>two fresh concurrent /classical/ generals >"how into classical?" thread stealing all posters good job, anons, good fucking job
Anyhow, I've been lmaoing at MET the past half an hour. To first cast Kaufmann as Cavaradossi, which is already a stretch, even with the acclaimed ROH production, just for him to bail out and be replaced with this squeaky literal who takes some talent. Based Beczała for comparison in his first Tosca. youtube.com/watch?v=EjPvj-1WHIc youtube.com/watch?v=6j_qPKgpeWI
Start with piano music and symphonies, eventually move out of that phase into chamber music, i. e. the best kind of music mankind has produced.
Aaron Clark
thanks, little user
Josiah Rivera
A friend from g*rmany told me, twelve-tone music sounds ugly because it was created to express feelings and moods that aren't possible to evoque with tonal music, like fear, pain, etc. what do you think?
is verdi actually good? i lisztened to a "best of verdi" compilation on youtube, which basically included all overtures and famous arias and chorus sections from his operas, but it all sounded like the same boring, generic festive thing with an overuse crash cymbals and waltz-like rythmic bases. in some cases, when i said: damn this actually sound good, he started with the same predictable stuff again
Xavier Flores
I'll give you the best works of chamber music have few if any parallels with any other forms, but I'll still hold that the best work humanity's made in the last 100 years was Sibelius' Symphony No. 7, if only for how radically innovative it is without ever appearing to be.
Fear and pain can be expressed with tonal music. What twelve-tone music allowed was a development of every other element and how tones aren't everything in music. It's pure gesture, tone color, rhythm, contour, form everything but the tones themselves. Schoenberg's Violin Concerto is absolutely beautiful and it follows classical forms so closely the twelve tone row, which is generally concealed, is exposed right in the beginning of the concerto.
It's actually a fascinating concept of the many restrictions composers came up for themselves in the 20th century to try and keep themselves somewhat oriented.
Oliver Walker
yeah, he just needed someone to put him in the box, like Stalin did with Shostakovich. Without Stalin Shostakovich would just be a second rate Berg.
I think what the 12-tone system can't produce is happy music There's plenty of fear and pain in 12-tone music
>I believe that there is little probability that the twelve-note scale will ever produce anything more than morbid or entirely cerebral growths. It might deal successfully with neuroses of various kinds, but I cannot imagine it associated with any healthy and happy concept such as young love or the coming of spring.[98] Arnold Bax
