bosiemoncrieff
Headphoneus Supremus
Two things that are on my mind, both of which I'm sure I've said before:
1) Why, no matter how hard I try, does Mahler not reach me? I heard the fourth last night and found his jingle-bells recurring motif trite and childish. In much of his music (not so much the slow movements, but definitely finale to the fifth and much of the fourth and eighth), I hear melodies that I find clunky, gaudy, and aggressively camp.
2) What are the signal differences between the operatic styles of Handel and Vivaldi? As I hear them, Handel is more about long, winding, proto-Bellinian melodies. Vivaldi has short motivic cells which he builds up through sequencing and repetition. Handel is also much more clearly a keyboardist, leaving the soloist often accompanied by the harpsichord alone, with the orchestra responding when the soloist is silent.
1) Why, no matter how hard I try, does Mahler not reach me? I heard the fourth last night and found his jingle-bells recurring motif trite and childish. In much of his music (not so much the slow movements, but definitely finale to the fifth and much of the fourth and eighth), I hear melodies that I find clunky, gaudy, and aggressively camp.
2) What are the signal differences between the operatic styles of Handel and Vivaldi? As I hear them, Handel is more about long, winding, proto-Bellinian melodies. Vivaldi has short motivic cells which he builds up through sequencing and repetition. Handel is also much more clearly a keyboardist, leaving the soloist often accompanied by the harpsichord alone, with the orchestra responding when the soloist is silent.