroken, heartbreaking cry \u2018O ma France, \u00f4 ma d\u00e9laiss\u00e9e\u2019 \u2013 not just conquered, but abandoned, by the generals and their bizarre reliance on the Maginot Line<\/p><p><em><strong>Chosen by <a href=\"https:\/\/www.classical-music.com\/author\/rogernichols\/\">Roger Nichols <\/a><\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p><a href=\"https:\/\/www.classical-music.com\/reviews\/choral-song\/chanson-damour\/\"><strong>Sabine Devieilhe (soprano), Alexandre Tharaud (piano)<\/strong><\/a><br\/><a href=\"https:\/\/www.classical-music.com\/reviews\/choral-song\/chanson-damour\/\"><strong><em>Warner Classics 9029522427<\/em><\/strong><\/a><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/Chanson-dAmour-Alexandre-Tharaud-Devieilhe\/dp\/B08BDSDDJS\/?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-120877\" target=\"_blank\" rel=\"noreferrer noopener\">Buy from Amazon<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-brahms-s-piano-quartet-no-3-andante\">Music to make us cry&#8230; Brahms&#8217;s Piano Quartet No. 3: Andante<\/h3><p>We don\u2019t grieve less as we age, but we do grieve differently. Children can howl without restraint until exhausted, but as adults we must often measure our misery, shoe-horning it into busy days. The <em>Andante<\/em> from Brahms\u2019s Piano Quartet Op. 60 perfectly captures that dignified sorrow \u2013 I can never hear it without a silent tear rolling down my cheek. The descending cello melody, pitched like a human voice, is steadied and supported by a calm, resolute piano part. When the other <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/string-instruments\">strings<\/a><\/strong> join in, their mutual companionship, depicted by the constant intertwining of their voices, evokes the most sympathetic friendship. This music always make me weep, but it offers reassurance and comfort too.<\/p><p><em><strong>Chosen by Natasha Loges<\/strong><\/em><\/p><p><strong>Recommended recording:<\/strong><\/p><p><a href=\"https:\/\/www.classical-music.com\/reviews\/chamber\/r-schumann-string-quartets-nos-1-3-2\/\"><strong>Emerson String Quartet; Leon Fleischer (piano)<\/strong><\/a><br\/><a href=\"https:\/\/www.classical-music.com\/reviews\/chamber\/r-schumann-string-quartets-nos-1-3-2\/\"><em><strong>DG 477 6458<\/strong><\/em><\/a><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/Schumann-String-Quartets-Emerson-Quartet\/dp\/B08GRSL332?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-140115\" target=\"_blank\" rel=\"noreferrer noopener\">Buy from Amazon<\/a><\/strong><\/li><\/ul><p>We named this as one of the <a href=\"https:\/\/www.classical-music.com\/features\/articles\/six-best-brahms-recordings\/\"><strong>best Brahms recordings of all time<\/strong><\/a>.<\/p><h3 class=\"wp-block-heading\" id=\"h-mahler-s-das-lied-von-der-erde\">Mahler\u2019s <em>Das Lied von der Erde<\/em><\/h3><p>There are tears and there is sobbing. I weep easily, most often at music and movies, but what finds me fumbling for my handkerchief to stifle the sobs is Mahler\u2019s <em>Das Lied von der Erde<\/em>. Or, to be precise, it\u2019s the final pages of the work when, in \u2018Der Abschied\u2019, the soloist reaches the lines that the composer added to Hans Bethge\u2019s Chinese Poems \u2013 \u2018All\u00fcberall und ewig Blauen licht die Fernen! Ewig\u2026 ewig\u2026\u2019 (\u2018Everywhere and forever the distance shines bright and blue! Forever\u2026 forever\u2026\u2019). I think of Mahler\u2019s sense of his own mortality. I think of <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/who-was-kathleen-ferrier\">Kathleen Ferrier<\/a><\/strong> and Alfreda Hodgson, both peerless soloists in <em>Das Lied<\/em> who died too young. And I remember Janet Baker at a <strong><a href=\"https:\/\/www.classical-music.com\/bbc-proms\/\">BBC Prom<\/a><\/strong> when I was a callow 18 year-old \u2013 the night the sobbing started!<\/p><p><em><strong>Chosen by Christopher Cook <\/strong><\/em><\/p><p>We named <em>Das Lied von der Erde <\/em>as one of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-of-mahler\">b<\/a><\/strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-of-mahler\"><strong>est works by Mahler<\/strong><\/a>.<\/p><p><strong>Recommended recording:<\/strong><\/p><p>Kathleen Ferrier, Julius Patzak; Vienna Philharmonic Orchestra\/Bruno Walter<br\/>Alto ALC 1120<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Mahler - Das Lied von der Erde (The Song of the Earth) English Subtitles\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Npy4gjZ81F0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Friday, 18 October 2024 at 13:39 PM Some pieces \u2013 operas, in particular \u2013 set out to make you cry. It would take a stony-hearted listener not to tear up, at least a little, as they have their heartstrings pulled by master manipulators such as Verdi in La traviata, Puccini in Madam Butterfly [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":48859,"template":"","categories":[1],"acf":{"readingTimeMinutes":"11"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/do-you-need-a-good-cry-these-pieces-of-classical-music-will-reduce-you-to-tears.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Friday, 18 October 2024 at 13:39 PM Some pieces \u2013 operas, in particular \u2013 set out to make you cry. It would take a stony-hearted listener not to tear up, at least a little, as they have their heartstrings pulled by master manipulators such as Verdi in La traviata, Puccini in Madam Butterfly&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/48858"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/48859"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=48858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=48858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}