Okay guys, give me my the best sounding opera recordings: best sonics, best balance and good rendition. CD only.
Brandon Parker
Daily reminder that most of Beethoven recordings are inaccurate to how Beethoven wrote it. This CD contains a 59-MINUTE 9th symphony according to Jonathan del Mar's research, and to the best of my knowledge, maybe the only recording in existence with Ludwig van's original tempi.
frankly, I've never understood Schumann. Every big composer seems different and at least modestly original to me, but not Schumann. Is it because of a particular environment he lived in? I can grasp it through other composers' music, but he seems too jaded and impenetrable, it's like a room filled with cigarette smoke, full of people.
Luis Cooper
youtube is full of good HD recordings, retard
Nicholas Lee
>Daily reminder that most of Beethoven recordings are inaccurate to how Beethoven wrote it. Pretty sure that's the case for most composers.
Question, typically how long are recodings of Beet's 9th symphony? The recording I listen to is 65 minutes usually, and I remember other recordings I've listened to being longer but I'm not sure.
Henry Scott
this 3rd movement seems to fit well with the message of the 4th movement
Well, the Karajan 1963 recording is 67 minutes long, and the most recent Ozawa recording is around the same time, if you chop off seconds of applause.
Brayden Garcia
Benjamin Zander's recording with the Phillarmonia Orchestra clocks slightly shy of 59 minutes, following the original tempo. Honest to goodness the first movement is a lot better when going at the intended pace which is almost breakneck.
I'm looking at that now. I agree about the first movement, was listening to a 1958 9th earlier and it was like "hearing" paint dry. Thanks for letting me know.
Brayden Rogers
Reminder that Paul McCartney is the single greatest musician of all time. This thread is worthless since you retards discuss not-Paul mccartney musicians. And the worst thing is: you unironically think any Stravinsky ever reached the greatness of Sir Paul. Pathetic.
Juan Wright
bait - no effort edition
Alexander Ward
>this "symphony" not only has several recordings but also three grammy prices Look at this and tell me we don't live in our most decadent period.
I want to more seriously get into classical music. I've got a couple of composers that I enjoy, Beethoven, Tchaikovsky, and Grieg are among my favorites. Any advice for developing a deeper appreciation for it?
Call me when fucking Bartók write a song as good as Penny Lane or Yesterday, faggot. Paul McCartney twisted classical music in order to maximize his pop songs' greatness. He literally used classical music on Yesterday, as a backing sound throughout the song.
Matthew Green
Jesus Christ, where did you find that video?
Dylan Sanchez
>Paul McCartney twisted classical music Nobody said ever
Lincoln Jones
>doesn't know the biggest memeconductor of this general user... I...
Nathan Ward
New here, so this is my first time hearing Maximianno Cobra.
Kevin Brooks
Dear God, I had always ignored, how the fuck does he even do something that fucking stupid shit is almost two hours long, wtf
Nathaniel King
Check out the quartet on Yesterday, and the classical instrumentation on Penny Lane. Mccartney used classical music to achieve the perfect pop music, a superior form of music.
Lincoln Moore
It's a fairly good recording, however to an extent it depends on your opinion of Zander and the Philharmonia. He does go into detail as to why he chooses to go with the original rather than the standard tempo. It's one of those things where once you listen to it once everything else just kind of goes awry because you realize it's supposed to be that vivacious and the original reviews make sense (it's defined as violent, furious, once put as being "like flowing lava"). It's not really supposed to be regal.
Bentley Hernandez
well, he is know for making the longest recordings of the classicals
Isaiah Long
It's all George Martin though
Luke Nguyen
How have you arrived to this general, dear user?
Colton James
since /comp/ is dead I'll post here
How do I write catchy melodies like Vivaldi? I can find 100 resources on harmony, counterpoint, fugues, arrangement & orchestration, tonality, atonality etc etc but never anything on catchy melodies and phrases which is literally one of the most forward and recognizable aspects of music. I mean you can hardly hear a Vivaldi concerto or Scarlatti sonata without humming it in your head for a few days. How do they do it?
Jack Sanders
Paul is the genius. He had the idea of the string quartets. Just admit that he's a genius.
Dominic Harris
be Italian
Thomas Johnson
Couple of days ago. I recently re-kindred my love for classical through Vaughn Williams. I was browsing Yea Forums one day and found the general. Was only lurking until today, though.
/comp/ fag here. It's quite literally what you said. Hum something, and try to build off of it. A good melody is memorable because it establishes a theme and uses that theme as the basis. To take an example from Mozart, since he's pretty much one of the undisputed masters of melody - listen to how the melody breathes, and how it reuses segments for handful of bars, then chances those segments at the very last second. If you want to practice - try works that are like Satie's or Webern's: horrendously short. If you have one page as a limit to work (and an instrument of your choice, a single instrument), you can do your studies within a very small parameter. Studies for winds, strings, percussion, piano, you name it. So long as you give your melody the element of a natural breath, it'll sound a lot better than just a steady stream of notes.
Wyatt Perez
What are some pieces with a slow tempo and dark mood?
Beethoven's tempo notations are inconsistent and confusing. They don't really make sense whichever way you read them so people tend to ignore them. Beethoven got a brand new invention, the metronome, and notated his works using it because he was always uptight by how performers played his works. Most musicologists assume he made mistakes when reading it and wrote down the wrong timings which is why they are inconstant.
Aaron Hughes
Then why the hell do we follow his stuff on all movements but the first one on the 9th?
The individual movements are not bad, but it really doesn’t make sense as a symphony. It is very obvious that it was composed over a long period and cobbled together.
Jonathan Johnson
Got anything else?
Austin Morris
literally the best classical music recommendation engine on the internet
3 beautiful movements, and then the most horrifically botched closing movement I have ever heard. It’s a completely separate work.
Adrian Flores
thanks, youtube has been absolutely shitty for me lately
Jason Collins
the key thing here is you can filter out your recommendations by genre, era, composer, famous, obscure, etc... and if you signup you can have recommendations based on your taste extracted from the works you starred and the composers you followed. This is something YouTube or Spotify cannot simply do.
Joshua Campbell
Looks interesting.
Luis Nelson
Thanks mate. Created an account and ready for more classical.
Landon Allen
The lists for Händel and Telemann are ridiculously tiny. I can't even find Handel's organ concertos..
Daniel Gonzalez
and two tone poems
Jacob Cox
What you need is a heavy dose of late/post-romanticism/early modernism. You've been recommended Scriabin and french impressionism (mainly Debussy and Ravel obvs, though you might enjoy Fauré and most of Saint-Saënz, mainly his chamber works and his third symphony), which is ideal, though seeing as you like Beethoven you'd probably benefit from listening to Schumann's chamber works and symphones/concertos and of course Brahms'. I'd recommend you also check out Strauss' tone poems and his two ballets (though mainly his first one, Josephlegende) and Dvorak's main works (chamber, concertante, symphonies, can't remember and highly doubt whether he wrote any ballets or no, but of course that'd be great too).
Speaking of ballets you should listen to Tchaikovsky's main inspiration and influence in that department, which is Léo Delibes' three ballets, La Source, Coppélia and Sylvia.
I'm tempted to recommend Mahler's symphonies though they might be too massive for someone into Tchaikovsky and Grieg who were normally a lot more gentle and lyrical, and also early, very early Schönberg, namely Verklärte Nacht and Pelleas Und Melisande
Jack Robinson
I was just gonna say, I can't find George Antheil of "Ballet mecanique" fame on the site.
Nathaniel Hall
>George Antheil the site probably has a bias against shit "modernism"
Mason Baker
>George Antheil literally never heard of this faggot until now, went to youtube to listen this mentioned piece and I am disgusted
Jason Howard
I wanna fuck an opera singer milf, they are all hot and damn smart and intellectual
If you can explain lucidly what about the music is “dada”, I would be surprised.
Hudson Gomez
>le cringe xd I bet you respect C*ge
Jace Morris
You clearly don't know about Benjamin Zander
Nolan Cruz
>unironically censoring some guys name like it’s a slur
Jayden Gray
t. ourist
Josiah Reyes
Cage, this literally who composer mentioned, Stockhausen, Xenakis, Berio, Varese, etc... are anti-music hacks, the only reason that classical music has been dwindling in the past 50 years is that """composers""" like these niggers dominated the genre
Jeremiah Gonzalez
Good, he's a mediocre composer.
Isaiah Sanders
c*ge is a slur. Putting Xenakis, Berio, Varese and the literal who at the same level as St*ckausen and c*ge is too much, even for them.
Gavin Russell
>Stockhausen, Xenakis, Berio, Varese >anti-music hacks The only thing dumber than this opinion is thinking that c*ge and antheil are good
Blake Lee
you can't deny the fact that the public lost interest in classical music thanks to these retards, only based Bernestein tried to make classical music interesting but he's gone now and everything has gone with him
Jack Hill
Reminder that St*ckhausen became c*ge tier after like 1957, and this was 100% confirmed in 1968. Tbh even if I like some works by Berio, most of Varese, and love a good amount of Xenakis, making their music the focus of classical music was a fucking mistake. Things only got worse with the fucking New York School.
Jordan Jenkins
>you can't deny the fact that the public lost interest in classical music thanks to these retards no, that is entirely thanks to popular music, namely blues and everything that followed
Hunter Stewart
>St*ckhausen became c*ge tier after like 1957 how in the fuck; some of his best works like Gruppen, Carre, Momente, Mixtur and Telemusic are from that period and have shit to do with c*ge double dubs + trips confirm truth
Oliver Sanchez
>be regarded as one of the greatest cellists of all time >dedicated only to music >not even 30 and already on top of the world so to speak >marry your mentor, a literal dream coming true >suddenly a mysterious illness befalls you, your constantly tired and your limbs are numb >Doctors fail to diagnose anything >become depressed >your body and mind slowly deteriorate, rendering you unable to do the one thing that brings you joy >husband finds another woman >die alone why is life suffering Yea Forums
Gruppen (his best work) was finished in 1957, it wasn't *after* 1957. I admit that before 1968 calling him c*ge tier is way too much (even if I find most of his work then rather mediocre or just good, not great), but from that year onwards, he's New York School levels of trash.
Robert Jenkins
I'll accept he went to shit in 68 (though he remained way above NYS garbage) but every other work I mentioned (and some I didn't for brevity's sake) happened between 52 and 67, and they're brilliant works. Also, and I suppose this is now way beyond subjective, but I think Carre is basically Gruppen-But-Moreso and probably his best work. I do conceive of them as a sort of Parts I & II though.
Gabriel Parker
>>husband finds another woman wait what I thought they were together until du Pré's death.
Kevin Rivera
wasn't there a movie about her? >husband finds another woman also, that's what you get for marrying an argentine jew
Jose Allen
>I thought they were together they were MARRIED until then, but it doesn't follow from that that he gave a shit/didn't fuck around during that time
Blake Richardson
they were married, but not together to my knowledge. He did marry Baschkirowa a couple of months after Jacqueline died
Jordan Gutierrez
Barenboim is an absolute piece of shit in pretty much all respects
Ian Gomez
Carre is probably my favorite post-1957 Stockhausen, and they only one I could consider more than "just good", even if I don't really see that work and Gruppen as two parts or anything like that. >though he remained way above NYS garbage Maybe I would put him above that, maybe, but he came up with both c*ge (Aus den sieben Tagen) and Feldman bullshit (Fresco), and that's enough for me to put him at that level.
>He did marry Baschkirowa a couple of months Shit, it went over my head that they married months later. Damn. Yeah, I remember reading that they were married until then and didn't think much about the situation.
to be fair that one's miles above anything american "minimalists" ever did put together
Grayson Phillips
Agreed with what this user, , said, even if, yeah, it's still kind of bullshit. Why the hell does it look like Pärt is the only good minimalist composer? And by far on top of that, at least as far as I know.
Owen Jenkins
controversial opinion somewhat, but I consider Scelsi to be a minimalist, at least during his better years, and he's far above all of these examples. I don't really feel Pärt is that interesting anyway. Minimalism is something best left for popular music. That's pretty much the only way you'll get something actually interesting from it.
Carson Carter
I still have troubles with Scelsi. I don't like his music, but at the same times it doesn't feel right for me to say it is "bad". Maybe I should listen to him more, I've only listened to a few works because it just wasn't an experience I enjoyed. But yeah, in a way he's even more of a minimalist than the composers we usually, well, call " minimalists".
Jackson Brooks
This is the worst circlejerk I have ever witnessed.
Jaxson Thompson
Van Cliburn more like Slow Cliburn.
Thomas Murphy
well, he had like four very different periods. I think his most interesting is his 55-65/7 period of orchestral droney music >STOP DISCUSSING MUSIC go elsewhere
Jaxson Lee
Van Cliburn more like Gay Cliburn.
Grayson Stewart
I'll listen to stuff from that period. Maybe I'll enjoy it this time, or maybe I'll decide that he actually sucked, both are better options than just not deciding.
Anthony Myers
I'd recommend: String Trio, I Presagi, Kya, Quattro Pezzi Su Una Nota Sola, Hurqualia (one of my favourites), String Quartets 2 & 3, Aion (another favourite), Chukrum, Xnoybis, Anahit, Uaxuctum (yet another favourite) and Konx-Om-Pax
>boulez >is actually music >is actually good Based Boulez.
Thomas White
This is not a discussion of music. At least, not a very high level one.
Eli Wilson
>STOP TALKING ABOUT THINGS I'M NOT INTERESTED IN THAT'S NOT ALLOWED
William Turner
It is not a lack of interest in the music, it is a lack of interesting in the "eww...icky" approach to the discussion of 20th/21st century music.
Kevin Russell
it's still you going "uuuuh DON'T TALK, I DON'T LIKE IT", though, even though no one's shitposting or trolling or having an autistic fit, or going "P E T Z O L D", for a fucking change. Perhaps you'd prefer that, though?
Honestly, the petzold-posting is probably more meritorious than this, because it is, at least, self-conscious of being a joke.
The types of people who make blanket derogatory statements about certain types of musics are, more often than not, totally incapable of articulating what they find disagreeable about said musics. It's just not discussion, and the horrific undertones of nationalism are very strong in the comments made in this thread.
Out of those, Bohm. Karajan's not that bad, way better than Solti
Luis Parker
I had only listened to Karajan and had no complaints. People here convinced me it was shit and told me to listen to '55 Keilberth and really, other than the singers, it sounds like absolute shit. I'll be honest: I very much prefer the music to sound good and the singers to be drowned out or be merely "good". I'm going to try Solti's Decca cycle next, see what happens
Jacob Rodriguez
As good as Solti may sound the way he conducts drowns out like half the instruments so I don't care for it He was (as he said himself in the Golden Ring) the kind of conductor who would first and foremost think of le epic brass in Wagner
Owen Wood
>He was (as he said himself in the Golden Ring) the kind of conductor who would first and foremost think of le epic brass in Wagner holy shit, even more than Keilberth?
Keilberth wasn't like that, the 1955 recording just makes him sound like that because it is recorded like shit. They had recently rearranged the way the instruments were spaced in Bayreuth but didn't change the mic placements for that recording yet, so the brass was recorded over everything else. Something like that. Maybe someone else has better details. If you want real Keilberth check his 1952 Ring (my favorite Ring. It's in mono though so oh well). But yes, more than Keilberth regardless.
Hunter Bailey
Should I just stick to Keilberth then? Or try Böhm? Go back to Karajan?? I just want a faithful and well balanced recording, preferably a studio recording, that focuses more on the instruments and everso slightly less on the singers
Ryan Morales
>Or try Böhm? Do that.
Hunter Wright
Alrighty. Bayreuth 1966-1967?
Ian Green
Dude you are asking what's the best recording of Wagner's Ring. There's no harder question to ask here, they all have pros and cons. I'd say to go for Bohm or try Swarowsky. But really at the end of the day you'll either give up or end up getting some audio software and editing together your ideal recording like an autist. Yes that's the one. Worst thing about it for me is the Wotan's voice, but he's a good actor when he's not a pretty singer so I got used to it.
>getting some audio software and editing together your ideal recording like an autist. really hope I won't come to that. I'll try Böhm. It can't be worse than the butchered job they did recording the 55 Keilberth one (though imagine what an experience it must have been attending those), and I guess Solti's out after that brass comment (I mean the brass is one of my main complaints in this recording). I have pretty much forgotten what the Karajan cycle sounded like, but I guess I won't be going back to that. Hope I'm not being secretly meme'd out of the better recording because of all the Karajan hate going around here (I actually love his Fliegende Holländer for example, and, on a different note, his Pelleas Und Melisande)
Austin Campbell
I like the Karajan Ring it just has inconsistent casting and he drags sometimes by being too slow, but I feel everyone acts their roles out pretty well and he 'gets' the score better than most. If you want a Nwell recorded, studio production with so-so (but gods compared to current) singers and overall good conducting, try the Janowski Ring and see how you like that. It has the best mix of good modern sound with good performance I think.
Easton Russell
>Janowski Ring So it's between Böhm and this. Could you tell me something about how they compare? Doesn't need to be exhaustive
>Faure His Ballade and Nocturnes make my soul smile
Matthew Foster
I got the free trial of Idagio, am I retarded?
Nolan Mitchell
They both have the same Wotan. He's not the most elegant, and sounds like a hoarse and tired king of the gods, but acts the part. He's just obviously older in the Janowski Ring so any beauty his voice does have (which isn't nonexistant by any means) is more prominent in the Bohm. Otherwise, the most important comparison for me is the Brünnhildes. Bohm has Nilson, who has a gigantic voice, and Janowski has Altmeyer, pretty much a polar opposite, with a much prettier and more delicate sound. Both fit the part and are 'into' it so no problems there. Both Hagens are great, you have an old but powerful sounding Josef Griendl in Bohm, and a young, energetic and likewise powerful Matti Salminem in Janowski. They both sound angry as fuck, as Hagen should, but Greidl feels like the more three dimensional portrayal to me. Siegfried is a tough one, as neither portrayal is perfect (since that's probably the hardest mainstream opera role ever written). Windgassen in Bohm is one of the most popular Siegs and sounds fine enough, and plays the character. Kollo tries to get along by merely playing the character (more than many Siegfrieds do mind you, the singing taking too much effort for them to remember to act) but his voice just isn't pleasant enough for me. Windgassen over Kollo is pretty much the main thing that makes me go for Bohm over Janowski. Then there are the conductors. Both conduct it fast. Wagner liked his stuff played fast, and constantly complained it was conducted too slowly. Both conductors respect that. Bohm just feels like the more emotionally powerful portrayal, while Janowski has an ear for detail and there are a couple things that are clear in that recording over any other. Finally Janows was the first digital Ring and so sounds great, while Bohm has some 60s hiss. However, since it was recorded live, the Bohm has more focus on acting, while the Janowski doesn't even follow the sound effects and laughter the libretto asks for. Bohm does. That's it
Tyler Robinson
>However, since it was recorded live, the Bohm has more focus on acting, while the Janowski doesn't even follow the sound effects and laughter the libretto asks for. Bohm does. Ouch, that's pretty important to me. I guess I'll go with Böhm. If I grow disillusioned with him I'll just try with Janowski or go back to Keilberth
Is there a Bohm recording that doesn't include the acting thing? I don't care about it and honestly it annoys me a little. I know it probably is a better idea to care about it because it's an opera, but the only thing I care about is music.
Jacob Peterson
here; normally I'd agree with you, but no laughter? might as well take out all the HOIHOOOOOs and HOJOOTOHOOOs
Robert Jenkins
What I'd like to listen to is a purely instrumental version of the cycle. Imaigne roughly 15 hours of pure, front-and-center, thematically unified, epic instrumental music
man the acoustic in the Janowski Ring is beautiful
Gabriel Carter
fuck man, don't say that, I've been downloading the Böhm in flac for the last few hours
Juan Cooper
There are a few other recordings that come close. Other than Zander's that is. They tend to disagree when it comes to the little details. I like Zander's recording for the most part, but I have a pretty big issue with the recorded sound, which sounds much too recessed to my ears. I did some personal edits to sound and came out a lot happier with it. His biggest victory for me is the orchestral fugato in the finale - the one following the tenor march. Fantastically played and at a breakneck speed. The only other conductor that I've heard that comes close to that sort of thrill is Abendroth. Absolutely false. Read Kolisch's Tempo and Character: mega.nz/#!3Z1EFazT!8mRj3Ngqs9qjyiDwnIH-BcKePNKbADK2qdn0bxlyuc8 mega.nz/#!KQlUXYzC!_QxmUtAoBjAwjRmW-UFQOnKVICFJD7epXRiZmQcbjDE It makes a great case for Beethoven's metronome markings. I'd pick Böhm out of those. Krauss is an interesting recording but there's quite a bit of orchestral sloppiness. Solti is overrated and overproduced. Karajan is not bad at all but quite mannered and objectively too slow in Gotterdammerung. Karajan's recording also sounds worse insofar as the audio quality goes with each installment. It's especially jarring with regards to the cuts, which are extremely audible as the singers/orchestra change perspective on each edit. Very distracting on headphones.
To answer your overall question: there is no perfect Ring cycle on record. In truth, such a thing was only possible - or, rather, close to possible - in the early 20th century, to about 1960. There are many good, solid recordings out there, but all of them are dis-satisfactory in one way or the other. Böhm is fine. One of the best. It's certainly the best overall in terms of the pacing. The biggest issues are a leathery Windgassen and some rather nasty orchestral oppsies. The Funeral March in Gotterdammerung for instance has the brass quite off their game.
Camden Gomez
IMO Griendl seems quite bored with the role by the time it gets to Bohm. Listen to him 10 years earlier and he's a lot more into it. Yes, it was recorded in a church and is acoustically probably my favorite Ring overall. You don't have to choose just one.
Alexander Moore
>You don't have to choose just one. I don't know, I tend to pick one of everything after listening to a few options, and even then I don't even listen to second options if I really like the first version I listen to (though that mainly happens with smaller-scale works like concertos or chamber music). I understand the appeal of having two or three versions to listen to for different reasons but it's a bit weird to me. It's just one of those things. Otherwise I wouldn't be so worried about finding a "definitive" version. This'll be the third version I listen to, so at least I will have had some variety, but something tells me I'll be replacing it with Janowski's soon enough
Nolan Torres
Well, between Bohm and Janowski I think you have two good contenders for a recording you can just stick with.
Listening to Böhm now and loving it. It's so much better sounding than Keilberth it's like I've been listening to it through a can at the end of a string. I don't remember Karajan sounding this crisp either
Camden Edwards
Yeah it's a well engineered recording. Very good sound stage,
Ryder Moore
impossible challenge:
find a recording where the violas are too loud
Cameron Long
>movement five of scriabin's second symphony begins
Your thoughts on Kaija Saariaho? What's her best work?
Kayden Campbell
Personally the big disappointment after hearing Zander's recording of the 9th is the fact that I'll likely never go to a performance of the 9th at its intended tempo, especially the 1st Movement. It's a bit of a sobering and despairing realization.
Samuel Butler
>invest time and effort into writing paragraphs that I'll swiftly disregard and reply with "ur wrong lol" for sure, I'll get to it
Cameron Cook
? What are you talking about
Tyler Moore
getting ahead of your shitposting
William Brown
petzold
Xavier Flores
Renaissance polyphony (especially rhe franco-flemish school) was the most superior type of art ever conceived by human beings since the dawn of civilization
Schumann's Quintet Fauré's Quintet No 1 Brahms' Piano Quartet Nº2 Messiaen's Quatuor Pour La Fin Du Temps Tchaikovsky's Piano Trio
Landon Peterson
Some common traits: Blurring of boundaries between high brow and low brow music Stylistic eclecticism Frequent use of quotations Both an abandoning of and revival of (kind of contradictory, I know) old forms and genres
This is not complete and there are, for certain, many more characteristics, but these are just some.
Parker Bailey
That sounds more like late modernism and even neoclassicism. Postmodernism is mainly about the deconstruction of musical form, the integration of noise as a valid compositional element, a reconsideration of the definition of music (what is/isn't music, etc), emancipation from the "basic" elements that traditionally make up music (harmony, melody, rhythm), timbric explorations and improvisation
That's when it's proeprly done, though. When it's poorly done it's mainly "lol fukk the man xD" levels of anti-academicism and being-shit-on-purpose-ness
Ian Sanchez
I agree that the elements listed are part of post-modernism, though I hadn’t included them (wasn’t the school of post modernism I was focusing on). There are many prominent postmodern works that use the characteristics listed (Berio’s Sinfonia, Schnittke’s 3rd String Quartet, Rochberg’s 3rd String Quartet, Reich’s Desert Music, etc.). However, I will concede that even academics who study this nearly professionally have a difficult time drawing the line between late modernism and post-modernism, so it’s still kind of up in the air.
Jose Anderson
No this is mostly wrong. All these features, such as the reconsideration of what is music and integrating noise, were part of modernism. Postmodernism returned to them and used them in subtler ways but the groundwork was much earlier.
>were part of modernism but were exceptions, and didn't really go anywhere, in postmo it became pretty much the norm. That's like saying experimenting with rhythm wasn't a crucial part of modernism because some composers did it during romanticism
Henry Lewis
So what's Bach's best work
Juan Wilson
Mass in B Minor, no question.
Daniel Bell
dying
Ryan Jackson
Misa en Si menor
Charles Long
you mean that he left the art of the fugue unfinished for us is his greatest achievement?
They are certainly not pretty much the norm of postmodernism, plenty of postmodern works don't use those features, they are just an accepted part of the palate of postmodern composition rather than outliers.
You can of course find outliers in every era but it was modernism that really started breaking away from the classical style and redefining music. That is what modernism was as a whole: making new rules for everything because it was the 20th century and moving away from past practices. Postmodernism was reintegrating past ideas with the new ideas and making a synthesis.
Nicholas Reed
>Postmodernism was reintegrating past ideas with the new ideas and making a synthesis.
>it shouldn't be considered classical music It's only considered classical by retards who think "classical" works well as a catch-all term for academic music
classical music ended with Rachmaninoff and probably Bartok, otherwise everything except for popular classical music like Glass and Arvo Part is NOT classical music, it should be named as experimental music
Levi King
classical ended when romanticism came along, idiot
Josiah Bennett
I meant classical music as a genre, retard
Jose Thompson
>Postmodernism was reintegrating past ideas with the new ideas and making a synthesis. that is literally neoclassicism
Caleb Lopez
see
Levi Bennett
A reminder that classical music died when Mozart died
Nathaniel Davis
So then neoclassicism and postmodernism are similar? It doesn't seems for me
Asher Parker
>So then neoclassicism and postmodernism are similar? no >It doesn't seems for me because your definition is wrong
Levi Jackson
What does /classical/ think of based Jewish-Indian conductor Zubin Mehta?
Oh, that's neat, there's this choral festival in my city coming up. Final concert is the St. Matthew Passion, there's a bunch of other ones including one of Poulenc's Gloria. Found my plans for weekend night for the next few weeks.
Beethoven's music reaches greater heights because his incel brooding and severe autism resulted in tremendous intensity and subtlety of feeling, but Mozart has an effortless perfection and freeness to it which is almost beyond human
Actual nigger detected
Daniel Ward
I like them both as well, but I only realized how good Mozart is once I started writing my own music.
Jace Bell
>song Mozartfags are entry-level confirmed I was not pretending to think Mozart's not exciting, he isn't. I'm just pointing out how much Mozartfags seethe when you point out the king's naked.
Cooper Hill
>once I started writing my own music surely anything will sound amazing after that
William Edwards
Calm down nobody cares
Blake Flores
>the king's naked. your imagination is as limp as your listening abilities
Ethan Young
seethe
William Moore
This poster is Mozart trying to get people to forget about him and his lost letters so his scat fetish isn't revealed.
Jordan Sanchez
you're the only one being overtly emotional here you say "revealed" as if it weren't a known fact
Aiden Johnson
The fact he had a fucked up fetish does prove that he is in this godforsaken place.
Brayden Hughes
I'm not the one giving someone 5 butthurt replies for posting 2 words, Mozartfag
I legitimately don’t think classical has progressed much since Jazz. Jazz is more accessible than Classical music, both to the average man and your typical trained musician. It took place of what was seen as ‘intellectual’ music, and classical slowly started to fade. You’ll find jazz bars in adbundance, and it has influenced all of modern music, arguably in a greater capacity than classical
Benjamin Green
I enjoyed Mozart more when I started learning his music but maybe that’s just me
Gabriel Kelly
>this is your brain on popular music
Gavin Gray
>arguably in a greater capacity than classical The concert hall I attend seats over 2k people and is always full.
