My favorite harpsichord piece is teh Goldberg Variations
Michael Barnes
Brandenburg 5 for the godly cadenza
Justin Phillips
None, I can't stand the timbre of a harpsichord. Almost everything is better on the piano (except some Bach)
Ryder Jones
I think it has a really pretty sound.
David Allen
you know Brahms' 2nd piano concerto is really fucking boring
Jackson Sanchez
Schumann in his ''Advice to Young Musicians'' says
>It has been thought that a perfect musician must be able to see, in his mind's eye, any new, and even complicated, piece of orchestral music as if in full score lying before him! This is indeed the greatest triumph of musical intellect that can be imagined.
Is this one of those things that you can do only if you practice since you were 3? Can an adult possibly learn to be such a good transcriber? As soon as I've read that I immediatly had the impression that I am currently experiencing music at a lower level than people like Schumann. How much practice and time does it take to reach that level of musical literacy? And do I have to play an instrument to do so?
He also says
>As you grow up, become more intimate with scores (or partitions) than with virtuosi.
Does he literally mean that he can understand music just by looking at scores? To what extent can this be applied? Can trained composers read something as complex as a Mahler symphony and hear EVERYTHING that is happening (or at least imagining it in a correct way)? Can this be trained too?
Chase James
all I know is that my ear is dogshit yet somehow I did well in my aural skills classes
Easton Robinson
I can't stop popping boners for fugues what do I do
Austin Young
lear how to compose them and become the next Bach You only need 50 years of intensive training
Jace Cooper
listen to chopin's fugue on repeat until you cringe upon hearing every voice drop out except for one in the development section of a sonata form
David Jones
Gonna recommend the Orford String Quartet, never heard of them before but their playing easily ranks among the elite and is a lot more exciting than the usual academic stuff. Tully Potter called them "among the most impressive Beethoven ensembles" and so far I'd agree.
Whether or not it's possible, it's definitely not something you develop even within 10 years of training. I'd say start simple and try to push yourself as far as you can, and then see for yourself whether it really is possible or if he was just boosting his ego.
Jason Walker
The Romantics always had big egos
Brayden Thomas
Well, Schuman wrote those advices in his early 30s, and he started studying intensivey composition, theory and doing ear training only in his early teenagehood, so it's fair to assume that he developed those skills in about 10 years (less than that actually, since he was already composing when he was 22 without being able to play most of his compositions).
He had a few composition lessons in his teenagehood, but his training was anything but fomal. Since he always composed with only pen and paper it is fair to assume that he actually had mastered those abilities in those years.
Luke Barnes
>tfw absolute pitch
Jose Foster
>Is this one of those things that you can do only if you practice since you were 3? Can an adult possibly learn to be such a good transcriber? No, some are born with it. You either hear original music in your head or you dont. It cant be taught.
>Does he literally mean that he can understand music just by looking at scores? To what extent can this be applied? Can trained composers read something as complex as a Mahler symphony and hear EVERYTHING that is happening (or at least imagining it in a correct way)? Can this be trained too? Yes, you can get a lot from score study. After some practice and familiarity with the piece you can "imagine" what a score will sound like. Not with 100% accuracy, but you can get the gist of what it will be like.
I always found score study is best done while listening to the music. Listen as you follow along. Pause when you come to parts that you like and look at them in the score in more detail.
Some conductors say that silently reading through a score is the purest way to experience music. I disagree.
>50 years Only really takes a couple of months to learn how to write fugues. Already knowing counterpoint helps
Dylan Morgan
a lot of Saint-Georges Violin concertos have nice harpsichord accompanyment
Carson Walker
What music is playing in the background of this website?
>No, some are born with it. You either hear original music in your head or you dont. It cant be taught.
I can easily imagine new music. Every night before going to sleep I'll just imagine original music, usually string quartets and piano pieces, until I get asleep. Still, this wasn't the skill I was questioning. I was asking if learning how to read and imagine scores in your adulthood is possible, and how much work does it take to get to a point where you can read comfortably complex scores (such as Mahler symphonies).
>Not with 100% accuracy, but you can get the gist of what it will be like. Again, how much practice does it take to acquire that degree of musical literacy? Also you're saying that you can't imagine it with 100% accuracy: what about people who write symphonies? Do they just write an approximation of what they want to hear and then balance it with a real orchestra? I'm asking it for 2 reasons: 1) I've got lots of music in my head, and I'd love to be able to transcribe it. The one thing that I hate about my current imagination is that it is not grounded in any notion, therefore it is very poorly structured. It's just a costant succession of different musical ideas. This difference is not immediate, I'll usually start thinking about a theme, keep variating it and eventually I'll end up in a completely different place. I feel that if I could place those notes on a mental score I could organize everything way more clearly. 2) I listen to lots of classical music, yet I still can't read scores and I don't know what kind of work does it take to be abl to do so. Also I feel it's a waste, since I'm 100% sure that 99% of the composers I'm currently listening to envisioned their music not only as emotive expression but also theoretic expression. I can't even imagine how many hidden patterns, themes and modulation I miss everytime I listen to Beethoven.
>you can't imagine it with 100% accuracy: what about people who write symphonies? Studying a score is different to writing a symphony. Even hearing something in your head, its unlikely you'll hear everything with 100% accuracy, you hear a general idea of what it should sound like, and then you get to work attempting to create something as close as possible on the page. After 10 years of practice you get pretty good at transcribing what's in your head.
Its just one way of working, usually composers generate ideas, either by imagining something or improvising (or if you're Ferneyhough - coming up with some crazy premise then generating some rhythms with a computer program) Once the ideas are generated, you begin the work of turning them into a coherent piece, this is the largest part of the process. Composition is 1% inspiration and 99% perspiration. If you dont put countless hours into a piece its probably not going to be any good. Even composers who hear what a symphony should sound like in their head will spend weeks laboring over the score, making it better and better. The "hearing it in your head" is usually only the starting point for a bunch of hard work.
Composers like Taneyev don't begin writing a piece until they've tried out all the contrapuntal possibilities with all their thematic material - a long process. For him the pre-work is sometimes a larger part of the writing than the actual writing, but once he does get around to writing the piece he knows all his melodic material will perfectly fit with each other, and he doesn't usually have a lot of transitional material filling in space.
Jose Diaz
I'd say Zemlinsky, Schreker, D'Albert or Szymanowski are closer to what a Mahlarian opera might be than Berg.
Lincoln Harris
This.
Jayden Nelson
same for me.
Samuel Hill
>Only really takes a couple of months to learn how to write fugues. Already knowing counterpoint helps
It takes only 2 months to learn how to write uninteresting fugues, but to master them and to become the next Bach you really have to devote your entire life to the practice.
inb4 someone posts something from a famous composer
Cameron Robinson
lmao damn
Aiden Sanchez
Mussorgsky was an actual amateur, he had no formal education thorough his life (still, I'm not trying to downplay him, he still had a prodigious immagination).
Juan Flores
post Ives then
Jordan Morris
"It is easy enough to correct Mussorgsky's irregularities. The only trouble is that when this is done, the character and originality of the music are done away with, and the composer's individuality vanishes." He wasn't ignorant, just ahead of his time. he should've belonged to impressionists
Wow, that's the clearest Grosse Fuge I've ever heard. I don't know if it knocks off my favorite from the Smetana Quartet, but that was way stronger than I was expecting.
There's barely any reference to the Orford Quartet online. How come?
Joseph Baker
They do suck though
>but what about the Beatles' lyrics, which seem to me really special? LMAO
Grayson Price
Has Canada ever produced a good composer?
Josiah Sullivan
Gould
Levi Morales
The only Canadian composer I could name is Samuel Andreyev
Dominic Howard
claude vivier
Jose White
What's your favorite Wagner recording?
Brody Hughes
furtwangler tristan
Kayden Jenkins
How to get my father into high test? Out of Mahler's 5th, the only movement that he liked was the Adagietto.
Liam Murphy
shut the fuck up
David Howard
Petzold.
Owen Long
Listen to Mozart exclusively for an entire decade, only the highest of test can achieve this great goal
Nolan Nguyen
>tfw to smart to listen to music except for Mozart's 200 cd box set
Joseph White
Is it true that German classical music is actually a mixture of other classical traditions and not actually original at all?
Chase Sullivan
German, French and Italian music all have traditions that extend as far back as the middle ages.
Dominic Brown
Very low energy recently /classical/. Sad!
Daniel Williams
>program music cucks
Henry Evans
not true, all major European nations had their schools of music, the French, the Italians, the Germans, the Spanish, the Dutch, the Balkan peoples, the eastern Europe, etc.
Jace Bell
Why is Schönberg so underrated bros?
Anthony Wood
because everyone thinks of him as the plink plink plink plonk dooooo de doooo dooo edgy atonal composer
Noah White
because Stravinsky appeared around the same time, had gotten all the fame and money and became the number one composer.
James Gutierrez
Shosty was more popular than Stravinsky desu
Angel Taylor
Is he only second to Mozart in terms of underrated-ness? >Hated by people new into classical because he's a controversial figure, just like Mozart >Widely misunderstood by his mainstream fanbase, just like Mozart
Gabriel Harris
>Shosty was more popular than Stravinsky desu unfortunately he lived in the ussr so that didn't mean anything plus I'm not sure about more popular, maybe as popular as Stravinsky.
Christian Williams
Thoughts on Borodin?
Liam Thomas
so up until now i've only been into electronic music, pop, metal, hip hop etc. I never paid attention to classical or had an introduction to it but now i'm listening to random pieces and really enjoying it
so, just wondering if you had any recommendations for a complete beginner to the genre?
also i used to play guitar as a kid but stopped when i reached my mid teens i've been looking into all the classical instruments, and I really like the look and sound of the cello the most is it too late to start learning at 20, and do you know where could i buy or try out one as a total beginner, or if there is any particular variety / wood type i should choose?
