Intellect and integrity.

[Mandryka]

I was listening to Bob van Asperen plays some Sweelink in this box set.

It's emotionally rewarding. But to access the poetry, you have to engage your brain. You have to be aware of how the voices are interacting, and of how  the textures are evolving. You have to engage yourself to see through the textures, and to follow the story.

As I was playing this recording, I was thinking about the relation between intellect and emotion in experiencing music. About how my experience listening to this Asperen set of Sweelink pieces seems more like what I experience when I listen to Ferneyhough or Hindemith than when I listen to Schubert or Beethoven. Same sort of demands on the listener.

I was also thinking about the consequences of the Galant style, how Galant music is (maybe) more accessible, easier, hence more populist.

And I was  thinking about integrity and influence. How sometimes listening to Maher and Beethoven I'm aware of the music bullying me into feeling a certain way.  As if I'm being made to submit. With these Sweelink pieces, it's not like that bacause the emotional response flows out of, or supervenes on, the intellectual response more., and so engages my whole self. 

Preliminary ideas, I'm not sure they will lead anywhere.

[Harry]

I was listening to Bob van Asperen plays some Sweelink in this box set.

It's emotionally rewarding. But to access the poetry, you have to engage your brain. You have to be aware of how the voices are interacting, and of how  the textures are evolving. You have to engage yourself to see through the textures, and to follow the story.

As I was playing this recording, I was thinking about the relation between intellect and emotion in experiencing music. About how my experience listening to this Asperen set of Sweelink pieces seems more like what I experience when I listen to Ferneyhough or Holliger than when I listen to Schubert or Beethoven. Same sort of demands on the listener.

I was also thinking about the consequences of the Galant style, how Galant music is (maybe) more accessible, easier, hence more populist.

And I was  thinking about integrity and influence. How sometimes listening to Maher and Beethoven I'm aware of the music bullying me into feeling a certain way. With these Sweelink pieces, it's not like that bacause the emotional response flows out of, or supervenes on, the intellectual response more.

Preliminary ideas, I'm not sure they will lead anywhere.

For a change, listen to Leon Berben, you might be surprised by the refined poetry of his playing.
Aeolus is the label

[Wanderer]

You have to be aware of how the voices are interacting, and of how  the textures are evolving. You have to engage yourself to see through the textures, and to follow the story.

It sounds like you would enjoy Medtner.

[starrynight]

I was listening to Bob van Asperen plays some Sweelink in this box set.

It's emotionally rewarding. But to access the poetry, you have to engage your brain. You have to be aware of how the voices are interacting, and of how  the textures are evolving. You have to engage yourself to see through the textures, and to follow the story.

As I was playing this recording, I was thinking about the relation between intellect and emotion in experiencing music. About how my experience listening to this Asperen set of Sweelink pieces seems more like what I experience when I listen to Ferneyhough or Hindemith than when I listen to Schubert or Beethoven. Same sort of demands on the listener.

I was also thinking about the consequences of the Galant style, how Galant music is (maybe) more accessible, easier, hence more populist.

And I was  thinking about integrity and influence. How sometimes listening to Maher and Beethoven I'm aware of the music bullying me into feeling a certain way.  As if I'm being made to submit. With these Sweelink pieces, it's not like that bacause the emotional response flows out of, or supervenes on, the intellectual response more., and so engages my whole self. 

Preliminary ideas, I'm not sure they will lead anywhere.

That's interesting as to whether the classical style was more populist or whether it was simply distributed in a more public way with the development of public concerts (related to the other thread).  It had to start from a relatively simple base compared to what the baroque had achieved but very quickly built up its own dramatic style.  It is often attacked for being less serious because it doesn't use as much counterpoint or because it wasn't in the courts or churches maybe, but within the short period it grew to influence so much music in the forms it created (like the symphony, piano sonata and string quartet).  It integrated dances and airs (as you could call them) into these substantial and very varied forms.  I'm sure there's some intellectual interaction with both styles of music alongside the emotive impact.  Let's not pretend baroque music didn't have it's share of light music anyway.

[Ken B]

John Cage expressed dislike for the Halleluiah Chorus.
"Don't you like being moved?"
"I like being moved but I object to being pushed."

[starrynight]

lol
You could say all music is a kind of manipulation though as it's a journey set out that we follow.  We either follow it willingly, or we don't.