Mozart and Bach on the Triumvirat debut album

Beethoven and Tchaikovsky with Latte e Miele

Bach with Le Orme

Beethoven, Bach, Mozart, and others with German prog band The Pink Mice

I love this kind of thing, as I have been a big classical music listener ever since I was with progressive rock.

Psychedelic Paul wrote: ^ Is it ELP again with an Emerson cover from the Works album?

 

It is ELP again. Not quite as obvious as the Bartók piece, but still recognisable:

 

 

 

 

I was actually quite surprised when I first discovered that this was a cover. It just seemed too "out there" to be not an original.

 

The obvious Bach's 4th string on A Whiter Shade of Pale

Grieg's Hall of the Mountain King on Wakeman's Journey to the Centre of Earth

Carl Orff Carmina Burana to Zeuhl in general

Beethoven on the first Renaissance album and later Rimsky-Korsakov for Song Of Sheherazade

Bach's Toccata and Fugue in D minor on "Ballons" by the Oldfield brothers (Sallyangie)

Just the few that pop in mind

Both original parts of Larks' Tongues In Aspic (and probably a lot of other King Crimson tunes from that era as well) are strongly inspired by this Bartók piece:

octopus-4 wrote: Beethoven on the first Renaissance album and later Rimsky-Korsakov for Song Of Sheherazade

Renaissance has used a lot of classical quotations in its discography. Other examples include Chopin's Revolutionary Étude on Prologue, Debussy's La Cathédrale Engloutie on At The Harbour and Albinoni's Adagio In G Minor on Cold Is Being.

tried to find an orchestral version of The Enemy God Dances With The Evil Black Spirits but no luck. That was an excerpt from the Scythian Suite so probably not split out like ELP did it on Works Volume One.

I've often wondered who that beautiful piece of classical piano was by at the beginning of At the Harbour. Now I know. 

ELP in Montreal Stadium with Fanfare for the Common Man

The original Fanfare for the Common Man by Aaron Copeland - no relation to that guy from The Police. 

I'm afraid, I'm not that familiar with Classical Music. 

Not to worry. You are familiar with prog and maybe this thread will broaden your classical horizons too. 

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 1969: Andromeda - Andromeda -  http://www.youtube.com/playlist?list=PLG-InimcgCwN45hHqKeahnS0Yy2IxCDUy" rel="nofollow - http://www.youtube.com/playlist?list=PLG-InimcgCwN45hHqKeahnS0Yy2IxCDUy

Andromeda - When to Stop (with a grand finale featuring Rodrigo's Guitar Concerto)

from ELP:

King Crimson adaptation:

Michel St-Pere from the Canadian band Mystery:

It's been over forty years since I saw Escape from New York at the local movie theater in Nottingham, so I barely remembered the soundtrack, until now. 

I'd rather forget the sequel Escape from Los Angeles though. 

Yes, I'm certainly familiar with Prog, but I need to be familiar with Classical Music too to be able to tell which Classical composers I hear mostly in Prog. 

And then, I'm afraid to say that I'm not much for broadning my Classical horizons - too boring unless it get peppered by some Rock and maybe Jazz and Folk. 

I was thinking that Igor Stravinsky would not exactly be foreign to a lot of rock music. There are articles on the net suggesting that he influenced some hard rock music.

One of the first "progressive" classical albums I got was ELP's Mussorgsky version ... but there was, in America, at least The Electric Prunes ... that also did "classical music" although I never found it associated with any specific composer. I may have to listen to "Mass in F Minor" again. Hardly remember it!

I love 2:30 onwards!!  This was the soundtrack for the old Flash Gordon serials in the 1930s, which I adored! 

Canarios (ESP) - Cycles: Based upon Antonio Vivaldi's "The Four Seasons" (1974)

And this one is not only peppered by Rock but Flamenco temperament too. Highly recommendable and especially for those who can be fond of some synthesizer Metal. 

Hi,

Taking a course in music appreciation at your local city college, would be a good start. Most classes on this call is "modern music" or "western civilization music", although we really do not have enough clear ideas about music before Vivaldi, Albinoni, Bach and such ... and we think that the religious this and that was all that was about, which is impossibly true. 

A good course goes through many things and allows us to see the many eras and styles of music and learn something from it ... my main bitch about a lot of stuff regarding music and the arts is simply the fact that a massively huge percentage don't give a damn about the history and how things got to this level today ... and all that is left? Your favorite, of course ... because everything else is not around!

The main issue with the familiarity with the history of classical music, is that it will throw you for 10 loops and a half, and destroy your ideas, and understandings that you have about "progressive music", or anything else without a title and name on it. All of a sudden Chuck Berry is not important, but for one thing ... his ability to flip a finger at the folks that thought music was this and that, and all of a sudden he is selling twice, three times, four times more than any classical music ... but that does not entitle him (and he never claimed it!) to be an important part of music history ... he is in terms of ATTITUDE, which is one of the greatest parts of rock music, and its most distinctive feature! And THAT fits in a lot of music history, since you can listen to a lot of operas and realise that the "emotions are so bottle up and "invented" to the point of it being ridiculous ... but (sadly!), you'll never hear a Pavarotti (just an example!!!) go rogue on the stage which would actually be far out ... but that would take him out of the Carnegie Hall forever where he could make the most money! It kinda tells you how much "classical music" has controlled people to do what the history of it all thinks is the way it is supposed to be.

But knowing classical music makes you no better than anything else ... witness Rick Wokeman ... who knows all the music history and yet his compositions are such low level that it is almost sad. Most of his stuff is centered and designed/defined towards the song format, and has very little to show for itself than classical music in my book. Yes, HE CAN PLAY and then some ... but as a creative force, he lost it when he could not even realize that experimentation and creating music with it is what so much of the 20th century was all about ... and in his case having a hundred keyboards to play exactly the same thing with a different sound! It confounds me that he trashes TFTO over his own pieces, when his pieces are not even "original" and as strong and shown as the piece he didn't like, but was able to add some neat parts to it.

It is that kind of dichotomy, that prevents us, rock fans, from understanding music properly ... because some of these goons actually believe that a score with 40 lines for a staff is merde and his 6 lines of a staff on one piece is more important ... well, we do remember Bach, Vivaldi and such and they did not have a lot of lines on the staff .... but I think we will remember those a lot better than Mr. Wokeman!

Hi,

Paul ... you need to find/see a film called ALLEGRO NON TROPPO. It is a sendup to FANTASIA, and the closing piece is the BOLERO .... lovely cartoons, and that last one is not the best.

Psychedelic Paul wrote: ^ That Bartok tune sounds soooooo familiar but I can't quite place it. Is it Emerson, Lake & Palmer?

That is Keith hurrying up to the bathroom, as he is late for rehearsal!   

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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com

Ekseption (NL) - Trinity (1973)

Including interpretations of pieces by Bach, Beethoven and Rimsky-Korsakov, and btw this album was in the '70s one of my 

first steps into Prog.

All of them.

One SERIOUS consideration about this thread ... how we do NOT consider a lot of the work that some rock folks have done, the equivalent of "classical music" ... and that hurts.

I'm of the opinion that one thing that a lot of the folks that we consider "progressive", were looking for, was to create music that went beyond the limits of rock'n'roll and the (pathetic) hit radio generation of the 60's ... and here we are, and we mention all that stuff, but we do not consider anything as very strong and equivalent ... one listen to Rachel Flowers doing TARKUS in a piano is simply enough to tell you that it was a massive piano concerto ... but nooooooo ... we only think of it as just a song!

It's just as well that "progressive" is almost dead ... we don't believe in it, anyway ... but I have tried and tried, and never quit on it .... it's not about the "song" or the "solo" ... and until we grow out of the young get suxed in the movie/tv shot that makes it look like a star ... I don't think that we can get anywhere.

To me, the folks doing some classical music was a nice hint, but really, ELP, at least, tried to elevate it to something else ... and if you have not seen the clip in Montreal about Aaron Copland's piece, you are missing, some really far out work ... something that most of the folks that did "classical music" were NEVER able to consider or try. ELP had guts ... and that piece is incredible! And, usually that is the mark of a true artist ... not being afraid to try and do something else and different! Just playing the piece is not enough. Even hearing Marcus Reuter do Stravinsky (with the Stick Men) ... is insane, but great ... I would have liked to see more not just the piece itself ... but not sure they can do something that is not "scripted" in some form even though they seem to be very experimental ... I kinda find it less so, specially if you catch Marcus with Thorsten Q and stick around for 35/40 minutes ... that's free form, and original and very classic in many ways!

Count me in as another fan of Ekseption, who had a Bach to Bach string of great albums during the 1970's.   

Hi,

I would not say it is a great influence, but it says something else ... that we can improvise and come up with just about anything, and it counts, regardless. In terms of that "freedom", it would be an influence, however, I think that in some ways, this particular path in electronic material had its source in the early days of the synthesizer, and it learning to make sounds ... and this piece, is ... probably just about that. I do not think, specially, that this is important as an influence, other than the attitude/freedom to just about do anything during the piece, which I seriously doubt would sound the "same" when done the next night. As such, it would not be an "influence",  since we know that what was known as art music and pop music were very formulaic and in due time, this influence "disappeared" ... specially for listeners in this place. You still got a Faust and a couple of other odd ball things, but in general, it was gone.

The bigger influence, that we do not discuss simply as our tendency is to consider everything nothing but songs, is that the composition style had developed from the simplistic ones used in pop music, and most rock music at the time. Most early "progressive" was still married to the format in some forms. I think that The Nice/ELP kinda broke the mold, however, ELP's first album is ... songs, for the most part, if we really look at it ... and I think that was an issue for the record company, not wanting something that was not entirely recognizable and the band alienate the fans. However, it would be nuts to suggest that a lot of folks in the late 60's and early 70's were just wanting to make songs ... I doubt it, although I have only heard Gary Green (GG) say something about that. GG suggested it wasn't about a song ... they just played, and sometimes things worked and other times they didn't ... and a lot of it had NOT, at that time even been written down, which means they cleaned it all up in concert. We have a horrific time with this idea, even here, but it is something that is very similar to "krautrock", though in this case one would think the influences are anything that can be called music ... turned somewhat upside down!

Hi,

Like Vivaldi, who could improvise forever and go crazy, Paganini is only thought of as a bit of heavy metal, because when he started improvising and going crazy, he could stay there for a long time, and heavy metal tends to be that way ... let's see how much longer Mike's solo guitar will be in the next DT album kind of thing.

In terms of playing and his dexterity, I am not sure that most heavy metal even comes close since it continuously uses the same notes and chords, and instead uses loudness to help you make believe that it is an important piece of music! It's not, obviously, all like that ... 

If Paganini is heavy metal, what do you consider those Hindu folks that do ragas for several hours, as a way to demonstrate their ability and concentration? That would be far more "heavy metal" than a lot of the music that Paganini played with, which likely had a lot less freedom at the time, and free form folks like him probably added to the ability to "let go" a  bit more than the stoic and often boring rest of a lot of music at the time ... stuck to the count and slow forever! Both Vivaldi, and later Paganini, probably put a serious dent into that slow, and stuck pieces of music controlled by the mentality of the courts who only knew numbers to 4 ... and the next number was a problem that could not happen in music!

Classical inspired originals? Try the first 4 albums by Angelo Branduardi

Not mentioned often, Steve Hackett's "A Cradle Of Swans" from Cured is a nice classical guitar piece

From East Europe Cszaba Vedres and After Crying, Marian Varga and Collegium Musicum.

There's a lot of classical stuff in prog  

It's Baroque to the Future with some Neo-Classical Prog from Japanese band Deja Vu.