Winter Editionhttps://youtu.be/WCFe8ZCDuCQThis thread is for the discussion of music in the Western (European) classical tradition, as well as classical instrument-playing.>How do I get into classical?This link has resources including audio courses, textbooks and selections of recordings to help you start to understand and appreciate classical music:https://rentry.org/classicalgenPrevious: >>128755025
First for opera is the peak of classical music.
Just listened to the first movement of Mahler's 9th, man WHAT A MESS. Just an awful experience. Sickly sweet melodies crammed into a chaotic structure of failed sonata form. I don't care how innovative people say it is, it sounds bad.
>>128782374you sound bad.
>>128782374>Sickly sweet melodiesI don't understand how this is a criticism. Also almost all of Mahler is melodies like that, with that modernist sentimentalism. If you made it this far, you should know what he's all about.Anyway, I hope it eventually clicks with you :)
>>128782374Mahler's 9th is the single greatest work of art ever conceived by the human mind.
am I dumb? What's this cover supposed to be?https://www.youtube.com/watch?v=7LJHrjGXlZQ&list=OLAK5uy_lDuqAUNWRs2lRt9tTfirDZG0pM56aMprk&index=5
>>128782919Some kind of stupid flag reflected both ways. Terrible.
>>128782955Ah yeah you're right, does look to be a flag on top of a ship or something reflected, thanks. I hoped it would be some kind of intricate violin bow or something instrument related lol
>>128782919POV: looking over a polished marble surface to see two sailships in a foggy harbour. The visual illusion produced adds an escheresque tone to the scene's classical and hazy atmosphere.anyway, I think it looks rather neat.
pretty good, pretty goodhttps://www.youtube.com/watch?v=g_mPft77lPA&list=OLAK5uy_ki_GNqWA8l9UkZFpguHD39IJ4Nb5iaTr4&index=23
This is the longest I've gone without listening to Bruckner since being introduced to his music and I don't think I'm gonna go back. Thanks for the memories.
Tchaikovskyhttps://www.youtube.com/watch?v=Vps9uPfee7ohttps://www.youtube.com/watch?v=vI-GSZAeik0
>>128779753>You say facts are what you hear,Exactly.>and you're complaining about ad populum? Correct.>but denying that the vast majority of people would agree that BachAd populum.>spiritually stirringMeds. >>>/x/.>I was talking about the work of composers during or before Bach's time.You mean during and after? So was I. Most of Bach's works were obscure before 19th century.>>128779771>>source: just trust meSources are available everywhere, I have nothing to prove to you, learn to use a search engine you spastic retard.>Fuck off, pseudBut enough about you.
>There is not one of poor Mahler's nine symphonies, honest and dignified as some of them are, that exists as fresh, new-minted, vivid music. His genius never took musical flesh. His scores are lamentably weak, often arid and banal. There is surely not another case in musical history in which indubitable genius, a mighty need of expression, a distinctly personal manner of sensation, a respectable musical science, a great and idealistic effort, achieved results so unsatisfactory. One wonders whether Mahler the composer was not, after all, the greatest failure in music. If there is any music that is eminently Kapellmeistermusik, eminently a routine, reflective, dusty sort of musical art, it is certainly Mahler's five latter symphonies. The musical Desert of Sahara is surely to be found in these unhappy compositions. They are monsters of ennui, and by their very pretentiousness, their gargantuan dimensions, throw into cruelest relief Mahler's essential sterility. They seek to be colossal and achieve vacuity chiefly. They remind one of nothing so much as the huge, ugly, misshapen "giants" that stand before the old Palace in Florence, work of the obscure sculptor who thought to outdo Michelangelo by sheer bulk. And the first four of his symphonies, though less utterly banal and pedantic, are still amorphous and fundamentally second-hand. For Mahler never spoke in his own idiom. His style is a mongrel affair. The thematic material is almost entirely derivative and imitative, of an unequaled mediocrity and depressingness.
>i feel like listening to schumann's string quartets (total runtime: ~73 minutes)>tap out after 2 movements>meh guess I'll throw on this Mahler symphony (total runtime: ~80 minutes) for a lil bit>listen to the entire thing no problemhmmm
>>128783420Don't post this ever again
>>128782640Not sure about that but it's definitely by and far the best thing he ever wrote.
>>128783452Most likely, but then again, consider the folllowing:https://files.catbox.moe/gdr7ym.flac
>>128783461Not sure what Haydn's Creation has to do with Mahler.
>>128783468It's supposed to be a >Consider the followingjoke
>>128783468>>128783473The link is Mahler of course, in case you didnt peep
>>128783468>>128783473Yeah nevermind I didn't even see the link, it's late and I'm tired, sorry. The 5th's scherzo is lovely but as good as the movements that bookend the 9th? Or even the 3th's finale...?
>>128783496>3th*3rdI'll just go to bed before I embarrass myself any further.
>>128783496The 9th probably wins, I'm just saying there are some contenders. And let's not sleep on the 6th.Honestly, for me it's probably that old line,>My favorite is whichever one I'm currently listening to.
>>128783461just walked around my room doing that Jesus pose on the cover over and over while listening to music
Now that the dust has settled, is Marc-André Hamelin a virtuoso merchant or actually a quality pianist?
>>128783530This, but with regards to Igor Levit.
>>128783534Igor Levit is very, very good. Great, even. One of the best of our age. All of his recordings are must-listens.https://www.youtube.com/watch?v=z_6FuiL2u_Q&list=OLAK5uy_nngJn-fTYgsBApb4QCPWxm45ZuKT5maPU&index=1
>>128783534If Levit is an [anything] merchant, I'd say he's a delicacy merchant, and therefore the perfect pianist for our liberal, milquetoast age. He doesn't have one recording I've heard which I'd describe as fiery. His style is emblematic of that effeminate artsy dude you know whom you suspect must be secretly gay yet is always dating women ostensibly way out of his league and donates to BLM.
>>128783461Fuck, that bit at 06:00 onwards hit deep into the guts. It's so good. What recording is this?
>>128783585Honeck/PittsburghAnd right? Stops me in my tracks every time.
>>128783596One of my favorite bit from Mahler 9, when the main theme slowly turns darker:https://youtu.be/hTjex4t1wzM?si=TSQsaeEqGJNCMw2k&t=118Organically, inevitably, and then goes completely unhinged with a massive blast. And its development soon after:https://youtu.be/hTjex4t1wzM?si=Pgz38QdczN53HMJ-&t=348When all contrapuntal cacophony slowy unfolds, reaching a massive climax that destroys your ears. I feel bad for whoever is missing out on this feeling. One of the peaks of music. GOAT orchestral work of art.
>>128783643Love it. Really you could pick any moments from the first movement and I'd agree "oh yeah that part is awesome" because every moment of it is perfection, but yeah, those two in particular are emotionally and musically searing. I do give those post they aren't that into it because it did take me a bit to warmup to it myself, but once it did, it grabs hold of you and never lets go.
Pierre Fournier's Bachhttps://www.youtube.com/watch?v=SCJRBr35Ecg&list=OLAK5uy_l35RwudITVkBimU6OAYMxzrFv-stYD1j0&index=7
>tfw the adagio from Bruckner 8
Schoenberg https://youtu.be/SmDlGYj0y1Y?si=01VS8kT6hyCiHDRw
Berghttps://youtu.be/GKAVN5ZUdbw?si=iOZICNnj6tuNhmVb
Webernhttps://youtu.be/fQmXU-XMCIs?si=c6OlsZov_0aIHDUE
>>128784063>>128784075>>128784082Thank you Second Viennese Slop sister
>>128784090https://youtu.be/rZlB2tRyvQw?si=x1HJSoFf0AsSS4a5
Does anyone find headphones much better for listening than speakers? I've realized lately that I enjoy music more when I'm listening to it on my headphones or even a shitty phone speaker lol. Although my speakers aren't THAT bad, maybe it has to do with room acoustics.
Is Yunchan Lim a jewish, a homosexual or a bad pianist?
>>128784200Yes? How is this even a question
Study BachListen to ChopinMasturbate to Wagner
>The late Beethoven's demand for truth rejects the illusion of such identity of subjective and objective, which is almost the same thing as the classicist idea. A polarization results. Unity is transcended, yielding fragmentariness. In the last quartets this is achieved by the abrupt, unmediated juxtaposing of bare axiomatic motifs and polyphonic complexes. The rift between the two, which proclaims itself, turns the impossibility of aesthetic harmony into aesthetic content, failure in the highest sense into a yardstick of success.
>...in the abandonment of the illusion of harmony, there is an expression of hope. In Beethoven's late style this hope flourished very close to the margin of renunciation, and yet is not renunciation. And I would think that this difference between resignation and renunciation is the whole secret of these pieces. I should like to illustrate this with a few bars. The dying hand -- for all this really is bound up with death -- releases what it had previously clutched fast, shaped, controlled, so that what is released becomes its highest truth. To gain a certain impression of this, listen to a short passage [mm. 23-30] from the cavatina from the Quartet in B-flat major op 130.
>The coda [of the first movement of Les Adieux], in every respect one of the most enormous passages in Beethoven. The harmonic collision of the horn chords; the indescribable moving away of the coach with the fourth (the eternal attaches itself precisely to this most transient moment), and then the last cadence of all, where hope disappears as into a gateway, one of Beethoven's greatest theological intentions, comparable only to certain moments in Bach. (As in Goethe, hope in Beethoven is decisive as a secularized though not a neutralized mystical category...An image of hope without the lie of religion. NB: Hope is one of the imageless images which are conveyed specifically, directly by music; that is, it is a part of music's very language.)
>On my childhood image of Beethoven: I thought the 'Hammerklavier' sonata must be an especially easy piece, associating it with toy pianos with little hammers. I imagined it had been written for one of those. My disappointment when I could not play it.
https://www.youtube.com/watch?v=PuDRo-5_7ZMSzell OBLITERATED by based fartwrangler
>>128784553>>128784570>>128784580>>128784589>here's what some man has to say!Thank you collectivist sheep.
https://www.youtube.com/watch?v=mdve48nptNk
So, was your fav composer included in the Voyager Golden Record?>Bach, Brandenburg Concerto No. 2 in F. First Movement, Munich Bach Orchestra, Karl Richter, conductor. 4:40>Java, court gamelan, "Kinds of Flowers," recorded by Robert Brown. 4:43>Senegal, percussion, recorded by Charles Duvelle. 2:08>Zaire, Pygmy girls' initiation song 0:56>Australia, Aborigine songs 1:26>Mexico, "El Cascabel," 3:14>"Johnny B. Goode," written and performed by Chuck Berry. 2:38>New Guinea, men's house song, recorded by Robert MacLennan. 1:20>Japan, shakuhachi, "Tsuru No Sugomori" ("Crane's Nest,") 4:51>Bach, "Gavotte en rondeaux" from the Partita No. 3 in E major for Violin, performed by Arthur Grumiaux. 2:55>Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano.>Georgian S.S.R., chorus, "Tchakrulo," 2:18>Peru, panpipes and drum, collected by Casa de la Cultura, Lima. 0:52>"Melancholy Blues," 3:05>Azerbaijan S.S.R., bagpipes, recorded by Radio Moscow. 2:30>Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 4:35>Bach, The Well-Tempered Clavier, Book 2, Prelude and Fugue in C, No.1. Glenn Gould, piano. 4:48>Beethoven, Fifth Symphony, First Movement, the Philharmonia Orchestra, Otto Klemperer, conductor. 7:20>Bulgaria, "Izlel je Delyo Hagdutin," sung by Valya Balkanska. 4:59>Navajo Indians, Night Chant, recorded by Willard Rhodes. 0:57>Holborne, Paueans, Galliards, Almains and Other Short Aeirs, "The Fairie Round," performed by David Munrow and the Early Music Consort of London. 1:17>Solomon Islands, panpipes, 1:12>Peru, wedding song, recorded by John Cohen. 0:38>China, ch'in, "Flowing Streams," performed by Kuan P'ing-hu. 7:37>India, raga, "Jaat Kahan Ho," sung by Surshri Kesar Bai Kerkar. 3:30>"Dark Was the Night," written and performed by Blind Willie Johnson. 3:15>Beethoven, String Quartet No. 13 in B flat, Opus 130, Cavatina, performed by Budapest String Quartet. 6:37
Schoenberg >>> click bait >>> literal dog shit >>>>>>>>> Adorno
Bestow your knowledge upon me /mu/, what are essential releases in your collection? Looking to add more into my rotation over Christmas.
>>128784724kill yourself right now.
>>128784724buddy this isn't /mu/
>>128784701that New Guinean fellow.
>>128784724
>>128784701There are what, 4 composers on the list? None of them are my favorite.
>>128784724We reject christmas here. >>>/mu/New year or Yuletide are welcome.
>>128784823Had they included sacred music, there's a good chance aliens would think we're the most retarded species in the universe and should be eliminated immediely.Jokes aside, the selection is not that bad as far as those composers go. And there has to be some vocal art music there, so why not Mozart? It's not just about text but the entirety of music. Also, I believe they included stuff to help them understand our language. What's funny is that it hasn't even left the solar system yet, it is totally pointless.
>>128783420This is accurate and true. Mahler has never offered me a first-rate aesthetic pleasure.
>>128783420>>128784947Filtered by the GOAT
>>128784823>>128784935Aliens are fake and gay anyways and are just a way to divert attention away whenever theres a government scandal.
>>128784823>why the Queen Of The Night's second aria?Because it's the only aria normal people know.
>>128784958>Aliens are fake and gay anyways Okay show me the proof
Why did you delete your long ass essay
>>128785007Pretty sure it was a janny. He gets banned and evades a lot.
>>128785039Nah, he obviously deleted it. He does that often. Maybe he just changed his mind.
Someone please help me. I am stuck in this labyrinth and can't find a way out. He has taken my eyes from me. It is so suffocating to be enveloped in this darkness all alone. All because of THIS FUCKING MUSIC. I am tired of it, but can't fucking stop listening to it. Why can't I just stop. Someone just fucking kill me already. I don't want to live in this world anymore.
>>128785104Address?
>>128785104k.
If, on the other hand, we estimate the worth of the Beautiful Arts by the culture they supply to the mind, and take as a standard the expansion of the faculties which must concur in the Judgement for cognition, Music will have the lowest place among them (as it has perhaps the highest among those arts which are valued for their pleasantness), because it merely plays with sensations. The formative arts are far before it in this point of view; for in putting the Imagination in a free play, which is also accordant with the Understanding, they at the same time carry on a serious business. This they do by producing a product that serves for concepts as a permanent self-commendatory vehicle for promoting their union with sensibility and thus, as it were, the urbanity of the higher cognitive powers. These two species of art take quite different courses; the first proceeds from sensations to indeterminate Ideas, the second from determinate Ideas to sensations. The latter produce permanent, the former only transitory impressions. The Imagination can recall the one and entertain itself pleasantly therewith; but the other either vanish entirely, or if they are recalled involuntarily by the Imagination they are rather wearisome than pleasant. Besides, there attaches to Music a certain want of urbanity from the fact that, chiefly from the character of its instruments, it extends its influence further than is desired (in the neighbourhood), and so as it were obtrudes itself, and does violence to the freedom of others who are not of the musical company. The Arts which appeal to the eyes do not do this; for we need only turn our eyes away, if we wish to avoid being impressed. The case of music is almost like that of the delight derived from a smell that diffuses itself widely. The man who pulls his perfumed handkerchief out of his pocket attracts the attention of all round him, even against their will, and he forces them, if they are to breathe at all, to enjoy the scent;
>>128784553>>128784570>>128784580>>128784589Adorno was so great
>>128782919I don't know but it's a great Mozart quintets recording.
Holmboehttps://youtu.be/FIyHun0KMQY?list=OLAK5uy_lWJM1UZ-jkW5tjWe6E8fD6tqVRQ1zkNoU
>>128785208Honestly, that's just embarrassing. aDroolo is a pathetic, irrelevant baldie
>>128779226>>128779245>>128779312>>128782075Thank you for the recommendations.
>>128783461What most blows my mind about the 5th's Scherzo is how unique the primary theme is. I can't believe anyone was able to come up with it, it's so ingenious and weird.
now playingstart of Beethoven: String Quartet No. 4 in C minor, Op. 18https://www.youtube.com/watch?v=05T5DhCh6uQ&list=OLAK5uy_nyAg6dfiv7I8MLPIUnhAvgcRo4JVHW1HE&index=14start of Beethoven: String Quartet No. 5 in A major, Op. 18https://www.youtube.com/watch?v=YC4suj46c78&list=OLAK5uy_nyAg6dfiv7I8MLPIUnhAvgcRo4JVHW1HE&index=18start of Beethoven: String Quartet No. 6 in B flat major, Op. 18https://www.youtube.com/watch?v=1phy4G6CfIU&list=OLAK5uy_nyAg6dfiv7I8MLPIUnhAvgcRo4JVHW1HE&index=21https://www.youtube.com/playlist?list=OLAK5uy_nyAg6dfiv7I8MLPIUnhAvgcRo4JVHW1HEHurwitz has this as one of his reference sets for the entire cycle, and it's easy to see why.
>>128785539The scherzo theme is quite simple, it consists of ~4 notes really, what makes it unique is Mahler's genius orchestration and development, and most of all the "trio" section(not the first one) which as I pointed out >>128783585 is so fucking beautiful, and it's actually derived from that scherzo opening theme.
>At eighty I have found new joy in Beethoven, and the Great Fugue now seems to me -- it was not always so -- a perfect miracle. How right Beethoven's friends were when they convinced him to detach it from Op 130, for it must stand by itself, this absolutely contemporary piece of music that will be contemporary forever.
Quotes are interesting to read when they're not about praising some well-known composer or piece, nobody cares. I'd rather read about Wagner's life
sad news guys, hector was trying to pop a wheelie on his bike and crashed into the back of a minivan... he didn't make it
>>128786124not sure what this has to do with /classical/ maybe try >>>/n/ instead?
>>128786065One of the best quotes on Beethoven's music.
Speaking of grosse fuge, I love the entire thing, the second fugue with the insane triplet rhythms and all that, but the ending specifically is one of my favorites bits of Beethoven, it's so satisfying and even melodically excellent (keeping in mind that Beethoven was a mediocre melodist)https://youtu.be/s6nqfPWxWCg?si=7i98Xkk2y0ds-Tg3&t=832The lower voice even plays the main theme if you listen closely, but the melody is so good you barely notice it.What is your favorite section of Beethoven's uncontested magnum opus?
now playingstart of Prokofiev: Sinfonia concertante in E Minor, Op. 125https://www.youtube.com/watch?v=dN8qBL3uDjk&list=OLAK5uy_ldgThQVcXtTwBRCfsVkqr8upqYaRk_55w&index=2start of Myaskovsky: Cello Concerto in C Minor, Op. 66https://www.youtube.com/watch?v=_EqLb3Yl1Fk&list=OLAK5uy_ldgThQVcXtTwBRCfsVkqr8upqYaRk_55w&index=4https://www.youtube.com/playlist?list=OLAK5uy_ldgThQVcXtTwBRCfsVkqr8upqYaRk_55w
>>128786294>What is your favorite section of Beethoven's uncontested magnum opus?The Benedictus, of course. We're talking about the Missa Solemnis, right?
>>128786308Evidently not.
>>128786294I just realized the timestamp here is 10 seconds earlier. Starts on 14:02
>>128786294Seems too short of a piece to really have favorite moments and sections.
now playingstart of Stravinsky: The Firebird, K010https://www.youtube.com/watch?v=edVsTjE4fQk&list=OLAK5uy_mh3Je2PRTDVMOCddKL5a62w8lcDWDrT8Q&index=2start of Stravinsky: Petruskha, K012 (Revised 1947)https://www.youtube.com/watch?v=LITpuDLL0Pc&list=OLAK5uy_mh3Je2PRTDVMOCddKL5a62w8lcDWDrT8Q&index=13start of Stravinsky: The Rite of Spring, K015 (Revised 1947)https://www.youtube.com/watch?v=rm0xCcpoaT4&list=OLAK5uy_mh3Je2PRTDVMOCddKL5a62w8lcDWDrT8Q&index=27https://www.youtube.com/playlist?list=OLAK5uy_mh3Je2PRTDVMOCddKL5a62w8lcDWDrT8Q>Stravinsky sent shockwaves through classical music in the 20th century. His first three ballets -The Firebird, Petrushka and The Rite of Spring, all composed between 1909 and 1913 - brought a new and frenzied sense of rhythm, so distressing to audiences that it caused uproar; The Rite of Spring even caused a riot. And it's not hard to see why. Is there any moment in music more demonic than the opening to The Firebird, a terrifying rumble of strings that would make Jaws tremble? There are few pieces more unsettling than The Rite of Spring with it's carnal, tribal rhythms; or Petrushka with it's impish Punch and Judy puppets. A notable voice of authority on the works of Stravinsky, Sir Simon Rattle masterfully brings these three creations to life in this dramatic performance, recorded live in the Barbican Hall as part of his inaugural season as LSO's Music Director.
>>128784701Yes, Stravinsky is there.
>>128783543That recording has an interesting tracklist. Here's the Wagner-Liszt Parsifal transcription:https://www.youtube.com/watch?v=cZ47jrcSUNc&list=OLAK5uy_nngJn-fTYgsBApb4QCPWxm45ZuKT5maPU&index=5I worry ending on Bill Evans kinda ruins the whole thing, but maybe I'm being closeminded and parochial, for while it may be jazz, it's still solo piano music, so the piece should be judged on its own merits and how it works in the context with the rest of the program, instead of finding offense in mixing jazz with a classical recording. I don't know, what do you anons think? Link to the piece itself if ya'll wanna judge for yourselves:https://www.youtube.com/watch?v=XaN8FT5u3aI&list=OLAK5uy_nngJn-fTYgsBApb4QCPWxm45ZuKT5maPU&index=11>Sparked by the tragic death of a close friend in an accident, Igor Levit’s piano playing reflects upon an experience of loss encompassing grief, despair, resignation and solace. He concentrates on works whose gloomy grandeur and melancholy beauty have occupied him for years. Each of them pays tribute to the virtuoso possibilities of the piano. Poetic moments of contemplative silence blend with life-affirming and extremely sensual music with a direct physical fascination.While I haven't listened to Bill Evans in God knows how long, given the description and theme of the album, his music ostensibly fits, even though I haven't heard this particular piece until now. Hopefully it's good.
everytime I read or think of the pianist Bertrand Chamayou's name, I can't help but immediately sing,>Chamayouuuuuu~heheanyone know this feel?sometimes with a little>uh- Chamayouuuuuin front of it for flair
>>128779206>>128785452For Winter, I really like Tchaikovsky's The Seasons and Elgar's chamber music (ie violin sonata, piano quintet, string quartet) and concertos.Tchaikovsky's The Seasonshttps://www.youtube.com/watch?v=XOVndSdAq2QElgar's Piano Quintethttps://www.youtube.com/watch?v=hOpiAxga3TsElgar's Cello Concertohttps://www.youtube.com/watch?v=VoNVKgZ0D3UElgar's Violin Concertohttps://www.youtube.com/watch?v=nGCZeBEhhfsoh, and of course, Tchaikovsky's The Nutcrackerhttps://www.youtube.com/watch?v=wNduEGuP0F0&list=OLAK5uy_ljCS35khqoUQix0yB9dg56rOpAK9EZvK0&index=1There's of course more that suit Winter but these are a good bunch for now. Enjoy!
>>128785452Mahler's 4th sounds quite 'festive', especially the introduction.
>>128786308based
>>128786065>At eighty I have found new joy in Beethoven, and the Great Fugue now seems to me -- it was not always so -- a perfect miraclebased>was not always so -- a perfect miracle. How right Beethoven's friends were when they convinced him to detach it from Op 130, for it must stand by itselfretard
>>128785208one of the few decent music critics the world has ever had, alongside Charles Rosen
did you listen to it yet?https://www.youtube.com/watch?v=8FNPsnCZQj0
>>128784701Mozart>>128787363yes, it fucking sucks
Kalevi Ahohttps://youtu.be/i1l3i5KGA5U
now playing, contemporary classicalPeteris Vasks: Symphony No. 2https://www.youtube.com/watch?v=5s3k-LdqbnQ&list=OLAK5uy_lXKvTgpIvpwCYpiOBVe202xKBM8foZxzw&index=2Peteris Vasks: Violin Concerto, "Tala gaisma" (Distant Light)https://www.youtube.com/watch?v=4A-9LetBIYA&list=OLAK5uy_lXKvTgpIvpwCYpiOBVe202xKBM8foZxzw&index=2>This is the world premiere recording of Vasks' second symphony. It is a 40-minute, one-movement work which opens with a glorious bang, with the orchestra at its most powerful and busy. A few minutes in, Vasks offers us repose which is almost religious, there is a buildup and then more reflection, and a long crescendo to great might again. The work ends on a beautifully introspective, soft, haunting refrain. Vasks is primarily a Romantic, so the work is tonal; there are touches of Kancheli (but not as much breast-beating), Shostakovich (again, not as pessimistic). It's a beautiful, very satisfying work, and the scoring is fascinating in its use of bells, xylophone, and many woodwinds. The violin concerto is somewhat more thorny in its harmonic approachability, but it also has a faraway aura and texture to it at times which is both melancholy and mellow. Its cadenzas are real virtuoso moments, and John Storgårds plays it all beautifully (Juha Kangas conducts this work). The performances of both orchestras are sublime and the sound is big, clean and vibrant. The combination of familiarity and daring here is most worthwhile. --Robert LevineCame across the composer's name in another review where the writer was praising contemporary tonal composers. Should be good!
Is Penderecki any good?>>128787384>Kalevi Ahoneat ty, just added a recording of their symphony 2 and 7 conducted by Vanska
>>128787403I like his viola concerto.https://youtu.be/wSZ7iRpHkXU
>>128787421Will peep, thank you.
I gotta admit, spending a week or so exclusively listening to 20th/21st century classical, on returning to the older stuff, a lot of it doesn't hit the same anymore. Not only do I love the modernist and some of the contemporary sounds, there's a certain artistic relevancy you don't get with the older pieces, pieces which were composed in a different era for a different people when the world was entirely different. So a lot of pieces I'd normally say I love now sound pretty but inextricably distant.Could just be a phase tho that'll go away in time
>>128787461I have never in my life understood how people perceive historical constructs like contemporary relevancy in abstract music. At least in literature there are references to parse although it hardly matters in the long term (Plato remains more forceful and immediate than almost anything ever written in any era) but with music? It's just great music or it's not. Everything else feels like an excuse for being inarticulate about the precise characteristic one likes or dislikes or else a dishonest attempt to smuggle some theory one has about society into abstract impressions which would be otherwise unclouded.
>>128787505>I have never in my life understood how people perceive historical constructs like contemporary relevancy in abstract music.You don't think there's any relation between the aesthetics of a musical period and the world, people, and society it's born from? Of course I wouldn't go so far as to claim something like Mozart or Beethoven could ever become outdated, but yes, I do believe there is more of the contemporary zeitgeist, the world spirit, the 20th/21st century Weltanschauung in, say, Shostakovich, Schnittke, Prokofiev, or even Mahler. The most obvious elements being the anxiety and structural modes, which isn't merely aesthetic and abstract, but reflects something of the way life is today.
>>128788416I think the relationship is real (although sometimes overstated) but also irrelevant to whether or not I have access to it. I am one of the people who has been pushing Schnittke's string quartets here, so it's not out of insensitivity to such music that I say this. But I am a distinct person, not an amalgamation of culturally predominant moods. There is no reason I should access anxious music any more easily than Beethoven's drama, Haydn's wit, or Monteverdi's lusty vitality just because more people today may be predisposed to anxiety.
Regerhttps://youtu.be/Dcv5XrVwnLA
>>128787461>>128787505>>128788416>>128788541>just because more people today may be predisposed to anxiety.This reminds me of a study I came acrosshttps://www.nature.com/articles/s41598-025-28327-5Anxious music tends to resonate more with people today, which reflects on the stress, anxiety and depression trends >First, we observed a significant increase in stress-related language and negativity over the past five decades. These findings are congruent with increasing rates of depression, anxiety, and stress44,45 and mirror similar trends of rising negative tone in news media46 and fiction books47,48. In line with Varnum et al.32, we also found a decrease in lyric complexity, congruent with recent drops in IQ and PISA test scoresMusic and art in general is a reflection of society and always has been, I'm convinced. Evolutionary, it serves some kind of social purpose, mainly to increase social cohesion, through shared emotional and aesthetic qualities which to some extent should reflect on society. So it's not surprising to me that contemporary art and pop music are so decadent and thus more relevant than music of the renaissance, baroque, classical or romantic eras. Of course the IQ is also relevant here, specifically regarding the complexity of music, but it's a much more nuanced topic.
https://youtu.be/EXHjVqiGOX0>In Hegel's Phenomenology we encounter at one point the disconcerting phrase 'fury of disappearance.' Webern's work converted this into his angel....His music tends to recede, but its center of gravity is located in the fact that it does not pursue its idea of pure expression in isolation. Instead it follows it into the heart of the musical shape, elaborating and articulating it to the point where it is capable of becoming pure expression. The whole of Webern's work revolves around the paradox of total construction as a means of achieving immediate utterance.
https://youtu.be/n5GzRx38DYk>When he [Berg] showed me the score [of the March of the three pieces for orchestra] and explained it I remarked of the first visual impression, 'That must sound like playing Schoenberg's Orchestral Pieces and Mahler's Ninth Symphony, all at the same time.' I will never forget the look of pleasure this compliment -- dubious for any other cultured ear -- induced. With a ferocity burying all Johannine gentleness like an avalanche, he answered, 'Right, then at last one could hear what an eight-note brass chord really sounds like,' as if convinced no audience could survive such a sonority; that it did survive it and has in the meantime grown accustomed to much wilder things is surely a sign more of neutralization than of welcome progress in musical perception.>Despite its rather modest proportions when set beside the Mahlerian movements which served as precedents, the March undoubtedly has symphonic weight. Its problematic nature is evident from the fact that even today no one has yet succeeded in a convincing analysis In Willi Reich's book on Berg, which appeared in 1937, I undertook such an analysis. I wrote it under great time pressure and regard it as unsatisfactory. In particular, I no longer think of the third, self-contained entry of the March as a recapitulation. In reality the piece simply moves forward inexorably, much as marches do, without looking back. It is as if Berg had been the first to explore from within a large-scale work the fact that the irreversibility of time is in profound contradiction to the recurrence of an identical being.
https://youtu.be/NQPIobKGrTw>The late Schoenberg composed not works, but paradigms of a possible music. The idea of music itself grows all the more transparent as the works insist less and less on their appearance. They begin to acquire the character of the fragment, the shadow of which followed Schoenberg's art throughout his life. His last pieces give a fragmentary impression, not merely in their brevity but in their shrivelled diction. The dignity of the great works devolves on splinters. Oratorio and Biblical opera are outweighed by the tale of the Survivor from Warsaw, which lasts only a few minutes; in this piece, Schoenberg, acting on his own, suspends the aesthetic sphere through the recollection of experiences which are inaccessible to art. Anxiety, Schoenberg's expressive core, identifies itself with the terror of men in the agonies of death, under total domination. The sounds of Erwartung, the shocks of the Music for the Film, of 'impending danger, anxiety, catastrophe', finally meet what they had always prophesied. That which the feebleness and the impotence of the individual soul seemed to express testifies to what has been inflicted on mankind in those who represent the whole as its victims. Horror has never rung as true in music, and by articulating it music regains its redeeming power through negation. The Jewish song with which the Survivor from Warsaw concludes is music as the protest of mankind against myth.
>>128790381Adorno was literally retarded and his writings should only be used as toilet paper and kindling.
>>128790660Correct.
>>128790660What about his music
>>128789923I honestly figured you of all anons would disagree with the position I posted above. But yes, art reflects life and, as papa Adorno was aware of and articulated, life reflects art.
>>128790660only midwits hate the frankfurt school, especially Adorno who was the smartest of them all (yes, even more than "just communicate rationally bro" Habermas)
>>128791099I don't dispute that collectively, art reflects its society. But it doesn't follow that I or anyone else must personally find music of our own time to speak to us more than other styles, and the implication often comes with the writer's ideas about what society is or ought to be smuggled in. Great artists certainly engage with the present, but to transform it, not to merely imitate it; the rest is just retrospective just so stories.
>>128791099I would MAYBE disagee in the past, but it's so evidently true. If average IQ could predict music as I claim it does, why can't the general state of society do the same?>AdornoMore like aDroolo.>>128791255You kind of did dispute it here >>128787505>but with music? It's just great music or it's not. Everything else feels like an excuse for being inarticulate about the precise characteristic one likes or dislikesBut as you say>But it doesn't follow that I or anyone else must personally find music of our own time to speak to us more than other styles,That is of course true. You are not obliged or expected ("must") to follow this tendency, but the existence of this tendency is worthy of discussion. And it would be gullible to claim you're not affected by the general tendency at all, even if you live in total isolation you still come on 4chan and communicate here, thus you're affected. Some people are more affected than others by pure happenstance, some deliberately 'choose' to affect themsleves more, or maybe there is no distinction between the latter 2. Either way, contemporary music speaks best to the contemporary human as it always did, this is only an 'average', a tendency, not a general rule.
>>128791375>More like aDroolo.read Minima Moralia
>>128791396If I ever feel like wasting my time I'll read aDroolo thanks for the suggestion.
>>128791255Of course any individual person can resonate more with Bach and Mozart than Shostakovich and Messiaen. But I think wanting art and specifically music which reflects the world around you is a particular kind of resonance -- personal versus cultural/social.
>>128791426>“The very wish to be right, down to its subtlest form of logical reflection, is an expression of the spirit of self-preservation which philosophy is precisely concerned to break down.”― Theodor W. Adorno, Minima Moralia: Reflections on a Damaged Lifeowned
wiping my arse with Adorno's Philosophy of New Music while listening to Schoenberg. It feels good, man.
>>128791503t. cuck for capitalism
ooo shit, new Vikingur Olafsson!program list:Bach, J SPrelude No. 9 in E Major, BWV 854 from The Well-Tempered Clavier, Book IBeethovenPiano Sonata No. 27 in E minor, Op. 90Bach, J SPartita No. 6 in E minor, BWV830SchubertPiano Sonata No. 6 in E minor, D566BeethovenPiano Sonata No. 30 in E major, Op. 109Bach, J SSarabande from French Suite No. 6 in E major, BWV817BeethovenAndante molto cantabile et espressivo Theme from Piano Sonata No. 30 in E major, Op. 109 (Edit – download only)get it while it's hot, folkshttps://www.youtube.com/watch?v=x1rMTp8mOCo&list=OLAK5uy_k0i549c6BfJN-GjCTwlNI-kmza1CUqbro&index=2
>>128791375Because it often is an excuse for imprecision. It requires more intellectual resources to identify precisely the musical characteristics which one admires. For example, it's not incomprehensible that one who finds special pleasure in modal harmony might like more music of the 20th century or indeed the 16th century than the 18th century. Are these musical characteristics associated with some historical and artistic conditions under which they emerged? Certainly. But what has this to do with the listener's pleasure?You say gullible, which implies that I am believing something told to me unquestioningly. But just as many people today are happy to interpret taste in a historicist and particularistic manner ('you are not immune to propaganda' etc.). Regardless it's a little irrelevant what people say about this, because we are talking about the pleasures of abstract music. Even assuming you mean naive rather than gullible, it's unclear what one is supposed to be naive about. Perhaps you are taking something like the classic Zizek position that one cannot escape from ideology, but I have never been convinced by these kinds of broad claims which always have some political motivations behind them. The degree to which we are individually historically conditioned is unchosen and scarcely knowable; this being outside my control, I can only report on my experience.>>128791428Instrumental music is too abstract to function like that. Shostakovich doesn't sound like my life, interior or exterior, any more than Mozart does, and only the latter has brought me to tears. I love Schnittke's quartets because they bring me pleasure, but I don't 'hear today's world' in them. I understand that his anxious mood may reflect well a historical period in which people are more disposed to be anxious, but this is a distant and purely rational claim. I sincerely do not understand how one can hear 'the times' in music outside of this kind of intellectual pattern-recognition.
>>128791619sorry, can't talk. I'm busy making strips of paper from Adorno's Quasi Una Fantasia to use for kindling.
>>128791676Should have used real grass ffs.
>>128792362It's moss.
I am slowly realizing that Schubert is the greatest of all time
>>128792404jk, i know its Beethoven
>128792404(you)bait should at least try to be believable.
Mahler? No thanks, I'll listen to Bruckner instead.
>>128792417Are you the same anon who hates Schubert for some reason
>>128792433yes, me and the rest of people who aren't tone deaf.
>>128792430Mahler has more variety and he was a better orchestrator.
>At the same time, Wilhelm Zinne, an admirer and acquaintance of Bruckner’s, wrote to him about the performance of the «mighty Te Deum» that had taken place under Mahler’s «enthusiastic direction». The whole work had electrified the audience, especially due to the concluding chorus, which had impressed with «its stunning power». According to Zinne, Mahler was «a true admirer» of Bruckner’s works, which he had «learned from personal contact». Mahler certainly seems to have felt the liveliest admiration for Bruckner’s final choral work, since on his copy of the score he had crossed out, with bold strokes, the words «for soloists, chorus, organ, and orchestra» and had replaced them with «for the tongues of angels, the heaven-blest, tormented hearts, and souls purified by fire!». Bruckner himself expressed his gratitude to Mahler in a letter dated 26 April 1892: >Thank you from the bottom of my heart, and heartiest congratulations on your inspired performance of my “Te Deum!” May God reward you for heroically taking on a work dedicated to Him! [...] And now, my dear beloved friend, Herr Kapellmeister Gustav Mahler. Oh, I pray that you may remain loyal to me and fight heroically for my symphonies! God’s will be done! [...] So I implore you once again: let our watchword be “Symphony”!!! Cheers! to my brilliant Kapellmeister “Gustav Mahler”, of whom I am proud. I am yours. Dr. Anton Bruckner. >Mahler’s reaction to these words survives in a letter to Justine: «A moving letter from Bruckner which typifies the complete helplessness of the poor man. It must be hard, mind you, to have to be 70 before one is “played”. If all the signs are to be believed, my lot won’t be any different».
>>128792416this
>I think that the Adagio of the Ninth Symphony [of Bruckner] must be accounted one of the most truly inspired of all works in symphonic form. Indeed, Mahler seems much less original than Bruckner, when one knows this music, and no composer of that period is so personal a harmonist as Bruckner.
He looks so coot in this pic :3Bartók might be my favourite composer but there’s much competition My top ten would be:J. S. Bach Béla Bartók Erik SatieGustav Mahler Alexander ScriabinFrédéric Chopin Arnold SchoenbergKarlheinz Stockhausen György Ligeti Wolfgang Amadeus Mozart https://youtu.be/9uwpuyc7nS4
>>128791676genuinely terrible performances
>>128794431o-oh, well, thanks for trying it out, that's all I can ask.
/classical/ you can find at your local charity shop without fail
New classical releases are presented and recorded like how Hallmark movies look.
>>128794601not all but some
>>128794141>Erik Satie>Gustav MahlerSentimental slop.>Arnold Schoenberg>Karlheinz Stockhausen>György LigetiAvant garde slop.
I want to see someone simp over Strauss and his operas instead for a bit pls. We need a break from Wagner
https://theclassicreview.com/best-of/year-in-review-the-best-classical-music-albums-2025/>Year In Review – The Best Classical Music Albums, 2025>Mendelssohn – Symphony No. 3 (“Scottish”) – Rotterdam Philharmonic Orchestra, Lahav Shani>Bach – Mass in B Minor – Pygmalion, Raphaël Pichon>Messiaen – Turangalîla-Symphonie – Yuja Wang, Cécile Lartigau, Boston Symphony Orchestra, Andris Nelsons>Martinů – String Quartets No. 2, 3, 5 & 7 – Pavel Haas Quartet>“Preludes” – Jan Lisiecki, Piano>“Lieder” – Fatma Said, Soprano>Liszt – Via Crucis & Solo Works – Leif Ove Andsnes>Brahms – Piano Quartets No. 2 & 3 – Zimerman, Nowak, Budnik, Okamoto>Anna Clyne – Abstractions – Baltimore Symphony Orchestra, Marin Alsop>“Somnia” – Denis Kozhukhin, Piano>Rachmaninov – Orchestral Works – WDR Sinfonieorchester Köln, MăcelaruThoughts? I've heard a couple. Gonna check out some of the other ones immediately, particularly the Andsnes Liszt one, don't know how I missed that.
>>128795139Wagner is literally God.
W (pbuh).
now playingstart of Haydn: Piano Sonata No. 59 in E-Flat Major, Hob. XVI:49https://www.youtube.com/watch?v=adIdtE2UgXk&list=OLAK5uy_lO0uTuK4leOQbR3XSoucQIXMfd5DoI7bw&index=2start of Haydn: Piano Sonata No. 38 in F Major, Hob. XVI:23https://www.youtube.com/watch?v=rTtZJLSXnwU&list=OLAK5uy_lO0uTuK4leOQbR3XSoucQIXMfd5DoI7bw&index=5start of Haydn: Piano Sonata No. 47 in B Minor, Hob. XVI:32https://www.youtube.com/watch?v=Cw21N4aEj5w&list=OLAK5uy_lO0uTuK4leOQbR3XSoucQIXMfd5DoI7bw&index=8start of Haydn: Piano Sonata No. 39 in D Major, Hob. XVI:24https://www.youtube.com/watch?v=tQM8tiNIjZU&list=OLAK5uy_lO0uTuK4leOQbR3XSoucQIXMfd5DoI7bw&index=10https://www.youtube.com/playlist?list=OLAK5uy_lO0uTuK4leOQbR3XSoucQIXMfd5DoI7bw
>>128794141Yess, so cute :333 >>128795028Hey retard, you're slop.
>>128794141That's pretty dope taste, and I am honored to share this general with you.
If Bach was so good, why didn't he compose any piano sonatas?
>>128794141forgive me if this is dumb, but does Bartok even have enough music to qualify him to be worthy as a favorite composer? am I just missing out on some of his discography?
>>128794141>satie>stockhausenmeme "music"
Essential and worthwhile music from György Kurtág?
>>128795245His oeuvre is about 3x as big as Mahler's. If the latter is an acceptable choice for "favorite composer", there's no reason Bartok shouldn't be too.
>>128795289I'm not convinced Mikrokosmos counts.
>>128795324You got trolled last time. Even complained about children on the cover
>>128795400Buncha' profile-makin', data-minin' feds up in here, I tell ya hwat!
When Etude op.8 no.12 mood hits, nothing else does it for me. How is this shit so fucking good anons?https://www.youtube.com/watch?v=-1BcfTdRSpEAnd there's no good recording of it!!! Horowitz's recital is the closest it gets to good, but Sultanov's inner voicing in the middle section rendered all else almost unlistenable, even though it's not a good interpetation, but a ruthless banging of the keyboard without any regard to its lyrical character and Scriabin's intentions.
>>128795581One of the most instrumental pieces in getting me into classical to begin with.
>>128795595Really? Huh. What is your preferred version, Sofronitsky I bet? 42/5 is as good as that one tho, Horowitz totally owns it (AND 8/12 if we're being honest)
>>128795581https://www.youtube.com/watch?v=3HQG_lXF9Jg&list=OLAK5uy_kngHMX_OfYfMtf1GT9lOS6L6xBFdjY-PM&index=2
>>128795632Too soft, too sterile.
I'm going to get laughed at for asking a question like this here, but I believe this is one the only place of the internet I can ask about something so niche to an audience who actually have the knowledge to answer, so here I go. Can someone tell me which instrument is this? I'm guessing it's some kind of flute, and i tried to listen to different woodwinds too see if any matched the tones but I haven't been able to. Doesn't help that I'm musically deaf. Still, I'd love to hear more of this instrument. https://youtu.be/nzi__39ngv0?t=126Thanks anons.
>>128795729Sounds like an oboe.
>>128795139Strauss deserves it. Greatest composer of the 20th century.
>>128795786Sounds like it, thanks anon.
>>128795789>Greatest composer of the 20th century.oh yeah that's the stuff, keep going
>>128795789not really no
>>128795028>schoenberg >"avant-garde"
>>128795821>>128795828There's no other composer that created so many masterpieces and in such diverse genres. King of tone poems, of operas, of lieder, of chamber music. No other 20th century composer can rival his achievements in these spheres. No Sibelius, not Schoenberg, not Bartok or Berg or Mahler. Furthermore, Strauss invented atonality but had the good taste to step back from it and continue to make great music.
>>128795888yes, yes, yes! now tell me one of his works is actually the greatest work of the 20th century, I'm almost there...
I'm so tired of hearing about how MUH HECKIN FAVOURITE COMPOSER BROKE DOWN TONALITY. If the person is a Wagnerian, they say Wagner was a pioneer in breaking down Western tonality, if Liszt is their favourite then they lavishly praise him for doing the same, and so it goes for Debussy, Strauss, Mahler, Schoenberg, etc. I'm fucking tired of hearing this shit. They can't ALL have so originally broken down Western tonality. Choose one and stick with it.
here's the most objective possible list of top 20 composers of the 20th centuryMahlerDebussySchoenbergStraussBartókWebern RavelBergStravinskyMilhaudHindemithShostakovichMessiaenCageBabbittLigetiNonoBoulezBerioStockhauseni used scientific methods to put this list together and you can't do any better than it.
>>128795933The the past two years I've been telling you to include Prokofiev, come on... also no Weinberg? no Pettersson?
>>128795888Atonality doesn't exist even in Schoenberg's works, because of that unchangeable physical law concerning the interrelation of the harmonics, and their relation to their fundamental tone. When we hear a single tone, we will interpret it subconsciously as a fundamental tone. When we hear a following different tone, we will-again subconsciously-project it on the first tone (felt as being the fundamental one) and interpret it according to its relation to the latter. In a so-called atonal work, one selects now this, now another tone as a fundamental one, and projects all other happenings of the piece onto these selected fundamentals. The same phenomenon appears when dealing with so-called polytonal music. Here polytonality exists only for the eye when looking at the music. But our mental hearing again will select one key as a fundamental key and will project the tones of the other keys on this selected one. The parts in different keys will be interpeted as consisting of tones of the chosen key.
>>128795909Simon Stevin broke western tonality in the 1580's and it never recovered.
Burn down this entire world. Purge it clean from all sophistry, from the shackles of laws and finance, bare humanity to Art. Expose man to the flame of Prometheus and the carnival of Bacchus. Numb all reasoning and ambition, drug the mind with higher carnal expression. Legalize orgies, public masturbation and make it mandatory to wear Togas or wear nothing at all. You will participate or you will be drowned in wine.https://youtu.be/guKdhAlp-Kc?si=aMJpXnglkkHKqlwr&t=315
>>128791781>It requires more intellectual resources to identify precisely the musical characteristics which one admiresYes it's surely a lazy way to address it, but it works. I could get into specifics of the harmony but in the end it comes down to relatively subjective qualities like "minor 11ths resonate with me because of X and Y!" or whatever. That would be interesting to discuss as well though.>But what has this to do with the listener's pleasure?Pleasure is so subjective that trying to understand it is like trying to imagine the exact same bottle of tomato that a person has in mind, the exact same shape, reflection, shade of red, shadow, angle, background. You're trying to make sense of something very innate and nuanced. And surely you have your own personal preferences yourself.>You say gullible, which implies that I am believing something told People often like to claim they are exempt from influences of cultural trends (some might call it "propaganda") when they're as affected as anyone else, in different ways but still. Anyway that's too off topic. I just like to point out that environment influences our thinking, and it can thus influence our enjoyment of specific musical qualities. People wouldn't generally like to hear Mozart's turkish march on a funeral, whereas funeral marches are specifically designed for those occasions. That's an easy example, now consider the complexity of human society.>Perhaps you are taking something like the classic Zizek position that one cannot escape from ideology, Not necessarily, but it's close yes. >The degree to which we are individually historically conditioned is unchosen and scarcely knowable; Can't disagree.>Shostakovich doesn't sound like my life, interior or exterior, any more than Mozart doesWhat we (or me at least) mean is that we are more inclined to like music that resonates with the current cultural zeitgeist. Not that you in particular should enjoy Shostakovich more than Mozart.
I would believe only in a god who could dance.
>>128795933Rachmaninoff, Medtner, Scriabin and Prokofiev clear all of those save for Mahler, and maybe Shostakovich and Debussy, who are tier below.
>>128796026And Bartok
>>128795958>When we hear a single tone, we will interpret it subconsciously as a fundamental tone.But the composition does not allow the tone to be the fundamental tone. How your mind interprets it is different from mine. Atonality is the absence of a fundamental tone, and it is relative. Some composers have some tones which are somewhat fundamental to the piece, others reject that entirely. There's no need to outsmart basic musical terminology, atonality is as real as tonality.
>>128795909Define "broke down" and "tonality". In my opinion, common practice tonality (which is what I assume we are discussing) broke down with the impressionists seeing as Wagnerian tonality fits entirely within the Bachian system and the distance between them is trivial compared to Debussy, Satie, and so on.
>>128796026>RachmaninoffGet real.
>>128795909This is correct. But for real though, it was Chopin who broke down atonality.https://www.youtube.com/watch?v=HdTX6RdI1zc>>128796061You get real you deaf retard
>>128796067>broke down atonality.tonality*
I do have to admit Mikrokosmos is an incredible name for a work of artOnly too bad it's not a work of art, but a pedagogical exercise
>>1287960787/10 bait, not bad.
>>128796078filtered by monophony
Even though it's technically correct, I've always found there to be something misleading about calling composers like, say, Mahler or Scriabin "20th century composers".
>>128796008he's so ugly
Just remembered Arvo Part is still alive.
>>128796164not for much longer I hope. minimalism is objectively worse than serialism.
>>128796093The two for me is I refuse to call Rachmaninoff and Elgar 20th century composers. Or Faure.
>>128796222If Mahler is, idk how those two aren't
>>128796093>>128796222my rule is the majority of a writer's mature years (ages 20 to 70. 70+ is senility) must be in the said century. for example, that would make Respighi (1879 - 1936) a twentieth century composer but not Mahler (1860 - 1911).
>>128796249Okay, looking at the dates of their music, I realized I was crazy.
>>128796265Except Mahler's 4th came out at the turn of the century. It'd be one thing if his first three symphonies were his best but it's quite the opposite. And his later music, the ones firmly in the 20th century, contain and predict the modernist idiom.
World War 1 was the watershed event that truly launched the 20th century. If a composer wrote the bulk of his music before it, he can't be considered a 20th century composer.
>>128796308good point. I would like to add the long 18th century ended in 1815.
>>128795958>unchangeable physical law concerning the interrelation of the harmonicsSimply tune in 13EDO. Now you have no good approximations of small integer ratios other than octaves, and octaves are conventionally considered the same note so they don't count as harmony.
>>128796353you are retarded.
>>128796368The fact that Schoenberg never did this is proof that he wasn't serious about the "emancipation of the dissonance". You can modify string and keyboard instruments to play in 13EDO without much difficulty. Performance is only slightly more difficult that 12EDO. Tuning theory was well enough understood when he wrote his atonal works that it should have been obvious. Squeezing in one more note is enough to throw off all the good approximations and give you a shitload of dissonance.
>>128796408how would the notation and function systems even look let alone work for 13EDO? please read Riemann's writings before doubting 12EDO.
>>128796434Just switch to a chromatic staff, which is a good idea for "atonal" works even in 12EDO. It's few enough pitch classes not to be a problem. And I don't have anything against 12EDO. Almost all the music I listen to uses it. It's an excellent compromise between simplicity and good approximation of just intonation. But 13EDO dramatically increases the available dissonance. If you're serious about atonal composition it's an obvious upgrade.
>>128796353Any tuning system without 5ths is musically stillborn.
>>128796495Fifths are the most consonant interval so avoiding them is intentional.
>>128796458read the entirety of Harmony Simplified by Hugo Riemann before making another post in this thread.
>>12879652712EDO forces you into writing consonances unless you limit yourself to a restrictive and boring subset. 13EDO is mathematically superior for writing maximally dissonant music. It's impossible to write good fifths or thirds in 13EDO. You can freely use all 13 notes without worrying about consonances.
>>128796543never post here again. I hope you commit suicide.
>>128796554you shouldn't say things like that.
>>128796554I see you have no argument. Remapping any 12EDO work by note number into 13EDO will make it more atonal. Any "atonal" composer who fails to do this is compromising their art, either out of ignorance or laziness.
>>128796565kill yourself.
12-13-25 off-the-dome beethoven top 101. missa solemnis2. string quartet no. 143. symphony no. 94. string quartet no. 155. piano sonata no. 29, hammerklavier6. violin concerto7. string quartet no. 138. piano sonata no. 23, appassionata9. violin sonata no. 9, kreutzer10. piano concerto no. 5, emperor
>>128782307Really liking this album. Reverie is great.
>>128795155No other anons here care about new classical releases? :(
>>128796630>tfw the conductor and composer are both younger than me and have accomplished morewhy liveI'll check it out, thanks.
>>128796647Let me know if you have any recent Classical albums like the one I posted that you like
>>128796658I haven't heard it yet but I was gonna today
>>128794601I always buy Naxos because they have the best cover art.
>>128796677is that a joke about the album cover posted right above your post
>>128796693And now I learn they don't consistently use old paintings with a white border.
>>128796616Top 51. Grosse Fuge2. Sonata no. 303. Symphony no.34. String quartet op.1315. Symphony no.7
>>128796739What's so good about the Grosse Fuge?
>>128796798The unhinged, rhythmically diverse chromatic subjects forming two of Beethoven's most emotionally intense and dissonant fugues in a single movement sounds exciting enough? It's just fucking amazing. I would give up all other fugues for it.
now playing, contemporary classicalAnna Clyne: Masqueradehttps://www.youtube.com/watch?v=C5CGzAk512Y&list=OLAK5uy_mOIBLudXIaojoaeAkoC_uUwXRx99M8Ayc&index=2Anna Clyne: This Midnight Hourhttps://www.youtube.com/watch?v=wtVP-2uW0j8&list=OLAK5uy_mOIBLudXIaojoaeAkoC_uUwXRx99M8Ayc&index=3Anna Clyne: The Seamstresshttps://www.youtube.com/watch?v=vfPSHkRMvCs&list=OLAK5uy_mOIBLudXIaojoaeAkoC_uUwXRx99M8Ayc&index=4Anna Clyne: Night Ferryhttps://www.youtube.com/watch?v=HKQAI_rNsVU&list=OLAK5uy_mOIBLudXIaojoaeAkoC_uUwXRx99M8Ayc&index=5Anna Clyne: ᐸᐸrewindᐸᐸhttps://www.youtube.com/watch?v=dFzYwKV6klA&list=OLAK5uy_mOIBLudXIaojoaeAkoC_uUwXRx99M8Ayc&index=5I'm only a couple minutes in, but so far it's very "let's compose classical music that the masses can enjoy", and it comes off as a bit trite and cheap, like a filmscore. I don't know, could get better. Maybe someone here will like it more, as it's definitely pretty.
>>128782307favorite wintertime classical?mine is Winterreise by Schubert
>>128796940Grieg's Lyric Pieces or Tchaikovsky's The Nutcracker
>it's december>tourists asking for le winter classical dailyWhat's worse is that they won't stick to listening to classical, they probably want to virtue signal for their party or whatever.
>>128796940stop sucking cocks.
>>128796005>You're trying to make sense of something very innate and nuanced.The interior and complex nature of abstract impression is exactly why precision is important. My original post was in response to anon's personal feeling that there existed special relevance in contemporary music, not a generalised historical claim about the way art reflects society. Again, I do not understand how one can 'hear' or experience contemporary relevance in instrumental music, or emotionally identify historical distance in their insensitivity to older music. Again, *not* as a claim grasped by the reasoning facility about society but as an *experience*. I don't think you or anyone here has described, in personal and precise language, this impression of hearing the 'zeitgeist' besides gesturing to predominant cultural moods like anxiety. In the present post, your example is that people would hear funereal atmosphere in funeral marches. Well, fine, I would never argue otherwise. But the world-spirit you allude to is nothing so concrete.>Not necessarily, but it's close yes.>Can't disagree.These statements, although not strictly contradictory, again confuse me. If you acknowledge that the degree to which we are individually historically conditioned is unchosen and scarcely knowable, then why assume its predominance? I consider it a given, but one which requires very little consideration, like the assumption that minds exist and I am not the only human talking to a bunch of Chinese rooms, even though it's not really knowable. There is no point in thinking at all if our experience is so untrustworthy. Again, I would be more forgiving, perhaps, if these sentiments did not obviously come with political implications. People who say you are too ruled by secret desires and environmental causes to accurately self-report often have quite particular ideas about where such causes are leading us.
now playingstart of Rachmaninoff: Symphony No. 1 in D Minor, Op. 13https://www.youtube.com/watch?v=ljrx7b29pRE&list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0&index=2Rachmaninoff: Caprice bohémien, Op. 12https://www.youtube.com/watch?v=j-7JGyP3HZA&list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0&index=6start of Rachmaninoff: Symphony No. 2 in E Minor, Op. 27https://www.youtube.com/watch?v=jBLe64Tlapg&list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0&index=7start of Rachmaninoff: Symphony No. 3 in A Minor, Op. 44https://www.youtube.com/watch?v=s3-xMaXzGk8&list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0&index=11Rachmaninoff: The Isle of the Dead, Op. 29https://www.youtube.com/watch?v=1TgPQPM80fQ&list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0&index=13https://www.youtube.com/playlist?list=OLAK5uy_kBqWxaNeGXX0Ecq0LyFZrr7WEEtmDepN0>In his latest release with the WDR Sinfonieorchester, Cristian Macelaru has set the formidable goal to record an extended symphony cycle by one of the last Romantic giants of the twentieth century, Sergei Rachmaninoff. This triple-album follows his journey as a composer marked by both triumph and deep personal trauma. The First Symphony, a youthful composition full of ambition, received a disastrous premiere that haunted Rachmaninoff for years. Despite this, he returned with his Second Symphony, a masterpiece that would solidify his reputation. The work shows refinement, emotional depth and technical brilliance, it's sweeping melodies and intricate textures making it one of his most beloved works. The Third Symphony, composed in the 1930s, was met with mixed reactions, perhaps due to it's more modern, experimental style. The rarely heard Caprice bohemien and the haunting Isle of the Dead complement the set. This is deeply expressive, innovative music, matched by peerless performance.No Symphonic Dances? Weak. Dope we get new high quality sets of both Rachmaninoff and Scriabin orchestral works in the same year.
>>128797070Kinda baffling that third symphony was composed in the 1930s. I never would have guessed that. You'd expect some more modernist elements, yet the man really did not budge on his Russian Romanticism creative vision.
>>128797078Same with Medtner, whose last piano concerto was composed in 1943.
>>128796940Haydn's The Seasons. A work for all seasons.
>>128796939i dont think its pretty, its hard to listen to
>>128797128Really? I feel like I could send it to my non-classical friends who are really into music and they could enjoy and easily comprehend most of it. Like I said, sounds almost like an original soundtrack to a dark fantasy film.I might have been too harsh on it too.
Is this a good Symphonic Dances? What's the best one in your opinion?
Found this contemporary opera release, curious how it soundshttps://www.youtube.com/watch?v=2F-V07IF6aE&list=OLAK5uy_ljfXJTkzsc81Qzhc_-mYRD0KRRaL-XJCM&index=3>In their astounding new opera The (R)evolution of Steve Job, composer Mason Bates and librettist Mark Campbell explore the spiritual evolution of one of the most influential men of modern times as he creates a revolutionary new world of technological empowerment, then discovers a larger world within himself. Like Steve Jobs, composer Mason Bates is an innovator whose creativity breaks through boundaries, combining traditional orchestration with electronics in ways that have made him one of the most sought-after and widely programmed composers in the United States. In The (R)evolution of Steve Jobs, Bates and Campbell give us an alternative and intimate perspective of a public life, examining the people and experiences that shaped Steve Jobs: his father, his Buddhist practice, his rise and fall as an executive, and finally his marriage to the woman who showed him the power of human connection.Plus I like this idea of creating fictional works about monumental contemporary figures. About time we started doing this. I was beginning to worry this kind of practice in art ended with JFK and Marilyn Monroe.
>>128797163That one is very good, yes. I don't know if I'd go as far as to say that one or any other particular recording is the best, but if I had to compile a list of the top ones, I would include all of Vasily Petrenko's Rachmaninoff.
>>128797107To compose in the romantic idiom during WW2 is barbaric.
>>128797168>Plus I like this idea of creating fictional works about monumental contemporary figures. About time we started doing this. I was beginning to worry this kind of practice in art ended with JFK and Marilyn Monroe.Because it always comes off a little LARPy to treat contemporary figures as though they're monumental characters. This is why Napoleon left such an impact on multiple generations of men: he was like a man out of another time. The satirical figure of Paul Arnheim in Musil's The Man Without Qualities, with all the attendant hypocrisy and sycophantic eagerness to perceive a new world-historical giant in a clever business-minded bourgeois, is a good illustration of this problem. Unfortunately the only figure of the 20th century who dominates people's minds to that extent of truly serious moral excitation is probably Hitler.
>>128797209Haha Adorno too based for you sounds like
>My Verklärte Nacht, written before the beginning of this century -- hence a work of my first period, has made me a kind of reputation. From it I can enjoy (even among opponents) some appreciation which the works of my later periods would not have procured for me so soon. This work has been heard, especially in its version for orchestra, a great many times. But certainly nobody has heard it as often as I have heard this complaint: 'If only he had continued to compose in this style!>The answer I gave is perhaps surprising. I said: 'I have not discontinued composing in the same style and in the same way as at the very beginning. The difference is only that I do it better now than before; it is more concentrated, more mature.>When I am asked why I no longer write as I did at the time of 'Transfigured Night,' I usually answer: 'I still do, but it is not my fault if people do not realize it.
>[It] is extremely difficult, just as much for the head as for the hands. I am delighted to add another ‘unplayable’ work to the repertoire. I want the concerto to be difficult and I want the little finger to become longer. I can wait.https://youtu.be/_ukPsvh51hI
>>128797163>>128797183I would obviously add my favorite hi-fi set by Slatkin, although Petrenko was good.
>>128796939I quite like this.
one day i WILL learn to appreciate Paganini's 24 Caprices for solo violin
István Várdai's Bachhttps://www.youtube.com/watch?v=14xsE73QaNo&list=OLAK5uy_lgvyhIoJX5USEMCsep8oUYB32EZEghywA&index=1
>>128797622Is it that hard to appreciate it? They're quite charming
speaking of Bach, I got a pop-up notification on my phone that Renaud Capuçon is finally releasing a set of Bach's Sonatas and Partitas for Solo Violin, I'm so excited. It comes out Jan 23rd.https://www.deutschegrammophon.com/en/artists/renaud-capucon/news/the-holy-grail-of-the-violin-repertoire-renaud-capucon-presents-bachs-sonatas-partitas-277681>Renaud Capuçon first became aware of J.S. Bach’s timeless Sonatas and Partitas via an LP owned by his parents. The soloist was Yehudi Menuhin, and the impact on the young violinist was instantaneous, sparking a lifelong devotion to Bach and his music. Now Capuçon has chosen to celebrate the personal milestone of turning fifty by making his first recording of the six exceptional works often known as the “Bible” or “Holy Grail” of the solo violin repertoire.>The Deutsche Grammophon album will be released digitally and as a 2CD set on 23 January 2026, to coincide with Capuçon’s birthday four days later. A limited-edition CD version includes a signed art card featuring the cover portrait of the violinist which, like all the pictures in the booklet, was taken by his son, Eliott Capuçon. The Presto finale of Sonata No. 1 in G minor is released on 12 December as a digital single, with the Preludio of Partita No. 3 in E major following on 9 January.>Inspired by Menuhin, Capuçon began studying the Sonatas and Partitas – starting with the Third Partita – as soon as he was old enough. He has considered recording the works several times in his career, but earlier this year was finally persuaded by his wife, Laurence Ferrari, to head into the studio. “Until then, I kept thinking I should wait a little longer,” he explains. “I wanted to be a better human, a better violinist… The fact that I’m doing it for my 50th birthday has a nice symbolism, but it doesn’t mean this is a definitive interpretation. It’s a snapshot of today – Renaud Capuçon playing Bach at 50!”Now we just need his cellist brother to do the cello suites
>>128797653the single-excerpt they released as a sample/teaser today btw (the notification I got on my phone):https://www.youtube.com/watch?v=6RpVEm_DmqU&list=OLAK5uy_lCHSigJT7rj5Bcapvu5UoOTahk0jWjhZ8&index=1
Some random brainfarts about Mahler 9 since I'm going through another obsession phase.I can't quite explain what emotion it is trying to convey, but for some strange reason I associate it with social decadence. Mahler went through some shit due to his jewish heritage, so maybe that's it, but I think it's deeper than that. Many writers at the time (even Darwin, late 19th century, Galton, degeneration theory) started worrying about the rise of the "underclass" society which, according to them, would eventually lead to erosion of culture and morality (and thus we got to anti-semitism). I think Mahler saw that, as any intelligent individual inevitably will. Even Brahms said something along the lines of "I'm the last relevant composer" blah. Mahler once remarked, "symphony should be everything", and he stood by that, he would combine folk and pop music tunes into his symphonies, and by the 8th he had combined all classical music genres into one, what was left to do? Bring humanity itself, with all its ugliness and what's left of beauty into the equation, and so we got the 9th, representing the process of degeneration he observed throughout his life. He looks at life as both tragedy (extremely bleak and anxious outer movements) and comedy (grotesque irony of the inner movements). I think one must be inspired by something to write masterpiece of this gigantic scale and depth, and I can't think of anything else that could explain Mahler's thought process during or before the composition. Or maybe he just thought it all sounded cool and I'm wasting everyone's time, as all Mahler "scholars" are, I'm fine with both options.
If you're not celebrating Christmas with Baroque and Russian Romanticism/Modernism, are you even doing it right /classical/?https://www.youtube.com/watch?v=dJYUDy1Q69g&list=RDdJYUDy1Q69g&start_radio=1https://www.youtube.com/watch?v=MMGKtXElgvA&list=RDMMGKtXElgvA&start_radio=1https://www.youtube.com/watch?v=jc62GZC5p8s&list=RDjc62GZC5p8s&start_radio=1https://www.youtube.com/watch?v=RydMnTCwJvQhttps://www.youtube.com/watch?v=Y1bfAmz05Do&list=RDY1bfAmz05Do&start_radio=1https://www.youtube.com/watch?v=7GUzJ7fQBtghttps://www.youtube.com/watch?v=zR0Jn1mpWyghttps://www.youtube.com/watch?v=k0vFOax7ZeU&list=RDk0vFOax7ZeU&start_radio=1https://www.youtube.com/watch?v=vhiK7ldzP7s&list=RDvhiK7ldzP7s&start_radio=1https://www.youtube.com/watch?v=GYFBZkN-3ag&list=RDGYFBZkN-3ag&start_radio=1
>>128798111>christmasSee >>128784773
>>128798123>not realizing Christmas is the continuation of the pagan act but mixed with the best aspects of Jesus.
>>128798171We prefer to call it yuletide here.
>>128798196>being this pedantici wish you a Merry Christmas and hope you get everything you want this Holiday season
>>128798274thank you holidayslop sister
Saint-Saenshttps://youtu.be/OVZcDkJ3-bQ
>>128798403You're Jewish
>>128798449thank you wignat sister
>>128798542You're a trannie
>>128798849thank you wignat sister
Abbado's Mahler 9https://www.youtube.com/watch?v=YNpSjFRWRrE&list=OLAK5uy_mfWOIl5LLAMUmCrD7J7enzFp65wnn0sCo&index=1What are your thoughts on this?
>>128798939Abbado, as anyone here knows and can tell you, produced the best Mahler cycle by far. The 9th is particularly breathtaking.
Goodbye enemies
Steven Reich Double Sextet and Music for 18 Musicians https://www.youtube.com/watch?v=BXVjf_FSqpc&list=RDBXVjf_FSqpc&start_radio=1
>>128799554Idk, I felt it was weaker compared to Bernstein/Conctertgebouw and Klemperer's 9th, but in minor details only
>>128799607kek
No expense was spared for the staging of Wagner's operas, which were often performed with Ludwig the sole member of the audience, and in return Wagner gave him his genius and his love. Wagner acknowledged that "Without him I am as nothing! Even in loving him he was my first teacher. O my King! You are divine!" They exchanged some 600 letters, and it is hard to say who was more enthusiastic, at least in the beginning. Wagner: "What bliss enfolds me! A wonderful dream has become a reality! . . . I am in the Gralsburg, in Parsifal's sublime and loving care. . . . I am in your angelic arms! We are near to one another." Or Ludwig: "My only beloved Friend! My saviour! My god! . . . Ah, now I am happy, for I know that my Only One draws near. Stay, oh stay! adored one for whom alone I live, with whom I die." Their relationship was almost certainly physical, though not necessarily "genital."Wagner at one time held homoerotic ideals, and in The Art-work of the Future (trans. W. A. Ellis), comments on the love of comrades in Sparta: "This beauteous naked man is the kernel of all Spartanhood; from genuine delight in the beauty of the most perfect human body – that of the male – arose that spirit of comradeship which pervades and shapes the whole economy of the Spartan State. This love of man to man, in its primitive purity, proclaims itself as the noblest and least selfish utterance of man's sense of beauty, for it teaches man to sink and merge his entire self in the object of his affection. . . . The higher element of that love of man to man . . . not only included a purely spiritual bond of friendship, but this spiritual friendship was the blossom and the crown of the physical friendship. The latter sprang directly from delight in the beauty, aye in the material bodily beauty of the beloved comrade."
>>128798939Great but not transcendent
>>128794141We need our own general for modernist classical.
>>128800722People talk about modernism all the time in here.
>>128800728That's the problem
Steven Reich Electric Countepoint rec vol 2https://www.youtube.com/watch?v=mnbIFW6mnNU&list=RDmnbIFW6mnNU&start_radio=1
>>128800972Maybe you need your own special personal general?
There's actually a werid king of Lemon Jelly like piece at the end of the Steve Reich that's definitely classical. But it's ok because no one is going to listen to it anyway
>>128800379RICHARD WAGNER TO Mme ELIZA WILLE4th May, 1864He, the king, loves me, and with the deep feeling and glow of a first love; he perceives and knows everything about me, and understands me as my own soul. He wants me to stay with him always. . . . I am to be free and my own master, not his music-conductor – only my very self and his friend.
He, the short king, loves me, and with the deep feeling and glow of a first love; he perceives and knows everything about me, and understands me as my own soul. He wants me to stay with him always. . . . I am to be free and my own master, not his music-conductor – only my very self and his friend.
>>128801896RICHARD WAGNER TO Mme ELIZA WILLE9th Sept., 1864It is true that I have my young king who genuinely adores me. You cannot form an idea of our relations. I recall one of the dreams of my youth. I once dreamed that Shakespeare was alive: that I really saw and spoke to him: I can never forget the impression that dream made on me. Then I would have wished to see Beethoven, though he was already dead. Something of the same kind must pass in the mind of this lovable man when with me. He says he can hardly believe that he really possesses me. None can read without astonishment, without enchantment, the letters he writes to me.
>>128801941LUDWIG II TO RICHARD WAGNER15th May, 1865Dear Friend, O I see clearly that your sufferings are deep-rooted! You tell me, beloved friend, that you have looked deep into the hearts of men, and seen there the villainy and corruption that dwells within. Yes, I believe you, and I can well understand that moments come to you of disgust with the human race; yet always will we remember (will we not, beloved?) that there are yet many noble and good people, for whom it is a real pleasure to live and work. And yet you say you are no use for this world! – I pray you, do not despair, your true friend conjures you; have Courage: "Love helps us to bear and suffer all things, love brings at last the victor's crown!" Love recognizes, even in the most corrupt, the germ of good; she alone overcomes all! Live on, darling of my soul. I recall your own words to you. To learn to forget is a noble work! – Let us be careful to hide the faults of others; it was for all men indeed that the Saviour died and suffered. And now, what a pity that "Tristan" can not be presented today; will it perhaps tomorrow? Is there any chance? Unto death your faithful friend, Ludwig
>>128801967LUDWIG II TO RICHARD WAGNERPurschling4th Aug., 1865My one, my much-loved Friend, You express to me your sorrow that, as it seems to you, each one of our last meetings has only brought pain and anxiety to me. – Must I then remind my loved one of Brynhilda's words? – Not only in gladness and enjoyment, but in suffering also Love makes man blest. . . . When does my friend think of coming to the "Hill-Top", to the woodland's aromatic breezes? – Should a stay in that particular spot not altogether suit, why, I beg my dear one to choose any of my other mountain-cabins for his residence. – What is mine is his! Perhaps we may meet on the way between the Wood and the World, as my friend expressed it! . . . To thee I am wholly devoted; for thee, for thee only to live! Unto death your own, your faithful Ludwig
>>128801977RICHARD WAGNER TO HIS BROTHER-IN-LAW10th Sept., 1865I hope now for a long period to gain strength again by quiet work. This is made possible for me by the love of an unimaginably beautiful and thoughtful being: it seems that it had to be even so greatly gifted a man and one so destined for me, as this young King of Bavaria. What he is to me no one can imagine. My guardian! In his love I completely rest and fortify myself towards the completion of my task.
>>128801990LUDWIG II TO RICHARD WAGNERHohenschwangau2nd Nov., 1865My one Friend, my ardently beloved! This afternoon, at 3.30, I returned from a glorious tour in Switzerland! How this land delighted me! – There I found your dear letter; deepest warmest thanks for the same. With new and burning enthusiasm has it filled me; I see that the beloved marches boldly and confidently forward, towards our great and eternal goal. All hindrances I will victoriously overcome like a hero. I am entirely at thy disposal; let me now dutifully prove it. – Yes, we must meet and speak together. I will banish all evil clouds; Love has strength for all. You are the star that shines upon my life, and the sight of you ever wonderfully strengthens me. – Ardently I long for you, O my presiding Saint, to whom I pray! I should be immensely pleased to see my friend here in about a week; oh, we have plenty to say! If only I could quite banish from me the curse of which you speak, and send it back to the deeps of night from whence it sprang! – How I love, how I love you, my one, my highest good! . . . My enthusiasm and love for you are boundless. Once more I swear you faith till death! Ever, ever your devoted Ludwig
It is true that I have my short king who genuinely adores me. You cannot form an idea of our relations. I recall one of the dreams of my youth. I once dreamed that Shakespeare was alive: that I really saw and spoke to him: I can never forget the impression that dream made on me. Then I would have wished to see Beethoven, though he was already dead. Something of the same kind must pass in the mind of this lovable man when with me. He says he can hardly believe that he really possesses me. None can read without astonishment, without enchantment, the letters he writes to me.
Niemannhttps://www.youtube.com/watch?v=VXgsL-Ij47o
Debussyhttps://youtu.be/efaj4L3KiYU
>>128797351Is Slatkin the best overall set for Rach or would you sub in anything?
i fell asleep while listening to beethoven's string quartets and when i woke up the grosse fugue was playing and i thought i was having a stroke
>>128804154Ashkenazy, Previn, JansonsAny one of these or Slatkin's and you'll be happy. Or you could even try the new set posted above.
>I want to talk about another composer I like, one at the end, maybe at the very end of the high classical music tradition. This is Rachmaninoff, a composer who is often disdained by the pseuds, the pseudointellectuals, the half-and-half. Those who listen to music not to enjoy it, but whether or not it comports with some theory they have, some idea of music's place in history, as if that matters. And, ultimately, you know, they claim they like something merely because it has a status among their friends or their clique.>I think, with one or two exceptions, modern classical music, atonal music of various kinds, is almost of no value. Again there are some exception, but mostly no one listens to it because they enjoy it. It's not even for intellectual edification that they do, as they so often claim, but again as a desire of status. Insofar as atonal music makes you feel anything, it gives, I think, in best case a sense of mystery, or of timeless suspension. But in this regard the modern electronic music, for example Autechre, ends up far outdoing it, far outdoing the modern attempts at classical music. So for that reason most of it has to be rejected I think.>Almost all modern classical music is listened to only by friends of the musicians, or by professors who are unable to actually to write a simple tune you'd want to listen to, even if they wanted. So they resent a man like Rachmaninoff, such a tuneful man full of beautiful melodies you want to listen to, who against all the fashions, continued to write audience-pleasing romantic music well into the era of modern constipations and abstractions.
https://www.youtube.com/watch?v=5dJ0JklWGlA&list=OLAK5uy_me7ZpOMcdPl-wqg3jKs1fafhDzztXAY7Q&index=1>With the exception of Beethoven’s 32, probably no other cycle of piano sonatas captures and distills the metamorphosis of a brilliantly original, psychologically unique, and consistently engrossing musical world-view as successfully as do Scriabin’s 10.true?>These sonatas chronicle the composer’s spiritual odyssey and the psychic realms he charted, moving gradually from the conventional world toward an ever more rarefied personal vision. Spanning a period of only about 20 years (straddling the year 1900), the sonatas begin by fully embracing the Romantic piano language of Chopin, Schumann, and Liszt, while imbuing it with features of Scriabin’s own personality—in particular, a languid sensuality and breathless impetuosity that join in reaching toward the ecstatic. As time passed, his works shed their conventional syntax, moving through a less symmetrical, idiosyncratically Wagnerian opulence, in search of formal structures purer and more organically wedded to the ideas and feelings that consumed him. By the time of his death at age 43, Scriabin had arrived at a virtually atonal language of twittering trills, spasmodic pulsations, and brittle sound fragments that conjure an almost Strindbergian nightmare world of demonic spells, ghostly processions, and other febrile hallucinations.Love it.https://walter-simmons.com/writings/1554
>>128804263>true?Maybe, but there are also not too many contenders for transformative piano sonata cycles. Haydn perhaps. There are actually not that many composers who gave special attention to piano sonatas specifically, even among piano composers. If you expand this to a more general statement on piano music, then it's more contestable.
>>128804285I know, I know, I just thought it was a nice quote.
Lettberg.
>>128804263>>128804285I've always thought Prokofiev's piano sonata cycle follows a somewhat similar path, from a straightforward Chopinesque romanticism to highly personalized modernism.
It really is astonishing that Ligeti's Requiem can be utilized so many times and have such a hold on pop culture, and yet you still hear something new every time you listen to it. There’s a 50 year graveyard of pieces that try to emulate Ligeti’s micropolyphonic music, but can you imagine being the first person to write like that? There was zero precedent for music like that before Ligeti. He expressed emotions that had never been expressed before in art. It’s also astonishing that after centuries of Catholic tradition, a Transylvanian Jew came along and beat every previous composer at their own game. Ligeti wrote the greatest requiem of all time despite viewing the religious tradition behind the form as, at best, a fascination. If anything, that distance is key: Ligeti understood Catholicism as a vehicle for complex horrors, which is the perfect foundation for a work informed by his experience during the Holocaust. I don’t think a true believer could have done that as effectively.
>>128804317Is it that good?
>>128801977>When does my friend think of coming to the "Hill-Top", to the woodland's aromatic breezes? – Should a stay in that particular spot not altogether suit, why, I beg my dear one to choose any of my other mountain-cabins for his residence. – What is mine is his! Perhaps we may meet on the way between the Wood and the World, as my friend expressed itThis guy really did write about Wagner like that one pasta about having a vision of lying under chestnut tree and having another vision inside of that vision because of the prelude to Lohengrin.
New:>>128804350>>128804350>>128804350
new>>128804351>>128804351>>128804351
>>128804354>>128804356ripsadly, first come first serve
