In the blink of an eye, another year has come and gone. And once again, amidst the good and the bad, the uplifting and the cringy, the triumphs and the tragedies, music remained a remarkable constant—a wellspring of every possible human emotion and a beacon of hope for our crazy world.
Below are ten of my favorite albums that were released in 2018, along with a handful of honorable mentions (since it was difficult to choose only ten!). In no particular order, here they are:
“Florence Price” is a name that is slowly gaining some well-deserved recognition in the classical music realm. Just this year, prominent articles from The New York Times, The New Yorker, and NPR highlighted this boundary-breaking African American composer, and the first-ever recording of her two violin concertos was released back in February. Price’s music is gorgeous and immediately accessible—hints of Dvořák and Delius appear here and there, yet it still displays a distinct compositional voice. Here’s hoping that this recording will spark continued recognition for Price’s output in the coming years.
Want to hear to some great music but don’t have the time (or attention span) to sit down and listen to a whole opera or an hour-plus-long symphony? Have no fear! There are plenty of pieces of classical music out there that don’t take a Bruckner-sized chunk out of your day; works that are mere minutes long, in fact. (Interestingly, the French composer Darius Milhaud wrote three operas that are each around ten minutes long!) Here are a six of my favorite “bite-sized” masterpieces, all of which are self-contained works that are seven minutes or less (not movements from a longer piece). Overall, it’s only about twenty-five minutes of music total. That’s basically one episode of The Office!
1. Igor Stravinsky: Greeting Prelude (1955)
Combine one of the most famous composers of the twentieth-century with one of the most famous tunes in the world and you get Igor Stravinsky’s Greeting Prelude. Stravinsky composed this short orchestral arrangement of “Happy Birthday” in 1955, as an 80th birthday present for the French conductor Pierre Monteux (who had conducted the world premiere of Stravinsky’s infamous Rite of Spring back in 1913). Clocking in at less than a minute long, the Greeting Prelude is far from a straightforward adaptation. Stravinsky transforms this simple (and rather banal) melody into a brief showpiece for orchestra, full of wide leaps, unusual chords, and cheeky wit, resulting in a surprisingly amusing setting of the song that has been embarrassing birthday “guests of honor” for decades.