Anyone here ever heard of someone getting chronic neck pain (more like trapezius pain) from playing on an old upright piano? It’s tempting to blame it on poor technique since I haven’t been playing all that long, but I really don’t think this started until I switched pianos about a year ago.
Bentley King
Oh yeah and I’ve also found that by keeping the soft pedal (the type that brings the hammers slightly closer to the strings) down I can reduce the amount of pain felt while practicing. But I still have a generally uncomfortable tension/soreness in the area pretty much 24/7.
>listen to radio show discussing different recordings of Bruhns first piano concerto, the experts aren't told the interprets >experts choose a live recording with lots of coughing sounds as best >it turns out it was Glen Ghoul playing with Berenstein conducting and having a speech at the beginning that Bernstain hated Ghouls interpretation oh shit youtube.com/watch?v=zuxPKikM0NI
Nathan Sanders
uugh no thanks, I just like Gould
Luke Turner
In what world is it contrarian to hate Gould Most peformers and people deeper into classical than entry-lever fags listening to youtube playlists dislike him
>87888215 >Most peformers and people deeper into classical than entry-lever fags listening to youtube playlists dislike him No, we dont.
Dominic Hernandez
>That isn't how arguments work, buddy. Yeah, don't worry I know; I never for a second thought you were going to say something substantial and back it up.
The Boulez one is very good. Even though the recording is a bit old, the quality is still great.
Actually, any Boulez Schoenberg is great
Jaxon Jenkins
any good baroque from the links up there?
Camden Adams
what's wrong with gould, homies?
Parker Lee
He's a shit player, doesn't look into the "why" behind the music, just plays it robotically. Also he hums quietly on every recording
"He Understood nothing of the music of Bach I've listened carefully to his records: he didn't understand. He was very brilliant; I respect him up to a certain point. For me, the fact that an artist doesn't appear in public poses a problem. But at least he was a guy with the courage not to do things like other people. All the same, he was wide of the mark, so wide of the mark you'd need a 747 to bring him back. I'm hard on Glenn Gould. Well he's dead now, so I won't attack a colleague" -Scott Ross
Nothing, only contrarian faggots waste time on belittling idiosyncratic performers.
Zachary Sullivan
>He was very brilliant; I respect him up to a certain point. Yep
Isaiah Harris
>He Understood nothing of the music of Bach >I've listened carefully to his records: he didn't understand. I'm glad Mr. Ross explained that. I hate Gould now!
Blake Cooper
Posting other people's silly opinions doesn't constitute one's argument, my dear boy.
>Also he hums quietly on every recording This is hardly the big issue. If you're bothered by it (or even notice it) you're a massive pleb. How's this for an argument: youtu.be/_9rL3aGWzAg
Considering this is the Clementi edition, what are some nice recordings of Clementi's sonatas? I'm familiar with Gradus ad Parnassum but I haven't listened to any of his other work yet, and I'd like to listen to his sonatas next.
I still think his webern needs to be more emotionally charged like webern wanted it, and now that i remember he made a second complete webern set with DG trying to be more "Romantic" but still not Romantic enough like Webern thought of his own music
Christopher Garcia
I know Webern would have wanted something more romantic but I've never been satisfied with any other recordings of Webern's music except for the ones he made for DG. Do you have any recommendations?
Liam Butler
you could say that about all of his SVS
Evan Clark
There's only 3 complete sets Robert craft, Boulez 1, Boulez 2 My go-to is Boulez 2 Boulez really cared about Webern My hopes are on a future complete Romantic webern set I dunno maybe some HIP conductor could do It
Alexander Jones
Yeah but Webern was the most autistic about "'muuuuuh Romantic tradition"" Just remember Klemperer vs Webern
Carter Jackson
Alright, I'll listen to Craft then, didn't know he made a complete set (I thought he had only recorded a good amount of Webern, not all of it). But yeah, Boulez 2 is my favorite as well.
Not really any good reason to get a complete set as they require very different musicians.
I like The Parisii Quartet, Sinopoli and Dorothy Dorow/Rudolf Jansen recordings.
Juan Moore
No don't listen to Craft, he's awful at everything.
Michael Gonzalez
Craft has the best singers for the lieders
Dylan Johnson
Now that I think about it I've never listened to any Craft recordings, except for some Varese over a year ago, I remember it being way too fast... Well, I only lose some of my time if I try. I'll listen to those then.
Gavin Thomas
Yeah but they need an artistic director so to say This is what made the Boulez DG set so good
>there are people on this general right now who can't listen selectively. Actual children. Live or older recordings must be hell for you. Gould isn't even that bad when it comes to noises. youtu.be/-4ypICW8LXw
Ryder White
Tape hiss and audience noise are no way similar to someone actively shitting on the music they make.
>Transcendental It's not even played at the right tempo. Bach explicitly labeled that fugue "largo" and he plays it like a dance, It's ok if you don't like Bach or good piano playing, but don't call this "transcendental." >Tape hiss and audience noise are no way similar Both are far more noticeable than Gould's humming in the recordings I listen to.
Ayden Johnson
moans and grunts don't bother me, but that's not really my problem with Gould
Christopher Ramirez
>but don't call this "transcendental. It is transcendental
I know, I'm trying to say it's a weak criticism when there's so much else wrong with him. If that's transcendental boy do I have the pianist for you: youtu.be/pQYtXiJpZgk
Jonathan Moore
I can, but I won't bother with Gould when I like other pianists more than him, plus, they don't hum. Thanks, user.
Christian Ramirez
>noticeable That's the thing, if it is noticeable and doesn't sound like part of the music you can filter it out and ignore it. Gould is like a vague film of shit you swallow down when you take a meal out of the trash. >food analogy
John Adams
>people posting Bach (piano) instead of Bach (harpsichord)
The french suites sound better on piano, sweaty, get over it.
Benjamin Ross
You know, desu I don't have too much of a problem with (piano) Bach, a good amount of it sounds, ehhh, as good as (harpsichord) Bach, but better? Fuck no. At least is not piano Scarlatti, that shit is just offensive.
Mentioning the instrument a piece was written for is HIP faggotry? Does it upset you to hear a symphony performed by an orchestra rather than a midi keyboard?
Jose Carter
>Mentioning the instrument a piece was written You know pianos (and a far wider array of keyboard instruments) existed when Bach and Scarlatti were alive right
Mason Hill
how the fuck did this anglo manage to make something as good as his cello concerto
Considering neither specified what keyboard they'd like, and if anything left it to whatever keyboard one had lying around it wouldn't rule pianos out. Harpsichord is shit anyways. At least meme the clavichord.
William Fisher
Bach specified a two-manual Harpsichord for the Goldberg variations
Isaiah Hall
When I think of Bach keyboard works I mostly think of the WTC desu. I never listened to the Goldbergs much. I should though.
Beethoven and Reicha count as early Romantic, you still have 2 left
Easton Jenkins
>Beethoven and Reicha count as early Romantic Late classicism***
Alexander Foster
classical era is poop though, romantic is where it's at friendo
Luke Campbell
Would you guys rather see a concert or perform in one? Because I have the opportunity to be in the choir for Mahler’s 2nd a year from now and the acoustics are different actually onstage vs being in the audience
Joshua Harris
just pathetic
Caleb Hall
>a year from now >he thinks humanity will still exist in a year
Easton Collins
tristan. other than that, no.
Brandon Williams
Sounds like D minor to me. Yeah, seems very modal in the chuch-mode sense. I think this is called a plagal half-cadence?
Carter Bailey
I've noticed an odd thing about pre-recorded music, is that you see strikingly few collaborations between musicians. There are basically no works where multiple musicians worked together to compose a single piece. You have cases where musicians took themes from other musicians and reworked them, but that's about it. I get that producing music was far more difficult back then, so perhaps there just wasn't incentive to work together. But, I kind of wish we got at least a few examples of great minds working together on a single piece.
Do you know any examples of classical collaborations? Why do you think this type of stuff never happened?
A lot of composers reused part of their compositions.
Nathan Campbell
en.wikipedia.org/wiki/Mlada This is the best example I know, and shows why it rarely happens. Composers rarely work well together, preferring to steal than collaborate. Or you have stuff like pic related. A bunch of modern musicians "finishing off" Holst and producing a bunch of extra works that really don't fit together.
>write a bunch of preludes >they are not preludes to anything >other composers start writing preludes that are not preludes because of his faggotry Fuck this guy
How do I truly get into classical music and is it possible, or perhaps I'm looking for something else. I just can't find any pieces with really euphoric emotions. I do enjoy classical and barqoue but its because they are comfy, I simply can't find the same feel of greatness that I can find in other genres. Though here are one of the few pieces that I do find euphoric. The prelude youtube.com/watch?v=Wkt8T38aaMw And this choral but it has a sound that is more close to classical and maybe you guys can help me out. youtube.com/watch?v=UaJFFvjzSvs
Ryder Wood
Pop music is the crack cocaine of music: easy, instant euphoria in a 3 minute dose. Classical music isn't that kind of drug, it's the hard won , sustained pleasure of a beautiful day.
Angel Sanders
Most of what I listen to is not pop, its quite the opposite of it in both length and structure. I forgot to add Arvo Part, he kind of has that structure I'm talking about but most of the time its a bit underwhelming or misplaced. youtube.com/watch?v=x3Y77YHGakQ Here is another piece that I enjoy instrumentally but this time I don't like the voice.
Lincoln Stewart
>How do I truly get into classical music Study music theory would be my best advice. Classical music is often entrenched in ideas you simply don't hear as a casual listener - the careful arrangement of harmonies to evoke subtle, but very powerful emotions (Ravel's "Pavane pour une infante défunte" comes to mind in this regard), variation of themes in creative ways, etc. When you know what's going on in the music, simple music stays just as good, but truly great becomes like a portal into another dimension.
If you don't have the time to study, the second advice would just be to listen to the music intently. Classical music is rewarding; the more effort you put into it, the more it gives back. Truly great pieces are endlessly exciting, revealing new beauties each time you listen.
or just listen to Dvorak if you want "euphoric emotions" his 9th symphony is pretty famous and does the trick.
Samuel Rodriguez
Thanks for the reply. What are some pieces I should focus on? Also Dvorak doesn't sound euphoric to me, its sounds like epic music to me which is not what I'm looking for.
>What are some pieces I should focus on? well flip now I'm on the spot :^) I always recommend Lili Boulanger as a look into harmony. No idea how she came up with some of that shit, but her Pie Jesu is some great stuff, as is D'un vieux jardin. Her catalog is small because she caught death, so she's easy to dive into.
Erik Satie's Gnosiennes and Gymnopedies may be what you're looking for.
Considering you like Le tombeau des Couperin, Ravel and french impressionism in general may fit your needs actually. Ravel's String Quartet in F and Piano Trio are good.
I just rated those who came to my mind, if you like Verdi in general it doesn't harm to listen to to the skipable operas, as I rated some of his most popular operas as skipable.
Macbeth: must hear, for me it's the best of the early works Rigoletto: skip, the libretto always annoyed me, a good Rigoletto singer can make this up partially Luisa Miller: skip, his most belcanto opera, reminds you of Donizetti Un ballo in maschera: skip, his most operetta like opera Otello: must hear, a late masterwork, Falstaff: good, Verdi's last opera and it's a comedy Aida: good, grand opera style, overplayed though La traviata: must hear, Verdi's homage to the women without family, who worked as hookers, barmaids or artists in the cities Stiffelio: skip, strange libretto Simon Bocchanegra: good, nice duets and a libretto that doesn't suck Nabucco: must hear, his most political opera Giovanna d'arco: skip, the music is good, but the libretto is so fucked compared to the real history of Jeanne d'Arc I lombardi alla prima crociata: skip, Don Carlos: good, grand opera and originally in French Il trovatore: good, as Verdi as it gets Atilla: skip, la scala opened the season with it, but it didn't stick in my head La forza del destino: good, listen to the overture conducted by Toscanini
Yes he's a degenerate shitlicker but he gets in on merit, still got to keep him away from the cherubs.
Carter Garcia
Nah, Bach is the one that got the suite.
Matthew Cooper
If Christians are right Brahms is probably not going to heaven. He never says that hall is in heaven, so yeah, maybe he's there. Then he goes back to hell.
Oliver Hall
What circle of Hell though
Daniel Jenkins
No idea, I'm just saying that because he was an agnostic (the concept of those circles doesn't exist outside of Dante's Inferno though, so it doesn't matter). I mean, there's the Clara Schumann thing too, but we don't know if they actually fucked so, eh.
Jason Murphy
What's with dumbasses and falling in love with Clara Schumann
Chase Evans
Well, she was good at the piano and uh, pretty, maybe? Idk, she seems to have been nice.
Jordan Lopez
She hated Tristan und Isolde why would anyone want to spend time with a woman like that
Luis Johnson
Umh, I guess only Brahms can answer that, he liked Wagner's music, and he liked Clara. I guess than other than hating Tristan und Isolde and disliking Bruckner's 7th symphony she was nice woman.
Juan Walker
she was hot and used to suck the mighty Brahms dick
Kevin White
What music reminds you of being young? They used to play music in my old school when I was very young. I want to re-live that feel.
Camden Stewart
I can't have music that reminds me of being young, I still am... Or how young are you talking about?
Isaac Torres
Broadway musicals
Zachary Mitchell
The concept of circles and other divisions of hell predate Dante, he just wrote the most complete and well-known account.
Mmmmmmmm... Interesting, I've heard/read about divisions but I don't remember anything about circles. I guess you'd recommend that book, right?
Wyatt Sanders
Sure, it is a good overview of all the medieval dream vision literature that led up to Dante. It is annoying that Dante is always recognised for the wrong reasons. His religious significance is well overblown, it is his place in literature that is important. He basically synthesised centuries of writings about heaven and hell, turning them in to a very accomplished poem. But his most important step is writing it in Italian, not Latin, establishing the vernacular as the dominant language of learning, commerce, etc.
Isaac Moore
Hey I knew all that am I smart
Aaron Wilson
i'm just playing to the peanut gallery
Joseph Hernandez
Going to shit Music for this feel (not Mozart)?
Michael Price
Alright, thanks for the rec. Honestly I don't give any religious significance, but then again, I wasn't aware of any mention of circles before him, so for me it was just his own way of looking at things rather than a synthetization of anything.
From what little we have from him, probably Beecham. Or maybe Erich Kleiber. Sadly their recordings of the operas are in incredibly poor quality - I would have killed to hear them live during their prime. Other than them? Coates. Coates' Wagner recordings were relevatory for me in that Potted Ring set. Yes, the singers are quite good and are probably the defining feature of that set for many, but his conducting is hors concours for me.
Alexander Brooks
Best Mozart string quartet?
Leo Reyes
The one you have with you.
Evan Wright
Boulez REKT
Evan King
How do I introduce a girl I like to classical? She's a bit goth, likes IAMX. I listened to an album, and while it's not my bag, there's some interesting enough texture that tells me she's not into generic pop.
Pls help. It's not that I don't know classical music, but I'm realizing how autistic it would be just to throw symphonies at her.
Austin Martin
Make her listen to a 4 hour long Sorabji piano piece
Brandon Lee
Pls no. I wuv her and don't want to die a kissless virgin!
Jace Turner
Tell her that long classical pieces should be listened to like watching a movie (you gotta pay attention to what's going on and the abstract "plot" of the piece) unlike other music where the average person just listen to the lyrics and the rest just serves as a harmonic background Then make her listen to the last 4 Mozart symphonies in one sitting
Wyatt White
We should actually thank Boulez, Gould and co. for promoting the SVS Schoenberg isn't played that often because his music sounds like shit to most people doesn't matter the performer
Nolan Allen
Romantic piano pieces Girls love Chopin
Ian Brown
Why not? Bruckner, Beethoven, Brahms all did.
Hell, it really should be called Kissless Music instead of Classical.
Blake Fisher
>I'm realizing how autistic it would be just to throw symphonies at her. What do you think would be less autistic? Concertos, motets, solo pieces? Just show her your favorites, lol, that's what I'd do, but I've never been with a girl, so, yeah, maybe actually think about something.
Says Glen Ghoul, the underage contrarian frogposter
Jayden Butler
Hello Hill :3
Ayden Robinson
You think Death and the Maiden would appeal to a goth chick?
Wyatt Peterson
Not Hill but now I can also add "emoji user" to your faggotry list.
Parker Martinez
How composers change keys so rapidly without it sounding so off like it does in every other genre? I want to learn but I don't want a TL:DR, is there a general rule?
Ethan Hernandez
If she doesn't like it then drop her.
Isaiah Collins
I know I sound stupid btw.
Jace Campbell
Juat go for a piano piece, any other thing is going to take a risk
Nathan Jenkins
:^(
Elijah Barnes
You've never even touched a female, have you faggot?
It's unlikely Bach would've thought of this in terms of mode (which is, essentially, a melodic concept in classical music), but organists were accustomed to thinking in terms of the old church keys (which is a subject of the history of music theory rather too obscure for wikipedia, try Grove Online). Thinking in terms of Glarean's neo-modes was pretty much something you did if you wanted to claim allegiance to old, speculative music theory (as did Fux), church keys were a much more practical tradition.
Dominic Rivera
>he fell for the Brahms + Clara meme Robert and Brahms were the lovers, silly.
Nathaniel Torres
Don't forget Coates' orgasmic Tristan excerpts!
>Best Mozart string quartet? K. 499 by quite a large margin I would say, in part because it has one of the most complex, satisfying finale's in all of chamber music, in some ways its fundamental idea and design is every bit as ingenious and one-of-a-kind as that of the Jupiter symphony, even if it uses very different means.
Don't overlook the string trio K. 563 though, it's arguably Mozart's most refined and "learned" piece of chamber music, I don't think think there's another 18th century piece that explores modulation by successive major thirds as thoroughly.
Angel Long
What's the funniest recording you guys have heard? As in something that is obviously wrong and manages to bring you to laughter everytime.
Caleb Thompson
>Don't overlook the string trio K. 563 though Good taste. For some reason I rarely hear this gem brought up. I was addicted to it for a good 2 weeks when I first heard it.
Literally EVERY movement is unparalleled in his output. The first movement's fifteen (!) measure theme? Good luck trying to shoehorn that into anything known to Formenlehre (K. 499 begins with a similarly unconventional theme). Incredibly generic material giving rise to startlingly subtle associations and surprises. This is the kind of complex, "prose-like" Mozart Brahms and Schoenberg admired. The development section? The insane major third passage I talked about, followed by an accompanied two-voice canon in triple counterpoint, followed by a three-voice canon using inversion and irregular entry intervals. Y'know, just the usual stuff you'd put in a divertimento (then again, that C minor divertimento...). UGH. EVERY MOVEMENT IS SO GOOD.
Carter Roberts
Half of me wonders if this guy believes his own drivel, the other half wonders if it's all an elaborate ruse - who could hear this and think it sounds good? Look at that smug face in his avatar. It's mocking me.
Bentley Howard
He's my favorite argumentative classical music pariah after the "the Illuminati made blind women write all of Mozart and Haydn's music" guy.
Are there any composers who are better played slow as opposed to fast? I cannot think of any.
Lincoln Richardson
I once heard a piece by Clementi that sounded seriously jazzy in one part, so much so that it was like he anticipated it. Anyone know the piece? I can't find it anywhere anymore.
Ethan Richardson
youtu.be/6gmYAv8NWbQ There was this video of a boy soprano doing Mozart's queen of the night aria in not-German but I can't find that anymore. Shame. youtu.be/7hQzG-CATQM So this guy is serious huh? I remember showing my viola instructor a snippet of his Eroica. What an absolute mad man.
Benjamin Jones
Eh, I don't think there's a single "correct" tempo, the perception of musical momentum depends on other factors, too. I think there's a lot of bad, meme-y, hyper-fast historicist recordings, but usually it's not just the tempo that makes them awful, but super-light bowing, mere articulation instead of phrasing, horribly mixed, over-mic'd recordings, etc.
Leo Lewis
>Where did W.A. Mozart learn composition, harmony and orchestration ? From which teacher ? From Haydn (and a little from his dad iirc). What does he MEAN THIS IS COMMONPLACE KNOWLEDGE
Actually, Mozart didn't study with Haydn. Beethoven did (and got really frustrated at having to do elementary counterpoint lessons AGAIN).
A lot of Mozart's training in fact came from his father, as well as from Padre Martini (there's even exam pieces to document the end of his studies). Much of it was likely self-study, as with Bach (who seems to have had virtually no formal instruction).
We also have a substantial amount of written music lessons and assignments given by Mozart, which give amazing insights into his grasp of all the common music theories of his day - (slightly simplified) Rameauian fundamental bass, likely passed down through Kirnberger, figured bass and partimento, as well as Fuxian species counterpoint (which Mozart conceived of in harmonic terms, unlike Fux).
Jonathan Phillips
i don't mind cheesy portamento like this, but imo it should be used more as an extension of natural phrasing rather than for effect. the latter is when it can become grotesque, like it is here.
disappointingly this performance becomes quite boring afterwards regardless
Jayden Martinez
It's not just the portamento, it's literally disregarding Bruckner's score and messing up his voice-leading for the sake of cheap schmaltz. I can forgive that in otherwise inimitable, irreplacable conductors (Mengelberg Beethoven 9, IV, I'm looking at you), but not with a living MIDI tracker like Karajan.
William Baker
When your conductor literally has to spend 4 minutes apologizing for you even though his musical judgment often isn't impeccable either
youtu.be/UOVs526XWJw Catch the "merde!" at the end. Holy shit Boulez I love you but what were you thinking. I forgot how much of a meme this recording is.
Evan James
By the 60s, there was no excuse. And it's not a wholesale revision - it's just that one octave shift. Klemperer literally grabbed the urtext editions the moment he came back to Europe. Other conductors were even more proactive in eliminating later emendations to score, like Kleiber, who once he had seen the autograph of the Eroica ceased doubling that flute line in the Eroica's first movement with the trumpets, a habit he passed on to Scherchen, among others. That stuff wasn't available in print until decades later.
And yeah, I love the overactive, messy polyphony in the 1874 edition - but it's just as "authentic" as the later revision by Bruckner.
Anthony Hill
well i certainly didn't know that. interesting info
Isaac Moore
iirc the Boulez recording is like that because at the time Boulez had a theory that each of the movements of Beethoven's 5th should be nearly equal in length, or something to that effect. Quite weird.
Jackson Harris
So basically Karajan is using the 1878-80 version edited by Haas, available since 1936 (!), but retains the octave doubling introduced by Löwe/Schalk in 1887/88. I guess maybe that was Karajan's way of atoning for being a Nazi opportunist.
>Revised version 1887-88, prompted by Loewe but now thought to be chiefly the work of Bruckner himself. so is this guy wrong? unicamp.br/~jmarques/mus/bruckner-e.htm#4
Pachmann probably has some funny recordings but I’ve never actually delved deep into his stuff. Someone give me the Pachmannpill.
Henry Evans
>Moriz Rosenthal was an admirer of Pachmann's playing of the Chopin Mazurkas and once called upon the pianist to gain insight into their interpretation. However, he learned very little as Pachmann was loath to reveal too much about his way of performing them. After this incident, Pachmann referred to Rosenthal as "my pupil." By "loathe to reveal too much about his way of performing them" they mean "he played everything incorrectly." Pachmann was a memer.
No, he's not. It's just impossible to know and comes down to what period of Bruckner you prefer, I think Korstvedt reacts too strongly against the lies Haas spread about Schalk/Löwe. If you apply his logic to, say, the 8th symphony, you lose a lot more than just minor changes or orchestration.
Ryder Moore
thanks. Bruckner can be confusing some time. >If you apply his logic to, say, the 8th symphony, you lose a lot more than just minor changes or orchestration. that's very true indeed.
Samuel Cox
this little son of a bitch named Pergolesi composed this shit when he was only 26, just a few weeks before he died, imagine if he lived to 70 or something
My opinion is basically grounded in this: In the unperformed Bruckner symphonies, e.g. 5 and 9, but also 8 before the Schalk/Löwe edition, Bruckner typically reserves those really Wagnerian, richly doubled passages for his slow movements, whereas the fast movements tend to be more "austere" in terms of string effects. The "closer to performance" arguments are basically just another spin on Bruckner not knowing what he wanted, rather than claiming he gave in too easily to his confidants, you now claim he couldn't conceive of an orchestral sound by himself (except in slow movements, apparently).
1. Furtwängler Vienna 1944 (based on the 1892 Schlesinger edition, but with much of the material restored by Haas included) 78 minutes 2. Furtwängler Vienna 1954 (pure 1892) 81 minutes 3. Rögner 1985 (Haas) 75 minutes 4. Eichhorn 1996 (Nowak) 77 minutes
Those are pretty much all the major editions, too.
Too slow.
Isaiah Ward
>Bruckner typically reserves those really Wagnerian, richly doubled passages for his slow movements, whereas the fast movements tend to be more "austere" in terms of string effects. never really thought about it like that, but you're completely right. also, thanks for the recs.
Brayden Ward
Case in point from 9, III. (Also note the three consecutive parallel fifths buried in the Vc.)
WTF is up with Schubert's piano trios? He goes full blown Boghoven: can't write a flowing, uplifting theme to save his life and the development sounds like a Teutonic knight clanging and banging up and down a stone staircase. What happened? These are late works, how can you call this guy a master of chamber music?
According to Egon Wellesz, the first real inspiration for the SVS was when Mahler conducted the premier of Pfitzner's opera 'Die Rose vom Liebesgarten'. Don't hate Schönberg if you hate the SVS, but hate Hans.
David Hernandez
I'm that guy again. I find contemporary classical to be the most emotional so recommend me as much composers as you can(those who are less know and more niche as I myself and am looking through google and spotify for all that I can find).
Xavier Phillips
I just bought a new ssd and downloaded this entire collection, but where is all the modern music? What a huge waste of time and money.
