What are you listening to now?

[Quijote]

And Ockeghem one work for 36. But how could they do it?

Hello Enrique.
The best way to answer your question (Thomas Tallis, Spem in alium) would be to take a look at the score!
http://petrucci.mus.auth.gr/imglnks/..._score_PML.pdf

[Enrique]

Hello Quijote. Thanks. Looking at the score I see I was partially right. Not only the six permutations of C-E-G but those combinations obtained by repeating a note in a permutation and for each of these combinations we can choose ascending of descending intervals (I go on with the example above). It's an enormous job!

[Quijote]

Hello Quijote. Thanks. Looking at the score I see I was partially right. Not only the six permutations of C-E-G but those combinations obtained by repeating a note in a permutation and for each of these combinations we can choose ascending of descending intervals (I go on with the example above). It's an enormous job!

It's the same for late classical symphonies when you think about it. Let's say for the sake of argument: 2 flutes, 2 oboes, 2 clarinets, 2 trumpets, 4 horns, violins I, violins II, alto, celli and double bass. That makes a potential of 17 "voices" for what is essentially 4-part harmony. Inevitably, there will be doublings.
When you look at more contemporary composers such as Ligeti or Xenakis, with them we have orchestral densities that really are independently multi-voiced. A good example of this would be the work Pithoprakta by Xenakis, scored for 49 players.
Here's the YouTube link with score: https://www.youtube.com/watch?v=yxAakHDWjrw

[Enrique]

I understand. One thing: the music has nothing to do with the score!

Debussy: La mer.

[Quijote]

I understand. One thing: the music has nothing to do with the score!
Debussy: La mer.

Can you explain what you mean?

[Enrique]

The music does not belong to the score.

[Henrik Stromberg]

But there is no problem to find the right one!

[Harvey]

One of my favorite Sentas.

[Quijote]

Trevor Wishart: Vox 1 (from his 6-piece Vox Cycle), for 4 amplified voices and tape. It ain't Beethoven but I like it!
https://www.youtube.com/watch?v=n8RpDnCdd7k

[Sorrano]

Trevor Wishart: Vox 1 (from his 6-piece Vox Cycle), for 4 amplified voices and tape. It ain't Beethoven but I like it!
https://www.youtube.com/watch?v=n8RpDnCdd7k

The ending seemed a bit abrupt to me. I found it very interesting as it reminded me a bit of Ligeti's experimentation on the human voice. Can't say that the cat liked it much, but he doesn't have a good ear for music. Thanks for sharing that, Quijote. I like new things!

[Quijote]

The ending seemed a bit abrupt to me. I found it very interesting as it reminded me a bit of Ligeti's experimentation on the human voice. Can't say that the cat liked it much, but he doesn't have a good ear for music. Thanks for sharing that, Quijote. I like new things!

Yes, that's a trademark Wishart ending. Sorry for your cat! My pleasure for sharing.

[euphony131]

This just arrived two days ago. Absolutley wonderful!

OMG, I wish I hadn't seen this. Because now I have to get it. I understand he plays on different fortepianos? Each corresponding to roughly the time period the work was composed? I'm not usually a fan of fortepiano, that tinkling sound seems to pale compared to a modern piano. However, I am super-curious! Does Skoda achieve a powerful sonority when need be? Like the fugue of the Hammerklavier?

[Caters]

Barenboim playing Beethoven’s Piano Sonata no. 1 in F minor. I just love how dramatic the ending Prestissimo is.

[Henrik Stromberg]

Barenboim playing Beethoven’s Piano Sonata no. 1 in F minor. I just love how dramatic the ending Prestissimo is.

Fantastic! Beautifully done!

[Peter]

Franz Schmidt Symphony no.4 - not sure why this isn't better known?