Haydn Edition
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This thread is for the discussion of music in the Western classical tradition.
>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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Just put this general out of its misery
it was almost half a year of endless shitposting, what do you expect?
Even Classical fans are mindless shitposting apes, who'd've thunk it?
petzoldian piss
don't let the pol zoomers beat you down... it's sonata time
The only reason I opened mu and this thread for the first time in literal years is because I've snapped from having to interact with these fucking clueless """musicians"""" all week long.
>"While Frescobaldi's printed works render sufficient evidence of his skill, to judge his profound knowlede adequately you must hear him as he improvises toccatas full of refinement and admirable inventions"
- Andre Maugars, 'Response to an Inquisitive Person on the Italian Feeling about Music' (1640)
>"professional performers—especially pianists—sought to dazzle their audiences with daring improvisations on themes proposed by individual listeners and on familiar melodies drawn from folk traditions or the latest operas. [...] Eyewitness accounts, annotations in the scores used by his pupils, and features of his compositional style reveal that all facets of his musical activity—performing, teaching, and composing—were profoundly influenced by improvisation."
- Chopin and His World p. 249
>"Mozart evidently had a prodigious ability to "compose on the spot"; that is, to improvise at the keyboard. This ability was apparent even in his childhood, as the Benedictine priest Placidus Scharl recalled:
Even in the sixth year of his age he would play the most difficult pieces for the pianoforte, of his own invention. He skimmed the octave which his short little fingers could not span, at fascinating speed and with wonderful accuracy. One had only to give him the first subject which came to mind for a fugue or an invention: he would develop it with strange variations and constantly changing passages as long as one wished; he would improvise fugally on a subject for hours, and this fantasia-playing was his greatest passion. [...] Mozart continued to improvise in public as an adult. For instance, the highly successful concert of 1787 in Prague that premiered his "Prague Symphony" concluded with a half-hour improvisation by the composer."
[Mozart in Vienna: 1781-1791] - Volkmar Braunbehrens
>"Vivaldi played a solo accompaniment excellently, and at the conclusion he added a free fantasy [an improvised cadenza] which absolutely astounded me, for it is hardly possible that anyone has ever played, or ever will play, in such a fashion."
- Johann Friedrich Armand von Uffenbach
> "Once in Geneva I met a child who could play everything at sight. His father said to me before the assembled company: So that no doubt shall remain as to my son's talent, write for him, for to-morrow, a very difficult Sonata movement. I wrote him an Allegro in E-flat; difficult, but unpretentious; he played it, and everyone, except myself, believed that it was a miracle. The boy had not stopped; but following the modulations, he had substituted a quantity of passages for those which I had written "
- Andre Gretry
> "Braunbehrens suggests that on at least one occasion, Mozart met a deadline by simply not writing down part of the music and improvising it instead while performing before the audience. This was evidently true of the Piano Concerto in D, K. 537, premiered 24 February 1788. In this work, the second movement opens with a solo passage for the pianist. The autograph (composer-written) score of the music gives the notes as follows [...] Braunbehrens and other scholars infer that Mozart could not conceivably have opened a movement with a completely unadorned melody line, and instead improvised a suitable accompaniment for the left hand. Similar passages occur throughout the concerto."
you will never be a real petzold
no one asked
Should've (You)'d this intellectual with that Schenker quote, ironic that the idiot held that now anachronistic view only to die and become fodder to keep upper middle-class shits busy doodling dots and lines in score paper while making them feel as if they understand whatever instruction manual they're promised contains music from these post-mortem pop music idols. Here's another.
>"And we know that Brahms was wont to take longstrolls around Vienna’s Ringstrasse or in the countryside, creating the sort of extended meditation in which a culminating, organizational concept would strike him as he was in the midst of a composition. He also delighted in improvising at the piano, showing off his amazing ability to create spontaneous variations on a theme, while at the same time seeking the solutions to his own compositional problems." - Loren Schoenberg
quite insufferable
Didn't exact anyone to ask anything in the 'Classical' thread, do not worry. I know you're more of a contemplative, listening type of crowd.
>"Liszt had been improvising on the topics proposed by the audience since his first public concert: out of the new types of improvisation that unfolded during his youth, he favoured potpourri (a mix of themes) and the most unrestricted type of improvisation, capriccios. [...] virtuosity expected by the audience, as well as to the popular melodies used (mostly borrowed from operas.) However, mastering the art of free improvisation became not only an important factor in Liszt’s career as a performer, but also the basis for his later composing style. Quite a few of his early opera paraphrases have their roots in the improvisation types taught by Czerny, who conveyed the musical language of the Viennese virtuoso school."
- Zsuzsanna Domokos
beyond retarded
Yes I know, I feel a bit better now. If any of you fine young men plan on becoming concert musicians in any serious capacity don't waste your ambition on a literal scam. No one will teach you music, or classical, or composition, or orchestration, or the heart of the score: They can't because they have literally nothing in common with these composers. Can't play their music because scores were money making ventures only written out for the amateur who couldn't and still can't even come up with a bar of passable music after playing the same hundreds of bars up to many thousands of times only thing that changed is that they get paid for being incompetent automatons these days.
Anyone who has studied CPP even at a basic level beyond looking at modern reproductions of scores, modern reproductions of performances, modern ideas about harmony, about pedagogy, about musicianship, comes to see the hollowed out tradition for what it is: The same as any 'high' art, classist bullshit propped up by people who know nothing but yet sit there with their contemplative expressions and wide open ears and pretend for a concert hall of other clueless morons who instead of buying the album they're copying the copy from sit in silence and worry about that sniffle they can't shake. Ok thank you for your time, bye here's my favorite Baroque chamber piece these days hope you like it also check out Scarlatti if you haven't.
>Rutracker is finally up again
Thank God, i thought it was gone forever, I'm gonna download the DG complete Messiaen box set and be set up for life not having to look his music in youtube or spotify ever again
Also mode 3 best mode
pretentious asshattery