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About Spoon284

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    Intermediate Composer
  • Birthday July 23

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  1. I tried again and realised it said "These videos are not available in your country due to copyright restrictions". Odd.
  2. ^Two of those aren't available due to copyright restrictions :P But OMGOMGOMG new Portishead ! How awesome is it?!
  3. Heheheheheheh... Xenakis - Herma Have fun :P Some less crazy stuff: Messiaen - Vingt Regards Sur l'Enfant Jesus (Movement 1 - Regard du Pere) (He takes that waaayy too fast IMHO) Dutilleux - Piano Sonata Ravel - Gaspard de la Nuit (Movement 1 - Ondine)
  4. Hm, well I interpreted the topic more to mean "popular music" as opposed to "classical" or "world" music rather than "pop" as opposed to "art", especially since aphex twin was mentioned on the first page. More "out there" subgenres still come under the broad heading of "pop". Pilorious, everything you've posted is still "classical" (obviously). Whilst it might still technically be "dance music", it's obvious to any listener that those pieces come from a completely different genre to autechre, aphex twin etc. Looking through the rest of the thread I can see that everyone's basically already had this discussion anyway:
  5. I can see your point, the line is pretty blurry. To me it still comes under the very broad heading of "pop" because it is basically a weird sort of electronica stretched to its limit. I know what you mean though. Anyway, enough bickering, more stuff: (Ah, the super-over-the-top goodness! :D)Franz Ferdinand - Take me Out Thom Yorke - Feeling Pulled Apart by Horses
  6. Pop is a lot more diverse than the stuff you hear on the radio. Try not to dismiss such a broad category outright. Here's a random sample of some of the stuff I like which you may or may not also like: Pink Floyd - Us and Them The Beatles - A Day in the Life (Who can resist that massive orchestral... thing around 1:50!) Portishead - We Carry On Autechre - Pen Expers (Not for the faint hearted! Really crazy stuff.) Aphex Twin - Meltphace 6
  7. Messiaen - Oiseaux Exotiques Xenakis - Phlegra Boulez - Explosant-Fixe And one special mention: Robert Simpson's 9th symphony, which I think is a masterpiece. Unfortunately it isn't on youtube so the best I can give you is samples on amazon: Here
  8. Wow, I'm extremely jealous :P We never get pieces like that performed out here in Australia... @Morgri: glad to see I'm not the only one! And I have one more nomination: Roger Sessions' first string quartet. I'm not a huge fan of his later dodecaphonic stuff, but I really like this piece.
  9. In vague preferential order: Dutilleux Ainsi La Nuit Simpson 7 (His 9th is generally considered his best, but I can't stand it) Shostakovich 11 (and 13) Ligeti 2 Penderecki 2 Lutoslawski I'm listening to Lachenmann's string quartets right now - I can't believe I've never heard of this guy! And ditto Kurtag.
  10. Off the top of my head... Weber - Bassoon concerto Vivaldi - Bassoon concerto (x37) Saint-saens - Sonata in G major Hummel - Bassoon concerto Elgar - Romance for bassoon and orchestra Dutilleux - Sarabande e Cortege (A fantastic piece, as is anything by Dutilleux) Rautavaara - Sonata I don't actually know too many of these pieces myself, but I have a friend who is a bassoonist and has played several of these pieces.
  11. Not too long ago I went to a concert where they played The Rite of Spring, some piece by Janacek and a violin concerto by a guy called Fraser Trainer. The violin was mic'd, but I have to say that a lot of people thought it was a cheap trick and thought that more could have been done on the electroacoustic side of things (I don't really understand this point of view though- the damn thing needed to be louder! And I must say that I couldn't hear it all that well even with amplification some of the time). SYS65 - what precisely makes it "wrongly composed"? What if I want a massive fanfare for brass + organ + fifteen contrabassoons with a violin solo on top? Surely it isn't "wrong" if I amplify the violin to get that particular effect?
  12. 1. Olivier Messiaen - Turangalila Symphonie 2. Robert Simpson - Symphony No. 9 (GO LISTEN TO THIS, NOW.) 3. Henri Dutilleux - Symphony No. 2 4. Witold Lutoslawski - Symphony No. 3 5. Dmitri Shostakovich - Symphony No. 13 Honorable mentions: Penderecki - Symphony No. 8, Mahler - Symphony No. 10
  13. Actually, it doesn't list all of them. I own a copy of the book so I wouldn't have made this thread if it did :P It doesn't say anything about double stops up that high, nor does it say anything about sustaining them for fifteen seconds. It is still a fantastic book, but don't take its word as gospel, ESPECIALLY when writing in a chamber setting - a solo cello can play much more difficult stuff than an orchestral cello section. It's much better to ask people who play the instrument if they can try a passage out for you... as you can see I don't know too many pro cellists :P
  14. When we talk about "resolution" we aren't necessarily talking about the resolution of dissonance, we're just talking about the resolution of tension. Dissonance does create tension (which can then be resolved), but it isn't the only way to create tension. Using James' example of the V-I cadence - chord V creates tension because it is built on the dominant and inherently feels like it wants to move (or resolve) to the tonic.
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