Five important pre-1980 composers that you easily could live without

[foxandpeng]

I would suggest to you the JS Bach cello suites. If those turn out to have a positive effect, then perhaps the partitas and sonatas for solo violin will as well.

You ( and, perhaps, others ) might also consider Josquin Des Prez. Back in the early '90's the King's Singers released a Josquin CD on RCA, comprised of both secular and sacred pieces. As they're performed by only six voices, it isn't really a choral recording per se, and it's been a favorite of mine for nearly 30 years.

Thank you for the suggestions, LKB. I perhaps ought to open myself up to these. I do occasionally have an appreciation for Gregorian Chant and some pre-Reformation settings of the psalms (the Des Prez CPO 2012 release included), so perhaps I am not a completely lost cause. Masses, on point of principle, are less my thing. I've been known to play John (Kenneth) Taverner's forays into Orthodoxy and some Rautavaara, Hovhaness, and inevitably some of the English composers who stray into choral territory.

On reflection, the more I ponder, the more I realise that I do have an appreciation for some of this stuff. I just don't return to it so frequently. Placing it in the redundant pile is perhaps somewhat premature.

You can still keep Godowsky, Liszt and Chopin though

[Brian]

Haydn is later in life (or later in musical exposure) music to me because to really hear how interesting, distinctive, and rule-breaking each symphony is, you have to be really immersed in the art form first. Certainly 10 years ago, I thought Haydn was like Mozart, but weird and quirky and limited, rather than Mozart's seeming perfection. It took a long time to dig him on more than a surface level of "that sounds nice." I think because the way we listen now is so different from the norms of that time.

But the Bach cello suites were my entry to Bach, too. I knew the Brandenburg concertos and a few other things before that, but thought of them as background music. Fournier was my starter but there are many, many great options for all tastes (e.g. Queyras, H. Schiff, Ma 2 or 3).

[(poco) Sforzando]

Haydn is later in life (or later in musical exposure) music to me because to really hear how interesting, distinctive, and rule-breaking each symphony is, you have to be really immersed in the art form first. Certainly 10 years ago, I thought Haydn was like Mozart, but weird and quirky and limited, rather than Mozart's seeming perfection. It took a long time to dig him on more than a surface level of "that sounds nice." I think because the way we listen now is so different from the norms of that time.

But the Bach cello suites were my entry to Bach, too. I knew the Brandenburg concertos and a few other things before that, but thought of them as background music. Fournier was my starter but there are many, many great options for all tastes (e.g. Queyras, H. Schiff, Ma 2 or 3).

Oddly enough, the cello suites are among my least favorite of Bach's music. I much prefer the solo violin sonatas and partitas.

[kyjo]

Haydn is later in life (or later in musical exposure) music to me because to really hear how interesting, distinctive, and rule-breaking each symphony is, you have to be really immersed in the art form first. Certainly 10 years ago, I thought Haydn was like Mozart, but weird and quirky and limited, rather than Mozart's seeming perfection. It took a long time to dig him on more than a surface level of "that sounds nice." I think because the way we listen now is so different from the norms of that time.

I agree with this. I used to think Haydn's music was nothing special and didn't get all the hype, but after spending much more time with it recently I've come to love many of his works.

[Brian]

Oddly enough, the cello suites are among my least favorite of Bach's music. I much prefer the solo violin sonatas and partitas.

Huh! I wonder what about the personality or experience pushes us toward one or the other. I have a personal fondness for the lower pitched instruments in all families; maybe that contributes.

[Jo498]

Huh! I wonder what about the personality or experience pushes us toward one or the other. I have a personal fondness for the lower pitched instruments in all families; maybe that contributes.

They are rather different works and the solo high pitched violin very probably more of an acquired taste than solo cello. I can see someone finding the cello suites a bit boring but the violin partitas could be irritating. I like the E major and d minor but don't care much for the rest. My favorite Bach chamber music are the violin/harpsichord sonatas.

[San Antone]

They are rather different works and the solo high pitched violin very probably more of an acquired taste than solo cello. I can see someone finding the cello suites a bit boring but the violin partitas could be irritating. I like the E major and d minor but don't care much for the rest. My favorite Bach chamber music are the violin/harpsichord sonatas.

Both the cello suites and the sonatas and partitas for solo violin are among my favorite works by Bach.  The others are solo keyboard works.  I am less a fan of the instrumental sonatas with continuo, or even the large vocal works.

[Madiel]

It is no surprise to anyone who's been... paying too much attention to me you stalker... that the cello suites are my favourite Bach.

Partly it's the sheer regularity of form. As set of suites, they're more consistent in basic form than any of Bach's other sets. Same number of movements, only change is which dance is used for the galanterie (and it's just the one dance each time).

Also, Haydn is a freaking genius.

[Symphonic Addict]

It has been a while. When I first started listening to classical music I bought the Naxos releases of the later Mozart symphonies, then replaced them with a complete box set from one of the online monthly music clubs in the early 90's. I rarely listen, but I probably wouldn't cast them to the abyss - it is Mozart, after all. Bach? Like many, I enjoyed the Brandenburgs but stopped there, because back in the mists of time, I overdosed somewhat on Locatelli, Telemann, Handel, Boccherini, and lots of music from the Baroque and not far beyond. I also overdosed on Haydn symphonies. So many Haydn symphonies. It all became a bit wallpaper-y and too 'easy' to listen to. As my music tastes have developed, I simply haven't returned to these.

Choral music and opera usually don't do a huge amount for me, but again, there are exceptions.

Mmm quite interesting to read, fox! Analyzing about my development of tastes, lately I too am pointing to prefer more challenging, creative or innovative works or composers, in terms of sounds or melodies, styles, developments, etc. But, on the other hand, I do cherish the fine and expert craftsmanship by the Austro-German "heavy yet meaty" stuff.

In other words, the constant is: tastes change all the time.

[André]

It is no surprise to anyone who's been... paying too much attention to me you stalker... that the cello suites are my favourite Bach.

Partly it's the sheer regularity of form. As set of suites, they're more consistent in basic form than any of Bach's other sets. Same number of movements, only change is which dance is used for the galanterie (and it's just the one dance each time).

Also, Haydn is a freaking genius.

And also a strict disciplinarian. This week on a CBC radio show the host said that early on Haydn adopted a rigorous work method, setting himself objectives and deadlines daily. Later on when at the service of the Esterhazys he was able to put this to good use, his musical ideas freely flowing, unencumbered by technical difficulties.

[(poco) Sforzando]

Huh! I wonder what about the personality or experience pushes us toward one or the other. I have a personal fondness for the lower pitched instruments in all families; maybe that contributes.

Unfortunate that Bach never wrote solo works for the contrabassoon.

[Madiel]

Unfortunate that Bach never wrote solo works for the contrabassoon.

Great. Now I have to go listen to The Sorcerer's Apprentice...

[Jo498]

Unfortunate that Bach never wrote solo works for the contrabassoon.

I'd almost bet that someone arranged/recorded the Bach cello suites for contrabasson (I am pretty sure about saxophone and double bass), or at least the Art of Fugue for bassoon quartet or so. And this would probably be still moderate/conservative as far as Bach arrangements go...

[(poco) Sforzando]

I'd almost bet that someone arranged/recorded the Bach cello suites for contrabasson (I am pretty sure about saxophone and double bass), or at least the Art of Fugue for bassoon quartet or so. And this would probably be still moderate/conservative as far as Bach arrangements go...

Then there's hope for that lovably grotesque instrument.

But wait! Wikipedia gives us a 17-second sample from a Bach cello suite played on the Contrafagotto - which is easily 16 seconds too much for moi:
https://en.wikipedia.org/wiki/Contrabassoon#Baroque_era_%E2%80%93_present

[LKB]

As fans of the old PJBE recordings know, the first solo Cello suite was transcribed for baritone horn decades ago. I was actually treated to a live performance back in 1974.

[prémont]

Apropos exotic arrangements: Wolfgang Rübsam, yes that Rübsam,  has made an arrangement of all the Bach cello suites for two trombones!! I have seen some of the scores but never heard them performed.

Concerning arrangements for French horn there is this, which I BTW haven't heard (I'm not that interested in these kinds of arrangements for non-string instruments):

https://www.amazon.de/-/en/Radek-Baborak/dp/B01N8UYP8R/ref=sr_1_218?crid=3IBS6X5H9FN40&keywords=bach+cello+suites&qid=1642546952&s=music&sprefix=bach+cello+suites%2Cpopular%2C65&sr=1-218

[(poco) Sforzando]

Apropos exotic arrangements: Wolfgang Rübsam, yes that Rübsam,  has made an arrangement of all the Bach cello suites for two trombones!! I have seen some of the scores but never heard them performed.

Concerning arrangements for French horn there is this, which I BTW haven't heard (I'm not that interested in these kinds of arrangements for non-string instruments):

https://www.amazon.de/-/en/Radek-Baborak/dp/B01N8UYP8R/ref=sr_1_218?crid=3IBS6X5H9FN40&keywords=bach+cello+suites&qid=1642546952&s=music&sprefix=bach+cello+suites%2Cpopular%2C65&sr=1-218

This is your lucky day:
https://www.youtube.com/watch?v=qqJbXflRpPs
https://www.youtube.com/watch?v=FNw6xA5u5fg&t=8s
https://www.youtube.com/watch?v=LJDnWYqtfc0&t=3s

[Lisztianwagner]

It hurts to see Wagner mentioned so many times, but de gustibus non disputandum est. Although I've been trying to listen to different composers as much as possible, I could easily live without:

Giuseppe Verdi
Gaetano Donizetti
Gioacchino Rossini
Philip Glass
Steve Reich

[Karl Henning]

It hurts to see Wagner mentioned so many times, but de gustibus non disputandum est. Although I've been trying to listen to different composers as much as possible, I could easily live without:

Giuseppe Verdi
Gaetano Donizetti
Gioacchino Rossini
Philip Glass
Steve Reich

I simply don't remember if I've posted to this thread earlier. It is possible, and I may have set Wagner in my tale of five, but that really isn't true. There are selections of Wagner (albeit typically without voices, the Prelude to Parsifal, e.g.) which I absolutely would not wish to be without.

Where with Rossini, while I certainly enjoy listening to the occasional overture, would I miss him if he were gone? I'm just not certain.

[Spotted Horses]

I simply don't remember if I've posted to this thread earlier. It is possible, and I may have set Wagner in my tale of five, but that really isn't true. There are selections of Wagner (albeit typically without voices, the Prelude to Parsifal, e.g.) which I absolutely would not wish to be without.

Where with Rossini, while I certainly enjoy listening to the occasional overture, would I miss him if he were gone? I'm just not certain.

I've watched a bit of Rossini opera on DVD. Wonderfully entertaining if done well.