Oh yes, the organ works. I see organists as men full of musical sapience. The view of the console alone is kind of intimidating. They are usually composers too. Of course, It is Messiaen I am speaking about here, not just any organist. So those were the famous ondes Martenot I was listening to yesterday! I had read/heard so much about that famous work that, to be honest, I expected a little more than what I heard. But I should have hear it back in 1947 and the effect would have been quite another. Above all, the imitators, a great part of which is found in the film making industry, have the ability of ruining good music, transforming it into something vulgar. Happily, nobody has managed to imitate Beethoven yet.
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I did once ask this question a few years ago. I think it would be great if posters could offer something along the lines of impressions, the performance and so on. Still, sometimes it's enough of a catalyst to read the list and think to oneself 'Ah yes, I might check that out'. But not always.Originally posted by Enrique View Post
However, what you are asking is precisely what happened to me when you posted about the Brahms Ist symphony on another thread, linking it to 'contrary motion'. I think that if you had posted here on this thread simply the fact that you had been listening recently to the Brahms without any 'hook' as to why we should do so, I would have left it at that. The fact that you linked your recent listening of the Brahms to an ongoing topic (contrary motion, 2-part harmony ...) made me sit up and take the CD, you actively prodded my memory of that opening in the symphony and made me want to listen to it again.
I always try to give a context to my listening (when I remember to do so). I'll try even harder in the future to give more than a simple 'listing'.Comment
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It must be said though that I am unable to keep up with Roehre's listening lists. He will, if gently pressed, offer comments, which is fine by me. Trouble is, he listens sometimes to many composers I am totally unaware of and can't find the time to check out! If he gave a few 'pointers' that might save me the stress.Comment
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This morning, via radio:
Last part of Beethoven's Wellington's Victory
Banchieri: Concerto primo: LaBattaglia
Ravel: Sonate posthume for Violin and PianoComment
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Beethoven's worst ever. Tchaikovsky's attempt was much luckier.Originally posted by Sorrano View PostComment
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Penderecki:
Symphony no.3, Passacaglia.
Unbelievable how the tension is build up by the more primitive methods.Comment
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It's been a long time since I've listened to any Penderecki. Do you know how recent the 3rd Symphony is?Originally posted by Enrique View PostComment
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It was composed between 1988 and 1995. It was commissioned for the 100 year celebration of the Munich Philharmonic.
I had a recording where an infernal shouting was in crescendo until it culminated in a C major chord by the choir. I wonder how great these composers are. They seem very ingenious and must look the more so if one knew more. But in this passacaglia, for instance, the skeleton and "scaring" thing is just a D played by the basses all the way through. And the C major chord? To get an effect by means of a simple chord requires originality, or just the composer is looking for an effect? In any case they are trivial constructions (I won't say "My humble opinion").
Do you remember the Strauss symphonic poem opening made famous by Stanley Kubric? It seems overwhelming to me, having listened to it in a little wireless set (therefor I was prepared, I mean, it was stored in the brain) and then hear it in supercinerama. Man! But what is it? Another note in the basses all the way long (a C) while we hear C-G-C and then a C major chord followed by a C minor one. Perhaps the music ended with Beethoven.Comment
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Take a look at Beethoven's 5th Symphony for a similar effect. The transition between the 3rd and 4th movements consists of a very long prolongation of the dominant chord, finally resolving to the C Major (from a C Minor key). Then the ending of the symphony consists of another very long prolongation of the tonic. Typically, a Beethoven ending is very abrupt, yet with sufficient impetus to get there effectively. So why is the 5th symphony so different?Comment
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Because it has the patina of time? No, I think because it has survived time. Not a internal reason in itself. In Also Spracht Zarathustra, the curious thing is a chord going from major to minor (first instance) and not viceversa. When listening to the passacaglia I couldn't help to get a little nervous. And really a single note! Please go to youtube and listen to it and tell me if I'm not justified. More effective than a sofisticated chord.Last edited by Enrique; 01-22-2013, 02:03 AM.Comment
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I will try and get to the Passacaglia, but it won't be for awhile. Since the 80's I've been a big fan of Penderecki, but haven't heard anything written since that period. His Dies Irae is one of my favorites of his.Originally posted by Enrique View PostComment
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I went to the theater to listen to the St.Lukas Passion once. And the Teatro Colon has not an pipe organ in it, unlike so many European opera houses! So they had to bring an electronic one in!Comment
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This morning I have Brahms in my head:
String Quartet No. 3
Academic Festival OvertureComment
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Now I have him in mine.Comment
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Tonight I attended a lecture given by the French composer Philippe Manoury. Very interesting indeed. Here is a link with the topic presented earlier this evening:
http://www.philippemanoury.com/?p=5025Comment
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