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firebad57 posted:I mean this in the nicest way possible, but I think it's really worthwhile to do some research on how Serialist composition works if you want to start to understand the music of Boulez and his contemporaries.
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Jan 7, 2016 17:21
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CowOnCrack posted:Alfred Schnittke - 3 Sacred Hymns Alfred Schnittke - Choir Concerto https://www.youtube.com/watch?v=VGc-Tu_1yGw
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Jan 12, 2016 03:29
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Heard Otto Respighi's "Fountains of Rome" on the radio the other day and it just floored me. Got a recording of Roman Festivals/The Fountains of Rome/Pines of Rome now. Beautiful Romantic stuff https://www.youtube.com/watch?v=vFkqyxy6oUw
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Jan 15, 2016 19:47
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Just found out about a quirky little concerto composed by Andy Akiho, who is starting to become a recognizable name in the percussion community. The work is called Ricochet and it is a concerto for "ping pong, violin, and percussion." Full score and parts can be purchased from his website. No, I am not making this poo poo up. https://www.youtube.com/watch?v=H6RwAhUiApA
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Jan 19, 2016 05:06
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Artificial Beats posted:Just found out about a quirky little concerto composed by Andy Akiho, who is starting to become a recognizable name in the percussion community. Wow I would do anything to play this piece
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Jan 19, 2016 18:05
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Just got to perform all five of Benjamin Britten's Canticles last Sunday. I still maintain that the second one is the most profound and perfect piece of vocal music ever written. It's actually brilliant. Two voices in close harmony creating the voice of God over a simple two-note piano figure and then a little mini opera followed by a beautiful epilogue. https://www.youtube.com/watch?v=N6pC8XmK3jk (not me) But I bet it would be particularly effective with a treble singer. I performed it with a mezzo. Got to sing with a proper counter tenor on Canticle IV too, which is also a very, very cool piece. Made for a perfect, hour-long program.
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Jan 22, 2016 00:38
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Just bought my first vinyl records, Beethoven's 6th symphony conducted by Karl Bohm (in mint condition!) and his 23rd and 12th piano sonatas by Richter. Does anyone else ITT listen to classical on vinyl or am I just a stupid hipster?
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Jan 22, 2016 06:02
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krampster2 posted:Just bought my first vinyl records, Beethoven's 6th symphony conducted by Karl Bohm (in mint condition!) and his 23rd and 12th piano sonatas by Richter. Does anyone else ITT listen to classical on vinyl or am I just a stupid hipster? I do! But I'm a weird classical guitar and contemporary/new music nerd. I've got lots of more "typical" records, too, though - Perlman, Bernstein, Stravinsky (conducting Stravinsky), etc. I do loves me my Bream and Segovia records. I've spent a lot of my life as part of the young guitarist "ehhh Segovia" backlash, but dude was a great drat musician and guitarist. Sure, we don't interpret Bach and Ponce in the same style anymore, but that doesn't mean he didn't have sweet, sweet moves.
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Jan 22, 2016 06:24
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firebad57 posted:
Segovia and Bream are, IMO, the two guys who really exploited to guitar to it's full effect. If you listen to either, what stands out is the extreme tonal contrasts they get out of their guitars, like, all the time. What Bream does, for example, is during a part where you have the same thing played twice, the first time he plays it really warm, right hand near the 12th fret or something, and then the next time he moves his hand really near the bridge, getting a super bright and tinny sound. Its such a cool effect, and adds a lot of umm not depth but interest to a piece. it really spices up some boring stuff like Giuliani, for instance. I can't think of any other guitarists who get such extreme contrasts regularly. Like the current school of thought seems to be to go for a consistent tone, and only go for the extremes of warm/bright like once during a movement, to highlight maybe the most dissonant chord or whatever. Which is fine, but it would be nice if, out of the current crop of extremely technically gifted GFA/Tarrega competition winners, some would be a lil bolder with their tone.
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Jan 22, 2016 15:47
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I highly admire Segovia, but if I were to choose between him and Bream I would always go for Bream. Segovia was the most influential guitarist of the last century but he had some really bad habits musically (way too often preferring changing notes over changing fingerings) while being massively reactionary to almost everything happening in 20th century music. I agree that guitarists nowadays are often somewhat afraid of using the whole spectrum of tone colours. But that's not necessarily always an undesirable development, setting standards for general tone quality. A bigger problem I see even amongst the most successful guitarist at competitions all over the world is the prevailing cluelessness (sometimes I'm afraid even carelessness) when it comes to stylistic choices and especially rhythm. It's just too common to hear a piece completely rendered unrecognisable because the soloist plainly ignores basic rhythmical indications and I'm afraid even amongst jurors many appreciate that as a sign of apparent "individuality".
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Jan 22, 2016 18:07
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david crosby posted:Segovia and Bream are, IMO, the two guys who really exploited to guitar to it's full effect. If you listen to either, what stands out is the extreme tonal contrasts they get out of their guitars, like, all the time. What Bream does, for example, is during a part where you have the same thing played twice, the first time he plays it really warm, right hand near the 12th fret or something, and then the next time he moves his hand really near the bridge, getting a super bright and tinny sound. Its such a cool effect, and adds a lot of umm not depth but interest to a piece. it really spices up some boring stuff like Giuliani, for instance. I think you're definitely right about some of the differences between the players of Segovia/Bream's generations and now, but I think that's also a function of the shifting fashions in interpreting any type of classical music across the board. What was fashionable and great about Segovia, Bream, et al - the extreme color changes you mention, over-the-top rubato, super-shake vibrato, etc. - sounds very old-fashioned to many people nowadays. I'm not saying that's correct or justified, but I think when you come into your own as a musician and interpreter (or just a person), the musical style of your parents and their time sounds really... lame. When I (mid-late Millennial) first heard Manuel Barrueco and David Russell after growing up on Segovia and Bream records, I almost poo poo my pants. The incredible consistency of tone, the elegance and subtlety in their interpretation! Holy balls, it really felt like something new and tasteful. So now we have a whole generation+ of guitarists from all over the world who find those old-school interpretations to be too over-the-top, so they react in the other direction, as you described. Many naysayers describe the French school (Judicael Perroy, Jeremy Jouve, Gabriel Bianco, etc.) as playing like pianists. In fact, that criticism is often leveled by fans of mid-20th century guitarists at all of today's generation. I think criticisms like theirs and yours are somewhat true, but luckily, I'm also a fan of piano-like guitar playing, so I get to enjoy both worlds. david crosby posted:I can't think of any other guitarists who get such extreme contrasts regularly. Like the current school of thought seems to be to go for a consistent tone, and only go for the extremes of warm/bright like once during a movement, to highlight maybe the most dissonant chord or whatever. Which is fine, but it would be nice if, out of the current crop of extremely technically gifted GFA/Tarrega competition winners, some would be a lil bolder with their tone. There are a ton of other guitarists from the mid-20th century (and later) with similar styles you might enjoy. There's a broad stylistic range here, but: (old recordings of) Elliot Fisk Presti-Lagoya Duo (and just Ida Presti) Narciso Yepes Oscar Ghilia Regino Sainz de la Maza Also, just to show what a young Bream fan might sound like, here is a video of 6 years ago me playing some Scarlatti: https://www.youtube.com/watch?v=gBaZndr4Br0 Also curious what Honj Steak will say about my riddims  . This isn't how I'd interpret this piece today, but I've gotten over my intense self-disgust to think it's a pretty fun interpretation.
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Jan 22, 2016 18:28
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Honj Steak posted:I highly admire Segovia, but if I were to choose between him and Bream I would always go for Bream. Segovia was the most influential guitarist of the last century but he had some really bad habits musically (way too often preferring changing notes over changing fingerings) while being massively reactionary to almost everything happening in 20th century music. Apologies for the double post, but this is a slightly different subject. I'm really curious about examples of what you mean. You sound like a person who is in our world, and I'm definitely familiar with the concept of what you're saying, but I'd love some demonstrations. Obviously, the subject of interpretation - and maybe especially rubato and rhythm as they relate to it - is about as subjective as it gets, so I am always curious about other people's definitions of "too far". So yeah, if you've got any audio/video examples of a player today just totally mangling a piece rhythmically in the name of "INTERPRETATION!!11", I would love to hear it.
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Jan 22, 2016 18:33
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Artificial Beats posted:Just found out about a quirky little concerto composed by Andy Akiho, who is starting to become a recognizable name in the percussion community. drat, I was going to buy it for my orchestra and anonymously donate it to see what happened, but it's $500, and the parts are just rental copies that have to be returned, so it's too expensive for a joke.
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Jan 22, 2016 18:59
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firebad57 posted:Apologies for the double post, but this is a slightly different subject. I'm really curious about examples of what you mean. You sound like a person who is in our world, and I'm definitely familiar with the concept of what you're saying, but I'd love some demonstrations. Obviously, the subject of interpretation - and maybe especially rubato and rhythm as they relate to it - is about as subjective as it gets, so I am always curious about other people's definitions of "too far". I think it's not even a question of too much rubato. If the rubato is executed faithfully so that the "stolen" time is given back and the relative proportions of note values are comprehensible I can deal with massive amounts of agogical freedom. The problem is more with plain misreading of rhythm, which unfortunately happens a lot. I was honestly horrified by the beginning of Viloteau's Fantaisie Elegiaque, especially because I usually really appreciate a lot of the things he does. That stuff is basically written like the introduction of an orchestral Beethoven piece and any conductor would keep a traceable beat for his musicians. The way Thomas plays it a lot of the lines and phrasing simply get lost and with it the immense tension building up. https://www.youtube.com/watch?v=buhQtXKc88U Also Henze. Just look for the Tentos, many (at least on Youtube) pay very little attention to the incredibly detailed rhythmical ideas that guy always writes into his music.
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Jan 22, 2016 19:23
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Honj Steak posted:I think it's not even a question of too much rubato. If the rubato is executed faithfully so that the "stolen" time is given back and the relative proportions of note values are comprehensible I can deal with massive amounts of agogical freedom. The problem is more with plain misreading of rhythm, which unfortunately happens a lot. I was honestly horrified by the beginning of Viloteau's Fantaisie Elegiaque, especially because I usually really appreciate a lot of the things he does. That stuff is basically written like the introduction of an orchestral Beethoven piece and any conductor would keep a traceable beat for his musicians. The way Thomas plays it a lot of the lines and phrasing simply get lost and with it the immense tension building up. Great examples - that kind of ooey gooey loss of pulse in that kind of introduction (see also the Preludes to Bach BWV 995 and 996) is also a pet-peeve of mine. I've also heard the kind of stuff you describe in the Henze, and as a new music dude, that annoys me even more. Just a couple of the many other examples of "oh hay it's 'modern' music so i don't have to count" include the Ginastera Sonata, everything Carter wrote for us, and Brouwer's Elogio de la Danza (and even the Sonata). BUT, I have a feeling our association of this type of rhythmic inaccuracy (seemingly induced by cluelessness) with contemporary guitar players is a wee bit of a false positive, caused by YouTube increasing our exposure to "young" guitarists. Of the guitarists in the old, dark days of the 20th century, we only have access to recordings by a select few, and in many of those cases, they were playing repertoire that they had commissioned. And we all know that Segovia was not above changing a score to match his interpretation, as opposed to the other way around. I have a feeling if we had access to as many early/mid 20th century recordings as we do YouTube videos of today's young guitarists, we would hear all sorts of bizarre rhythmical poo poo. And, on that note, there are pretty notable examples of rhythmic inaccuracy in Bream and Segovia recordings - e.g. Bream's Nocturnal almost set in stone a basic misunderstanding of a 3:4 polyrhythm. And if we expand the lens a little bit, Segovia's Bach recordings are pretty clear proof that the dude DID NOT GIVE A gently caress about adhering to the text. The Segovia/Ponce BWV 1007 arrangement is absolutely wonderful precisely because it basically states "Baroque counterpoint? Oh yeah sure, I know all about that," and then just makes it into a Ponce piece.
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Jan 22, 2016 20:56
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Wronkos posted:Heard Otto Respighi's "Fountains of Rome" on the radio the other day and it just floored me. Got a recording of Roman Festivals/The Fountains of Rome/Pines of Rome now. Beautiful Romantic stuff Are there any good Romantic-style tone poems from after World War II, or did it die out entirely in favor of atonal/modernist stuff? My appreciation for classical ends around 1920 and I'd really like to hear music that picks up where Respighi, Rimsy-Korsakov, Sibelius, Novak, etc. left off. I can't do modernism, serialism, or socialist realism. And since I mentioned Novak... https://www.youtube.com/watch?v=vkex73-zw5s I grew up in a family that listened to classical music and had never even hard of Vitezslav Novak before, he's quite good and it's puzzling how he ended up so obscure (although Austria, Germany, and Russia playing hacky-sack with his country certainly wouldn't help). Woolie Wool fucked around with this message at 02:05 on Jan 28, 2016 |
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Jan 28, 2016 02:03
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Woolie Wool posted:Are there any good Romantic-style tone poems from after World War II, or did it die out entirely in favor of atonal/modernist stuff? My appreciation for classical ends around 1920 and I'd really like to hear music that picks up where Respighi, Rimsy-Korsakov, Sibelius, Novak, etc. left off. I can't do modernism, serialism, or socialist realism.
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Jan 28, 2016 02:24
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I am going through the 'How to Listen To, And Appreciate Great Music' Learning Company course, and I am flabbergasted at the complete lack of equivalent guidance for pieces available publically. Typically, the narrator will describe the artist and era and go over the form of the piece (and divergence) as well as the themes musically, interpretively - and finally listen with you, pointing out major sections. For example, in Beethoven's 5th he compares with Haydn : lyrical classical theme versus fundamental romantic. How the first movement is made of sequenced and inverted motifs, the lack of meaningful cadence . How that transforms with polphony, sequencing and return - with the original them being truncated more and more to a death - overall how the major and minor themes can symbolise life and death's struggle against each other. in Tchaikovsky's Romeo and Juliet Overture he describes the themes: Hymnal, Conflict, Love and Sighing - how they play out in a symbolic retelling of the Shakespeare play and just WHY that G# stab in the Coda is so bloody important. THIS is interesting and THIS gives context and understanding to the music we listen to - and yet there is almost none of it to be found as far as I can tell, except in the most dry and soulless musical scholarship articles. WHY do we not have this kind of information as guides on YouTube more obviously? I have had to seek this out myself after struggling through dozens of 'video of orchestra' and flat audio files, and I can only think it would allow more people to
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Feb 10, 2016 20:40
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I went through that course just recently and adored it. I'm now on one of his other courses, The String Quartets of Beethoven, works that I regrettably have never listened to before. It is similarly fascinating and engaging, and I am really blown by the quartets. I adore Beethoven's symphonies, but I really didn't know what I was missing by not checking out his work in other compositional genres.
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Feb 10, 2016 21:43
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CowOnCrack posted:Alfred Schnittke - 3 Sacred Hymns Lost the bookmark at some point, so I saw this just now. It's wonderful, thanks!
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Feb 10, 2016 21:57
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Southern Heel posted:I am going through the 'How to Listen To, And Appreciate Great Music' Learning Company course, and I am flabbergasted at the complete lack of equivalent guidance for pieces available publically. Isn't that a $500 50 hour video course? I'm pretty sure there's nothing like it on Youtube because it's a huge amount of work that nobody with the necessary knowledge wants to just give away for the <1000 people that would actually watch it and learn from it.
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Feb 10, 2016 22:18
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Southern Heel posted:I am going through the 'How to Listen To, And Appreciate Great Music' Learning Company course, and I am flabbergasted at the complete lack of equivalent guidance for pieces available publically.
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Feb 10, 2016 22:29
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^ No, it is a $9 audible book, but I see your point to a degree, but the same could be said about any instructional video or free-to-air documentary.James The 1st posted:That's the great but also challenging thing about music, you as the listener are the one that creates the context. It kind of ruins the experience of hearing music if someone needs to tell you that you need to feel sad at this point and then triumphant at the next. Interpreting the Revolutionary Etude - yes. Eine Kleine Nachtmusik? Of course - it is music that is meant to be interpreted. However, huge swathes are written very deliberately in what they are conveying (that the funeral theme from Symphony Fantastique by Berlioz is infact Deus Irae) or contain a specific formal technique - such as the format of a Fugue, which REQUIRES one to know what is going on -otherwise there is no understanding of that part, and a significant aspect of the music is lost. Sure, if you listen to 'Heard it on the Grapevine' in Swahili you could get the sounds, but a huge part of that song is a story - and a story which in concert music is as far as I can see, cloistered in libraries and music appreciation courses.
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Feb 10, 2016 22:59
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Southern Heel posted:^ No, it is a $9 audible book, but I see your point to a degree, but the same could be said about any instructional video or free-to-air documentary. James The 1st fucked around with this message at 02:34 on Feb 11, 2016 |
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Feb 11, 2016 02:32
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Southern Heel posted:I am going through the 'How to Listen To, And Appreciate Great Music' Learning Company course, and I am flabbergasted at the complete lack of equivalent guidance for pieces available publically. Does this cover any 20th century stuff?
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Feb 11, 2016 05:19
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Southern Heel posted:^ No, it is a $9 audible book, but I see your point to a degree, but the same could be said about any instructional video or free-to-air documentary. Oh, it's gotten significantly cheaper then. And yes, of course that could be said about anything. And from my experience, it is true for everything. I'm not aware of any lectures of similar scope with an intellectually comparable subject that are available for free (Unless you count illegally uploaded history documentations, and even those are usually more histotainment than college lectures.) A human heart posted:Does this cover any 20th century stuff?
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Feb 11, 2016 10:51
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https://www.youtube.com/watch?v=sEf6oYgAWSE I'm going to be entirely honest that I don't really *get* this piece, musically, but the technical bits of what the trombonist has to do here are fascinating. For one thing, in several movements, there's notes where he's forced to activate and inactivate his F-attachment while simultaneously manipulating a plunger and moving the slide, necessitating the use of a bit of string tied to the trigger which he has to yank on, from an imperfect angle, at extremely precise times. Moreover, in addition to vocal multiphonics (singing one note while playing another), he's manipulating his embouchure to create a controlled double buzz during a lot of the crunchier, for lack of a better word, double-stop sections, and the piece is hard enough just from the range, rhythms, dynamics and microtonality. I'm impressed despite myself.
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Mar 25, 2016 23:47
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if there is one thing that my BMus has taught me it's that sometimes you make these things just to demonstrate that you can  Stuff like that reminds me of Berio and his Sequenzas, covering all possibilities of the instrument https://www.youtube.com/watch?v=DGovCafPQAE Of course I link the voice one because I trained in voice
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Apr 8, 2016 07:44
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The trombone Berio Sequenza is typically played in full clown regalia.
Kytrarewn fucked around with this message at 10:00 on Apr 9, 2016 |
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Apr 9, 2016 06:26
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Hey guys, Mahler 10 is good. https://www.youtube.com/watch?v=IKLt_Y7Laok god bless
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Apr 9, 2016 07:05
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I just heard Erik Satie's "Gymnopedie no. 1" played by Joseph Villa at the end credits of My Dinner With Andre, and now I want to hear more Satie. Whose rendition of his stuff should I get?
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Apr 10, 2016 07:53
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http://www.metalsucks.net/2016/05/20/exclusive-premiere-chopin-prelude-in-e-minor-performed-as-a-black-metal-song/ Look, Mom, we're on MetalSucks, doing a silly thing that a friend somehow convinced us to do. It's so fun to finally have YouTube commenters making GBS threads on something we put out - normally we don't get enough views for that. And just FYI - this is not a serious arrangement, it's a bunch of serious musicians having fun with repertoire. I'm thrilled to have made a fun thing that can now piss of classical music fans AND metalheads. We actually originally tracked the melody part at pitch (whenever possible) though when we retracked it later (for Reasons), we dropped it an octave in a couple sections. Clearly a dumb mistake, but OH WELL.
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May 21, 2016 02:36
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Black Metal Chopin? Not bad but it's no Black Metal Chef. https://www.youtube.com/watch?v=CeZlih4DDNg Doctor Malaver fucked around with this message at 00:18 on May 23, 2016 |
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May 23, 2016 00:16
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Burned through this thread over the last week or so because my wife told me a week ago that someone in her department at the university was recruiting people for an orchestra, and today I got notice that they have enough people to put one together  Blasting some of my favorite pieces/part for my weapon of choice (French Horn)-https://www.youtube.com/watch?v=-OqV503vUWA- Concerto No.1 in E-Flat Major, R. Strauss https://www.youtube.com/watch?v=LPkiSzUqAgM- Concerto No. 8 in C Minor, F. Strauss (though this version is not super-great in my opinion) https://www.youtube.com/watch?v=lV4g0J3aOqk- Morceau de Concert, Saint-Saens (part 2 is in the sidebar) https://www.youtube.com/watch?v=9jyK1VKp86M- Concerto No. 1 in D Major, Haydn (the first ~16 minutes) Cool horn parts in orchestra/band pieces maybe later. E: Is there any way to get the forums to not parse pasted Youtube links as [video type="youtube"]uhihbibihbibibb stuff? C-Euro fucked around with this message at 06:09 on Jun 5, 2016 |
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Jun 5, 2016 05:29
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C-Euro posted:E: Is there any way to get the forums to not parse pasted Youtube links as [video type="youtube"]uhihbibihbibibb stuff? If you shove it in the middle of [ url] tags, it should work. Like this You can even put in timestamps Or you could just be boring and leave the URL unobscured: https://www.youtube.com/watch?v=0sEvZQE8sQM
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Jun 5, 2016 09:06
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Orchestra update: Not only do they want to play all of Beethoven 5, they want me on Horn 1  Fortunately the horn part isn't super-technical, but drat what a way to get back to playing.E: Gonna repost this awesome version of this piece conducted by Carlos Kleiber- https://www.youtube.com/watch?v=tvO3sq_xIIg C-Euro fucked around with this message at 05:17 on Jun 19, 2016 |
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Jun 18, 2016 18:53
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C-Euro posted:Orchestra update: Not only do they want to play all of Beethoven 5, they want me on Horn 1 You'll be fine, that's a fun part. Make them play Brahms 1 too. How are your transposing chops? I mean, all the modern copies of works have parts transposed to F horn, but that's no fun. Okay, I looked through the Beethoven and it does have a high Bb for like two measures, but that's the only range-y part. The rest is all in a good fun loud range, you'll be pretty tired after the first rehearsal I bet but it comes back quickly.
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Jun 19, 2016 06:15
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For the past 2 years, I've been "stuck" on Late Beethoven, by which I mean that I keep returning to this music again and again. There is a wonderful transcription for string orchestra of the late quartets on Spotify by a guy named Terje Tonnesen. Highly recommended. The standout for me is the Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode, belonging to String Quartet No. 15 in A minor. https://open.spotify.com/album/33Y5IX9Gj7iohnLIejbwXU
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Jul 10, 2016 07:32
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objects in mirror posted:For the past 2 years, I've been "stuck" on Late Beethoven, by which I mean that I keep returning to this music again and again. This movement (well the string quartet version, I haven't yet pulled up this version, planning to) is seriously one of the most profound pieces of music I've ever listened to. It's the kind of music that transfixes you and alternates from heart-aching anguish to soul-mending serenity, and back all over the emotional spectrum again. This is my favourite recording of it, by the Guarneri Quartet. This set contains all of Beethoven's quartets and it is fantastic all the way through, but  , they do a fine rendition of the op. 132. https://open.spotify.com/track/6jkS4JMeWIaiFpm7jyUFBB
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Jul 10, 2016 19:45
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objects in mirror posted:For the past 2 years, I've been "stuck" on Late Beethoven, by which I mean that I keep returning to this music again and again. This is pretty glorious. The themes, especially in the first movement remind me of the themes in Mendelssohn's Sinfonia No. 9 in C Major.
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Jul 10, 2016 22:59
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