Masterworks with sustained intensity with no weaknesses or "rests"

Started by schweitzeralan, April 02, 2009, 05:10:27 AM

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Brian

Quote from: Frumaster on April 02, 2009, 11:21:22 AM
Prokofiev's 2nd Symphony...talk about (a)tonal overload!  Continually harsh bursts of energy.  It about drove me insane.  I'm not sure I made it through to the end on one listening, but maybe its the type of thing you're looking for.   :-\
Really? I pretty much hate atonal music - can't think of anything I've ever heard that I wanted to hear a second time except (oddly) for Karayev's Third Symphony, but nevertheless when I heard Prokofiev's Second Symphony I didn't really mind it at all. Kind of liked parts.

Frumaster

Quote from: Brian on April 02, 2009, 07:34:52 PM
Really? I pretty much hate atonal music - can't think of anything I've ever heard that I wanted to hear a second time except (oddly) for Karayev's Third Symphony, but nevertheless when I heard Prokofiev's Second Symphony I didn't really mind it at all. Kind of liked parts.

Well there are all degrees of atonality.  Prokofiev definitely did not overdo it, I think he used it very effectively and thats one of the reasons I like his work so much.  I do like the 2nd symphony on the whole, but parts are very industrial sounding and harsh to my ears.


greg

Quote from: Frumaster on April 02, 2009, 07:52:24 PM
Well there are all degrees of atonality.  Prokofiev definitely did not overdo it, I think he used it very effectively and thats one of the reasons I like his work so much.  I do like the 2nd symphony on the whole, but parts are very industrial sounding and harsh to my ears.
You know what I think of when listening to the first movement? Not intentionally, but subconsciously, I think of riding a bike through through a lightning storm. The imagery requires no effort.

Cato

Ultimately, despite all the noisy nonuple counterpoint, Prokofiev's Second Symphony is in C major, is not atonal, and is modeled after Beethoven's last Piano Sonata  Opus 111.
"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

snyprrr

late XENAKIS...like...duh ;D

Ruggles!!!

Simpson No.8

does this thread include stuff I'm NOT keen on?
glenn Branca
elliott Sharp
Lou Reed-Metal Machine Music

or was that on the "recommend me some dissonent music" thread?

some stuff by Rihm is unrelentingly exhuberant (50min piano trio and 50min string trio!!)

but I LIKE unreleaved tension in my listening pleasure....just not in my daily life!!

greg


Quotebut I LIKE unreleaved tension in my listening pleasure....just not in my daily life!!
Nicely said.  0:)

Kullervo

Quote from: snyprrr on April 03, 2009, 05:31:03 PM
Lou Reed-Metal Machine Music

I just listened to about 10 minutes of that. The real question is: why?

schweitzeralan

Quote from: schweitzeralan on April 02, 2009, 05:10:27 AM
This is a singular, personal judgement and assessment of just a very few works among the countless number of musical masterpieces composed over the centuries. This is a judgement category to be sure and is not a professional, academic assessment on my part as I never studied music professionally.. Over the decades I have listened to so many great musical compositions, as have so many of those who are involved in this forum. I just wanted to point out a few characteristic works which, again, in my personal view, exhibit a continuous stream of musical patterns, "images," "expressiveness," harmonic or thematic nuances which never let up, nor do certain works merely have "non-expressive" filters, bland passages which anticipate, or lead up to a major expression of tematic, harmonic, or rhythmic pulsation. What I'm hinting at is that I've heard works both "great," as well as "mediocre" which share many "intense" musical "moments." This is all too common but perhaps understandable and certainly does not belittle nor render any work insignificant. Many listeners will have their interpretations and comments.  I'm not just writing about my many "favorites." There are a very few works that involve my own intense involvement throughout that seem to transcend other favorites.  In short, every note counts as if it were self sustaining, again, "without break for examples."  Which ones?  For me there are the following of which I never tire nor put aside until much later, like next year.  Such works include the following:  "Die Gotterdammerung;" Debussy's "Le Martyr de Saint Sebastien;" Joseph Marx's "Herbsymphonie;" Gliere's 'Ilya Muromets;" Bloch's Concerto Symphonic;" Alexander Krein's "Piano Sonata"; the "Rach 3rd Concerto;" Frank Bridge's "Enter Spring;" Carter's "Variations For Orchestra;" Scriabin/Nemptin "Mysterium." And a few others I'll refrain from mentioning.  Is there anyone out there who holds a similar view?






pjme

Quote from: schweitzeralan on April 02, 2009, 06:40:06 PM
Checked out the website.  Will look into.  According to what I read his works are well constructed, serious and somwhat  Modernist. I shall check out some of Vermeulan's symphonies.  Appreciate the reply.

Check http://www.platomania.nl/etalage/list/id/32/Klassiek+

They may have Vermeulen for a good price.