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Considering they created a math theorem just for the show, it doesn't surprise me that they would be so painstakingly accurate in showing the melody correctly.
It's never a bad idea to read Aaron Copland's <em>What to Listen for in Music</em>. I had to read it for a music course in college and it was helpful in giving me a new frame of reference when I analyze a composition.
It depends I suppose. Orchestras in the late 1700s often didn't have trumpets at all, or if they did it was only for pieces that were in C or D. Trumpets did not have valves back then, so they'd often just add volume to the tonic tutti sections. And they'd usually only use 2 trumpets because the trumpet is quite loud and you only needed a couple of them to be heard over the smaller string sections. Much of this is true.
But if you scan the scores of Haydn & Mozart, you should be able to find a few instances of Trumpets playing in thirds or fifths. The Military Symphony would be one. Going way back to early Haydn there was such thing as a Trumpet Symphony or a Festive Symphony in Vienna in the 1750s. Brilliant Classics had a release featuring many of these early-classical-era works about ten years ago.
I suppose Beethoven deserves some credit using the instrument more boldly in the symphonic tradition as orchestras got larger, but it is always hard to say that someone was 'first'.
Well, since the joke has already been (masterfully) done, the (world renowned) musicians(s) who played with him described his skills as 'competent'.
Excerpt: He did not truly fall in love until discovering Mozart at age 13. A high school friend reported to biographer Carl Seeling that at this time, when the young Einstein’s “violin began to sing, the walls of the room seemed to recede—for the first time, Mozart in all his purity appeared before me, bathed in Hellenic beauty with its pure lines, roguishly playful, mightily sublime.”
According to this site, Rautavaara withdrew his original Symphony No. 4 and substituted the current version (Arabescata) for it. Could this be the original version of the symphony?
That price on Amazon is unreasonably jacked up. Fuck Europe's and the US' increasingly-shitty and ever-more-desperate sheet music publishing houses. You can order a perfectly fine copy from Ruslania, a Finnish mail-order company that sells a Russian edition of sonatas 1-9 for 20 euro (~ 25 USD). I've ordered things from them numerous times without any difficulty:
https://ruslania.com/sheetmusic/153413/sonatas-for-piano-1-9
Also, Dover publishes the first four sonatas in a really well-bound edition for about $13 on Amazon Prime:
https://www.amazon.com/Piano-Sonatas-Nos-1-4-Dover/dp/0486421287
Sounds like an incredibly rewarding project and one I'll be deeply interested in.
One thing that's always bothered me about this piece, in the second valse at 1:27 roughly, Ravel introduces an absolutely beautiful melody, then NEVER GOES BACK TO IT. Its my favourite passage of the whole piece and it only lasts like 3 seconds. I wrote my own waltz based on that melody just because it annoyed me so much.
No, this isn’t advertising, but I use this website ( https://pixlr.com/e/ ) to add color to photos. It took some experimenting and a lot of scrolling to find out how to add color to photos, and tbh it’s kinda complicated.
I had listened to idm/prog-rock/ambient etc. for years and here are some of the pieces I first got into. I think starting from late romantic/contemporary composers is the way to go if you already like some of the more sophisticated genres or artists in modern music.
- Debussy: La Mer
- Mahler: Symphony No. 9
- Sibelius: Symphony No. 2
- Rachmaninov: The Isle of the Dead
- Ravel: Daphnis et Chloé
- Messiaen: Quartet for the End of Time
- Pärt: Fratres
- Silvestrov: Symphony No. 6
- Bernstein: Symphony No. 2 (btw check out his Harvard lectures if you can make the commitment. It will be life-changing I promise)
I am using both at the moment, here is how I would assess it with regards to classical:
Metadata: Spotify is better
Radio: Apple is better but still bad
Library: Apple has newer Chandos releases but not their back catalogue and also a few small indie labels which spotify do not have.. overall Spotify is easier to search because of better tagging
Playlists: Don't know don't use them
I have asked spotify about the metadata before, and they say it is up to the labels to provide the correct data - some labels happily put forward the correct tagging, DG, Decca or Naxos for instance. Others are pretty crap (EMI) but their streams noticeably are down on even lesser known labels who tag properly perhaps because of that, so I think eventually the problem will solve itself, especially as streaming becomes a larger source of income. There are some really poor performances being high up the streaming charts of a particular piece at the moment just because of better tagging - I'm sure labels will twig.
Overall, I am probably going to stick with spotify as I have already invested a lot of time in making playlists there. When I am listening to classical and I decide I want to hear something for the first time or hear a new interpretation of something I already know, I usually use Presto Classical and All Music to find critically rated performances, and they are almost always on spotify.
John Williams's 1989 recording of "Concierto de Aranjuez" by Rodrigo, with the Philharmonia Orchestra.
You gave her one star on Amazon just because of the 44 minutes? Kinda harsh, no?
Actually feeling some outrage on her behalf, I was moved to purchase the album for download. My library is pretty light on Renaissance stuff anyhow. Listening now --- liking it a lot.
I think I'll leave my own review!
It's in the second volume of Alan Walker's three part biography on him page 341. The page is on the google books preview I linked so you should be able to read the account. Robert Schumann somewhat made up with Liszt in several letters between the two (Schumann even joked about the situation in one of them). I've been doing research on Liszt and his relationships to other composers and critics for my graduate study, so it's fun to share what I'm learning.
just stop before it's too late and get yourself some Machaut polyphony, Palestrina and plain chant (bonus points: Ensemble Organum).
There are 2 wonderful recent recordings of Missa Papae Marcelli: 1) odhecaton. Big chorus and gutty performance. 2) new york polyphony. 1voiceperpart and polished sound.
As for Machaut I'd recommend diabolus in musica, they really deliver a punchy rendition in a perfect period-style french-inflected latin.
As for plain chant, this: http://www.allmusic.com/album/chant-de-leglise-de-rome-mw0001873907
If you want to stay "light": Zelenka, Lamentations (Chandos).
Yep you're right! Here's the picture I took, I was sad when I came back and realized it was blurry, so I just kinda drew over it to have a clean version.
>I think Maurice generally saw Chopin as a boring nuisance with a strange accent when he was young and it definitely contributed to the Sand/Chopin split in the end.
Lol
Vivaldi is Baroque period (roughly 1650 - 1750), but the last time I tried playing The Four Seasons directly from sheet music I noticed that much of it didn't sit well on guitar i.e. too many long stretches per string, so better for a violin. If you're looking to get into earlier period music (about 100 years earlier), this book is an excellent introduction to mostly 16th c. Lute music arranged for guitar. It also has a great intro that discusses the history and notation of lute music.
Fun stuff. In my head, though, I have a particular idea of the kind of person J.S. Bach was.
I found this in a biography of Bach. Two particular complaints were lodged against Bach in 1706.
One from the consistory:
> [We] charge him with having hitherto been in the habit of making surprising variationes in the chorales, and intermixing divers strange sounds, so that thereby the congregation were confounded. If in the future he wishes to [switch keys in the melody] he must keep to it, and not go off directly to [a completely different melody], or, as he had hitherto done, play [the original melody with confusing harmonies].
Another from the choir prefect:
> The Organist, Bach, used to play too long preludes, but after this was notified to him, by the Herr Superintendent, he went at once quite to the opposite extreme and has made them too short.
I know an organist exactly like this. Although he is quite capable of reading music and playing the instrument, he discovers entirely new and very distressing chords during hymns. And I am certain that if he were ever snubbed for playing too long a prelude, the very next prelude would last approximately ten seconds.
I think we all know a musician like that: innovative and skillful, yet sassy and defensive to a fault. That's the J.S. Bach I imagine.
I don't listen to enough recordings to have an opinion, but you should check out The Penguin Guide to Recorded Classical Music. It's a great tool. Find it in your library!
Winterreise is exquisite and perhaps the best to start with. The lyrics are from a cycle of german poems and it's quite interesting to read them to relate them to the mood of each piece.
On a side note, Sting actually did a cover of one of the pieces, using a Hurdy Gurdy, in his album If On a Winter's Night. This is the only available version i can find.
Next time, you can always try musipedia melody search. Doesn't always work (wouldn't have worked in this case), but it does work surprising well.
Listen to Pandora, which is a free internet music streaming service, essentially kind of like internet radio, where you set up "stations" based on one particular band (or, in this case, composer), or you can even set up a station based on one particular (specific) piece. (Note: Not sure if it's available world-wide (I'm guessing probably not), so appologies if it's not available for use by the OP.)
Then it plays stuff for you that's similar to what you based the station on. Then you can give a thumbs-up to the tracks you like, and a thumbs-down to the tracks you don't like -- and the station essentially "learns" what your musical tastes are.
It's often very accurate, and I'm constantly amazed at how many obscure things I really like just happen to come up in stations I've created, sometimes drawing parallels between musical artists (or composers) I hadn't ever strongly noticed before.
Try it, it's really amazing, and very helpful for expanding one's musical tastes when you only know a little bit about a particular kind of music.
theres a great one called "composers on composers" which is just a collection of quotes from famous composers about other composers. a lot of it is shit talking and its spicy as hell
(Or "Loved by God")
I heard a nice BBC History podcast piece about a Russian composer and piano teacher, Leokadiya Kashperova. She's not well known, and her works are barely recorder because they were lost for a period, but her story is quite interesting. 28 minutes.
The live recording I have of San Francisco Symphony & Michael Tilson Thomas starts out at 140 and then 'slows' down to around 130, in a similar manner to Alsop.
Looks like it's scored to be at 152 and there is no ritardando or tempo change in the score until about 2/3 of the way through (measure 138).
Nice. Although not really classical, but Anouar Brahem is still a favourite to me. (Check out his albums on ECM)
Are you in the US? If so, you may be able to find it at a local library.
Worldcat will search most College/University Libraries and then some.
http://www.worldcat.org/search?qt=worldcat_org_all&q=pv+418+vivaldi
Meditation is not bullshit, your comment is phrased to make you sound smart and above all of that "bullshit," but it just made you look really close-minded, ignorant, and arrogant.
There's been plenty of scientific research on meditation and its benefits, physiological responses, etc.
http://scholar.google.com/scholar?hl=en&q=meditation&btnG=&as_sdt=1%2C31&as_sdtp=
There is evidence for a rather large disparity in music education in schools which are mostly nonwhite (although the study I found does not distinguish between different nonwhites). This would most likely affect whether the students are willing to go into music as a career.
It seems to me that my arguments are not at all convincing you, so I'm probably not going to keep trying.
A score is not simply helpful but essential... you'll never get a sense of where you're mistaken about voicing, etc. without looking at the score.
Strings aren't boring at all, especially when you start getting into harmonics, extended techniques, different ways of dividing them up, and so on.
Like, this for example, especially the 2nd movement:
http://issuu.com/scoresondemand/docs/violin_concerto_37283
What works are you looking at, as examples of orchestration that you're studying?
It's surprisingly well written for a dummies book, I can't recommend it enough.
It always brings me back to one of my favorite albums ever: Arvo Pärt: Tabula Rasa (ECM New Series 1275 ). Especially the Piano & Violin version with Keith Jarrett & Gidon Kremer: > Gidon Kremer and Keith Jarrett bring great nuance and sensitivity >to the version for violin and piano. They play somewhat loosely with >details of the score, but they are entirely in sync with the spirit of >the piece, and it's a gripping performance. The violin part is hugely >virtuosic and Kremer is breathtaking, particularly in the crystalline >purity of the outrageously high harmonics that end the piece.
MusicBrainz.org has some resources that could be useful. It's where Spotify gets a lot (all?) of it's metadata. There are a few different programs based on the musicbrainz database: https://musicbrainz.org/doc/MusicBrainz_Taggers
I researched this very recently because I've been thinking I should read a life of Haydn. This one's supposed to be the best: https://www.amazon.com/Life-Haydn-Musical-Lives/dp/1107610818/ref=mp_s_a_1_2?dchild=1&keywords=david+wyn+jones+haydn&qid=1626774415&sr=8-2
I haven't read it yet so I can't confirm.
Hmmm, this is a much bigger research question than I would expect a high school to assign without any pointers to what sources you should use… good for you then!
If it’s a small project, a single college level textbook is enough… here’s a good starter. https://www.amazon.com/Music-Medieval-West-Western-Context/dp/0393929159 don’t buy it of course, see if your local library or perhaps your local college library can let you browse (they should). I’m fairly certain there’s a chapter worth of info on Hildegard. Couple this with the sources cited in Wikipedia if you need more information. I never use Wikipedia as my primary source, but what a lot of people don’t tell you is that it’s a really good source to find good sources. Probably out of the scope of this project but keep this in mind. Good luck and have fun!
Search Amazon for:
A3 manuscript pad
Check this out at Amazon.co.uk 75-Page A3 Manuscript Pad, 18-Stave: (White Pad) https://www.amazon.co.uk/dp/0571527094/ref=cm_sw_r_other_apa_i_peNLDbZ7F45SH
I agree with everybody, you have to listen, listen, listen! It's like any other genre of music, you need to listen to a bunch of stuff before you find a style that you enjoy and then it is easier (in my opinion) to dig deeper and listen to other composers related to the style you enjoy. I would suggest you get an anthology like this one for example https://www.amazon.ca/Grands-Classiques-Dedgar-Fruitier-Various/dp/B000N3AVPS (that's the one I had but there are many more!). It is divided by genre so you know what period you are listening to and its has a lot of different composers for you to discover. You could also try to listen to classical radio once in a while just so you don't have to think about choosing a song to listen to (they sometimes make a list of what's been played on their site so you can go back to check what you were listening in your car for example). Finally, keep it fun! You won't like classical music if you make yourself listen to everything Bach wrote in one sitting ;)
Gunther Wand comes up frequently as well.
https://groups.google.com/forum/#!topic/rec.music.classical.recordings/QJajomNj4uM
http://www.musicweb-international.com/classrev/2005/Feb05/Bruckner_symphonies_PWJQ.htm
My story is similar. My parents weren't classical music superfans, but they were very aware of it and it had something of a presence in our home. I was also exposed to a lot of it because my mom enjoyed watching figure skating.
I remember being about 10 and browsing in the classical section of our local mall's HMV. Some teenagers made fun of me. I wondered whether I'd actually done something wrong. My dad told me to like whatever music I liked and that no one else's opinions mattered. I was pretty emboldened about liking it after that.
About a year later, we moved to another city. The real estate agent helping us to sell our house said we should play classical music when people came to see the house because some studies had shown that it makes people feel "at home." I got to be "in charge" of the music. We didn't have an enormous classical collection, but I put together a mixtape of pieces I liked from the CDs we did have. (We had this set among others! I've loved the Schubert Impromptu in Ab ever since.)
Well I wouldn't go that far. The idea that some metronome marks should be halved is one that dates from at least the 80s (from The 'variable' metronome section). But the author doesn't find it convincing and also cites another article by Wolfgang Auhagen, who doesn't either.
I quite like this piece. A fun fact, my university spearheaded the commission for the wind band version of this piece and we performed the world premiere as well as the world premiere commercial recording.
Here's an ok recording. It's not our best, but you get the point. If you want to hear it for reals, check out the CD we recorded. It also includes works by Gershwin, Moran, Grainger, Markowski, and Joel Puckett's incredible flute concerto the Shadow of Sirius.
This might be relevant http://www.ted.com/talks/david_byrne_how_architecture_helped_music_evolve.html The other thing is that when people talk about classical music they are generally talking about very European classical music, whereas modern stuff comes out of a lot of different traditions (i.e. stealing from black people).
In International Piano Quarterly of winter 2001, Farhan Malik wrote a comparative review based on blind listening of all 48 piano recordings of the compete WTC Book I he was able to obtain.
His two top overall recommendations were the two recordings by Joerg Demus (MCA/Westminster/1951 and Intercord/1968-70). He expressed a slight preference for the second Intercord recording.
Malik's other six recommendations (in chronological order)
- Edwin Fischer (EMI/1933-34) "for its serene poetry"
- Samuil Feinberg (Russian Compact Disc/1959) "for its individuality and Romantic impulse"
- Sviatoslav Richter (BMG/1972) "for its grand-scale and immaculate pianism"
- Robert-Alexander Bohnke (Da Camera/1975) "for its commanding musicianship and communicativeness"
- Tatiana Nikolayeva (MK/Olympia/1984) "for its beauty and sensitivity"
- Sergey Schepkin (Ongaku/1998) "for its vibrancy and creativity"
If I get time I'll upload the entire article (which included an invaluable discography).
EDIT: Uploaded the article here.
EDIT: Clarified that the review article was about Book I only.
EDIT: Sadly, the closest you can get to the Demus recordings right now appears to be these excerpts from the earlier MCA recording on allmusic.com, plus a couple of complete P&Fs on YouTube.
A basic music theory textbook sounds like what you're looking for; I think I used an older edition of this when I was in school.
If you're really interested in classical music, a basic history book might help as well. I'm a big fan of The Vintage Guide to Classical Music, which is interesting, informative, and very readable. It features chapters on a number of different composers and provides just the right amount of depth for a newcomer on each, ~20 pages each.
This post aroused my interest, so I headed to Google to look up the origins of the word "dildo." (This feels like a more contemporary version of "I read Playboy for the articles," but nevermind. I know what I did.)
OED claims the first known use of the word was in Thomas Nash's The Choise of Valentines, (1592 or '93) and in context, its, ahem, usage is quite explicit. This particular song was written in 1600-ish, so I'd wager the meaning is pretty close to what we'd think it was. Also, there's a lot of diddling going on, although that word's sexual connotations apparently did not arise until the 19th century.
I do not mind pretending otherwise, in this instance.
This would totally be a weeper in a really good way, but if I were you, I would perform (maybe an excerpt of) Spiegel im Spiegel. I don't know what it is about that piece, but it is so simple and it makes me cry like a baby -- but in a really lovely way. I mean lovely as in literally something to do with really intense feelings of love.
Edit: Here is the sheet music for the violin/piano arrangement, but I've most often heard this with cello and piano. It's so incredibly simple, but believe me when I say that it is utterly spellbinding live, and the advantage of it being simple is that there is barely any chance that you will screw it up, even though it's your wedding day and you'll have so much to stress about :)
Apparently Ravel had a hidden homosexual intimate side
We are told that the unmarried Ravel doted on his mother, that he dressed like a dandy, that he had a fixation with Pan, that he wrote music for songs about beautiful young boys, that he composed ballets for male dancers, that his social circle included renowned gays and lesbians. But we are offered no proof that Ravel ever had a male lover.
Google Ngram gives us this. The earlist result it picks up is from 1826, referring to one J.B. Krumpholtz:
>The French, as a proof of their high estimation of KRUMPHOLTZ, style him as "Father of the Harp,"—and justify so since he has made more improvements on that Instrument than any other Professor, before his time or since. He may, indeed, be considered the MOZART of the Harp, particularly in the Adagios and Rondos, in which he has so greatly excelled...
Given how the author doesn't really call attention to or explain the expression, that suggests to me that it may have already been in common use.
Musipedia search (in fact, it looks like that's where the image came from)
Jaromir Weinberger: Fugue from <em>Schwanda, the Bagpiper</em>
First movement of Mozart's Violin Concerto no. 3
If you remember the tune more accurately you can use musipedia's contour search or go to r/tipofmytongue, they're experts in this stuff.
I've found the musipedia melodic contour search to be a fairly reliable alternative, but no search is perfect and unless you get the melody exactly right it can still be quite difficult.
I would say “give us the Parson’s code” — just the information of whether each note is up or down from the previous one (or a repeat). This sounds like it shouldn’t be enough to identify a tune, but it often is.
…but I won’t suggest that, because if the Parson’s code is enough, then you can find it yourself at Musipedia!
You might see if your player is supported by rockbox http://www.rockbox.org/
I also use mp3 because that's how I buy my music. No major retailer sells flac. I've also never bothered to figure out if i can really hear the difference.
Lilypond is free and produces MIDI. It does not use a graphical interface like Musescore (and Finale and Sibelius, etc) but instead you create a text file which is then compiled into a pdf.
One nice thing about this approach is that it tends to produce better-looking sheet music without as much (if any) tweaking needed for the final score. It really is beautiful and if that's what counts the most to you then it's an excellent fit.
Lilypond is a mature product with active development and a very helpful community.
Apparently the learning curve is steeper than with most other programs but if you read the tutorial and/or use a front-end editor like Frescobaldi then it shouldn't be too difficult to figure out.
This is where I read it...
Who knows? But it's a great story. Angry young Dmitri lashing out at his Stalinist oppressors... I have no idea if it's true.
Hmm. Because it takes so many different forms throughout its indefinite time span, it's pretty hard to solidly define "classical music." Wikipedia defines it as "...art music produced or rooted in the traditions of Western music (both liturgical and secular)." Oxford defines it as "serious or conventional music following long-established principles rather than a folk, jazz, or popular tradition."
But I don't think you can really define classical music. It's up to personal interpretation, as is the music it aims to define.
The most detailed and complete place would probably be musicbrainz. Taking Einojuhani Rautavaara as an example, here's his works page, which lists all of his compositions.
Near the top, you'll also see the releases tab, which lists all of the published albums with works of his on them - at least the albums that are in the musicbrainz database. If you only want to see releases that the composer actively worked on, you can look at the recordings tab.
Gaspard De La Nuit (probably his most challenging piece for piano)
Jeux D'eau
La Valse
Le Tombeau de Couperin
String Quartet in F major (the second movement is really beautiful)
Piano Concerto in G major (again, the second movement is really beautiful)
This one is one of my faves.
Sure, basically any book that deals with Classical form like this one will cover everything you listed aside from orchestration. There are plenty of books devoted solely to orchestration and the history of symphonic writing, but I don't know any offhand that offer a general overview of the Classical era.
This exists, and it's a book! "The classical music lover's companion guide to orchestral music" is an excellent compendium of composers + their most famous/important orchestral works. You'll be missing out on a few chamber works here and there, but it sounds almost exactly like what you're looking for... Link below :)
In the front of the book, there's an alphabetic list of nearly every important/major/influential composer, along with their works that are discussed in the book. Every single piece has a bit of background information (year composed, instrumentation, length, etc), as well as a listening guide and analysis. Excellent book!
https://www.amazon.com/gp/product/0300254822/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&psc=1
Like many Amazon sales, this is a "sale". Check out this product's price history on Camel Camel Camel. Same $24.99 since it was first added for "sale" months ago. You can put whatever you like as the product's "real price" and then set an offering price when creating an Amazon listing. This creates the illusion of a massive discount. Just a tip for older users of this sub-forum who may rush to purchase a product when there really is no special deal at all. This user's account is 7 days old and so far has only posted links to a Twitter account that is no doubt earning them referral cash. I would highly encourage people interested in this Blu-Ray to instead purchase through a smile.amazon.com link that will donate a percentage of profits to a charity of your choosing instead of using the link in this post.
Source: I'm a high-volume Amazon third-party marketplace seller.
It is mechanical and the score sheet comes with it, should be enough for maybe 10 Prelude 1s. Here it is on Amazon I first saw it on Vihart on YouTube I thought it was pretty cool
There was a concern for "updating" the notation of high Renaissance music, adapting them into new metrical notation.
Turn to page 153 (part of the preview), plate 6.4. You can see something by Victoria that's been adapted into 18th century notation. I don't have the book in front of me, but the question is why would they do this? Was it to create a score commodity for aristocrats to own? Or was it a practical performing edition? It would be interesting to know what the circumstances surrounding the creation of these editions were.
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>Carl Orff - Carmina Burana - this is the overture, which you will have heard ubiquitously in movie trailers. The rest is wortha listen though.
I'll tell you what I think of when I hear this song?
And here's another version. But my favourite Glass piece for organ is his Dance No. 4. I get goosebumps and teary eyes every time I'm lucky enough to hear it live.
Heh, I'm no stranger to Czerny studies, so I do know what you mean. I can't find the violin sonata on youtube, but here is the CD if you use a streaming service - it says on the cover its a world premiere recording, and I couldn't see any others, so I guess that's it!
The general agreement among people who are knowledgeable about these things seems to be that the duets for clarinet and bassoon (WoO 27) were not written by Beethoven. See here, for instance.
You missed Playford.
EDIT: this recording is from an entire album of different versions of La Folia.
As I understand, he is famous for NOT passing off piano scores but instead writing "every note". The research I did indicates he uses orchestrators only to arrange the orchestra parts, help set the number of instruments playing a line, etc. https://www.quora.com/Does-John-Williams-farm-out-the-orchestration-duties-for-his-film-scores By all means, if I'm wrong, show me.
You're sure he hated the dinosaurs? Of course he got mad of not having his copyright rights, but I don't think he'd hate seeing this short stupid clip, and we're talking about memes in general, also if he wants his copyright, I'd just give him the money he deserves.
https://imgur.com/gallery/UrLhS <-- Correct link, maybe.
Or click on the image on th eleft, instead of the title.
EDIT: This is great, I've been looking for a way to get deeper into classical music, and this seems like it's worth my while =)
Okay, so here are some things that may help:
100 Best Soprano Arias CD samples
10 Operas You Didn't Know You Already Liked (not all like yours)
There is also a CD with Miriam Gauci called "Soprano Arias from Italian Opera", you can listen to the samples there. That is, if you are certain it was in Italian.
That was great. Thanks. Stravinsky, Greek chorus, and minimalism.
That work is classed as " noteworthy" by Allmusic, a rare distinction for post-1970 pieces.
> From the sound of his music, one would never guess that Schnittke had "no sense of the fatal inevitability of evil"; his works seem to profess a faith in disaster that would shame Beelzebub himself. And yet one gets occasional intimations that the strength required to so feverishly preach the catastrophic could only be derived from a strangely safe haven, a stance of staunch if secret optimism.
> ...
> The First Cello Concerto is an extraordinary work just on its own merits, but also happens to have been written during the summer of 1985; it was composed both before and after the stroke, and so bears the remarkable role of fulcrum in Schnittke's career.
> ...
> The work in general -- at least in its first three movements -- largely adheres to Schnittke's concerto-archetype of "I-against-the-World" (as scholar Richard Taruskin writes); the soloist ever-seeks to weave a sincere, plangent melos, to sing and weep its uninterrupted fill, and perpetually suffers both the mockery and raw violence of the orchestra.
> The work is based on something we'll never have in full: Mozart's unfinished "pantomime music" K. 446. ... The title Moz-Art a la Haydn is itself part of the joke. "Mozart" is obvious, though Schnittke's actual use of the older composer's music is limited only to what actually remains of Mozart's pantomime, the first violin part. That's not much to base a piece on, and hence Schnittke's portmanteau "Moz-Art," which in German essentially means "Sort-of." As for "a la Haydn," that comes in Schnittke's "scherzando" attitude -- surely a nod to Haydn's own famous sense of humor.
That they were. I have a copy of this coming in through the mail soon as well. It was released shortly after David Munrow's double LP of the same name, but was apparently recorded before.
The Boulez/Cleveland Rite of Spring from 1969 on Columbia is very good. The 1990s recording with the same orchestra for Deutsche Grammophon is more polished but not as violently energetic, and probably not available on vinyl.
Wow, thanks for the quick reply! Yes, it seems you're right. The selections in the film are from this record: https://www.discogs.com/Musica-Reservata-Italienische-Tanzmusik-Des-16Jahrhunderts/master/525233
Edit: looks like its time for a walk down to my local library! The first song is an anonymous pavane entitled "La Colognese" and the second is a quodlibet of ""Fortuna D'un Gran Tempo / Che Fa La Ramacina / E Si Son / Dagdun Dagdun Vetusta" by Ludovico Fogliani.
I won't rest until I find someone who can show me how to get the score to the awesome and amazing Concerto in G by Josef Reicha Bayern's Schlösser und Residenzen - Oettingen-Wallerstein performed by Anner Bijlsma in this case.
It's my favourite concerto, and certainly my favourite cello concerto. A mini-opera -- beyond lovely.
If you don't mind a modern piece for wind band, one of my favorite wind ensemble pieces ever is Dan Bukvich's Symphony No. 1 (In memoriam Dresden, 1945), which incorporates whistling near the end as part of a recreation of the sounds of the firebombing of Dresden, Germany in WWII. Here is a recording starting at about the right place, although the entire piece is very much worth a listen. I also found this slideshow online with some interesting information.
It's not really a giveaway if you have to spend at least $10 :(
Man, and I really got excited for nothing. I've been a big fan since listening to Pamelia Kurstin on TED years ago. And I actually got to play around with one this weekend!
I didn't know this, but it's apparently true. I've listened to some of the tracks featured, and he sounds like a moderately talented Romantic.
Other source. The countermelody is an Austrian Ländler.
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You just haven't found the right electronic music yet. Burial's Untrue and The Field's From Here We Go Sublime were the highest rated albums of 2007 and are more than deserving of your undivided attention.
In that case something like this might be useful. When you've got some more specific ideas, then we might be the people to ask! :)
Edit: Having said that, you could also use some of my spotify playlists which feature lots of hand-picked (although not necessarily definitive) recordings by key composers.
I have a recording of a fantastic quintet for bass clarinet and string quartet. Googling now, it's actually a much more recently written work than I remembered (from 1989), but it's very neo-romantic -- and about 14 minutes long (in two movements). The composer is Frits Celis (b. 1929, Antwerp)...
Frits Celis: Da Uno a Cinque for bass clarinet & string quartet, Op. 27
Have you heard of Coursera? You can take free online courses taught by professors from some great universities. Definitely worth checking out, and I think you'll be surprised by what they have to offer.
As a starting place, Joseph Kerman's Listen is the best survey of music history out there IMO. Then you can delve deeper into style periods with books like Charles Rosen's Classical Style or Romantic Generation.
For theory, Aldwell and Schachter's Harmony and Voice Leading and Keenan's Counterpoint can teach you most of what you need to know. The best part is they have great examples of most harmony concepts.
Just a quick tip for itunes users, it's extremely easy (and fun) to make you're own ringtones. I think you can use about 40 seconds of play time, just need to set your start and stop times. Found some instructions here.
> Laurel Fay's "Shostakovich: A Life"
Many thanks, this one looks interesting indeed (there is a review and the first chapter available online: Bitter Music).
Sure. The best source is a book by William Weber: Music and the Middle Class. In the mean time, here are a couple of other things I wrote: Popular music: the birth of an idea http://hubpages.com/_angrug4id9sc/hub/Popular-music-the-birth-of-an-idea Classical music: the birth of an idea http://hubpages.com/_angrug4id9sc/hub/Classical-music-the-birth-of-an-idea
@28:30 "little fugue" BWV 535 (Prelude and) fugue #8 in Gminor Just the fugue obviously.
can't find the others. Try : http://www.musipedia.org/melodic_contour.html or some of their other search methods, maybe you'll have more luck.
The best free or non free music notation software available is Lilypond. It differs from most other programs in that you create a file using a markup language (like you do in HTML or using Reddit's markup) and then the software compiles that into a score.
The learning curve significant but like anything, once you get used to it you'll find that it's easy to create new scores.
One of the huge pluses is that you often do not need to tweak the output at all (cf Finale, Sibelius, Musescore, etc). When you do need to tweak the output it can be a bit tricky but the tools are there.
There's a very robust community for it that is very helpful and will often take the time to create some special feature for you if needed.
Because you're dealing with a text file for your score then version control (eg: git) is a breeze. This is especially good for collaborative works.
Finally, it's not only free but it is open source and available on many platforms.