How do people on here listen to classical music? Do you use streaming services (such as Spotify and Apple Music), purchase CDs, torrent, or use YouTube? I wish I could be satisfied with YouTube, but I recently got audiophile headphones and lossless music quality is a must. I have heard Spotify 328kbps is transparent to most people, but I am concerned about privacy (I say this posting on a pozzed imageboard). I have struggled with private trackers and classical music; sure, you can find the complete collection of Bach, and Chopin on Redacted and Orpheus but finding slightly lesser-known classical composers such as Rimsky-Korsakov or Paganini is not possible (even if the latter two are quite well-known). I also feel bad for pirating. Are CDs dead? If it future-proof to begin a CD collection?
Does anyone use soulseek? Is it any good for hard to find things?
Aiden Edwards
If it's something I don't know I either YouTube it or ask for recommendations and blindly download it. If it's a work I know I go for YouTube to listen to many options; not the whole work, but a few parts I consider important. I compare how each version does it, and then I download 1 or 2 favorite versions and listen to the whole thing. To get the stuff I usually torrent it (rutracker and demonoid while it lasted). My brother now made me a spotify account, so I first check it there. My main issue with spotify (even ignoring the shit interface and the shit search it has) is that they don't scan or otherwise display in some way the booklet. The only info they have is the orchestra, director and maybe the soloists.
Brayden Evans
With Bach the answer is anywhere. It's not something you cross out of a checklist, it's something you spend years delving into.
Well, that's actually something I was wondering about. It seems like everyone in this general is very well versed on classical. How do I obtain that? It feels like there's such a deep catalog of listening, that it'll take me a couple years to catch up.
It's a path that takes your whole life. Even a single composer, if he's one of the good ones, is someone you can enjoy and rediscover for many years to come. It's not about being versed for the sake of being versed, it's about enjoying it so damn much that at a given point you become somehow versed in it without even noticing. If you enjoy this then don't worry, keep listening and learning at your own pace.
In any case, since you've already heard vocal works and keyboard works from Bach I'd give a try to his chamber and orchestral music, just to start delving on it.
Kevin Williams
Was he there in America's discovering or something?
Evan Perry
Awesome dude, thanks. I love chamber music so this should be a sublime listen
Jason Nguyen
youtu.be/JfgORz0GZIQ >BWV 1060 >panning the 2 Harpsichords on the left side and the orchestra on the right side instead of Harpsichord 1 on the right and Harpsichord 2 on the left and the orchestra on the middle Fucking Hacks lmao
I unironically listen to the radio, when something jumps out at me I take the name and look it up. And yeah I buy CDs too. If I'm spending money I prefer owning a physical copy, streaming services just seem like a fucking scam to me (RMS is always right). As YouTube's audio quality is so fucking awful it's only useful for identifying pieces.
tl;dr buy physical and rip it yourself
Ryan Foster
and this is our son's room, he's likes classical music
Do you at least know the introductions to the passions? I guess you would like them
Elijah Evans
Based
Samuel Taylor
This is so fucking based
Austin Robinson
I either go to concerts or download from rutracker. A couple of times I bought CDs or borrowed from libraries (and then ripped them, ofc) when it's too obscure to be pirated. Streaming services are notoriously shitty when it comes to classical because the system is developed for popular music. A concerto, for example, might be assigned by "artist" to the composer, conductor, soloist, or the orchestra, it all depends on the dumb fuck entering the data into the database. >I also feel bad for pirating. meh, who gives a fuck, concerts are something worthy of paying for, physical media is overpriced >sure, you can find the complete collection of Bach, and Chopin on Redacted and Orpheus but finding slightly lesser-known classical composers such as Rimsky-Korsakov or Paganini is not possible Yeah, but you can find individual CDs with little problem, from what I've seen. You don't need recordings of every fart the composer made? Is it difficult to keep the ratio on Orpheus?
>Mozart had dark brown eyes >He made everyone paint him with blue eyes What is this autism?
Carson Nguyen
I always thought he looked like Pastor Anderson talking about Vitamin K in this picture. Guess the numbering is thence appropriate.
Charles Price
who is this composer? He's pretty based by the looks of it.
Asher Morgan
How is it possible that Jan Van Eyck and Hieronymus Bosch could imagine such exuberant depictions, even if they are of hell and one could scarcely find a musical equivalent before 3 centuries later?
Because we're talking about different forms of art??
Landon Baker
Why should one be more exotic than the other?
Mason Cook
Because music composition necessarily involves other people who must be sympathetic to your artistic vision, or else their benefactors must be (which is even less likely, them being no artists at all)
Kevin White
Over the years I've found links in these threads that most people here mocked or memed on but I truly enjoyed and even have become staples of my musical history. Can you guys share more music like this? Daring pieces that you love and are important, meaningful to you but you know even most of /classical/ aren't ready in their musical lives to fully appreciate.
How come places like the Met and like Covent Garden don't do much operetta anymore? Is it a matter of audience taste? Pretentiousness? Reputation? Like I'd imagine much of the general public couldn't really make the more extreme high/low distinction that existed even fifty years ago other than maybe like run time.
I just think it's weird because a lot of these houses will pretend as if Tales of Hoffmann was a more accomplished grand opera than La Belle Helene was as an operetta, even when that's clearly not the case. I love Hoffmann, but La Belle Helene is so much more important for its genre and whatnot.
Might have to do with the language barrier, Germany and France still regularly play Offenbach, but Viennese operettas are pretty rarely programmed nowadays. Operetta is a genre of its own, you need good actor-singers, not just good singers for them.
Any bach recordings in Well (not Equal) temperament?
Leo Stewart
I still have the 8th symphony left but here are my Beethoven Symphony rankings so far: >7, 4, 5, 9, 1, 3, 6, 2
David Richardson
The fact that so many pseuds still name Beethoven's 9th as "the greatest or most significant or most influential" musical statement or composition by mankind only tells you how far western art music still is from becoming a serious art.
Logan Reyes
>how far western art music still is from becoming a serious art >western art music As opposed to what music?
Adam Hall
The rest of Yea Forums I.e rock, pop, niggermusic etc.
Joseph Butler
same. everything feels sterile in comparison. for me, it's sonata 10 at the moment
>you can find individual CDs with little problem Wrong. > Is it difficult to keep the ratio on Orpheus? Slightly easier then RED. Orpheus has a WAYYYYYYY better website and the interview is identical to RED.
Private trackers are shit for classical music. I don't watch TV, movies, play games or listen to music that is not classical music. RUTracker is the only thing that is worth your time.
Ian Roberts
Bach is often revered as a genius. On one hand, this is probably true to an extent, since fugues are difficult to compose and he managed to write so many different ones. But the problem is apparent when you stop reading his sheet music and actually start listening to these compositions: the fugue is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other. And since Bach seemed to be a big fan of recycling certain melodies, sometimes you could swear you were hearing the same song over and over again. Now this never seems to strike most classical aficionados or anyone who has been told that Bach is great and we should never question him, but it annoys the hell out of me. It reminds me of Nickelback, a band so dull you can play two of their songs on top of each other and they practically sound like the same thing. Would you listen to Nickelback’s entire canon of formulaic bullshit? No? So why do we listen to Bach’s? When would anyone want to hear that much of the same thing?
> the fugue is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the sonata is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the concerto is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the symphony is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the oratorio is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the cantata is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other > the prelude is, by nature, incredibly formulaic, and so many of them start to sound awfully similar to each other
Nicholas Wright
my diary desu
Grayson Wood
Dont mind me bros i'm just gonna pray in latin before going to sleep
Credo in unum Deum, Patrem omnipoténtem, factórem caeli et terrae, visibílium óminum et invisíbilium. Et in unum Dóminum Iesum Chrustum Filium Dei unigénitum. Et ex Patre natum ante ómnia saécula. Deum de Deo, lumen de lúmine, Deum verum de Deo vero. Géntium, non factum, consubtantialem Patri: per quem ómnia facta sunt. Qui propter nos hómines et propter nostram salútem descéndit de caelis Et incarnatus est de Spíritu Sancto ex María Vírgine et homo factus est. Crucifixus étiam pro nobis: sub Póntio Piláto passus et sepúltus est. Et resurréxit tértia die, secúndum scripturas. Et ascédit in caelum: sedet ad déxtram Patris. Et íterum ventúrus est cum glória inducáre vivos et mortuos: cuius regni non erit finis. Et in Spíritum Sanctum, Dóminum et vivificántem: qui ex Patre et Filióque prócedit. Qui cum Patre et Filio simul adorátur et conglorificátur; qui locútus est per Prophétas. Et unam sanctam catholicam et apostólicam Ecclésiam. Confíteor unum baptisma in remissiónem peccatórum. Et exspécto resurrectiónem mortuórum. Et venturi saéculi. Amén
I love you Glen Ghoul and I thank god every time I see one of your posts containing Zelenka or Bach or other Baroque Chads garnished with a fantastic anime gril.
This but unironically Organ Preludes and Fugues BWV 531 - 551 are top Bach
Jacob Foster
>>you can find individual CDs with little problem >Wrong. A couple of times I did have to buy them, but otherwise I find my shit on rutracker (or, at worst, on slsk)... maybe I have basic bitch taste? >Slightly easier then RED. Orpheus has a WAYYYYYYY better website and the interview is identical to RED. >Private trackers are shit for classical music. I don't watch TV, movies, play games or listen to music that is not classical music. RUTracker is the only thing that is worth your time. well then, danke schön, I'm trying to get into this field, don't know if it's worth the effort (since I also focus almost entirely on classical when it comes to music); if it really is as you say, think I'll just stick to getting into Karagarga :)
Michael Wood
Spotify and rutracker have pretty much all I need. Sometimes I've had to buy CDs (like for the opera The Demon by Anton Rubinstein) but that's almost only for obscure stuff
Jayden Hernandez
Liszt died 133 years ago today, honor this great man
I liked this but I struggle to extract meaning from it, supposedly the piece is great for the original and extensive development of short motives but I can't recognize such themes I'm brainlet
John Scott
He perfected atonalism and post-romanticism, there is no reason to listen to anything else after him save Bartok, Ives or some Russian futurists
Isaiah Ortiz
Keep listening, it'll grow on you. It's the deepest work Liszt has written and everyone has a different interpretation of it. The motives are spelled out in the beginning or at tempo changes (Grandioso, Andante sostenuto) and most repetitions are not that obscure, you just have to familiarize yourself to the piece (which holds for basically every piece of music, the structure becomes clearer after listening again and again). Follow the score while you're listening, possibly with a text analyzing the motives
Carson Ross
>the fugue is, by nature, incredibly formulaic That's not correct though. Even in the stricter exposition section, there are many many options. After the exposition all bets are off in the development section.
A fugue is generally defined by its subject, although these subjects can be treated in many different ways. There are infinite possible subjects (as there are infinite possible melodies), and so there are infinite different fugues.
A fugue might look formulaic upon first impressions, but as you look closer, you'll see its actually quite a loose form. There is no 1 definition of a fugue, and each Bach fugue (for example) is unique.
as much as it pains me, i have to agree there is no reason other than historical accuracy to play on a harpsichord, the piano is just superior in every single way
Matthew Rodriguez
That's not quite it; I mean it in the context of playing SOME of Bach's pieces on the harpsichord, which is fine and fair enough, but playing everything on it, especially stuff like WTK, is just obtuse.
Julian Cook
Well, what else are harpsichordists supposed to do then?
Luke Turner
Play the pieces that are intended for their instrument?
Isaac Murphy
I just download from RED. I might pivot to Apple Music but then again I don't need to listen to music away from home. >Rimsky-Korsakov or Paganini not worth listening to
Would anyone be able to put a name to this melody I have stuck in my head? I'm 99% sure that it was at the start of something baroque. vocaroo.com/i/s124MSGtprEO
Isaiah Price
worked pretty shit to me so I stopped using it
Nolan Baker
minudt in g Major by Petzold
Liam Morales
>Pfitzner >based user... I...
Lucas Stewart
Rimsky is based, brainlet
Benjamin Powell
greensleeves
Ryan Howard
I figured it out: "Doen Daphne d'over schoone Maeght", by van Eyck. Thanks for the help anyway
Logan Foster
More repetitive than Nig Hop. The ending was horrendous.
My subjective interpretation is that Bach's Passacaglia and Fugue in C minor and Mozart's first movement of the Sinfonia Concertante, K. 364, are very good examples of the differences between the two composers and their styles. Mozart's piece is elegant and reminds me nostalgically about the past and how it came to turn into the present; Bach's one, for me, is almost a philosophical analysis of time- how it was, how it came to be and how it shall be and end.
>he's conducting in Japan right now are you fucking kidding me, why do they keep hiring flappy hands. He still has some Tannhäusers left to do in Bayreuth and will conduct a Verdi opera in Salzburg too and then switch between the two places. I mean look at this, he's booked every fucking day to give a concert and is supposed to rehearse in between. Stop booking this hack. He conducts an opera in Leningrad one day and then a concert the next day in New York. What the fuck. mariinsky.today/gergiev
Ethan Harris
Give me compositions so dark, so creepy, so evil, and so sinister that after hearing them it’s impossible to not wear eyeliner and a black powdered wig.
Jonathan Wright
B*yreuth killed Liszt this very day 133 years ago.
youtube.com/watch?v=_a-F2YCqzb4 >The mood of the piece is marked "mystérieux" by the composer, but most striking are the sudden moments of horror that interrupt its dreamlike atmosphere, explicitly marked "l'épouvante surgit" (surge of terror) by Scriabin. The final passages are colourful and languid, like an elaborate Debussy prelude, but darker forces are released at the end. Richard Strauss' Elektra chord is featured in the sonata, lending it a nightmarish quality that Scriabin's mystic chord could not provide alone. >According to Scriabin's biographer, Faubion Bowers, “The Sixth Sonata is a netherstar. Its dark and evil aspect embraces horror, terror, and the omnipresent Unknown. ‘Only my music expresses the inexpressible,’ Scriabin boasted, and called the Sixth’s sweet and harsh harmonies, “nightmarish… fuliginous… murky… dark and hidden… unclean… mischievous.’ When he played excerpts for friends, he would stare off in the distance away from the piano, as if watching effluvium rise from the floor and walls around him. He seemed frightened and sometimes shuddered.” >It is one of a few pieces Scriabin never played in public, because he felt it was "nightmarish, murky, unclean and mischievous". He often started shuddering after playing a few measures for other people.
4 that high is pretty based, same with 1. I recently re listened to 2 and appreciated it more as it used to be my least favorite as well, revisit it someday
Luis Clark
Because they are irrational addicts acting by instinct against the painful truth. Case in point You support your claim by the fact that the word music comes from Muse, and thus anything that can be deemed music must have as its first principle divine inspiration, which is completely absent in this age.
Chase Stewart
What are your preferred recordings for the 2nd and 4th?
Does Wagner have any real successors in the realm of opera? I don't know of any later operas that work on such a grand mythological scale. Most of the twentieth century stuff I know is smaller scale and very down to earth.
>DUDE it's badass! We all agree romanticism is "badass". That's why it sucks.
Carson Reyes
Symphonie Fantastique is early romanticism though. Though it is a far cry from classicism, it doesn't have some of the qualities that i consider to be the negative ones of romanticism. Berlioz maintains an effective regard for tonality and creates some beautiful moments, and it is the prominence of the idee fixe, a manifestation of romantic composers' obsession with "the fragment," that I find to be my least favorite part of the piece. I enjoy the second movement with the cornet part included quite a bit youtube.com/watch?v=s5HFufPG31g
The latin of the first Simphoniae Sacrae is so well crafted I wish Schütz would have keep it in Latin for his second and third symphoniae sacrae but no he choosed German texts
