The Best Works of Classical Music: Standards, Oblivion, and Personal Choice

Today, classical music is often perceived as something static and unchanging. Theaters and orchestras prefer to perform the same "tried and true" works that have become symbols of high culture. Beethoven, Mozart, Tchaikovsky—their names are everywhere, yet a vast layer of musical heritage remains forgotten. Scores, orchestrations, and even recordings exist, but they are ignored, as if they are not worth noticing. This is surprising, given that many of these works were commercially successful in their time and withstood fierce competition during an era when musical art dominated other forms of entertainment.

Despite his immense output and influence, today Cesare Pugni is overshadowed by his more famous successors. Yet his innovative approach to ballet music paved the way for composers like Tchaikovsky, who built upon Pugni's foundation to create masterpieces like The Nutcracker and Swan Lake. Pugni’s works were revolutionary in their ability to synchronize music with choreography, creating a seamless blend that brought stories to life on stage. His music, rich in melody and rhythm, remains as compelling today as it was in the 19th century.

There can be no objective concept of "best" or "worst" classical works. Much of this music has simply been forgotten, pushed out of circulation. The best works are those each person determines for themselves—it’s a matter of personal taste. But to make an informed choice, one must stop listening only to what is mass-produced. Mass culture offers "safe," commercially viable works that are said to have stood the test of time. However, this is a misconception. To discover true treasures, one must move away from the mainstream and explore forgotten, hidden musical gems.

Among the forgotten composers are Edouard Chavagnat, Vladimir Rebikov, and Cesare Pugni. Their works deserve no less attention than those of the celebrated masters. For example, Cesare Pugni, a recognized genius of "pictorial" music, created works that evoked vivid visual impressions. His ballets, written in the 19th century, were instantly adapted for salon performances. Pugni knew how to breathe soul into his works—subtle, multifaceted, and capable of making audiences believe and empathize. His music for the ballet Stella, composed in 1830, is a delicately woven tapestry that still has the power to surprise and inspire.

For classical music to become alive again, we need to rethink how it is performed and promoted. Forgotten works must be included in programs, interpretations must be experimented with, and new ways of engaging audiences must be sought. Classical music should not be a frozen standard—it should be a river that flows, changes, and interacts with modernity.
The best works of classical music are not only those that have become symbols of high culture but also those that remain in the shadows. To discover true masterpieces, one must step beyond the mass offerings and explore forgotten names and works. Classical music should be alive, not a museum exhibit. This is precisely what the label *BerceMuse* is doing, opening the door for listeners worldwide to the sanctuary of sleeping masterpieces.