Classical Recomendations
May 7, 2007 at 6:21 AM Post #16 of 48
Twokings, if I were you I would've ignored that comment. Especially if we're all "laymen" with totally no musical background, which would in turn make our opinions less valid than yours
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If you don't like "classics" in it's literal term, that's perfectly fine. You like the unconventional... "classics", and and find less appreciation in Mozart/Beethoven, which is good for you. We respect you for that.
 
May 7, 2007 at 6:31 AM Post #17 of 48
Quote:

Originally Posted by Assorted /img/forum/go_quote.gif
Twokings, if I were you I would've ignored that comment. Especially if we're all "laymen" with totally no musical background, which would in turn make our opinions less valid than yours
rolleyes.gif


If you don't like "classics" in it's literal term, that's perfectly fine. You like the unconventional... "classics", and and find less appreciation in Mozart/Beethoven, which is good for you. We respect you for that.



I know... I am just very defensive because I feel like I have a large controversial ideal that I have to defend when its attacked.

Let me start over... I would have to be a fool not to appreciate Mozart or Beethoven, hell, I have read 3 biographies on the man AND his and Leopold's personal letters to their family and friends. That alone should tell you how much interest I have in the man. Unfortunately... I feel all he really brought to the table was an incredible tact for technicality and combination.

On that note, I absolutely love Mozart's concerto for Bassoon and Clarinet, it's one of my favorite concertos of all time. However, I "associate" with more ballsy and off the wall composers... those that are typically "understood" only after they are dead because the world wasn't ready for them.

A lot my musical taste resides within the artist himself, because, to me, music is strictly expression of ideals and relations in the most convenient way possible for some, space.
 
May 7, 2007 at 6:57 AM Post #18 of 48
Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif
Try Vivaldi's 4 Seasons, Pachelbel's Canon, Bach's Air on a G string and Albinoni's Adagio. That's all easy listening. when you decide to get serious, then ask again.


i know the Vivaldi's 4 Seasons and i didnt like it that much. does anyone know the name of that french composer who did some symphonies i know this is really vague sorry. oh and i may not know about the technical stuff but i know i like the music so dont take it personal if my stupidity insults your taste. and thanks again for any recomendations i will check them out.
 
May 7, 2007 at 7:09 AM Post #19 of 48
Quote:

Originally Posted by tw0k1ngs /img/forum/go_quote.gif

On that note, I absolutely love Mozart's concerto for Bassoon and Clarinet, it's one of my favorite concertos of all time.



Mozart's first (well, sort of) and last concertos compressed into a double concerto? That's convenient.
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And to me, Beethoven IS one of the most "ballsy and off the wall" composers of all times.
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May 7, 2007 at 7:16 AM Post #20 of 48
Ok now let me start over how about some Renaissance, and Baroque, and Romantic recomendations. I like the organ and the harpsichord and french horns alot. Oh and i like saint-saiens i heard a symphony by him but i dont remember the name of it. Any good recomendations from him?
Some JS Bach recomendations would also be appreciated.

thanks again i know its tough to recomend cause theres so much out there but throw some names at me and maybe a good cd.
 
May 7, 2007 at 7:23 AM Post #21 of 48
Quote:

Originally Posted by tw0k1ngs /img/forum/go_quote.gif
Since when is having an opinion trolling? I'm not trying to start drama for the sake of it, but replying to an insult... so, isn't HE trolling?:

If you can't appreciate Mozart and Beethoven, the fault isn't their limited past but your limited present.

You should visit some video game forums before you go around throwing that "troll" word around so quickly.



That's well and good, but - let's be fair - phrases like "Mozart was a court monkey" are pretty extreme. In fact, in my experience, such a phrase seems calculated entirely to garner a response, and one that probably won't be positive.

Quote:

That is exactly the problem I have with this type of classical music and society in general. It requires an intellect to appreciate, and when you deal with these levels of intellect, people feel this need to make their opinion universal.

I stated my opinion, someone had a problem with it, insults me for not agreeing with a majority, then I am the one who gets "blamed" for defending an opinion. (most likely due to my relative newness to the forums and post count)


Defend your opinion all you want. However, I'm not sure that phrases like the one I quoted above are the best way to defend your position. In fact, such a comment - which, with a little rephrasing, could be the start of a productive discussion - seems more likely to shut down discussion, thereby rendering your defense a moot point.

Quote:

I almost feel like I need to be a bigot and throw around some credentials as to my former background and training just to be taken seriously... and sadly, because I act human as well, I will if need be to defend my position.

If I were introduced to you as to who I truly am instead of this little avatar on the internet, sadly I feel like my opinion would make you all think twice before discounting me.


If you've got it, flaunt it. I don't see any reason why life experience should be kept out of the electronic ether. If you know something the rest of us don't, go for it. I, for one, always like learning new things.

BTW, to keep the thread (at least partially) on-topic: try Franz Schmidt's Das Buch mit sieben Siegeln. It has moments with a lot of power, and moments with a soothing peacefulness. Fauré's Requiem is pretty good along these lines, too. Richard Wagner's Parsifal, which might be a pretty challenging work, will pay off in the long run if you're looking for flat out gorgeous music.
 
May 7, 2007 at 7:23 AM Post #22 of 48
Quote:

Originally Posted by TDFiend /img/forum/go_quote.gif
Ok now let me start over how about some Renaissance, and Baroque recomendations. I like the organ and the harpsichord and french horns alot. Oh and i like saint-saiens i heard a symphony by him but i dont remember the name of it. Any good recomendations from him?
Some JS Bach recomendations would also be appreciated.

thanks again i know its tough to recomend cause theres so much out there but throw some names at me and maybe a good cd.



Check the thread "Bach Keyboard Music" for more recommendations than you ever want!
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A good CD (actually 2 CDs) - JSB Well-Tempered Clavier I performed by Pierre Hantai (Mirare MIR 9930) Ballsy playing with luscious harpsichord sound. (Wait, you want an ACCURATE harpsichord sound? Then Ottavio Dantone is your man. Arts 47654-2. The performance is more literal but beautifully so.)
 
May 7, 2007 at 7:35 AM Post #23 of 48
If you like Bach, then you must listen to Bach's Unaccompanied Cello Suites. It explores magnificent virtue sounds of cello to its fullest. Cellist Jahn Starker's performance of this Bach's Unaccompanied Cello Suites is one of my favorite piece of music.
 
May 7, 2007 at 7:57 AM Post #24 of 48
Quote:

Originally Posted by TDFiend /img/forum/go_quote.gif
Ok now let me start over how about some Renaissance, and Baroque, and Romantic recomendations. I like the organ and the harpsichord and french horns alot. Oh and i like saint-saiens i heard a symphony by him but i dont remember the name of it. Any good recomendations from him?
Some JS Bach recomendations would also be appreciated.

thanks again i know its tough to recomend cause theres so much out there but throw some names at me and maybe a good cd.



Here's a second for the Bach keyboard thread, but here are my recommendations:

Pierre Hantaï, JS Bach: Goldberg Variations (either the older on Opus 111 or the newer on Mirare)

Karl Richter, JS Bach: Organ Works (on Deutsche Grammophon)

Trevor Pinnock et al., JS Bach: Harpsichord concertos (on Archiv)

Any Bach by Christophe Rousset is a solid bet, too. However, you can get a lot of really useful information off the various major threads here. They're the first places I go when I'm looking to expand my library.
 
May 7, 2007 at 3:15 PM Post #25 of 48
Quote:

Originally Posted by Assorted /img/forum/go_quote.gif
Limitations? I think stringed instruments sacrificed alot when steel strings and the French bow was invented, not that they're a de-provement, just mo
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[Snip]



Amen!
 
May 7, 2007 at 9:14 PM Post #26 of 48
Quote:

Originally Posted by PSmith08 /img/forum/go_quote.gif
That's well and good, but - let's be fair - phrases like "Mozart was a court monkey" are pretty extreme. In fact, in my experience, such a phrase seems calculated entirely to garner a response, and one that probably won't be positive.



Defend your opinion all you want. However, I'm not sure that phrases like the one I quoted above are the best way to defend your position. In fact, such a comment - which, with a little rephrasing, could be the start of a productive discussion - seems more likely to shut down discussion, thereby rendering your defense a moot point.



If you've got it, flaunt it. I don't see any reason why life experience should be kept out of the electronic ether. If you know something the rest of us don't, go for it. I, for one, always like learning new things.

BTW, to keep the thread (at least partially) on-topic: try Franz Schmidt's Das Buch mit sieben Siegeln. It has moments with a lot of power, and moments with a soothing peacefulness. Fauré's Requiem is pretty good along these lines, too. Richard Wagner's Parsifal, which might be a pretty challenging work, will pay off in the long run if you're looking for flat out gorgeous music.



What I meant by Mozart was a "court monkey" was meant in the same sense that John Williams is a "film monkey." His expression will always be somewhat limited by others "approval."

Of course I was exaggerating, but that is just reflex from my former debate days.

I only meant it in relation to Beethoven, not as a fact. I was comparing the two, saying that Beethoven composed just for the hell of it, however his brilliance lies within his mastery of simplicity.

Comparing Dali to Picasso is futile, since both were masters at the message they were attempting to translate, however, I can relate more to Dali the person, therefore he will always have the "iconic" advantage just as Scriabin and Chopin have in my book.

As for me, the reason why I have such opinion, is because I cannot distinguish between life and art. I have severe synesthesia for both music and some color, music being more severe, something for ever frequency. I cannot hear any frequency without experiencing a flood of indescribable shapes and colors. The worst part is, I have to call them colors, because they elicit the same feeling I get when seeing colors with my eyes, but they are not like "red's and blues" but more like... tastes, or... steel feelings or soft, darker feels. On top of all this, I cannot think in any way other than pictures and shapes, and I was stunned when I was told that people don't all think this way. I started playing piano when I was 3, and can still remember every note I played on my first lesson. I can learn 20 page etudes in a day, because I remember what I "see" very easily.

I have thought and thought scientifically about why I can do this, as it only helped to separate me from my musical peers, and I guess the best way I have come to understand it is... because I can "see" it, I understand space extremely effectively. I understand how music is simply a momentary stop in time upon an infinite scale, and when certain combinations of these momentary stops apply, they elicit a specific (yet recognizable and categorical) reaction within me. I in turn, do not think in terms of "notes" anymore, but direct transmission of feeling, in which I can understand/recreate it instantaneously.

This in turn has led me to realize how limited language is for the pure transmission of thought... and how no one will ever truly "understand" until I play for them. That is why I love music, because I can talk about it all I want, but no amount of words will express what I truly mean as well as playing even three notes... the exact amount I want to/am trying to convey.

I first found out I experienced music differently than others in AP Music Theory in High School. We were listening to Schoenberg, and I immediately started having slight convulsions and physical reactions to the music in which they almost had to call the paramedics. My senses were going crazy... subconsciously trying to find some kind of tonic ground but slipping all over mathematics? I don't know. But that is how I have come to terms with it.

Imagine trying to communicate what you are experiencing as a child to others, only to have them shoot you down because THEY didn't grow up under the same conditions. It was very confusing for me as a child. I hate "teachers" because they are people with opinions... opinions they attempt to force upon you, not always in your best interest, but because that is "how it is done."

I have realized that "how it is done" simply means "allowing for the most efficient means of translation" and that I can figure out by myself in relatively short time.

This is why I am an audiophile, not because I like a "clean picture", but because of what a "cleaner" picture can express to me. It brings across this underlying message in music that "dirty" music can't express fully.

You may say, "Well why aren't you at Juilliard or Berklee or European schools?" Because the only thing they can help me improve upon is technique and present me with bragging rights, something I am not fond of. On top of that... it is only more of me having to explain to others what is going on in my head, even though it already has begun to make perfect sense to me. If you can "see" what is going on in music... if you can get that 2 + 2 = 4 for a piece, how can someone help you understand that 2 + 2 = 4... better?

This is why I judge them as "men." Not because of hours and hours of studying and studying, but because I can peek behind the curtain that studying helps open. I can see/feel what they were attempting to express, and that is why I love some of Mozart's jazz genius where he does stuff almost "just for the hell of it".

I just hate having to explain all that again... because it sounds extremely unbelievable, and as you read, there is no doubt in my mind that you doubt me 100%. Because we are just human, people will read this, and I WILL get those humble replies like "well we are just layman compared to YOU" and I hate that.

There, I have said my peace. If you have any questions, ask and I will answer as best I can.
 
May 7, 2007 at 9:25 PM Post #27 of 48
Le malade imaginaire (Molière / M-A Charpentier)

The wonderfully and often sardonically witty incidental music by Charpentier has always been underappreciated.

recordings: William Christie/ Les arts florissants (Harmonia mundi)
Marc Minkowski/ Les musiciens de Louvre (Erato)
 
May 7, 2007 at 9:42 PM Post #28 of 48
What is that you like about Scriabin's music? I've thought his music okay, but may appreciate it more, if someone indicates what to listen/look for...
 
May 7, 2007 at 9:53 PM Post #29 of 48
Quote:

Originally Posted by tw0k1ngs /img/forum/go_quote.gif
And what "present" would that be, since you can so easily speak on my behalf?

Mozart was a court monkey. Beethoven was a constrained artist. Mozart studied profusely under Haydn, and it shows to a RIDICULOUS amount. Beethoven composed for the sake of composing, and what made him popular is his exceptional use of STANDARD convention. He introduced nothing new, and after hearing revolutionaries who expounded upon the "basics" that these men perfected, going back undoubtedly has its limitations.

It isn't the notes that gives genius musicians their genius. It is their minds. It is not the ink on the paper or the words that makes Whitman a poetic genius, its his MIND. These men had great minds, but fall FAR short of "untouchable genius."



You are very good at putting down geniuses whose accomplishments are known and respected by the rest of humanity. In your particular present time, you have dismissed everything that was built by these giants upon whose shoulders others stood in order to attain whatever heights they rose to. You love Whitman, but would you dismiss Chaucer and Shakespeare because their idiom is different both in syntax and style from Whitman's?

Mozart's father was his principal teacher. He appeared in Vienna with his talent formed at such an early age that even Haydn couldn't resist exclaiming that there had never been such a great composer as Mozart. To your ears, Beethoven's music sounds hopelessly conventional, but then you have known Beethoven's music and later music that has incorporated all of his innovations all of your life. You clearly lack the imagination to understand just how revolutionary Beethoven was, and not just in his music. He was the first composer who demanded to be accepted as a social equal by the incredibly caste oriented Viennese. He insisted on entering by the front door and was friends with the aristocracy who valued him so much more than you do, even when they became aware after his disastrous lawsuit with his sister in law that he was not a member of any aristocracy.

You don't particularly care for the music of Mozart and Beethoven and probably by extension the music of Haydn (another great innovator). You are entitled to like what you like and dislike what ever you wish as well. You aren't entitled to proclaim that because you don't see or appreciate the value and greatness of Mozart and Beethoven that these composers were not great. When you do that and dismiss them as you do, you reveal yourself as a callow and ignorant snob.
 
May 7, 2007 at 9:55 PM Post #30 of 48
Quote:

Originally Posted by Masolino /img/forum/go_quote.gif
Le malade imaginaire (Molière / M-A Charpentier)

The wonderfully and often sardonically witty incidental music by Charpentier has always been underappreciated.

recordings: William Christie/ Les arts florissants (Harmonia mundi)
Marc Minkowski/ Les musiciens de Louvre (Erato)



Quelle drôlerie ! .
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