Quote from: W.A. Mozart on March 27, 2024, 09:20:03 AMPatrick Doyle had to deceive the general public, not experts of music theory, and I think that his composition works well for this purpose.
Quote from: W.A. Mozart on March 27, 2024, 09:20:03 AMOf course if you are an expert of music theory you might notice little details that tells you that it's contemporary neoclassical music instead of pure Classical music, and I'm ok with this classification.
As you are more expert than me about music theory, I trust what you say, but I'm curious to know what did you notice exactly.
The book "Sense and Sensibility" was written between 1795 and 1810. However, the woman in the film says that the piece was her dead father's favourite, so it means that it must be an old piece, probably composed in the era of galant music.
If we agree about the fact that the intention of Doyle was to write galant music, I can proceed with the following observation.
It doesn't sound like a formless piece to my ears. It's reminescent of the tripartite form (pseudosonata-form) used in the slow movements of galant music, with a lyrical melody repeated twice in the same way at beginning, developed and dramatized in the middle section and recapitulated at the end.
Lyrical melody - Repetion - Development - Recapitulation
I'll take the the slow movement of the String Quartet No. 10 of Mozart as an example.
00:00 - 01:27 Lyrical melody
01:28 - 02:55 Repetition
02:56 - 03:54 Development
03:55 Recapitulation
The piece of Patrick Doyle.
00:00 - 00:55 Lyrical melody (orchestra)
00:56 - 01:44 Repetition (piano)
01:45 - 04:41 Development
04:42 - 05:27 Recapitulation
I'd say that the difference between the two is that in the piece of Mozart the exposition is more elaborated but the development shorter, while the exposition in the piece of Doyle is more simple but the development is longer.
Mozart wrote self-contained expositions and short developments, but I don't know if it was the practice of galant music or if it's a Mozart's hallmark.
However, I think that you are wrong about the formless nature of Doyle's piece. Even in respect to the form it reminds galant music, so I think that it could deceive not only the general public, but also the general public of classical music.
Perhaps it can not deceive an expert of music theory.
Quote from: Herman on March 27, 2024, 01:47:36 AMThere is something ghoulish in audiences insisting on deeply aged performers to keep going on because of some attachment to the known and familiar faces. They want to see 'the last recital'. Well, they did. Some conductors come to mind, too...
Quote from: Crudblud on Today at 01:12:12 AMZola - Au Bonheur des Dames ("The Ladies' Paradise", trans. Nelson, Oxford Classics)
Quote from: Herman on March 27, 2024, 01:47:36 AMThe better way to express this compassion had been if Pollini's agent (et al) had realized earlier that it was time to stop planning recitals, and retire in peace. I have a hard time believing a perfectionist artist like Pollini (who nixed many recordings because they weren't flawless) took away from this catastrophic recital "People don't care, they love me anyway", rather than "I failed at Schumann." He cared deeply about this.
There is something ghoulish in audiences insisting on deeply aged performers to keep going on because of some attachment to the known and familiar faces. They want to see 'the last recital'. Well, they did. Some conductors come to mind, too...
Quote from: 71 dB on January 20, 2024, 02:51:26 AMIn the beginning, say for the first 5 years up to early 90s, Naxos was kind of a bargain-basement label, but it developed fast into a quality label with bargain-basement label pricing made possible by the business success (large average amount of copies sold of releases). However, the amount of copies sold has shrunk since and Naxos isn't anymore priced as a bargain-basement label, unfortunately. The price advantage has been lost, but on the other hand the overall quality is quite high.
Page created in 0.127 seconds with 18 queries.