The joke is that a popular piece of music written by a composer named Christian Petzold was falsely attributed to the famous Johann Sebastian Bach for a very long time, so we facetiously suggest that Bach deliberately plagiarized Petzold, and that all of Bach's works are in fact attributable to him. Thus, we must keep everyone aware of Petzold, lest his genius fade into obscurity.
Colton Wilson
music, like a drug, is nothing more than entertainment commodity
why is Sup Forums so cancerous nowadays, feels like reddit or someshit
Wyatt Morales
Sup Forums has always been reddit, even before reddit existed.
Chase Richardson
classical music discussion is better on reddit
Ian Scott
It's also really slow and boring and doesn't have enough memes.
Charles Roberts
music and food cant be compared, they have way different attributes like fresh ingredients, cooking techniques, recipes. With music youre not following certain recipes really. Food people make things already made like burgers or pasta, so in music world that would be plagiarizing. And it could also change, are certain types of food better (burger
Easton Wilson
A composition is a recipe, an interpretation/performance is someone actually cooking the food. The instruments are your ingredients.
Sebastian Flores
>"Using music as a drug is stupid" Stockhausen All best music combines exultation with intellect, so he was just another too edgy for you 20th century contrarian faggot.
Parker Evans
Petzold
Jeremiah Bailey
Any highly rated docus?
Austin Martinez
In Search of Mozart
Jonathan Carter
>plebs don't know that dudes like Beethoven were occultists and merely transcribed music from higher dimensions and didn't compose it themselves at all
I'd say das lied von der erde, klemperer with ludwig and walter with ferrier are both fantastic versions with some of the best singing you'll ever hear also the second and ninth seem to be the most popular overall?
Julian Anderson
Depends where you come from. I like all of them but the 8th and 7th.
Henry Johnson
Which is the best version to the 1st Symphony then? I always hear that Abbado, in general, is the best for Mahler.
>Abbado, in general, is the best for Mahler. >vomiting_madotsuki.png
Bentley Brown
Who are the best for Mahler?
Jaxson Lewis
me
Michael Lee
Petzold.
Thomas Roberts
Just listened to Ligeti - Aventures.
Pure pseudointellectual crap.
Noah Taylor
It's parody
Chase Martin
What about Mahler's 2nd Symphony? Who should I listen to?
Elijah Foster
Listen to your heart.
Easton Phillips
klemperer the emperor
Dylan Parker
if you're just exploring the symphonies for the first time, then listen to whoever.
no point getting autistic about recordings until you've familiarized yourself with the pieces.
Jaxson Sanders
that's outright stupid, i hope you're trolling. hearing a shit performance of a piece can turn you off from it just as easily is this your first day listening to classical music?
Angel Perez
Which headphones are you bus boys using for your classical consumption?
Anthony Reyes
Petzold
Isaac Lewis
Tennstedt, Horenstien, Klemperer
Anthony Martin
he would be perfectly fine with grabbing whatever is in one of the mega links and going about his day
Joseph Reyes
Should I just get every recording available and listen to all of them? That seems like it would take an eternity if I did that with every piece of music I listen to.
Jaxson Sanchez
Beyerdynamic DT 990 Pro 250ohm.
Joseph Bennett
There's not a lot of shit performances on major labels, they might not be to your liking but they will fine for a newcomer.
Nolan Jones
No listen to a variety of music, not 100 of the same symphony. Save that for when you are more experienced.
Benjamin Reyes
I disagree. I thought Beethoven's Symphony no. 6 was boring shit for the longest time because I listened to Karajan, but when I finally listened to it again, this time conducted by Furtwangler, it felt like an awakening. So recordings do make a difference.
Charles Gray
Thoughts on Karajan's interpretation of the 9th?
Evan Hughes
That one was probably fine, but I don't really remember. Sorry. Maybe someone else can respond.
Brayden Lopez
i'm not saying that recordings don't make a difference, but merely that the perspective of those differences are shaped depending on the way you first hear the music. radical interpretations like a Furtwangler for instance are only "radical" by comparison to more "straight-laced" recordings. if you heard a Furtwangler recording first, you don't really have the proper context for what's different than a typical performance.
i remember Maria Callas used to say that whenever she was learning a piece, she would always take an extremely straight-laced approach with as few interpretive modifications that she could muster. then, later, she would adjust the piece more to her own interpretation.
i think a similar approach towards recording is fine. i know it's comforting to know that you're listening to a "good" version for your first time listening to a piece, but i think it's fine to listen to a Karajan or a Abbado to at least familiarize yourself with a piece. and if you think the music is interesting from what you heard you can explore more. just my opinion.
there are a few cases where an initial reception to the music is bad because of a flawed performance, but i can't say i've had too many of those personally. by the way, my first Beethoven 9 was Furtwangler's 1942 performance. when i heard other performances thereafter i thought people were just doing it wrong because the timpani wasn't being hammered.
Tyler Butler
Where to start with Zelenka?
Oliver Edwards
You're right about perspective, but a good first impression always helps because it gets you excited about the music in the first place, making you want to listen to it again and again, along with different interpretations, as opposed to a bad first impression, which will leave you uninterested, possibly never listening to the piece again. I guess that's not the worst thing in the world, but it's always something you could have potentially loved that you were missing out on.
Jayden Hernandez
speaking of Furtwangler if any fans of his are interested, i've uploaded a BBC tribute of his from 1964.
it's a sort've perspective on the artist, containing eminiscences by musicians that performed under his direction with excerpted musical illustrations.
commentators are: Vladimir Ashkenazy, Daniel Barenboim, Elisabeth Furtwangler, Szymon Goldberg, Berthold Goldschmidt, Eugene Goosens, Hans Keller, Rafael Kubelik, Walter Legge, Friede Leider, Paul Kletzki, Yehudi Menuhin, Gregor Piatigorsky, Elisabeth Schwarzkopf, Friedelind Wagner.
it's about 81 minutes long and has some fairly interesting tidbits. there's an especially amusing one about a row that Keller and Furt had regarding modern music.
Adrian Green
>why is Sup Forums so cancerous nowadays, feels like reddit or someshit >nowadays It's always been Reddit and Tumblr tier.
Jonathan Cooper
...
Dylan Hall
Everyone talks about how great Furtwangler's 9ths are but they seem too slow at times and the percussion is too loud and drowns out the other sections.
Xavier Rivera
Why is guitar the best instrument ever created? What makes it sound so much better than everything else?
Adrian Howard
slow at times, extremely fast in others. but that was his flexible and romantic style.
i must admit that he doesn't do my favorite 9ths either, but the 1943 performance is quite excellent. i'm not too big on his his post-war 9ths which seem a bit lacking to me, though they do solve that excessive percussion which you mention.
actually the percussion was likely an issue of the recording limitations of the time, his sound engineer in the war had some interesting things to say about his experiences with Furtwangler:
>Furtwängler always asked me if I had any comments to make. I remember once, when we recorded Beethoven's Ninth in Salzburg, he made the timpani play so loud I feared we wouldn't be able to record them faithfully.
>To the astonishment of my Austrian colleagues I went out onto the orchestra balcony to tell Furtwängler it just wasn't possible. They all trembled because they knew what Furtwängler was like. But they didn't know the extent to which he listened to my advice. He saw me standing up there and said: «I imagine that the timpani are much too loud again?» «Yes» I said and he: «but it is so beautiful». So I said: «All right, then». However, things were not easy with microphones in those days. One had to be very careful about dynamics. In fact, even the slightest overloading could cause not only distortion but even ruin the broadcast signal itself. So I had to be careful.
it could also just be due to tape damage. the ruskies treated those tapes like shit, as many have issues while others sound absolutely incredible for their time (the Bruckner 5th, for example)
Ayden Jackson
This and capriccios
Joshua Walker
Ivan Fischer
Carson Martinez
It's too bad it isn't loud enough to play with orchestras but the silver lining of that is softer wood like cedar sound more pleasant, or "warmer."
