how in the ever loving fuck do you not pop that melody off with the second half of it, for three fucking minutes. it's literally torture. do re mi do - they're gonna do it, they're gonna do it. they never do. it's worse than a butchering. not all of mozart is above rearranging in this way, but for god's sake play the whole melody.
James Parker
Okay I've been enjoying Schoenberg and Webern. Where to go with atonality from here?
Adam Phillips
time for darmstadt
Bentley Cox
Berg, the best of the three.
Matthew Brooks
I guess I recognize its creativity but for some reason I dont really enjoy listening to it, same for most Stravinsky. It sounds too satirical and something about the structure makes it feel loose.
Owen Morris
No one: Not a soul: Not even Elon Musk: Not even baby Yoda: Stravinsky: I tHiNk aTonAl MuSIc SuCkS. Keanu Reeves: You’re Breathtaking!
it always makes me feel bad when i see music like this. somebody took the time to write out something that nobody will listen to or love. i can't understand the motivation.
The fact that so many musicians still name Mozart as "the greatest or most significant or most influential" Classical-era composer ever only tells you how far Haydn's music still is from becoming not underrated.
based, mozart is marginally better than haydn at most, and haydn is responsible for most of the innovation of the era anyways
Joseph Walker
The post I responded to.
Dunno, just found out about him now after reverse image searching. The site I had initially saved the picture from said it was the son of Carl Gottlieb Hering, organist, music teacher and composer of the brilliant C-A-F-F-E-E canon
i played piano for a long time. then i got a 18th century stein fortepiano. now playing on a modern piano just feels stupid. everything past beethoven sounds retarded on a modern piano. the timbre in every register on the modern piano is the pretty much the same no matter which brand you try (bosendorfer, petrof, steinway). whereas on the period pianos the timbre is different in almost every register, which is what < 19th century composers wrote for. it becomes obvious within seconds of playing: you cannot play haydn on a modern piano. literally, you cannot make the noises required. in the 18th century pianos, the bass is reedy and buzzy, the middle registers can flow and pluck, the upper registers are very fluid but can also strike. this has all been normalized and eliminated in modern pianos.
Easton Barnes
unbelievably based, thanks user
Ayden Ramirez
to me Mozart and Haydn are on equal footing, and both are confusingly over-and-underrated.
Ayden Jenkins
*prior to beethoven
Gabriel Flores
>be zoomers >listen to Ride of the Valkyries once >“OMG Wagner mogs all!”
Anthony Ward
I was half a second away from saying that "past" didn't make sense at all
and not even in its entirety, otherwise the HOJOOOTO HEA HEA HEEE would have clued them in
Ayden Sanders
patricissimus
Justin Anderson
reminds me of an experience i had listening to a senior recital of a piano performance major at my college he was playing a bach prelude and fugue from WTC on a ridiculously expensive bosendorfer, probably about $500k and despite him being a really great pianist on this super expensive piano it was somehow one of the most uninteresting things i have ever heard when he played modern pieces it was great tho
Levi Hill
I don't even get why people would perform a piece in an instrument it wasn't meant for. It's not like we have grade-A replicas of any instrument from the 1600s onwards, perhaps even earlier. Imagine playing a cello concerto on an electric bass, it makes no sense.
Cameron Harris
>It's not like we have Shit. It's not like we don't* have.
Aiden Brown
Look how big Wagner’s brain was. That’s probably why he was so good.
it makes sense as long as your interpretation is adjusted for the new instrument also really shitty gatekeeping, "if you can't drop several grand on a period instrument you clearly aren't able to play that piece of music"
Brody Thompson
Look how big Wagner’s brain was. That’s probably why he was so good.
I don't think the people who record pieces for record companies or play in stages are using their own instruments. At home you can do whatever the fuck you want; play Bach in the harmonica for all I care. I'm talking about representative recordings and professional settings. And how is it gatekeeping when I actually *want* this to happen?
Blake James
See the album in for another SOULLESS performance of Bach on piano by an otherwise great musician. Gulda also has some recordings of himself playing on an amplified clavichord and even though the sound is pretty wonky and artificial, I still prefer it to this recording.
