Started by Gurn Blanston, February 22, 2009, 07:05:20 AM
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Quote from: Drasko on February 22, 2009, 11:15:03 AMhttp://www.arkivmusic.com/classical/album.jsp?album_id=177282
Quote from: k a rl h e nn i ng on February 22, 2009, 11:19:24 AMCool thread, Gurn -- speaking from the 21st century though I does
Quote from: KammerNuss on February 22, 2009, 09:29:19 AMOne of my first discoveries, was Paisiello, when I bought the soundtrack to Kubrick's Barry Lyndon. It was an excerpt from his Barber of Seville opera (not Rossini's Kubrick Film soundtracks were my transition into classical music, and opened up that new world of intrigue to me! 0:)
Quote from: KammerNuss on February 22, 2009, 09:39:21 AMIn very curious to know, since I really enjoy Russian music, if there were any good Russian composers in the classical era (pre-Glinka)?
QuoteWhile Dmytro Bortniansky's operas and instrumental compositions are on par with those of the great classical composers, it is his sacred choral work that is performed most often today. This vast body of work remains central not only to understanding 18th century Russian sacred music, but also served as inspiration to his fellow Ukrainian composers in the 19th century.
Quote from: sul G on February 22, 2009, 02:03:53 PMHere's one I hadn't heard of - Yevstigney Fomin. There's the vocal score of an opera of his at IMSLP - I have it downloading now!
Quote from: Sorin Eushayson on February 22, 2009, 01:47:14 PMDoing my daily GMG check imagine my surprise when I see a new thread from my old pal Gurn Blanston. Imagine also my surprise to learn that it's shot up to three pages in a day! Great reading, Gurn! I'll make sure to drop by here often. Er... That is all!
Quote from: sul G on February 22, 2009, 01:51:35 PMThis disc is surprising and wonderfuland there are other Khandoshkin discs out there which I haven't heard. This is solo violin music, fiery virtuoso stuff, but with plenty of poetry and arresting ideas too. Somehow you can tell that this is music from the edge of things, and that's not a bad thing. Definitely worth a punt - and it fills a gap which I didn't think could be filled. Khandoshkin's wiki pageNice thread, Gurn. And your list of books is spot on. It should be pointed out that Rosen's The Classical Style is officially The Best Book On Music Ever. $:) I've never read anything as consistently revealing...unless it be Rosen's The Romantic Generation. The guy is incredible.
Quote from: SonicMan on February 22, 2009, 03:06:07 PMHi Gurn - just coming in for the evening and noticed your already 3-page thread! As you likely know, this is my favorite period of music and really love the transitional years, so will be quite interested in joing in on the conversation and hopefully contributing some useful information - Just for a starter consideration, this period saw a tremendous development of various instruments, such as the keyboards (e.g. harpsichords into the fortepianos) and woodwinds (such as flutes & clarinets); thus, this discussion will need to include preferences for performances of works on these various types of instruments.Just today, I was listening to the 6-CD set of Ronald Brautigam performing the Mozart Piano Sonatas on a wonderful instrument (built by Paul McNulty in 1992 after one by Anton Walter, ca. 1795) - the sound and 'up front' presence of this piano is just superb.So, I would encourage those participating in this thread to consider the changes that were occurring w/ the instruments of these times - great start, buddy! Dave
Quote from: Gurn Blanston on February 22, 2009, 04:05:58 PMOn the old forum, SonicMan and I started many threads on Classical Era composers. Some of these became very popular, a few didn't. In any case, the initial posts nearly always contained a brief biography and perhaps a few music recommendations to be getting on with. Rather than restart those threads, I thought to go back and copy and paste that original post so that the composers will be discussed in their context with each other.
Quote from: sul G on February 22, 2009, 02:17:02 PMEdit - it does work, you can listen to the whole CD...
Quote from: Gurn Blanston on February 22, 2009, 04:07:19 PMBoccherini's style is characterized by the typical Rococo charm, lightness, and optimism
Quote......... - should Haydn be played w/ the size orchestra he was familiar w/ in his times, i.e. 18th century, and w/ the instruments of the times, esp. the woodwinds (including tunings, strings - gut, etc.) - don't think that Papa Joe would even understand his music being performed by a late Romantic orchestra approaching 100 members!A few months ago, I was reading the book shown below The Birth of the Orchestra (subtitled 'History of an Institution, 1650-1815) - this is an in-depth analysis of orchestral development, the latter half during Haydn's times; to be honest this is really appropriate for a college textbook, so did skip over a lot of parts; but out of curiosity concerning the SIZE of orchestras back then, I did a brief compilation of the appendices concerning the size of orchestras during the periods of Haydn's composing; below is just a summary:Orchestra Sampling (yrs) Number Range Average 1754-1759 23 10-50 29 1773-1779 33 12-68 33 1791-1796 43 10-86 34Sorry, but can't get these titles & columns to 'line up' easily! But the point is that during Haydn's times, orchestras likely averaged only 20-30 players (the larger ones in the ranges listed were operatic/theater groups); plus, the wind instruments were still in a stage of development and were wood back then; the keyboards were organ, harpsichord, or fortepianos. Of course, the string instruments were likely gut, and the mode of playing, tuning, etc. different from modern orchestras; I'm w/ Q, the orchestras used in Haydn's times were 'small' in comparison to our modern ones, the ratio & types of instruments (esp. the winds) were different, and the performance practices likely not the same. To me the Haydn Symphonies sound wonderful if well played regardless of the orchestra (and I have about half of his output by nearly a half dozen performers), but would be FUN to hear these as did Papa Joe -
Quote from: sul G on February 22, 2009, 04:19:09 PMThanks for that, Gurn. The following:whilst undoubtedly true as a generalisation, is the sort of thing which, rightly or wrongly, puts many people off Boccherini, sadly - so I would point out that those looking for music with more troubled undertones will find them in Boccherini too. The Stabat Mater for solo soprano and strings, for example, (on Harmonia Mundi, coupled with a very dark quintet IIRC; also on other discs I haven't heard) is a beautiful work, melodically rich, highly expressive; elsewhere, there is plenty of chamber music with plenty going on below the surface.Searching around, I also see that there's another Stabat Mater about which I'd forgotten. This disc looks well worth a punt:
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