What is the most difficult symphony?

We've asked musicians, we've scoured the internet and our music library - these are the hardest pieces of classical music out there. Kaikhosru Shapurji Sorabji - Opus clavicembalisticum. ... Alexander Scriabin - Mysterium. ... Franz Liszt - La Campanella. ... Giovanni Bottesini - Double Bass Concerto No. ... J.S. Bach - Chaconne in D. More items... •

classicfm.com - These are the definitively the hardest pieces of music to play - Classic FM

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These are the definitively the hardest pieces of music to play

We’ve asked musicians, we’ve scoured the internet and our music library - these are the hardest pieces of classical music out there.

Kaikhosru Shapurji Sorabji - Opus clavicembalisticum

Why not kick off with an impossible-to-pronounce piece? Here’s a blistering performance of this utterly bonkers piano piece - not for the faint-hearted:

Alexander Scriabin - Mysterium

So yeah, it’s an orchestral evocation of the end of the world that could potentially last for up to a week, and was intended to be performed in the foothills of the Himalayas. Here’s what Scriabin himself said about it: “There will not be a single spectator. All will be participants. The work requires special people, special artists and a completely new culture. The cast of performers includes an orchestra, a large mixed choir, an instrument with visual effects, dancers, a procession, incense, and rhythmic textural articulation. The cathedral in which it will take place will not be of one single type of stone but will continually change with the atmosphere and motion of the Mysterium. This will be done with the aid of mists and lights, which will modify the architectural contours.”

Sure.

Franz Liszt - La Campanella

It sounds innocent enough at the beginning, but give it a minute… This piece has been haunting encores for centuries.

Giovanni Bottesini - Double Bass Concerto No. 2

There was a reason Bottesini was known as the Paganini of the double bass. For extra difficulty points, be true to the period and play it on three strings.

J.S. Bach - Chaconne in D

The absolute daddy of violin showpieces. SO exposed.

Luciano Berio - Sequenzas

OK, it’s hard to narrow these down to just one - but Berio’s experimental Sequenzas were actually designed to push the boundaries of what might be possible with any given instrument. Try the soprano one for size:

Conlon Nancarrow - Studies for Player Piano

Imagine writing a piano piece so insanely tricky that you know a human wouldn’t be able to handle it. That’s what Conlon Nancarrow did, much to everyone’s consternation, and enlisted the help of a trusty player piano to make sure it was finally heard:

Heinrich Ernst - Variations on The Last Rose of Summer

This transcription of Thomas Moore’s poem is utterly bewildering - the techniques required are not only at the very extremes of the violinist’s capabilities, but also required at the same time as one another. See Hilary Hahn nail it:

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Could Beethoven hear his own music?

It's safe to say he generally knew how the music would sound as he put it down on paper. But Beethoven was notorious for corrections, so the process didn't necessarily come easily to him. Still, like all composers, he had an “inner ear” for music.

cpr.org - How Did Beethoven Compose When He Was Deaf? We Asked Evelyn ...

Beethoven was in his mid-30s when he started to lose his hearing, so he had many years of composing under his belt. It’s safe to say he generally knew how the music would sound as he put it down on paper. But Beethoven was notorious for corrections, so the process didn’t necessarily come easily to him.

Still, like all composers, he had an “inner ear” for music. By the time he wrote his Ninth Symphony — the one over an hour-long with full orchestra, chorus, and soloists — he had been profoundly deaf for nearly a decade. Wouldn’t that “internal ear” fade over time?

The one person who could help answer this question is Scottish multi-percussionist Evelyn Glennie. “When I decided to study music full-time, there was still this feeling that to be deaf meant silence,” said Glennie, who has been profoundly deaf since she was 12 years old. “To play music meant sound. So basically the two couldn’t come together.” Glennie was admitted to the Royal Academy of Music at age 16 by persuading the academy she could “hear” with other parts of her body. “For me, it was a case of trying to allow people to understand that my whole body was like a resonating chamber. It’s kind of like a massive ear, as it were,” she said. In other words, she “hears” with her whole body. Her Ted Talk titled “How to Truly Listen” has been viewed over 6 million times.

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