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Alkan edition
https://youtu.be/ivtTLXFUA0E
This thread is for the discussion of music in the Western (European) classical tradition, as well as classical instrument-playing.
>How do I get into classical?
This link has resources including audio courses, textbooks and selections of recordings to help you start to understand and appreciate classical music:
https://rentry.org/classicalgen
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What concrete evidence is there for classical music being a conservative-dominated interest? I know that the Vienna philharmony excluded women for the longest time, and that Chinese who are culturally conservative are overrepresented among classical musicians, but what other indicators are there?
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>>130568887
What the hell are you talking about?
>Liberalism was associated with an appreciation
for classical music (r = .38) and jazz (r = .26), whereas conservatism was associated with liking for
country music (r = .21).
https://faculty.haas.berkeley.edu/dana_carney/Carney%2C%20Jost%2C%20Go sling.pdf
It's pretty much given that any relatively high-IQ part of culture is associated with liberal/progressive views.
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>>130569014
Broadly speaking, general intelligence positively correlates with leftist/progressive views, as well as classical music appreciation, musical skills, etc. So it is safe to assume that the latter two positively correlate as well.
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>>130569073
IQ difference is negligible to nonexistent, meanwhile leftists consistently are way more mentally ill and childless. Also I found out that NYC philharmony excluded women until 1966 when Bernstein introduced the first female musician
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>>130568758
https://www.youtube.com/watch?v=WWnyfFgWuVE
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Fuck You. I was asking about the source of this which I and my subconsciousness was sure existed, but you niglets replied with farts and other low tier shitposting.
https://www.youtube.com/watch?v=laP-F-yqWMo
Yeah i found it after years. it's based on Mendelssohn's Song Without Words op.102 No 1
https://www.youtube.com/watch?v=ZgJg_U3cLHc
YEAH I CAN REST IN PEACE NOW
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>>130570101
literally the first google result
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>>130567009
>Trevor Pinnock
those were the ones i listened to along with the orchestral concertos. they were okay. the famous one was good. i feel like i might have listened to more bach than most people on here at this point, though i probably havent relistened to him as much, which is what counts.
>Passacaglia
i listened to it many times now, still think dorian, great, fantasias, and the chorales arranged for organ are better. your version sounded pretty good.
>St. John Passion
yes the opening had made me listen to all of it. the rest was mostly very boring. those oratios have some gems hidden in there. same with the cantatas, but its always mostly the openings that are good.
>Bach's appeal lies mostly in his domain of counterpoint and structure
although what he is doing sounds complex, with how diatonic he is and how many rules he is following to guarantee good counterpoint, it feels like hes using the same tricks all the time (harmonic marches in fifths for example), and because of those tricks he is never too melodically memorable (unless its those "greatest hits" that dial down the counterpoint) or harmonically interesting.
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>>130571134
>those were the ones i listened to along with the orchestral concertos. they were okay.
why just "okay"?
>i listened to it many times now, still think dorian, great, fantasias, and the chorales arranged for organ are better
How come you found those better? Almost every one who likes his organ work (and I agree the toccatas and fantasias are excellent, Dorian is one of my favorites along the f major toccata) concurs the passacaglia is great, if bwv 538 makes you tick I genuinely don't get how the passacaglia doesn't
>although what he is doing sounds complex, with how diatonic he is and how many rules he is following to guarantee good counterpoint [...] he is never too melodically memorable
do you like his contemporaries? handel especially? if not, it might be the case that you don't find counterpoint interesting on its own, because the prevailing philosophy was. in fact, to make the music structurally taut rather than shoot for immediate melodic appeal. unlike the following classical and romantic periods, they really saw it fit to make a fugue out of basically anything
so if you're looking for the long flowing melodies mozart, chopin, or even beethoven might have written, they do not show up so often in Bach. But it is precisely what he manages to accomplish within those seemingly restrictive counterpunctual rules that make him so memorable. Combining multiple voices that need to follow more or less the same theme into a coherent whole is already difficult, but he manages to make it sublime
https://youtu.be/lP-8C1UF1mE?si=dTBriG7I2jbJ71jf
I've already waxed long enough, but weaving a whole piece from those 4 notes is not a trivial thing to do
also, did you listen to the 6th partita I linked?
>>130572229
he's referring to bwv 538 and bwv 542 (great fantasia and fugue in g minor I believe)
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>>130568262
>Only if performed by Cortot
do you just follow whatever opinions that opera obsessed chinese guy posts? cortot's bradenburg 2 has bizarre pauses in the first movement that completely ruin the flow of the piece, not to mention how the orchestra is so thick you can barely follow the counterpoint
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>>130567093
Probably Helmut Lachenmann, maybe Earle Brown
>>130567457
Before and after the age of 22
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