Contemporary bullshit edition.
Post your favorite composers and compositions from the past ~100 years, complain about degeneracy, shit on minimalists, etc.
>inb4 how do I into classical posts
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Eliane Radigue
Luigi Nono
Giacinto Scelsi
Luciano Berio
Arvo Part
Hey lads I'm looking for late 19th - early - middle 20th century composers
Particularly the one's that are considered "essential" since I'm not well versed in classical
Someone in the likes of Shostakovich, Stravinksy, Ravel, Debussy, Mahler, Strauss, all that good stuff
No serialism or stochastic music
Does anyone have a mega folder with Gould interviews?
Anyone?
>similar to Shosty and Stravinsky
Prokofiev, Hindemith
>similar to Ravel and Debussy
Lili Boulanger, Faure, Poulenc, Milhaud
>similar to Mahler and Strauss
Bruckner, Brahms, early Schoenberg
Of course this list is very wishy washy and incomplete.
is dvorak plebian?
Thanks
I've never heard of Poulenc
What are his essential pieces?
Yes but enjoy what you enjoy senpai
His woodwind sonatas, nocturnes, and sacred works which I'm not familiar with, concerto for 2 pianos, rhapsodie negre if you want to listen to some guy sing gibbrish and passing it off as an African language.
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Can a /classical/ fag give a newcomer insight on how to being with Bach?
>inb4 spoonfeedme
Actually, yeah. I began listening to classical music last month, so I'm pretty lost.
I didn't think it would be important for me or anything, but now I literally won't listen to anything else. Help?
Is this general dying? I remember it being more active.
Gould's and Richter's recordings are the best. Definitely stay away from Schiff and Barenboim.
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You don't have to listen to all of them in one sitting, just pick it up every once in awhile and stare at the scores and try to understand what's going on.
Grab Suzuki's cantatas, Harnoncourt's Matthew Passion, anything by Richter, Yudina, E. Fischer, and Nikolayeva, and Queyras for the cello suites.
Thanks!
depends.
if you only listen to the 9th sympho and 12th quartet then pleb. otherwise he's a good patrician-approved composer. His 13th and 14th quartets especially constitute some of the greatest Romantic chamber music
took a course on 20th century music last semester. shit was pretty cool
George Antheil - Ballet Mechanique
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Gerard Grisey - Les Espaces Acoustiques
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Frederic Rzewski - Coming Together
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Rzewski - Winnsboro Cottonmill Blues
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Rzewski is a fucking musical psychopath.
does anyone recommend a recording of Milhaud's "Creation of the World"
>Emerson shit quartet
Here's summa my favorites:
>Solo Violin Sonata No.3 C major
>Solo Violin Partita No.2 D minor
>Passacaglia "and fugue" in C minor
>Violin+Keyboard Sonata No.3 in E major
>Harpsichord Concerto No.1 in D minor
>Well-tempered clavier picks: C sharp minor book 1, b minor book 1, e major book 2, b flat minor book 2
>Cantatas No.21, No.146
>Mass in B minor
>Brandenburg Concerti Nos. 2, 3, 5
>Fantasy and Fugue in G minor "Great"
>"Chromatic" Fantasy and Fugue
>Orchestal Suite No.2 in B(?) minor
>Goldberg Variations
>Art of Fugue. Make sure you listen to a keyboard rendition, and not a shitty chamber ensemble or string quartet. It's a very dense work, though. If listening to the whole cycle is a bit daunting, try contrapunctus 1, 11, and 14.
jeez, you're been cucked hard dude...
The 2nd Keyboard concerto in E major is also really good. A lot of people like his cello suites too. I think they're excellent pieces, but they're not my favorites.
>inb4 how do I into classical posts
nice
Is there anything else like Carolina Shaw's Partita? I like the spoken word meaningless gibberish.
Also the Violin Sonata No.5 in F minor is beautiful and sad too. I've been compiling a calendar for sonatas in June and Bach gets triple representation there with the three violin sonatas I've mentioned.
>like
Glass: Einstein on the Beach
>spoken word gibberish
Berio: Sequenza III
who is your favorite interpreter of Bach's Sonatas and Partitas? i think Arthur Grumiaux is my favorite
>Art of Fugue. Make sure you listen to a keyboard rendition, and not a shitty chamber ensemble or string quartet. It's a very dense work, though.
>implying Bach developed the Art Of Fugue exclusively for keyboard intruments
yes, I'm implying that because it's true.
ditto. I'm also a fan of Midori Seiler's period instrument performance of the partitas. I think she's one of the leading baroque/classical specialists out there right now. Her reconstruction of the d minor violin concerto is spectacular too.
ooo i haven't heard of this before. will be checking it out, thanks!
She's also got the three sonatas coming out in five days. Gonna give that a listen when it's out; I'm sure it will be great.
I need something very upbeat and happy. Can't be any of the classic masters.
What'dya got?
Giacinto Scelsi
Morton Feldman
Meredith Monk
Luigi Nono
Gyorgy Ligeti
Also check out Koroliov's Art of Fugue and Zhu Xiao Mei's Goldberg Variations
How do I into atonality without being drained afterwards? I finally got around to Pierrot Lunaire and I enjoyed it but good Lord it was taxing.
Anyone knkw what model Privia this is?
I dont recall them being priced under 400 even at entry level.
I just don't like classical classical
I dig you
g-guys, is it this one?
Bump
Strauss's Metamorphosen or Schoenberg's Verklarte Nacht?
>yes, I'm implying that because it's true.
source?
Metamorphosen
"yes, ignore the fact that the entire cycle is playable with two hands and has all the hallmarks of bach's clavier writing; and that the entire tradition of "speculative" contrapuntal music (dating back to scheidt's tabulatura nova and frescobaldi's fiori musicali) is a history of clavier music - music intended for private study."
"There is a long history of notating speculative keyboard music in individual parts, going back at least to Scheidt's Tabulatura Nova of 1624, the name of which suggests that it was primarily intended as keyboard music. Bach is known to have studied Frescobaldi's Fiori Musicali, which was also notated in individual parts.
Non-keyboard ensemble music would not playable on keyboard instruments at all."
-t. Florian Walch, Viennese musicologist
one isn't regarded as a first-rate composer for no reason
do you like classical /classical/?
Schumann's Cello Concerto is very underrated.
Most cello concertos not named Dvorak's B minor are underrated
Winterreise is ersatz trash and Fischer-Dieskau is a fraud.
Let's play a game.
>open up foobar or whatever you use
>put in all your recordings you have of one work, your choice
>sort them in order to make the fastest (or slowest) performance of said work
Here's what I got for Bruckner's 8th.
>everyone else's Sanctus takes ~16 minutes
>Szell does it in a little under 6
wew
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I've asked this before, but is there anything like this? Probably the most beautiful piano piece I've ever heard.
Bump
is there anything more beautiful than:
brahms - ein deutsches requiem - ihr habt nun traurigkeit
?
So you guys like classical, huh?
can anyone reccommend something to me based on qualiy of recording alone? I wanna hear some really nice sounding classical.
Victor de Sabata's Tristan und Isolde
Anyone want to point me towards music of this style?
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Is Schubert's 9th good? Seems kinda dry on first listen. Also, any good recordings for it? I'm eyeing Solti/Weiner 1982.
>Public performance radically changes the way music is heard and, indeed, the way it is played. We can see how works can become misunderstood through the conviction that all music is public by the idiotic program notes that now inevitably accompany almost any performance of Bach’s Art of Fugue, as a whole or in part, and perpetuate the early twentieth- century legend that this work is abstract thought, written for no specified instruments. This is non-sense, as it was intended like another educational work, the Well- Tempered Klavier, for two hands at a keyboard (this was well understood throughout the nineteenth century)— what keyboard was, indeed, not spelled out for either collection because they are works intended to be played at home on whatever keyboard you owned— clavichord, harpsichord, small portable organ or early pianoforte (in his last years Bach was a supporter of silbermann’s manufacture of pianos, and even helped to sell them). Bach had the four- part counterpoint of the Art of the Fugue printed on four staves as that made it easier to study— and even to perform at that time for any competent keyboard player, as most could then read proficiently from score. The manuscript, however, was written on two staves and looks no dif f erent from The Well- Tempered Klavier (in proper english, The Well- Tempered Keyboard) or, indeed, any later piano piece.
t. Charles Rosen
>favorite composers from the past 100 years
John Adams
Richard Einhorn
Kurt Weill
Steve Reich
Arvo Part
>For performance today, the question is simply how to make this great music interesting and effective for a public, a question that would have made no sense to the composer because there was no social or commercial institution at the time in which it could have been performed publicly. The Art of Fugue was intended to teach you how to write different kinds of fugues, something that is properly learned only by playing all the parts oneself. Performance by several instruments may perhaps be a good answer for public performance today, as varying the sonority may stimulate interest, or at least reduce the monotony, but it considerably distorts the original texture of the work. Although i recorded the work on the piano and played many of the pieces in public, i have consistently refused to play the entire work in concert, as i neither want to perform or hear at one sitting sixteen fugues all in d minor on the same theme executed with an unvaried instrumental timbre. of course, a few fugues played for oneself every day for a week can be not only an instructive but an inspiring experience.
Eugh.
Grow up.
>An arrangement for several instruments, however, would have been unthinkable during the composer’s lifetime, as many of the fugues are written in what was called “antique style,” an alla breve texture that was never used at that time for anything except choral music or a solo keyboard. Concerted fugal style, like the last movement of the Brandenburg Concerto no. 5, on the other hand, was a dif f erent matter altogether. That is why a performance of the antique style six- voice ricercar from Bach’s Musical Of f ering on six early eighteenth- century Baroque instruments is no more authentic or correct than the idiosyncratic but beautifully original arrangement by Anton von Webern, as this fugue was intended only for two hands at a keyboard (most likely a silbermann piano-forte, as it was the favorite keyboard instrument of Frederick the Great, who ordered the fugue— he had sixteen of these instruments).
people meme about how bad Tabula rasa is, and I don't like it very much myself. any insight into that piece or recommendations of other Part pieces to get me on your side of things? also nice going on the Weill. I love him.
Shoo shoo, Poly.
Sorry if it isn't patrician enough for you but I listen to what I like. I don't really hold some anonymous opinion in a very high place.
I actually really like Tabula Rasa. Here's a link to another of his good pieces.
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Bartók was inspired by pretty much everyone on that list sans Shosty/Mahler
Don't be turned off by SVC. Berg and Schoenberg owed a lot to Mahler in particular. Just avoid the serialist stuff. Webern... Well, he was always weird.
Also try Zemlinsky. He wrote "the quartet's that Mahler never wrote"
Ravel took a lot of cues from Americans in his later career. See: Ives, Copland, Gershwin
why do some pieces have certain colors that I associate with them?
For instance, Stravonsky's Rite always struck me as a bright green, whereas Bartók's Mandarin a deep red
>just learning about synesthesia
it means you have autism
congratulations
It's an actual problem people have but people also pretend to have it to seem oh so Le special. XDXD. Liszt had it.
Has there ever been a good musician with that?
I can't see shit, but I do stop breathing and nearly pass out if a piece is good enough.
>Kurt Weill
what do you like about kurt weill his music never made any impression on me
I just find his songs very enjoyable. I like how they can be very dark too.
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Franz Liszt and Olivier Messiaen cone to mind if you are asking about composers.
didn't Scriabin have synaesthesia, too?
He said good composers, though.
Yup. That's how he ended up with the Clavier a Lumières.
>Scriabin_keyboard.svg.png
You mean Fisher Price.
In Scriabin's time, Synasthesia was referred to as Fisher price o vision. A very little known fact.
>F3
>no "Schnittke" to be found
welp. is this thread just pleb central?
the man that made the Cello Concerto in B minor and thus, gave the opportunity for Rostropovich to shine like a supernova, is no pleb under any context, my friend.
>Shitnittke
Poly you've had your fun in this thread already, just let the adults talk now.
Liszt isn't a good composer, though.
That guy isn't the same guy as me (the one who wrote the comment) and Liszt is a good composer.
>implying
pic are some of my favorites.
Stockhausen's stimmung and some of his other vocal works.
Schnittke is pretty unknown, even in /classical/
I've only just arrived though...
>of a keyboard work
without jest
that performance is mostly keyboard though.
And Like I said, It my favorites. There hasn't been a better recording made imo. Piano sounds so cold and lifeless compared to beautiful non vib strings and the baroque character of harpsichord.
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/classical/ and Sup Forums
tonalities have colors.
d major is green, d# major turquoise, d# minor turquoise with a bit of gray, e major is light blue, e minor is glacial blue, f major is kind of a mix of orange, green, blue and brown, f minor is teal
etc etc
>Has there ever been a good musician with that?
Yes, me.
How? Btw, any classical musicians here? I have always had a huge problem recognizing pitches, chords etc. I couldn't find a solution for this for years and years, it really amazes me when someone can even see colors of certain tonalities.
I grew to believe I could never be a good musician without a strong knowledge of theory and absolute/extremely good relative pitch.
can we all agree that stockhausen is shit?
yeah. paul maccartney tier
no. Find me a composer who uses spatial elements as well as he does. His early electronic music has yet to be topped in that genre too. An exceptional composer who pretty much defines "too deep for you" for listeners with closed minds or old fashioned sensibilities of music.
>decide to actually watch and listen to Orpheus in the Underworld
>so much legitimately funny and enjoyable music in it
>Just the infernal galop is memed
It's so sad, though I don't think he would have minded it too much.
What are other essential operettas?