Mozart edition
This thread is for the discussion of music in the Western classical tradition, as well as classical instrument-playing.
How do I get into classical?
This link has resources including audio courses, textbooks and selections of recordings to help you start to understand and appreciate classical music:
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do you play an instrument, OP?
the mystery of the sister poster's sudden disappearance remains unsolved.
Piano, yeah
Don't summon him cunt, speak of the devil and he shall appear. Generals have finally been comfy again for a while without shitflinging and autism for the most part without the fag
Rachmaninoff or Tchaikovsky?
Glazunov.
Prokofiev or Shostakovich?
Prokofiev.
that cover gives me anxiety
gould's overcoat gives me anxiety
let's start the day with some RVW
start of Vaughan Williams: Symphony No. 5 in D Major
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Vaughan Williams: Norfolk Rhapsody No. 1 in E Minor
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Vaughan Williams: The Lark Ascending
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hopefully I don't regret not going with the Martyn Brabbins/BBC Symphony recording. c'mon, Haitink!
thanks for the effortpost, I respect it.
Anyone know what Baroque piece (if any) the music here is based on?
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Specifically, the segment that starts playing at 2:43. The previous tune is from Bach's French Suite No. 5.
*2:23
anyone else obsessed with Debussy's Preludes?
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Divine!
What's Salieri up to?
man he's sure no JS Bach is georgie poo
*ahem*
i think you're all a little misguided, every /classical/ is a Bach thread
every edition is Mozart/Wagner now
Yeah, I really enjoy Szell's 3rd. Maybe try Kubelik's 9th and Tennstedt's 4th. For the 5th... Sinopoli or Dohnanyi.
nice little piece but too fast for my taste...
Oh now this is interesting. Never realised he did Bruckner 8. Wonder how it responds to his style.
One instance of this is in his views on Bismarck. He referred to him as a “barbarian Junker” when he argued against the rule of Germany by Prussia or Austria, but then held him to be the “new savior of Germany” and lauded Prussia as “the wave of the German future” and the embodiment of “the true German spirit.” He subsequently returned to a negative outlook on Bismarck, referring to him as a “pig caller” when he would not agree to fund Wagner’s Bayreuth enterprise after a Prussian military victory.
just reading about this mans life, he had way too many main character moments for just one man, you start to doubt that what you are reading actually happened
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still is
Do you all listen to classical when going for walks or driving? Personally, I listen to classical when at home but when on the move, so walking and on the bus, I prefer listening to pop/rock; better for daydreaming and thus time flying by. Plus more distractions, making it too difficult to properly focus on classical music, so something casual is better for me.
same, also it's noisy outside
I can't even listen to pop music when walking. I feel ridiculously vulnerable and I can't even focus on the music.
I feel ridiculously vulnerable
Like you're gonna be jumped and robbed?
it's like a soup.
I'm becoming a geriatric -- whenever I'm choosing between two or more recordings of the same piece to listen to, the deciding factor is whichever is the slowest
Like I'm going to be hit by a car on the sidewalk and my video watched and laughed at on Anon Babble.
now playing
start of Brahms: Symphony No. 3 in F Major, Op. 90
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start of Brahms: Symphony No. 4 in E Minor, Op. 98
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Where does Masur rank among Mozart conductors?
I'm still trying to ID the artists behind the drawings on Masur's recording covers. I cannot for the life of me make out that signature.
Should've been a Rachmaninoff edition with proper /classical/ subject, but I'll let this one slide Mahokun. In return, we all listen to this beauty:
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Booba
want to find chord patterns of dominant 9ths and 7ths for guitar
apparently, uneducated popslop faggots and jazz imbeciles shoehorne the word "dominant" where it doesn't belong
tonic discords too are called "dominant" chords
holy kek, mutt culture guys
At least these faggots gave me a reason to come up with patterns myself and never look them up
I saw an anon in the previous thread claim that Liszt and Schumann were better at counterpoint than Wagner. Liszt I understood, but Schumann? Bizarre. Schumann's form and skill as a composer was always like
it's awkward and slightly amateurish, but his inspiration works perfectly with it
I've never seen anyone really praises Schumann on a technical level alone.
Why has a Calvinist never produced excellent music?
Schumann's symphonies far surpass Brahms' symphonies, which contain all too much filler and, with the exception of the 4th, end in a whimper. Brahms was never able to write a truly triumphant finale, instead concluding in a placid continuation of the present mood (the 1st attempts to contrive tragedy in a minor key introduction, only to return to the major tonality of the previous movements). Just compare the lackluster finale of his 3rd symphony, coming after the intense 3rd movement, with the cathartic finales of Schumann's 2nd symphony and 1st piano trio. Brahms' slow movements in the first three symphonies are also more tedious than memorable or moving.
we've all read this before
yes, its called copypasta
wow, didn't notice that, thanks anon
Scriabin mogs him.
All this music of romanticism, moreover, was not noble enough to remain valid anywhere except in the theater and before crowds; it was from the start second-rate music that was not considered seriously by genuine musicians.
It was different with Felix Mendelssohn, that halcyon master who, on account of his lighter, purer, more enchanted soul, was honored quickly and just as quickly forgotten: as the beautiful intermezzo of German music. But as for Robert Schumann, who was very serious and also was taken seriously from the start - he was the last to found a school - is it not considered a good fortune among us today, a relief, a liberation, that this Schumann romanticism has been overcome?
Schumann with his taste which was basically a *small* taste (namely, a dangerous propensity, doubly dangerous among Germans, for quiet lyricism and sottishness of felling), constantly walking off to withdraw shyly and retire, a noble tender-heart who wallowed in all sorts of anonymous bliss and woe, a kind of girl and noli me tangere from the start: this Schumann was already a merely *German* event in music, no longer a European one, as Beethoven was and, to a still greater extent, Mozart. With him German music was threatened by its greatest danger: losing the voice for the soul Europe* and descending to mere fatherlandishness.
assignment is to write a serial piece
This is like trying to wring blood from a stone. How is this an entire musical language?