Jump to content

Voce

Old Members
  • Posts

    891
  • Joined

  • Last visited

  • Days Won

    8

Everything posted by Voce

  1. Jay I like everything about this post.
  2. I write as few indications as I possibly can while still clearly conveying what it is that I want. I used to write markings all over the place, but now I'm very minimalist about it.
  3. Opposite of helpful. I'm well aware of Ferneyhough's existence, also. Thanks
  4. I never learned or figured out how to do it. As here: Is anybody really good at it and can teach mi
  5. I have yet to master the large form. More specifically, I've yet to manage a large form successfully without bending to the age-old dogma of "goal-oriented music"—that is, I haven't been able to write a long piece while staying true to my current aesthetic concern of writing strong music that is not interested in "going anywhere." It's something which requires a lot of experimentation with musical time and the handling of material in such a way that no true development is perceived in the traditional sense; very difficult. I also have significant difficulty writing for winds and brass.
  6. Lol cj you have a lot of like "what if this goes here?" type markings in yours, which I do a lot. Morgri wat kind of book is dat
  7. With some insight into your compositional process if possible.
  8. I'm cheating because Michael Finnissy was actually born in 1946, but he is my favorite living composer. As for people actually born after the deadline: Jürg Frey (b. 1953, Swiss) - with Finnissy, probably my favorite composer alive today Georg Friedrich Haas (b. 1953, German) Gérard Pesson (b. 1958, French)
  9. Hi, blog post #2. http://music-and-prittee-girls.blogspot.com/
  10. There is a considerable amount of loving-off that I would like you to do
  11. Morgri, morgri, paul. You need to gitchu to the album "Sturm und Drang" on the Fleur de Son label and listen to Kristian Bezuidenhout's recording on the fortepiano it is vicious
  12. here is a blog post. it is about mozart. specifically, it is about mozart's 8th sonata for the fortepiano. if you would like to to read it, please do. or not. that would be ok, too. http://music-and-prittee-girls.blogspot.com/2012/06/mozart.html
  13. Oh my god I had an obsession with finding the original pieces for a while. I wrote out a chart for myself with all the ones I could find: I. Overtura (after Gallo: Trio Sonata No. 1 in G, I. Moderato) II. Serenata (after Pergolesi: "Mentre l'erbetta" from Il Flaminio) III.a Scherzino (after Gallo: Trio Sonata No. 2 in B-flat, I. Presto) III.b Allegro (after Gallo: Trio Sonata No. 2 in B-flat, III. Presto) III.c Andantino (after Gallo: Trio Sonata No. 8 in E-flat, Movement I) XIV. Andantino (after Parisotti: "Se tu m'ami") XV. Toccata (after Monza: Suite I in E Major for Harpsichord, IV. Aria) XVI. Gavotta con due variazioni (after Monza: Suite III in D Major for Harpsichord, IV. Gavotta con sei variazioni) Many of these pieces are recorded on albums of early music that are available online. Note that my chart corresponds to the full ballet version of Pulcinella and not the orchestral suite.
  14. No particular brand or anything - but if you go that route, I'd make sure it's cloth tape (I don't know whether binding tape is ever made of anything else, but cloth is what I prefer to use) and that it's not colored (white or off-white should work; otherwise it sort of looks like masking tape and that's kind of sloppy).
  15. What I prefer to do for scores without very many pages is simply print them on stock and bind them with the use of binding tape. It's cost-effective and practical, usually.
  16. I completely agree with everything you've said, bleep bloop bleep
  17. Michael Finnissy's Maldon (1990), which is a very powerful anti-war thing for vocal soloist, choir and ensemble based on an Old English poem, which in turn is based on the Battle of Maldon in medieval England. It may not quite fit the description of "oratorio" as closely as you want, though. A famous one that was written in 1968 but revised in 1990 is Hans Werner Henze's Der Floß der Medusa; John Adams' relatively well-known oratorio El Niño was composed the following year in 2000. Gloria Coates' Cantata da Requiem: WW II Poems for Peace is from 1972, but maybe it will be of use to you.
  18. don't make 12 threads at one time
  19. Incidentally it's important to understand the distinction between "liking" and "appreciating" - I personally like all the works I listed very much (with the possible exception of La Mer, which still eludes me to some extent) - however to "like" is not necessarily required of anyone in anything (although I think if one looks hard enough, there are things to like about any work of art). Nonetheless, one should be able to recognize the value of the technique, concept and sheer work that has gone into a piece - that's what I refer to when I say "appreciate".
  20. Don't really care. Pick a fight elsewhere, lol. A dictionary might also help.
  21. There is no "list." You decide what pieces you feel are most powerful to you through many years of listening and study. There are, however, a number of pieces that you are expected to know as a student of composition at any serious music school - walking into a music school without having a thorough knowledge of "the basics" - the oeuvres of composers like Bach, Beethoven, Mozart, Brahms, etc. - would be like attempting to attain an English degree without any knowledge of Shakespeare. Unfortunately (or perhaps fortunately, in the end) for you, you can't get by in a serious pursuit of composition without a knowledge of and ability to appreciate modern and contemporary works, either (if we were to continue the literary analogy here, trying to study composition without knowing some of the important works by Ligeti, Messiaen or Cage and others would be something akin to trying to obtain a degree in literature without exposure to Beckett, or Joyce.) As this latter part of the repertoire seems to be a stumbling block for you, it may prove beneficial to have a list of works that might serve as "more accessible", yet still important introductions to the bodies of work produced by some of these composers. Here are a few: Cage: Sonata XIII from Sonatas and Interludes - Something akin to a lullaby that a music-box might produce; very lovely writing. Bartók: Concerto for Orchestra - a cornerstone of the 20th century orchestral repertoire. Debussy: La Mer - a cross between a tone-poem and symphony, one of the most important works by this composer. Ligeti: Musica Ricercata - a series of pieces for solo piano, mostly studies in the integration of folk music into what was becoming Ligeti's language at this time (although this was not necessarily his intention) - interestingly organized in that each piece in the set uses one more pitch-class than the last, culminating in a usage of all twelve pitches of the chromatic scale. One of these pieces is a funeral dirge in memory of Bartók, with sonorities that suggest booming church bells. Stravinsky: Symphony of Psalms - as the titles suggests, a work for orchestra and choir after texts from the Psalms, sung in Latin. Messiaen: "Praise to the Immortality of Jesus" from Quartet for the End of Time - a singularly gorgeous meditation for violin and piano, wherein the violinist is given the somewhat strange expressive indication to play the part in a "paradisiac" fashion.
  22. Kbye don't be a composer didn't anyone ever teach you to speak for yourself plz you're right no one has ever written a thorough analysis of 20th century music again, didn't any1 evr teach u 2... very i like Cage's piano music better than Beethoven's 6th, I like Bach's Mass better than Salvatore Sciarrino's Requiem, I like mostly everything that's ever been written better than Chopin's polonaises, depends on piece and not on composer thx edit: Bussotti wrote the Rara Requiem, not Sciarrino. i get dem confus
×
×
  • Create New...