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cheese messiah

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About cheese messiah

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  • Birthday 04/09/1970
  1. The problem is that most of the good attempts go back about 40 years (Ie Deep Purple, Lloyd Webber) to that experimental prog rock period of the 60s/70s. There was some attempt to sensitively integrate rock and classical instruments then. The more recent stuff is just bombastic goth rock, with the orchestra added just to make it sound heavier. Although that Metallica track is an exception.
  2. Thanks for your interesting and informative replies. I did hear a bit of a concerto for electric guitar and orchestra by Yngwie Malmsteen on youtube. I'm not sure how representative this is of his work, but I'm unimpressed. The guitar seemed poorly integrated with the orchestra and most of the writing seemed baroque cliche.
  3. I don't mean sickly strings pasted on the background of a rock song but a serious attempt to combine rock sonorities into a classical work. Has anyone here attempted to do this or can point me to any works where it happens? I can vaguely remember Bernstein's Mass having a part for electric guitar (not heard it in years though), but I'm struggling to think of any others. Why is it such a rarity? Are rock instruments totally antithetical to the orchestra, or is it an example of classical music being stuck in the past? For a long time, the violin was considered a peasant instrument and serious composers preferred the more aristocratic viol. Much the same could be said about the clarinet and saxophone. What are your thoughts?
  4. I would like to have a go at this, but its such a HUGE undertaking that I'm not sure I'm up to the task.
  5. There is an online analysis of Handelian opera which may be of interest: BBC iPlayer - Discovering Music: Handel Operas
  6. 1. Which software do you use? Sibelius 2. Do you use it for composing or simply to typesetting Composing. 3. If you use it for composing, do you find that it helps the creative process? I have a limited pianist technique and writing directly to sibelius enables me to achieve certain effects which would be impossible otherwise. 4. In what ways does it limit your composing in either the short term or the long term? I find with Sibelius, writing out out dynamics, tempo, hairpins etc is time consuming and so I tend not to bother, to the detriment of the composition. Also certain instrumental effects are difficult to achieve via sibelius's software (marcato, bartok pizz etc) so I tend to use short term expedients such as converting to midi and running through soundfonts.
  7. I'll throw my hat in for J S Bach Firstly, he is by far and away the most consistent composer ever. While others may occasionally (albeit rarely) equal his work, he retained a high level of quality control throughout his life. His cantatas, although generally unknown, are almost universally magnificent. Not for him pot boiling works like Wellington's Victory or Mozart's feeble variation sets. In every field he composed, his is the definitive example, ie solo cello, violin, variations (the goldbergs) organ, cantata, baroque concerto grosso etc. One can argue about what symphonist or classical sonata composer is best. Bach's influence is also notable in other fields apart from classical. It has influenced jazz and rock music too. Bach's principles of harmony and counterpoint form the basis of all later teaching. His music can be as appreciated by the musical novice for its simple appeal as by the connoisseur.
  8. Here's my effort on mr. Homayouni's e minor subject. I will try my hand at the others. emfuguea3.mid
  9. Thomas Ades is one of the few contemporary composers whose works hold my attention. His violin concerto, performed at the Proms last year, I found genuinely spellbinding.
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