ITT: post and discuss Classical music
https://www.youtube.com/watch?v=_8Gj2CWjQSc
>>64195877
Fuck. I mistyped it.
https://www.youtube.com/watch?v=_8GJ2CWjQSc
what is the free jazz of classical music?
>>64196000
Wolfgang Rihm maybe.
can someone explain to me how scriabin sounds like a russian composer?
rachmaninoff gives off a typical russian sound to me, but I can't seem to hear it in scriabin.
>>64196000
earle brown
john cage
morton feldman (some pieces)
anything that involves indeterminacy + improvisational elements
Why so dead?
>equal temperament
>>64196181
>why he sounds like a Russian composer
He doesn't really give me that impression. His piano works seem very complex but don't really scream traditional Russia to me.
I can't stomach romantic music, what do?
>>64198709
Try listening to something else.
>>64198709
You should like whichever period you want. If you want to try to get into romantic then try Liszt, Schumann or Grieg as a starting point. You don't have to jump into a complex composer like Scriabin.
Wagnerposting :DDD
https://www.youtube.com/watch?v=yObMCvH3cfs
>Freude, schoner Gotterfunken
>Tochter aus Elysium
>Wir betreten feuertrunken
>Himmlische, dein Heiligtun!
What did he mean by this?
>>64199393
He meant that he loves to have a good time.
How do you write beautiful slow movements?
>>64199393
benis in vagina :DDD
>>64199662
The same way you write beautiful anything: very carefully choose each chord and melody. Look at Beethoven sonata slow movements as see how he uses tension and release. He also tends to stick to triadic harmony so you could try that too.
It might also help if you've actually experienced love and loss in your life. But mostly, its practice. The more slow movements you write, the better you will get.
>>64200473
poly can you start shitposting again
we need more posts on /classical/ and your shitposts garner the most replies
>>64200556
I'm too busy writing fugues and film soundtracks to shitpost.
Good to see Lourie has made it into the /classical/ piano repertoire though. I just wish Arensky had more recordings around...
Also I grabbed Shchedrin's 24 preludes and fugues. very interesting and unusual
>>64200473
>you gotta experience lyfe xDD
This sounds like bullshit normie talk, I'd like to see you say that to Emily Dickenson
>>64200473
>2016
>sticking to triadic harmony
its not 1850 anymore bro. It might be a good starting point, but there's plenty of other ways to write a slow piece of music.
Is 30 years old too late to start learning piano and music for serious composing?
What has everyone been listening to?
>>64200952
Yes. 5 years old is the absolute maximum age to begin if you want to be any good. Any older than that and it's literally hopeless; you will never be good only slightly mediocre at best.
>>64200952
Start at any age. You have to practice quite a bit though. Like with any other instrument.
https://www.youtube.com/watch?v=jQLD_rPWXsE
Playing this in my college orchestra. Some of these movements seriously make me want to play Harvest Moon again.
Also, I can't get over how beautiful the 5th movement is.
>>64199662
Listen to beautiful slow movements. Closely analyze how the piece is structured, how are motives organized in the piece? How is the harmony and harmonic rhythm organized (if that applies)? How does the composer keep it from becoming placid?
A bump, for luck
>>64195877
I want THICK HEAVYWEIGHT GERMAN HARMONIES
suggestions?
>>64202136
Anything by Wagner. Also Strauss and Beethoven.
https://www.youtube.com/watch?v=wiyoLa9z1ao
>>64202136
bruckner
https://www.youtube.com/watch?v=CgXBp-oEIR0
>>64202136
Franck
A lot of times I'll see orchestras with more instruments on stage than called for, like there'll be 5 horns and 5 bassoons, what do they do? Just double the parts?
>>64202365
depends on the piece. Its not uncommon for late romantic pieces to have horns playing 4 part harmonies, in which case 5 horns isn't even enough to double each part, you'd need 8, or 16 horns.
5 bassoons sounds a bit overboard though. Even late romantic orchestra should only have 2 bassoons and a contrabassoon. 16 horns isn't uncommon though.
>>64202365
Depends on how many parts there are.
>>64202384
No I'm talking about more players than the piece calls for, like in this version of Beethoven 5 by Bernstein that clearly has at least 4 horns, 3 oboes, 3 flutes, and 4 bassoons on stage, more than the piece calls for, and you can see them all playing during the tuttis
https://www.youtube.com/watch?v=1lHOYvIhLxo
>>64202444
yeah they just double each part. Usually this happens in concerts where you're playing romantic or later repertoire, so the older classical period pieces with the smaller orchestras just get doubled, so that half the players dont have to go offstage or sit there awkwardly.
this.. is.. beautiful
https://www.youtube.com/watch?v=diIiprtmmbg
why is renaissance music so fascinating
>>64202550
Triggers my autism and I feel like it throws the piece off balance without increasing the other parts in proportion
>>64202605
>seconda pratica
>renaissance
>>64202605
beacuse is not renaissance music...
this is renaissance music:
https://www.youtube.com/watch?v=nHXtzNxzOYs
>>64202615
haha. go to more period ensembles then, or any conductor who knows what he's doing. Bernstein a shit.
>>64202836
>Bernstein a shit
t. Maximianno Cobra
>>64202974
Actually I bet Cobra would like Bernstein. They both have that horribly dragging tempo
>>64203119
Really depends on what he's conducting desu, Bernstein isn't always slow.
He's almost always thoroughly mediocre in regards to balances, dynamics, phrasing, etc. though.
>another 60% off deal
operadepot what are you doing
How's Salonen's Stravinsky?
>>64203932
I liked it, very fresh, his compositions are worth hearing too
https://www.youtube.com/watch?v=kJ-k1iphU2Q
>>64202687
Am I hearing consecutive fifths?
>>64204612
Nothing wrong with parallel fifths, you hear them barely 10 bars into Ockeghem's Requiem for example.
>>64202687
are you kidding me, it sounds medieval
>>64205472
It was written before thirds were invented, of course it sounds medieval.
>>64204612
>>64205344
yep, you should...nothing wrong with that, even in baroque consecutive fifhs was used (see Corelli)
Landini was such a badass, he became eponym of this cadence.
(hope english wikipedia is way better than the italian one)
https://en.wikipedia.org/wiki/Landini_cadence
https://www.youtube.com/watch?v=TXpgPLW_6IQ
>>64205494
>before thirds were invented
doesn't it mean that this is not renaissance
>>64205585
It isn't though, the renaissance in music didn't really start until the 17th century, so technically the first poster was right.
>>64205599
DAH FUCK?! are you serious?
>>64205697
[1]The divergent thoughts on periodization in the generations after Ambros are illustrated by Riemann’s proposal to set the ‘Early Renaissance’ as far back as 1300–1500, and by Edward J. Dent, who (in Alessandro Scarlatti, 1905) identified the ‘Renaissance’ with the rise of monody about 1600.
>rise of monody about 1600
[1]Lewis Lockwood. "Renaissance." Grove Music Online. Oxford Music Online. Oxford University Press.
It make sense too, since it was not until 1600 was there a clear break with the previous generation, and the concept of the renaissance in the arts has always been about rebirth and the revival of classical art. And classical Greek music was always monophonic and devoted entirely to the expression of words. These ideals were not really followed until the early 17th century.
>>64205787
i can't believe Oxford spread those bullshit.
this is not make absolute sense.
you just don't know what Rinascimento (renaissance) mean...
poor anglo i feel sorry for you
>>64205945
Butthurt wog please, you do realise it was a Frenchman (Michelet) who first use the term in modern historiography, and the Czech-Austrian Ambros who adapted it for his music history books. Not to mention the greatest scholar defending the use of the term in recent times, Erwin Panofsky, was a German Jew living in the United States, writing in English. You sound a little upset that Italian opinions on the term amount to little more than background noise in academic discourse.
You guy have any Charles Ives or Toru Takemitsu? Flac or 320 is fine.
>>64206057
when you say: "Czech-Austrian Ambros who adapted it for his music history books"
Renaissance it can't be adapted to the music, renaissance is not a music genre and it can't rappresent the music production of late 1300 - late 1500. And says: renaissance music born in XVII with the rise of the monody (i assume you referring to Monteverdi melodramma) doesn't make sense. 1600 is baroque. sooo: renaissance music in baroque period? maybe our historic catalogation is different...
>>64206294
Look just forget what your grade school music teacher taught you about putting the history of western classical music in neat little boxes called "medieval", "renaissance", "baroque" and "classical" etc, and use your head for once. Ask yourself why were these categories used, are there any justifications in using them, are the music composed in these periods constitute a body of similar work that is sufficiently distinct from others in order to justify the use of these terms in a meaningful way. If you read the scholarly discourse you'll find the answer to these questions are far from certain, and a scholarly consensus has never been reached about what precisely constitutes the musical "renaissance". It is as ridiculous to use the term "renaissance" without thinking as to insist that there exists a universal "classical style" that is followed by everyone composing in Europe during the late 18th century. If you can't explain what the classification means, and whether the classification clarifies matters more than obscures, then you're better off not using it altogether.
>>64206764
i don't put any music in any box fellow!
this is just the reason why i going mad when you said 1600 (seconda pratica monteverdiana) renaissance music.
Bukofzer has right "Baroque music didn't exist" as don't exist any renaissance music and any other cheesy categorization!
My 2 cent.
cheers
>>64206930
>1600 (seconda pratica monteverdiana) renaissance music
It's not just me, it's Ambrose, the very first person who used the term to describe music, I quote him here
>It was not until around 1600 that monody emerged as the artistic means by which the gifted individual came into his own, in open opposition to the artistic style that had prevailed upon then. For monody represents the delayed birth of the spirit of the new time, the time of the Renaissance, the most essential characteristic of which was that it loosed him from those mediaeval shackles and emancipated him as an individual. After all, Italy was the true land of the Renaissance, and so it was here that the individual as such first came into his own.
So it's in fact your (and Bukofzer's) definition which is wrong and revisionist, since it came later and contradicts the canonical use of the term up until then which was defined by Ambrose. I don't blame you, many such myths persists today in music, and sometimes even people who should know better don't.
I'm convinced that Monteux is pretty much good at just about everything he touches
>>64195877
Was he in the Army? His clothes look like he was in the Army.
>>64207962
French conductors are awesome. Martinon and Paray are also great
I'm awful at choosing inversions when I compose. Does this thread have any advice when it comes to that?