Capet String Quartet Edition
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>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:
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First for Schumann
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OH NO OH NO WAGNER BROS
>"the difference between Falstaff, which is the absolute masterpiece, and Die Meistersinger, which is an outstanding Wagnerian opera. Just think for a moment how many musical means – beautiful ones, certainly – Wagner must make use of to describe the Nuremberg night. And look how Verdi gets a similarly startling effect at a similar moment with three notes." - Toscanini
/classical/'s favorite piece of every decade AS DECIDED BY VOTE:
1580s: Giovanni Pierluigi da Palestrina - Canticum Canticorum
1590s: William Byrd - My Ladye Nevells Booke
1600s: Claudio Monteverdi - L'Orfeo
1610s: Carlo Gesualdo - Tenebrae Responsoria
1620s: Samuel Scheidt - Tabulatura Nova
1630s: Girolamo Frescobaldi - Fiori Musicali
1640s: Giacomo Carissimi - Jephte
1650s: Heinrich Schutz - Symphoniae Sacrae III
1660s: Francesco Cavalli - Ercole Amante
1670s: Jean-Baptiste Lully - Cadmus et Hermione
1680s: Henry Purcell - Dido & Aeneas
1690s: A. Corelli - Twelve Trio-Sonatas, Op. 4
1700s: A. Scarlatti - Il Mitridate Eupatore
1710s: F. Couperin - Second Livre de Pieces de Clavecin
1720s: J. S. Bach - The Well-Tempered Clavier Book I
1730s: G. B. Pergolesi - Stabat Mater
1740s: C. P. E. Bach - Wurttemberg Sonatas
1750s: J. S. Bach - The Art of Fugue
1760s: C. W. Gluck - Orfeo ed Euridice
1770s: Joseph Haydn - String Quartets, Op. 20
1780s: Wolfgang Amadeus Mozart - Symphony No. 41
1790s: Wolfgang Amadeus Mozart - Requiem
1800s: Ludwig van Beethoven - Symphony No. 3
1810s: Gioachino Rossini - The Barber of Seville
1820s: Ludwig van Beethoven - Symphony No. 9
1830s: Hector Berlioz - Symphonie Fantastique
1840s: Mikhail Glinka - Ruslan and Lyudmila
1850s: Franz Liszt - Piano Sonata in B Minor
1860s: Johannes Brahms - A German Requiem
1870s: Richard Wagner - Der Ring des Nibelungen
1880s: Richard Wagner - Parsifal
1890s: Giacomo Puccini - La Boheme
1900s: Richard Strauss - Elektra
1910s: Gustav Mahler - Symphony No. 9
1920s: Arnold Schoenberg - Variations for Orchestra, Op. 31
1930s: Edgar Varese - Ionisation
1940s: Olivier Messiaen - Turangalila Symphony
1950s: Iannis Xenakis - Metastaseis
1960s: Harry Partch - Delusion of the Fury
1970s: Alfred Schnittke - Symphony No. 1
1980s: Gérard Grisey - Les Espaces Acoustiques
1990s: Brian Ferneyhough - Terrain
2000s: Georges Aperghis - Avis de Tempête
2010s: Andrew Norman - Play
2020s: William Bland - Piano Sonata No. 17
Disliking Bach is a sign of low musical intelligence.
There's a reason why every major composer for the past few hundreds years has absolutely adored Bach and been deeply inspired by his work. And that reason is because the music that Bach created was simply brilliant.
If you don't Iove the baroque style compared to later styles thats one thing. But you have to respect the ingenious of Bach's work.
Disliking Bach is like disliking Shakespeare or Isaac Newton. It comes off as ignorant.
this man... was a hero
>Telemann is one of the most prolific composers in history,[1] at least in terms of surviving oeuvre.[2] He was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favourably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.
Both Bach and Handel have a famous piece that borrows heavily from Telemann.
Telemann:
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Handel:
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Telemann:
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Bach:
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do doctors start surgeries without any plans, improvising what they're gonna do? of course not
do engineers improvise the design of complex buildings and technologies on the spot while these structures are getting built? of course not
do three-Michelin-starred chefs improvise dishes on the spot when they are serving a food critic? of course not
that's why jazz is shit
improvised music is lesser music, composers like Mozart improvised to entertain and kept that separated from their serious works
you can't improvise the art of fugue
you can't improvise mass in b minor
you can improvise all those trumpet fart noises that jazz fans worship
That's the guy who makes me want to be a flutist
Schumann’s piano pieces alone (to name but one work) prove that you do not need atonality to express the full range of human emotions. Any suggestion otherwise is sheer absurdity. Forms of tonality and tonal organization reign in virtually every form of music produced by every human culture prior to the cataclysm of artistic “modernism”. (Modes, raga, microtonality, etc.)
Atonality is, to me, a sign of petty angst, pretense, contempt for other human beings, and a general dearth of creativity or artistry. Good art, to me, communicates to its audience in a language they can understand; it is self-evident; I don’t believe it should require explanation or erudition to be understood and appreciated (though erudition can and should enhance the experience for those fortunate enough to have it.
Atonality is, to me, the Ivory Tower of music, a baleful snobbery that deems anyone who points out what is obvious to all—that it does not sound pleasant—as an inferior peasant. I see it as sound and fury signifying something only its composer is purview to—and hence, barely distinguishable from signifying nothing at all.
Speaking as a mathematician, it is also an technically insult to noise to compare it to atonality; statistically speaking, random sounds are more likely to have quasi-tonal, modal, or honestly tonal passages in them than, say, your average piece of serialism.
I see tonality is an abrogation of music’s inherent teleological capabilities as a narrative art (the narrative being the establishment of consonance, and the creation and resolution of dissonance); analogous to music to what, say, Finnegans Wake is to literature: interesting from a technical or theoretical perspective, and that’s about it.
I can’t stand atonality for the same reason I can’t stand alcohol: it burns going down, causing me physical (and psychological) discomfort in the process.
Listen to it if you must, but please... don’t say it is necessary.
>“He’d be better off shoveling snow,” said Richard Strauss about Arnold Schoenberg.
>Strauss was let us say reticent about contemporary music. He was impressed with Stravinsky’s music but he never spoke about fellow German composer Paul Hindemith, especially as his music was banned during the rule of the Third Reich in Nazi Germany. But at the mere mention of Schoenberg, Strauss turned green. Atonality was simply out of the question, not agreeable and he found jazz abominable. Strauss sang another tune when it came to the work of his dear friend Sir Edward Elgar, and Beethoven and Mozart, but in general he found that only his own music “was the most modern.” That seems to be true according to the reactions he elicited with his operas.
His Brahms cycle is my favourite overall.
Opera may be dead, but at least it lives on record hnnng
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There's not a single Verdi opera which can compare with Meistersinger, to say otherwise is idiotic.
Toscanini's comparison here is the same as Stravinsky's, albeit more realistic, it just shouldn't be taken too seriously.
As basic bitch as it is, the Swedish Rhapsody makes me feel happy.
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If Sibelius is good, then the standards of musical quality as richness of relationships, articulation, unity in manifoldness, diversity in oneness, which perennate from Bach to Schoenberg, are obsolete.
All music is shit.
Over two years ago, I was walking along a road and at the roadside, there were a few conifers, planted right next to each other, creating a dense barrier. It was a windy day. The sound the wind made when it hit those trees, this particular, well-tempered noise, it can only be described as a religious experience. Truly sublime. It stopped me dead in my tracks. I had the privilege to listen to it for half an hour before I had to get moving again.
Now, up until that day, I always thougt that Josquin Desprez or Orlande de Lassus were the closest semblance of what might be called "God's voice on earth". Not anymore. That half hour of divine, fractal noise of streams of wind, thousandfoldly bifurcated between the trees' needles, profanized those composers for me. For good. To say nothing about the rest of all musicians.
A few days ago, I segmented music into "art music" and "entertainment music". Not anymore. Art is entertainment. At the very best, it can point, like an index finger, to the divine and open our eyes and ears and soul to it. The noise of the wind hitting these conifers that day, however, WAS the divine itself. Never have I derived such deep satisfaction, found such profound and existential solace than I did that day next to those trees.
I stopped listening to music. I shall meet the divine on these rare occasions in nature. Listening to consumerist music - and ALL music is consumerist! - will not fill my cup anymore. If anything, it can only remind me of the cup's existence.
I hope, for all of you, that one day, just like me, you also will have an opportunity to discard this earthly, profane dirt called music. I so much wish it for you.
I will repost this every day from now on.
what was he even thinking with this hairstyle
Tannhauser
Chopin was french.
Add the image when you post the pasta
listen to field recordings then