>"It does no harm to listen to Bach from time to time, even if only from a hygienic standpoint."
What does classical listen to clean out their palettes from postmoderism and other forms of modern entertainment? For me its Franck, Scriabin, Bach, Josquin and Palestrina
It's debatable, this among many other things >J. S. Bach (1685-1750), the brilliant Baroque composer and organist, was known to his contemporaries as a conservative composer. Modern scholars also recognize Bach as the last gasp of the Baroque, and mark his death as the end of the period. As the lighter, pre-classical galant style of composition gradually came into vogue, Bach staunchly defended and continued to write dense counterpoint and fugues characteristic of high Baroque. There is little reason to question his prominent position in music history as a traditionalist wary of change. >In this light, Bach's composition of the cello suites around 1720 is surprising. The cello had only recently appeared in Germany (earliest sources say around 1680 in Viennese orchestral playing), and was still evolving: the number of strings ranged from three to five and tuning had yet to be standardized. It was introduced as a basso continuo instrument constructed for the sole purpose of balancing the new, louder sound of the violin. Before the advent of the violin, the viola da gamba, a lower stringed instrument with roughly the same range as a cello, was sufficient for ensemble playing. In Bach's time, however, both instruments were used in orchestral and chamber music. With its softer, more palatable tone, the viola da gamba was treated as a solo instrument while the cello was confined to mere continuo. To demonstrate the contrast between these two instruments, my presentation will include a brief exhibition on both. A work written for solo cello, and unaccompanied cello at that, would have seemed very avantgarde to other musicians of the time. Bach completely stepped out of character with the composition of the cello suites, assuming the role of the forward- looking modernist and anticipating the classical preference for the cello over the viola da gamba.
modernism was a defined movement of the late 19th and early 20th centuries. it doesn't matter if his work predicted some modernist conventions, he is ostensibly not a modernist.
Connor Edwards
is that a Gehry scribble?
Brody Fisher
Schumann should have committed himself to an asylum a couple of years earlier when he displayed undeniable symptoms of musical lunacy by composing piano accompaniment to Bach's Sonatas and Partitas for Unaccompanied Violin BWV 1001- 1006. Had Schumann produced this composition a few decades later, it could have been considered a musical counterpart of Eugene Bataille's La Joconde fumant le pipe or Marcel Duchamp's L.H.O.O.Q. in the visual arts, making Schumann (rather than Eric Satie) the father of musical dadaism. But composed in the middle of the nineteenth century, this work of Schumann has always struck me as by far the most shocking (and, because it was Schumann, the saddest) case of madness from the Romantic period in the history of music.
Or so I thought until a few days ago when, to my great surprise, I came across a case of nineteenth century musical madness arguably more pathological than Schumann's. The victim in that case was the distinguished pianist and composer Ignaz Moscheles (1794-1870), a perceptive writer on music, one of Mendelssohn's teachers, and an early champion of the then difficult music of Beethoven (for whom he prepared the piano score of Fidelio). It is impossible to know what exactly caused Moscheles' fine musical mind to snap in the last decade of his life, but snap it did, for in 1861 Moscheles published his Studies in Melodious Counterpoint Op.137a in which he composed a cello obbligato accompaniment for ten preludes and fugues from Bach's Das Wohltemperierte Klavier. What makes Moscheles' case more pathological than Schumann's is that Schumann can be granted at least a modicum of rational thought if his composition is viewed as an attempt to bring out the implied counterpoint in Bach's works for a non-polyphonic instrument. No such excuse is possible in the case of Moscheles.
but words and meanings change over time. Modernism isn't just an aesthetic period you dip
Evan Baker
>Modernism isn't just an aesthetic period you dip it is though.
Carson Jones
i require your best 20th century/avant-garde chamber works. show me what you have.
Jaxon Johnson
>the first entry from the oxford dictionary about modernism >Modern character or quality of thought, expression, or technique. >"iT iS THouGH"
Eli Miller
>Schumann should have committed himself to an asylum a couple of years earlier He already started writing and composing about his multiple personalities by his 20s.
Daniel Gutierrez
in the context of music it is referring to a movement. your post said 'modernism like scriabin and bach,' which would imply you were referring to bach as the same kind of modernist as scriabin, who was an actual aesthetic modernist.
Camden Rogers
>Modern want to look up what that means as well?
Cameron Kelly
>Modernity, a topic in the humanities and social sciences, is both a historical period (the modern era), as well as the ensemble of particular socio-cultural norms, attitudes and practices that arose in the wake of the Renaissance—in the "Age of Reason" of 17th-century thought and the 18th-century "Enlightenment". Some commentators consider the era of modernity to have ended by 1930, with World War II in 1945, or the 1980s or 1990s; the following era is called postmodernity. The term "contemporary history" is also used to refer to the post-1945 timeframe, without assigning it to either the modern or postmodern era. (Thus "modern" may be used as a name of a particular era in the past, as opposed to meaning "the current era".)
Dylan Thomas
>words have definition Words have more than one definition and context is important, especially when talking about historical elements. There is more than one "modernism" and it isn't only limited to a specific time in history, unlike say the "historical avant-garde" or whatever it's called in the early 20th century.
Lincoln Sullivan
>There is more than one "modernism" and it isn't only limited to a specific time in history the modernism that scriabin was a part of is not comparable to bach, that's all i was saying.
I understand and I agree, but I never said it was one and the same. Even Scriabin's modernism is an entirely different world than that of Mahler and Strauss for example.
Matthew Torres
but you said 'modernism like scriabin and bach' which implies they are under the same category of modernist and are comparable. see
Juan Martin
Bach wasn't a modernist by any definition, he was pretty much behind the times in his own times. If you wanted to stretch the definition beyond breaking point then you could claim his sons were 'modern' as they very consciously developed or adopted new ideas and helped turn the baroque period into the galante but a better word for that would be 'innovative'.
Landon Ortiz
I was actually just thinking about this problem the other night. What qualifies as modern and when it does so is determined by what it is I say music and painting post ww2 but philosophy writing definitely 17th. We modernized our thoughts before our feelings. The concrete before the abstract. Which is funny as I’dve thought itd be the other way around Post modernity is trickier. It requires time for modernity to sufficiently gestate into some self rejecting self regurgitating amalgation of confusion and. so philosophy came in first by a few centuries with nietzche and then music starts to eat itself a little bit with Schoenberg but it’s not really until Free jazz that we gets that full on, fecal consuming post modernity. and then writing with Joyce (Kafka gets a special mention) Poetry Cummins and painting Pollock
Aiden Harris
joyce was a modernist
Isaac Ortiz
Bach’s style of composition could hardly be called modern. Mastery of architecture, form, idiom, idea, style, even approaching the absolute. Sure. This is precisely what premodern artistic endeavors attempted to achieve. Bach is the last breath of deep that particular traditional method of artistic practice. Mozart is a stronger contender, and perhaps Beethoven. but In this way I think of the two much as equals, with Beethoven being the cementing of music’s ascent to rarefied air and Mozart it’s first giggle. Musical Modernity was forged out of the ashes of Bach’s legacy finnegans wake
Juan Scott
>finnegans wake is a classic of modernist literature according to every serious literary critic.
Oliver Johnson
Every time you make the mistake of typing 'modern' you miss the point. Any work can be modern if it is ahead of it's time but modernist refers to a specific period at the start of the 20th century.
You are also apparently completely clueless about what postmodernist means. It doesn't mean 'confusing, I can't understand it'. None of the things mentioned such as free jazz or Kafka are postmodernist.
Isaac Allen
>implying any of them have read it
Parker Nguyen
of course they have you retard
Samuel Phillips
>modern >ahead of time Nop rejection of grand narrative. most recognizable as a commentary on the process used to make it. Actively rejects itself. But sure it doesn’t reject rejecting itself. So maybe it’s a bit of a stretch for Joyce. but if not, then as far as lit goes, Idk. but nietzsche wrote a novel so
speak for yourself I definitely know about music theory sorry but we don't know music theory
Zachary Price
What is modal harmony and contrapuntal accompaniment, for nobody gives a fuck, please The cadence is written melodically; with melody in mind; from an melodic perspective. Compare with mozart sonatas little 51s like k332 bar 10 mb 12(?) written for harmonic punch at the end of the opening thematic statement. A rhythmic statement, rather than melodic, as Chopin does to make It a more soft, dragged out longwise, feelsy. Where intervals and direction are emphasized for maximum personalness
Is this music theory?
Gavin Hernandez
Yeah, but what are the actual audible and compositional differences in a melodic cadence and a harmonic cadence? Wouldn't a melody focused cadence still be analyzable harmonically, and a harmonic cadence melodically? What actually is a melodic cadence and what actually is a harmonic cadence? Doesn't the very fact that it carries identifiable cadence mean it is tonal? >Is this music theory? What else would it be?
should I see a OVPP performance of st. matthew passion monday?
Luis Bell
This isn't too hard to understand. I still struggle with the concept of modality vs tonality, but I think I can explain. First, from wikipedia because I'm not concise. "InWesternmusical theory, acadence(Latincadentia, "a falling") is "a melodic or harmonic configuration that creates a sense ofresolution[finality or pause]."[1]A harmonic cadence is aprogressionof (at least) twochordsthatconcludesaphrase,section, orpieceofmusic."
Your traditional harmonic cadence is immediately recognizable, it's just going from the V chord (the dominant) to the I chord (the tonic, whatever your main tone is). So, we think of the resolution harmonically, we use the basic diatonic scale degree chords. Now this is pretty strict, there a shit ton of ways to write a cadence that sounds perfect that isn't V-I. If you write a really modal piece that's abstracted from the key it's written in, doing a II-V-I cadence probably won't resolve the tension as you'd like, or at least, it would be a little silly. I'll attempt to elaborate.
The whole context of a cadence is resolution, which is basically just a return to the tonal center, however, when music is written modally, the tonal center isn't the focal point, and doing a traditional cadence would just reintroduce tonal characteristics that are likely being purposefully avoided.
So instead, you write the cadence according to what you've been playing rather than the key in which you've written your music. That's non-specific and is kind of shitty, but the actual details of how a cadence is constructed in a modal passage is beyond me.
Sebastian Brown
I’ve heard nothing but good things from people who know nothing about music and bad from those who do It’s a dance school
Adrian Hughes
opinions on Schoenberg's orchestration of Brahms' G minor Piano Quartet?
Colton Russell
It’s a bit silly
Austin Ross
Where did you go to school?
Adam Wilson
As pointless as Stokowsky orchestrations of Bach
Alexander Hall
Is Dvorak’s other stuff like his 9th Symphony where it’s just one very catchy melody developed after the other? Feels like there isn’t a lot of filler on this.
It was the only way to make that old crap palatable for modern ears at the start of the 20th century. Took a long time for people to reacquire a taste for the baroque.
What upcoming concerts are you seeing? I'm seeing the Virginia Symphony Orchestra perform all of these, except the Mozart because it's on an off day. >Rachmaninoff's Rhapsody on a theme of Paganini >Beethoven Symphony no. 9 >The Firebird >Mozart Symphony no. 41 >Mahler Symphony no. 4 >Brahms Symphony no. 4 >Shostakovich Symphony no. 5
Also thinking about seeing the Chicago Symphony Orchestra perform Astor Piazzola's Buenos Aires Symphony, that shit bumps inna whip youtu.be/QYvI4wertuY
Lincoln Mitchell
last week i saw the ny phil do: shostakovich - chamber symphony beethoven - 3rd symphony brahms - tragic overture mozart - piano concerto 24 corigliano - aids symphony also saw the ny ballet perform to mendelssohn - midsummer night dream
probably will see st matthew passion monday
Brayden Gonzalez
Yesterday I went to a concerto to hear Haydn symphonie concertante in B flat major and Mahler's symphony 1 in D major. Pretty good, especially the Mahler.
Scott Ross recorded 34 CDs of Scarlatti's harpsichord sonatas
That's a fucking insane amount of music that I would probably never listen to entirely and also would take up way too much space on my hard drive. Is there a compilation of the "highlights" or "best of" of these recordings?
Colton Walker
Holy fuck, a Pollock painting that's actually good?
Go for it, even if I dont like OVPP for Bach, seeing the meme in action in a concert would be interesting
Michael Carter
I have absolutely nothing lined up until September, I'm afraid. My college's conversatory has concerts with free admission, but that's stopped during the summer. The local orchestra's on a break until September as well; and so are the chamber music concerts. At least that I've found, it'd be neat to find a local community of sorts for this sort of thing.
Being stuck in a shoddy college dorm as I'm taking classes during the summer to make things easier for me later on (the University of Cincinnati has three semesters per year, especially if you're studying Engineering), I can't exactly practice works for piano. There is a non-zero possibility of me teaching composition to the son of this guy I'm friends with, since by all accounts the kid does really want to be a composer, and I have done some composition (mostly small scale works for solo piano, one for piano, viola and clarinet, and a missa brevis for SATB).
Jose Nguyen
Rimsky-Korsakov. Great theme, fantastic orchestration, never actually reached true greatness. If you're willing to go in a tad deeper - all of The Five would qualify as such. Rimsky-Korsakov being the better one of them all.
Liam Sanders
yeah, it is a Gehry. I looked it up. a sketch for the Saal.
There is no such thing as "melodic" or "harmonic" cadences. The author is just pointing out that Chopin's cadences (in this case) are the byproduct of his melody writing, rather than his harmony. Basically the cadences are written to fit his melody rather than the other way around.
Lucas Stewart
I'm looking for at least allegro tempo chamber or concerto that is really uplifting and nice.
/classical/, if you could have any piece performed for you in a private performance, which would you choose?
i'd like to see Moses und Aron
Logan Brooks
Scriabin's Mysteriums as he intended to be.
Jesus, I would give anything I have for such an experience
Justin Fisher
Hard to say. Maybe I'd resurrect Furtwangler and have him perform Bruckner's 5th for me.
Nathan Cook
In the major scale the ear follows a clearly perceptible pattern. Other scales, as for example the minor and the church modes, I regard as art products. The church-modes represent, namely,previous attempt sto find the true fundamental tone and its laws, whereas the minor scale has its particular characteristic less in the minor third than in the artificial imitation of the cadence, by means of a half step, which is found in the major scale.
Why did show 'n berg write such catchy music? Didn't he know that real composers are supposed to write tuneless screeching?
Juan Gutierrez
pet zold
Angel Cruz
hey have you heard of this piece called "cannon" by pachebel?
Gavin Myers
That cannon song was by Schukovsky, dumbass.
Josiah Butler
It's a rather silly jazz theory that, coming from someone who isn't actually familiar with the history of music theory and centuries of debate on the topic (conceiving of tonality's dynamics as "stacked" fifths is a staple of 18th century, post-Rameau thought), posits a trivial insight (the fact that you can derive a diatonic series by stacking a tower of 6 perfect fifths on top of a fundamental tone) as a "new" principle of music, since if you arrange those 7 pitch classes into a scale and take the fundamental tone as the center, you end up with a Lydian scale. The problem is, of course, that the most common cadence in dominant-tonic tonality (including much jazz) exploits a particular property of the major (in modern, post-Glarean terminology: "Ionian") scale, namely that the sole diminished fifth/augmented fourth of the collection resolves into the third of the tonic chord. The bias towards the Lydian mode comes from the conventions of the thoroughly pragmatic chord-scale theory common in jazz, where you essentially want a scale that produces as few sharp dissonances ("avoid notes") with the chords you're improvising over. The Lydian mode is convenient because you avoid the mi-fa semitone that might produce semitonal clashes when you're playing over a tonic chord.
I'm generally wary of any "monistic" explanation of tonality, since I consider tonality (as in: hierarchical organization of pitch classes around a central pitch class or chord) to be an emergent phenomenon of human cognition that can be achieved through a variety of means, melodic, harmonic, and not least rhythmical and metrical.
Schoenberg's solidly in the Viennese fundamental bass tradition here, which derives chords from scales (which is problematic, because the major scale, unlike the major triad, can't be easily derived from the audible overtone series).
As a footnote to , the eventual dominance of the modern major tonality may in fact lie in the diatonic F-mode (nowadays called Lydian, previously typically called simply "the third", since D is the older central pitch of the gamut). The thing is, people began to notate it with a B-flat accidental, for the sake of avoiding the "lydian" augmented fourth. Yet such accidentals did not change modal classification, which originally was more about central pitch, melodic ambitus, and intermediate melodic cadences, than pitch content. Basically, F major may be older and more fundamental - historically, that is - than C major, with C major beginning as a transposition of F major. Medieval and renaissance music theory is a mindfuck.
I also really appreciate the later twelve-tone works where he freely repeats pitch-classes, lets octaves be octaves, and constantly alludes to "tonal" chords: youtube.com/watch?v=JEY9lmCZbIc
are there any classical symphonies in the same style as shit like shadow of the colossus or nier? I 've listened to a lot of recommended symphonies but none of them sound as big or emotional as something like a despair filled farewell, they sound like something out of an old movie. nothing wrong with that, I'm just wondering if this style is really completely new
Classical music is quite different from soundracks but the most influential composer on film scores and such was Wagner and later Carl Holst but he wrote operas, you can check out ouevertures or Bruckner who wrote symphonies close to Wagner.
Easton Mitchell
You should try Sibelius. He's got the same combination of fundamentally simple, "modal" harmony with really rich, somewhat folk-tinged orchestration. Of course, it's a lot less straightforward than Shadow of the Colossus.
If you're the kind of person who's learned to listen past instrumentation, you might take a liking to Tudor-era British viol and clavier music, such as Gibbons, which also tends towards melancholy and pathos in a "modal" idiom, with some exotic-sounding alterations here and there, like in the Colossus soundtrack.
Wagner was more influential in the early 20th century, contemporary soundtracks tend to be much less chromatic, more modal and much simpler in terms of voice-leading compared to the earlier, "golden age" style pioneered by likes of Huppertz or Korngold.
Angel Collins
He's hard gay romanticist though, Allan Pettersson was a composer who was tonal but still definitely modern.
Chase King
>carl holst you do mean gustav right?
Nicholas Walker
haha yeah
Matthew Edwards
First of all, Sibelius (1865) was two whole generations older than Pettersson (1911). Then again, there's composers much older than Pettersson who wrote in much more radical styles, like Janacek (1854) and Schoenberg (1874) who wrote in arguably more "radical" styles.
Secondly, any kind of "romanticism" that groups techniques as varied as those of Beethoven, Wagner, and Sibelius together is utterly meaningless as a stylistic designator.
Finally, none of this matters, because the poster asked for music that was stylistically similar to the SotC and Nier soundtracks.
Sibelius is also a master of rhythm and form, as well of modality. He's a great "quiet" innovator.
Liam Ortiz
Sibelius was a full blown modernist, it's just not at all obvious at first glance. The final symphonies are some of the most radical pieces of the early 20th century.
Charles Wright
what is the /classical/ equivalent of Yea Forums's "start with the greeks"?
Ryan Anderson
It starts with the Musica enchiriadis, basically.
There is no precedent for the literate coordination of polyphony in the ancient world, and if that's your lowest common denominator for what makes Western classical tradition unique, that's the oldest written account there is.
As someone that isn't too into 12-tone, that Piano Concerto is very listenable to me.
Lucas Davis
I'm glad you like it, user. It's the piece that really got me into Schoenberg a decade ago.
The phrasing and the clarity of motivic development in this are just immensely satisfying, a lot of tonal music is a lot more muddled than this - and like I said, you can easily produce pseudo-tonal sounds within the twelve-tone technique if you build diatonic elements into the row - which you can then freely obscure or make obvious, especially since at this point, Schoenberg often freely repeats pitches within each half-row - which, again, decreases chromatic turnover and makes it sound more stable.
12 tone row pre 1750 tho. His harmonies were well outside what was accepted in chorales at the time. He was certainly modern compared to other church music of the day. If you compare his English Suites to Dieupart's, you can see how he advanced the form, and his Violin partitas are pushing the limits of what was possible on the instrument.
In his youth he was fairly modern, but by the time his children were old enough to compose and have their own composition careers, JS Bach's music seemed a bit old fashioned, especially the later works that looked backwards, to frescobaldi and almost to renaissance viol consort music in their style.
The problem, here, is is assuming there's a single, continuous stylistic trajectory in Bach. There isn't, like all great composers, like Mozart or Schoenberg, he was fluent in many styles and adapted them to the occasion.
The Goldberg variations are a good example of this: Half of it is studies in canon, the other half includes nods to more modern, galant styles.
The same is true for the WTC: Comparing volumes 1 and 2, through-composed or purely figuration-based preludes become rarer and double-bar forms take over - many of them with subdominant recapitulations after a developmental section, anticipating a sonata form that still exists in Mozart. Yet this turn towards more rounded forms didn't prevent him from writing the Ricercar a 6, or the Art of Fugue.
Bach's keyboard music also is some of the earliest music that never stopped being played. It was the vocal music that was attacked by the likes of Scheibe, though his chorale harmonizations were *always* considered exemplary and never excessive.
Gavin King
>Here's a love letter to Monteverdi Basically the entire common-practice period is a love letter to Monteverdi, people expanded his ideas until there was nothing left
Angel Watson
That's actually not true, Monteverdi and Schütz are much less tonal in the modern sense than people assume. Dissonance treatment is very different, which is why you get unusually spelled and resolved dissonances in them that disappear later. Intermediary harmonic goals are still modally conceived. Inversion as a means of prolongation is almost non-existant.
Heck, it's even obvious in this piece. The juxtaposition of a major G and a minor E mode here has more in common with the tonal pairing you can find in very late Wagner than anything you'll fond from Corelli onwards.
Nathaniel Wright
Based and Schutzpilled I need to have a trinity of early-Baroque(1600-1680) vocal music Monteverdi Schutz ??? Are there any other composers that even comes close to these 2?
Even after his early death, he contributed to German music: Schütz wrote this ravishing funeral motet for him: youtu.be/zLJE8EeQ4y4
Praetorius was the first to pick up on new Italian styles, and codified the German organ style.
Frescobaldi, Sweenlinck and Scheidt are more important for their organ music (Scheidt in particular established the intellectual style of keyboard music published in parts in Germany, setting the precedent for Bach's Musikalisches Opfer and Kunst der Fuge), but all wrote vocal music too. Among the younger generation, Froberger and Weckmann, the latter a Schütz pupil.
Cooper Wood
don't you have to go to church today with your daddies?
I cannot emphasize enough how utterly amazing Syntagma Musicum is. It is an attempt to compile all existing musical knowledge, including a fully illustrated compendium of all known instruments, including ancient and non-Western. Reconstructing some of them has only been possible thanks to this book. To think that one guy compiled and wrote all of this in backwater early 17th century Germany is mindboggling.
Cameron Williams
I don't think there is such a thing as baroque music. There is an age of figured bass, sure, but a gulf separates the mercurial contrasts, jarring shifts and epigrammatic episodes of the early 17th century from the more expressively and texturally unified style of Bach and his contemporaries.
Listen to this Weckmann piece: The onslaught of motives, different tempos and textures.
>The problem, here, is is assuming there's a single, continuous stylistic trajectory in Bach I didn't say that in my post, in fact I highlighted the fact that his style changed throughout his life.
>his chorale harmonizations were *always* considered exemplary and never excessive. Viewing his chorales from a common practice era+ viewpoint ignores my point that his harmonizations were quite out there compared to church music that came before him (or even that of his day). You didn't get many secondary dominants or suchlike spicy harmony in church chorales in 1712, although they were certainly present in more secular areas of composition. Whereas from 1750 onwards secondary dominants, augmented 6ths, etc. formed part of the standard harmony of the common practice era, including church music.
I won't be around if you reply to this post, but you're attempting (fairly poorly) to argue with someone who has studied a lot of Bach's music and the history surrounding his life, and has a degree in composition, so if you're not at that level its probably safe to assume you don't know what you're talking about and just drop it.
I made points showing how Bach was modern for his time, and you weren't able to refute those points.
Daniel Adams
Pointing out a tone row in Bach is utterly pointless because a tone row is only a tone row when it's intended as such, which is absolutely never the case in Bach.
People that point out tone rows in Bach (A minor prelude) or Mozart (G minor symphony / Quintet) are so utterly cringeworthy. Dont degrade yourself like that
Kevin Carter
>Sibelius was a full blown modernist Completely wrong
1. they're both "classical" 2. there's a group of 3 famous names in both that the general public still largely associates with the fields as a whole, who all had teacher/student connections between them
Camden Roberts
Is Schnittke a meme?
Brayden Sanders
To say that Sibelius is a modernist (a firmly romantic/tonal composer) having composers such as Stravinsky, Mahler, Strauss, Scriabin or Szimanowsky at the same time is ridiculous.
Elijah Cook
Absolutly yes. But a good meme
Nicholas Rivera
He's a postmodern compose so he's definitely a meme but he is still very very good.
Being romantic and tonal doesn't disqualify somebody from being a modernist; modernism didn't completely break away with tradition (romanticism), the aesthetic postulates were very similar. The composers you mentioned are all deeply rooted in romantic tonal tradition and logic, except maybe very late Scriabin.
Nathan Powell
I'm going to watch >Sibelius Finlandia, Karelia and Rachmaninov Slavonic Dances >Beethoven 5th and Strauss Don Juan >Dvorak's Aus der neuer welt and Grieg Piano Concerto Free concerts organized by the Houston Symphony Orchestra in the summer. I hope they also squeeze in Beethoven's Emperor in there.
Gavin Gonzalez
More like Tannhauser Overture?
Juan Evans
Erika
Noah Collins
I already know it
Bentley Hernandez
bruckner's seventh
Xavier Howard
Not quite the same
Jaxon Cooper
For me, it's Silence. Beethoven's best piece.
Henry Rogers
Is the viola da gamba the instrument that requires more than 140 IQ? if so, do you know any repertorie ?
>posts pepe >opinion is shit What the fuck never saw that before Beethoven is to blame for everything bad in music you brainless fucking twat
Ryder Foster
t. Low attention span brainlets.
Ode to Joy is quite literally the worst part of Beethoven 9. Is that the only part you heard?
Sebastian Green
>says someone has low attention span >likes Peathoven
Adrian Wilson
Have sex
Carter Ramirez
>People that point out tone rows in Bach (A minor prelude) or Mozart (G minor symphony / Quintet) are so utterly cringeworthy. Dont degrade yourself like that Uhmmm
Mozart was an entertainer first and composer second, an entertainer when still a child. Schoenberg was an academic first and composer second. He new that the musical world was changing and it was composers like Gershwin that people wanted to hear, not him.
Angel Butler
is it worth it learning to compose neoclassical piano music or is it just pointless because people only want to hear the masters?
Alexander Scott
Read my post again son
Ayden Torres
guys I'm going to get banned in a minute but before I want to say that Mahler sucks cock
James Jackson
Mahler's 2nd means you deserve that ban
Samuel Wilson
Oh yes. Srry
Jaxson Parker
Nah, I'm going to get banned for spamming staple tapeworms on /jp/ but mahler still sucks cock
Ian Cox
I agree with you. I tried forcing myself to like Mahler's symphonies. I listened to all of them at least 4 times and on LSD. I don't remember anything except for the fourth movement of his 5th symphony. His music just isn't that remarkable.
Alexander Miller
is that a dude
Joshua Carter
>I listened to all of them at least 4 times and on LSD
>listening to classical on LSD >not psychedelic rock
bruh
Christian Watson
Drugs are for losers
Ayden Cox
lol, just because you don't like the "ideology" of Beethoven's music, you hate all of it? even if you don't like the Ninth, you don't like the 5th, 3rd or 7th? the kreutzer sonata, grosse fuge, archduke trio, violin concerto, piano concerto 4? all of this is crap to you because Beethoven once set a poem preaching brotherhood to music?
if that's your opinion whatever, seems crazy to me though. do you feel the same about mozart?
Angel Harris
I used to be a loser before LSD, now I'm completely sober and successful.
Dylan Jones
>successful
how so?
Alexander Cruz
>graduated uni >have a good job that pays well >am happy, for the most part
Zachary Stewart
so in other words, you've just melded into the capitalist borg mind and consider yourself successful
Jack Sullivan
>borg cringe
Daniel Harris
what would you consider successful lmao
Aaron Garcia
not wrong though
Angel Clark
well, if you don't know, this is bs
Caleb Long
dodge
Kayden Ramirez
non material self-fulfillment and passing on a legacy.
Jaxon Young
>he fell for the drug music meme
Jordan Scott
Sounds like Thucydides only 2000 years later
Lincoln Wood
Do you know what it is to be modern? Do you know why the philosophers of Bach’s time were modern thinkers while it would take music another 200 years to “catch up”? Bach isn’t modern and neither is progress
Carter James
LO have fun doing that without decent job idiot
Austin Morgan
having a job instead of a passion is the opposite of my statement
Jose Phillips
I'm a socialist but I can't ignore the fact that money is power and buys happiness. It's problematic to not recognize that. Socialism is not being poor leading an ascetic life. It's about the working class having more stuff and controlling the means of making that stuff.
Material wealth leads to opportunities for non-material self-fulfillment. I have more freedom to do what I love now that I'm not poor anymore.
Daniel Edwards
lol ok, have fun doing that without a good passion then
Christopher Jackson
This is a problem of classification that is known and irreconcilable. Artistic taxonomy is impossible Secondary dominants have been a staple at least since the rise of the Neapolitan school in the 16th century, brah. II7-V7 is part of the rule of the octave and you’re tryna peddle me Bach is the early modern master for including it in his vocal harmonizations?
What a terrible movie. Worst acting I've ever seen.
Xavier Rivera
Sibelius' claim to revolution comes not from making the tonal center unstable (which he did, both polytonally and modally, notably in the Fourth, Sixth, and Seventh symphonies), but in his total obliteration of form. Schoenberg latched himself to form and motif as the structure of his works; Bartok did so by creating tonal centers of gravity that didn't rely on standard tonality, and the folk rhythms of Hungary and the Balkans. Szymanowski drifted to folk rhythms of Poland, Stravinsky to just about everything under the sun, but early on he drifted to repetition characteristic of Russian folk music. Ravel loved his dances; Debussy made great use of the major triad, even if it wasn't used to indicate a precise tonal center. Every work must have a precedent, something for the ears to hear and understand as the basis. The basis for Sibelius was the tonal center and the general sound of a piece. The Fifth Symphony seems to concatenate entire sections into one and in one instance it overlays two separate tempos up against one another. The Sixth is semi-structured in typical form of a symphony, but the forms of those movements is subject to severe speculation. The Seventh turns the entire structure of a symphony on its head.
It's easy to deny the modernism of Sibelius because it is not obvious. But study reveals the work of an unrelenting modernist that was hiding just beneath the facade of late Romanticism.
Carter Powell
>Peathoven fag telling someone to have sex Please stop it can only get so ironic
Ryan Collins
Beethoven BTFO'd by Brahms for not using real dissonance like Mozart and Bach
Schoenberg didn't have any academic background whatsoever, which makes his lasting contributions to the theory of tonal music even more impressive
No, it doesn't, because you can easily take apart that section in the A minor prelude from WTC2 and demonstrate how every chromatic pitch relates to the underlying key. The organizing principle is functional harmony, not a predetermined succession of intervals.
