Stravinsky Edition
>inb4 how do I into classical
>General Folder #1. Renaissance up to 20th century/modern classical. Also contains a folder of live recordings/recitals by some outstanding performers.
mega.co.nz
>General Folder #2. Mostly Romantic up to 20th century/modern, but also includes recordings of music by Bach, Mozart and others
mega.co.nz
>General Folder #3. Mostly 20th century/modern with other assorted bits and pieces
mega.co.nz
>General Folder #4. Renaissance up to early/mid-20th century. Also contains a folder of Scarlatti sonate and another live recording/recital folder.
mega.co.nz
>General Folder #5. Renaissance up to late 19th century
mega.co.nz
>General Folder #6. Very eclectic mix
mega.co.nz
>General Folder #7. Too lazy to write up a description for this, but it has a little of everything
mega.nz
>General Folder #8. The user who made this loves the yellow piss of DG on his face. Also there's some other stuff in here.
mega.nz
>Renaissance Folder #1. Mass settings
mega.co.nz
>Renaissance Folder #2. Motets and madrigals (plus Leiden choirbooks)
mega.co.nz
>Debussy. There is an accompanying chart, available on request.
mega.co.nz
>Opera Folder. Contains recorded video productions of about 10 well-known operas, with a bias towards late Romantic
mega.co.nz
>Random assortment of books on music theory and composition, music history etc.
mega.nz
/classical/
Other urls found in this thread:
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theoperaplatform.eu
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clyp.it
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youtu.be
en.wikipedia.org
youtu.be
youtu.be
reddit.com
rateyourmusic.com
youtube.com
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Why are there so few recordings of Xenakis apart from Tamayo's orchestral set. Is the orchestral forces too large to make it viable??
stravinsky is lame, Le Sacre and Petrushka are his only good pieces
yeah I would say so, very technically intricate and difficult music
I mean think of how few recordings of Gruppen or Le Marteau there are.
Its a shame complete beethoven sonata and symphony cycles still come out every year but no one wants to put in the effort to engage contemporary stuff, is there any precedent to this or are we truly living in the ass backwards age.
Xenakis Edition**
youtube.com
>is there any precedent to this or are we truly living in the ass backwards age.
it's not accessible music
it's not even accessible by classical standards
less accessible things get performed more rarely because you get less money from them
preparing performances of a lot of contemporary music is time consuming and expensive, a lot of it is difficult to perform
The beauty of Mozart's string quintets!
thats because those pieces are beasts in another dimension. every new performance is a hunting party. already with stravinsky there is no connection to other dimensions, the pieces just stand for themselves, nobody gives a fuck about "who's the best stravinsky conductor".
the last composer with connection to platonic musical beasts was shostakovich.
>nobody gives a fuck about "who's the best stravinsky conductor"
heh
>very few conductors got that cubistic tranny meth lab segment right
A reminder that folder 3 has been incorporated into folder 7. I will be uploading more soon.
Time for Dowland
Why hasn't anyone dabbled with VSL libraries to make it, the technology almost begs to be used for such purposes.
Also I would argue Rite is as difficult as any high level contemporary piece and yet it is frequently performed (not very well I might add), I just think they haven't entered into classical repertoire as quickly as they deserve owing to their radical departure from traditional forms.
Reminder that this website exists
theoperaplatform.eu
I. Allegro/Presto
II. Andante/Adagio
III. Allegro/Presto
Why is it always this
Reminder that he's fucking dead
It isn't, but when it is it's because a fast movement helps capture attention at the beginning of the piece and a slow movement in the middle contrasts the fast movement. The logical contrast after a slow movement is a fast movement.
I don't get debussy, can someone explain his appeal
basically Virtuoso Satie
nah dude Rite is significantly easier than Stockhausen or Boulez
it's even easier than Messiaen
Impressionism in music. Shimmering textures, outlined shapes not definitely stated. Freedom of form. Luscious, rich orchestration. Sensuality.
youtube.com
youtube.com
Not really. Satie writes simple homophonic melodies. Debussy creates entire sound-worlds. Entirely different aesthetics, goals and executions. Debussy has much more range than Satie - he can be as simple as a Satie piece or as complex harmonically as Strauss
VIRTUOSO Satie
In what ways do Debussy, Ravel, Faure, and Satie differ?
Faure taught Debussy and Ravel and I think Satie as well. Personal favorite of them all, much more rooted in Romantic melody and style but still with the freeness of harmony that those composers had.
Debussy had the strongest philosophical urgings and made the most revolutionary music.
Ravel made music that is more harmonically sophisticated and more formally rooted I would say, but in that sense more traditional.
Satie was a wacko experimental guy.
indeed, Faure called Satie the laziest student he ever had
>debussy
>Luscious rich orchestration
Debussy is shit at orchestration. Basically everything that isn't a string or harp or woodwind is severely underutilised
tbf I don't think that makes him bad, he clearly had very different ambitions and ideas. even if I don't care to listen to his music because I think it's pretty fucking boring, the philosophy is very sound and you do get the "ancient Greek" feel of it.
what are the best piano variations in the league of
Schumann:etudes symphoniques
Brahms: variations and fugue of Haendel theme
Beethoven: diabelli variations and others
Bach: clavierübung 4 and art of fugue
?
hey bud here's an idea
maybe if your instrument is very loud, it should only be used in moments where loud music is warranted
maybe it shouldn't just be thrown in every once in a while and completely destroy the mood
Do you think a competent player could sight-read these bars, or would the fingering be too sketchy and awkward?
clyp.it
They should be played with the right hand only, while the left had plays a vey simple melody on low registers (I've left it out from both the score and the clyp). Is it asking too much, or is this just an afterthought for virtuosos?
Sorry for the repost, but I'm very anxious about showing the full composition to my piano teacher.
The variations movements in Beethoven's late sonatas.
the notation is awkward. if you don't want to merge the two voices, then the tails should point in opposite directions throughout the piece, like in pic related.
thx brahs
I just highlighted it to waste less of your time and make the 2 voices more evident, on the score it will be more conventional.
At the moment I'm mainly concerned about wether this piece can be played easily by a virtuoso.
Will he be remembered for anything besides his beauty?
>that haircut
What a goddamn metrosexual. I'm sure he spend at least 1 hours everyday on them.
>claims to be a traditional catholic
>has that haircut
Who is he fooling?
>be american
>look into your own classical tradition
>film scores, jazz, noise
What a diverse and profound cultural heritage you've got there! Thanks God the entire culture industry is controlled by you guys. Phew! Imagine if it was controlled by those filthy French, Germans and Italians! Things would be sooooooo terrible.
The American tradition is Ives -> Varese -> Cage/Wolff/Feldman -> Young/Conrad -> Riley/Reich/Glass
>first act of symphony ends
>*cough* *COUGH*
>sounds of people accomodating their glutes in the sits
>*COUGH* *COUGH*
>*BRAAAAAAAAAP*
what did they mean by this?
Gershwin is still accepted as a legitimate composer in US conservatories, and students are still required to know some of his pieces.
Apart from that, I agree with you.
I need an advice, and since I'm friendless I'll ask for it here.
I'm 20, I've discovered music a bit too late so I started my musical education only 1 year ago. So far I've been making miraculous progresses, so much that 2 composition teacher from my local conservatory are now giving me almost daily lessons for free.
Here's the deal: my parents have fucked up once again with their savings. They've always been extremely irresponsible, so much that they're now almost penniless, and they won't be entitled to social security once they'll get old. It does't help that they're in their mid 50s.
So, what is one supposed to do in cases like this? I have literally no doubt about my talent and vocation, but there is no way I'll be able to support myself, a family of mine and them too as a composer. Not in a million years.
Am I fucked? Should I just give up, pick something more lucrative and look at my dream from far away? God, the mere thought of it is enough to make me panic.
What would you do, fellow /classical/ user?
Sorry for the blog, by the way.
yeah but Gershwin had an entirely different chronology that links with Jazz not classical music
how many modern classical composers cite Gershwin as inspiration
that's not saying he wasn't influential, just that you see more crossover Jazz guys citing Gershwin as important
composition and musicmaking in general should not be a primary occupation until you get offered enough money that it can become that
it's a lot of minimum wage/slightly above with composition on the side
if you truly enjoy it though (which you seem to) you'll reach the point if you keep up practice
Good thing is Tamayo is an excellent conductor
>Why hasn't anyone dabbled with VSL libraries to make it, the technology almost begs to be used for such purposes.
If a violinist could be actually replicated (and this takes in account personality and interpretation too, which goes into extremely obscure degrees of sophistication) through VSL libraries, that would become the absolute standard.
>Also I would argue Rite is as difficult as any high level contemporary piece and yet it is frequently performed (not very well I might add)
The Rite of Spring is perfectly comprehensible. It is based on forms, but said forms are still related to Stravinsky's preferences, so in certain sections you'll get string ostinatos not because a formula led him there, but because he liked the way they sounded and what they added to the piece. These decisions, which depends on a logic that is entirely arbitrary (what Stravinsky wants to compose, rather than the formal approaches of the post-WWII composers), are comprehensible to the typical music listener. Sure, he'll miss great theoric and rhytmic insights, but he can still approach those ostinatos.
>I just think they haven't entered into classical repertoire as quickly as they deserve owing to their radical departure from traditional forms.
They haven't done so because this music does not account for the listener. This is not a flaw, but in the real world it will lead to certain conclusions about contemporary music's legacy.
Basically, normies won't ever go to listen to Webern concerts en masse, it's a niche and it will always be.
I would imagine the rigorous machine like nature of software libraries would lend itself better to the pieces under discussion being almost nothing but exact patterns of sound but then again I am not a musician or conductor so it is merely my opinion. Check out this interpretation of Rite using VSL and tell me what you think
Stravinsky said the grosse fuge is a contemporary piece that will always be contemporary, this seems to apply to contemporary (now) music as a whole, every single piece. What does this say about the music if it starts becoming so dissociated from an average understanding (unlike art music from 100+ years ago), theres an underlying symptom that I can't identify, it's almost as if the art world is taking off into its own sphere and the rest occupy their own and they just don't give a shit about the other.
Do you guys have like, a guide to classical for basic bitches? I've wanted to get into classical for years but I always struggle because I struggle to place everything and understand it in relation to each other
It's very simple
search for a composer you'd like to hear with this
en.wikipedia.org
Read a bit about him and search for some of his work on Youtube
Do this until you find something you like
I just want shit like youtu.be
Best stick to video game music.
Please please help me find this piece Sup Forums.
It's from the Romantic or late Classical at the very earliest; of that I'm pretty sure.
All I remember is a repeated timpani motif of CGAE CGAE CGAE CCCCCCCC BBBBBBBB C
I apologize for not being more specific with the notes. It's been a long time since I've played any kind of instrument, but I know the intervals are correct.
I had a gut feeling that it was Wagner, and I did find a timpani motif with the CGAE repetition at the end of Parsifal, but it was far too slow and only in the coda as opposed to throughout the movement.
Okay the second link is just VGM but the first link sounds like actual baroque stuff, I'm sure there's at least one or two composers that were a primary influence on that soundtrack
maybe timelink to the section in parsifal that you mean?
what is the happiest movement of the beethoven's sonatas?
i can't decide if first of 21 or first of 32
The Hammerklavier mvmts 1 and 4. Their respective themes are Beethoven at its merriest.
Apparently I was wrong about the timpani in Parsifal. More of a glockenspiel or Parsifal Bells as I've found in this video, but this is the motif I was mentioning. Just imagine it at a faster and steadier tempo repeated at the end of a number of musical phrases and followed by strings. youtube.com
Who here /bruckner/?
see this is that good shit, thanks user, I think I definitely have the strongest taste for baroque stuff
who else likes music?
/here/
am I a pleb for not enjoying his 4th and 6th as much as the others. they just don't do it for me (expect the first and last movement of the 6th is pretty nice)
Give me a classical composition that thrusts triumph out of a dark war, a piece that you would give a soldier's funeral.
Haydn's, "Mass for Troubled Times," otherwise known as the Lord Nelson Mass describes your request to T. youtube.com
who /ornstein/ here
Petzold