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: pastebin.com/NBEp2VFh
i don't post on /classical/ a lot but people always say this when i post here so i always wonder if it's my fault ;_;
Landon Russell
caca doodoo variations
Zachary Thompson
No such thing. Any rating you can give to that shriveled Jew cuckold would be overrating him.
Aaron White
>GOAT concertos (piano, violin) >GOAT songs (hangengarten & pierrot) >GOAT operas (erwartung and esp. moses) >GOAT piano music (op. 25) >GOAT string quartets >GOAT arrangements (strauss, mahler) >GOAT choral music (gurre-lieder, psalm things late in his life) >GOAT orchestral music (pieces for orchestra, variations) >one of the best contrapuntalists since Bach >great ear for striking harmonies >rhythmically sophisticated >was able to reinvent himself many times from late tonal music to freely a-tonal to later works, all the while continuing to write traditional tonal works How can anyone even compete?
his arrangement of das lied is pretty redundant given the music is already orchestrated very transparently by mahler, reducing it for a smaller orchestra might make it slightly more accessible for less financially endowed ensembles but it provides little benefit to the listener.
Noah Richardson
I've seen people thirst for her in this general before.
Also in other respects Bach's art is higher than Handel's. As a composer for the theatre Handel always had the power of beginning with a characteristic and often excellent theme. But, thereafter, with the exception of the repetitions of the theme, there follows a decline, bringing only what the editor of Grove's Dictionary would call "trash"-empty, meaningless, etude-like broken chord figures. In contrast, even Bach's transitional and subordinate sections are always full of character, inventiveness, imagination and expression. Though his subordinate voices never degenerate into inferiority, he is able to write fluent and well balanced melodies of more beauty, richness and expressiveness than can be found in the music of all those Keysers, Telemanns, and Philipp Emanuel Bachs who called him outmoded. They, of course, were not capable of seeing that he was also the first to introduce just that technique so necessary for the progress of their New Music: the technique of "developing variation," which made possible the style of the great Viennese Classicists. WWhile Bach thus -as before mentioned- produced work after work in a new style, his contemporaries knew no better than to ignore him. It can be said that not much of their New Music remained alive, though one must not deny that it was the beginning of a new art. But there are two points in which they were wrong. First, it was not musical ideas which their New Music wanted to establish, but only a new style for the presentation of musical ideas, whether old or new; it was a new wave in the progress of music, one which, as described before, tried to develop the other direction of musical space, the horizontal line. Second, they were wrong when they called Bach's music outmoded. At least it was not outmoded forever, as history shows; today their New Music is outmoded while Bach's has become eternal.
Hunter Howard
I genuinely despise Arnold Schoenberg and his music as well.