Most impressive passages of counterpoint?

[jochanaan]

Nobody mentioned the development section of the Hammerklavier sonata yet!

Are you talking about the last movement?  It definitely qualifies as "impressive counterpoint."

[greg]

how about Prokofiev's 2nd.....

[BachQ]

Fugue from Severn Suite is one. In general, I adore the way Elgar uses simultanuous sounds. In the context of multidimensional structures they form what I call "super-counterpoint."

Yeah, that's easily in my top 20 Elgar fugues!  Gotta love that simultaneous multidimensionality ..........

[Bonehelm]

Yeah, that's easily in my top 20 Elgar fugues!  Gotta love that simultaneous multidimensionality ..........

Not to mention the supremal hexagonal mexolinemidianoragtheocal idontcareelgarsux uber nocturnal ejaculational asexual vibrational fields.

[(poco) Sforzando]

Are you talking about the last movement?  It definitely qualifies as "impressive counterpoint."

I think he's referring to the fugato in the development of movement 1.

[rappy]

Exactly. Not that it's just good counterpoint, it also sounds awesome.
But the last movement is also fantastic, of course.

[Norbeone]

Perhaps I have missed mention of it, but Wagner works in counterpoint a number themes from later in the opera into his overture for Meistersingers. In this case, it provides excitement, a rush of adrenalin.

Mike

Pfft...even the moderator can't read threads thoroughly!          but yes, I had mentioned the great countrapuntal passages in the Meistersinger prelude...great stuff!

[knight66]

Apologies, I must have missed it.

Mike

[prémont]

I adore the way Elgar uses simultanuous sounds. In the context of multidimensional structures they form what I call "super-counterpoint."

Maybe I am a bit slow, but your statement is completely beyond me.
Would you mind to elaborate?

[knight66]

Maybe I am a bit slow, but your statement is completely beyond me.
Would you mind to elaborate?

OH please....no....that way madness lies, THE HORROR  THE HORROR

Mike

[BachQ]

Maybe I am a bit slow, but your statement is completely beyond me.
Would you mind to elaborate?

HINT: the explanation involves multidimensional vibrational fields and orthogonal mental gravity waves.

[Monsieur Croche]

Or what about some Hindemith?

Hindemith's String Quartet No. 5 is a good example of a work that consistently employs outstanding counterpoint throughout its entire length. Of course, J.S. Bach is still the greatest master of this device, still unsurpassed up to this time. Are there composers who employ counterpoint at a greater level of complexity than Bach? Yes. Composers who do it better? No.

[Monsieur Croche]

Fugue from Severn Suite is one. In general, I adore the way Elgar uses simultanuous sounds. In the context of multidimensional structures they form what I call "super-counterpoint."

I don't understand what you're saying. Can you explain?

[jochanaan]

Fugue from Severn Suite is one. In general, I adore the way Elgar uses simultanuous sounds. In the context of multidimensional structures they form what I call "super-counterpoint."

Very interesting.  But how is this music more multi-dimensional than, say, that of Bruckner or Holst?

[Monsieur Croche]

I think Milhaud's String Quartet Nos. 14 and 15 deserve mention, if only for sheer ingenuity. (Not that I have heard these works before. Any thoughts on them?)

Very interesting.  But how is this music more multi-dimensional than, say, that of Bruckner or Holst?

I need to know the definition of 'multi-dimensional' as applied in this context first.

[jochanaan]

I need to know the definition of 'multi-dimensional' as applied in this context first.

Let's let 71 dB define it, since he's the one who introduced it here...?

[71 dB]

Maybe I am a bit slow, but your statement is completely beyond me.
Would you mind to elaborate?

I don't understand what you're saying. Can you explain?

Very interesting.  But how is this music more multi-dimensional than, say, that of Bruckner or Holst?

I need to know the definition of 'multi-dimensional' as applied in this context first.

Let's let 71 dB define it, since he's the one who introduced it here...?

OH please....no....that way madness lies, THE HORROR  THE HORROR

Mike

Are you people ready for the HORROR? 

Normal counterpoint deals with harmonic dimension of music. In my opinion Elgar's "counterpoint" deals with for example timbral dimension too*. That's another dimension making the music multidimensional. This all is how I experience things and the whole consept of multidimensional counterpoint is my own definition. Feel free to disagree if you want.

____________________________________________
*I strongly feel that in Elgar's music nothing happens without logical effects on other dimensions. Harmonic events affect on timbral things and vice versa.

[Harry]

Yes, its clear now.......

[mikkeljs]

Are you people ready for the HORROR? 

Normal counterpoint deals with harmonic dimension of music. In my opinion Elgar's "counterpoint" deals with for example timbral dimension too*. That's another dimension making the music multidimensional. This all is how I experience things and the whole consept of multidimensional counterpoint is my own definition. Feel free to disagree if you want.

____________________________________________
*I strongly feel that in Elgar's music nothing happens without logical effects on other dimensions. Harmonic events affect on timbral things and vice versa.

The timbral things...such as fx imitation of the sound collors in the oboe? But doesn´t that count as harmonical dimensions? I always thought the harmony was the study of "multi-dimensionality"

[Kullervo]

Here we go again.  I guess it's been almost a year (wow, have I been here that long already?) since the last 71dB Summer Course. Now the new users can be introduced to a higher dimension of cluelessness (I call it super-cluelessness).