Submitted by jsdubose015 on Wed, 03/10/2010 - 18:28
Usually, I don't care much for the pop remixes of classical works. More often than not, the remix is so far removed from the spirit of the original work that it amounts to nothing more than a mauling of a great work of art. However, I was introduced to the performances of Waldo de los Rios. The album is simply called Classics, and to be honest, I was quite surprised at these remixes. Just listening to them was fun and, for the most, they remained fairly true to the character of the work.
Submitted by jsdubose015 on Tue, 03/09/2010 - 14:21
Over the weekend, I chanced upon Bach's Prelude and Fugue in G minor BWV 535. It is not one that I ever remember hearing before, but I have become quite attached to this piece. It has proven to be quite an interesting and fun piece to study and full of all kinds of compositional goodies. Most striking is the middle part of the prelude. Chromatically descending diminished seventh chords and fundamental sevenths create a tonally ambiguous section more typical of late Romanticism than Baroque music.
Submitted by jsdubose015 on Sat, 03/06/2010 - 14:55
He that hawks at larks and sparrows, has no less sport, though a much less considerable quarry, than he that flies at nobler game: and he is little acquainted with the subject of this treatise, the understanding, who does not know, that as it is the most elevated faculty of the soul, so it is employed with a greater, and more constant delight, than any of the other. Its searches after truth, are a sort of hawking and hunting, wherein the very pursuit makes a great part of the pleasure. - John Locke
Submitted by jsdubose015 on Fri, 03/05/2010 - 15:40
"If one has the talent it pushes for utterance and torments one; it will out; and then one is out with it without questioning. And, look you, there is nothing in this thing of learning out of books. Here, here and here [pointing to his ear, his head and his heart] is your school. If everything is right there, then take your pen and down with it; afterward ask the opinion of a man who knows his business." - Mozart to a boy who asked him how to learn composition
Submitted by jsdubose015 on Wed, 03/03/2010 - 16:23
Glenn Gould's 1981 recording of Bach's Goldberg Variations is one of my all time favorites, not just of that particular piece, but of every recording I've ever heard. While listening to it yesterday, I began thinking about interpreting music. How can you not think about interpretation when listening to Gould since his were often so far from the beaten path? Nevertheless, it's a topic that comes up often in the music world, usually with much debate. What makes a "good" interpretation? What makes one better than another? How do you go about interpreting a piece of music?
Submitted by jsdubose015 on Tue, 03/02/2010 - 15:54
I was finally able to pull myself away from Bach's organ works and get back to my intended destination: Late Renaissance music. I located a few scores that I'll start with but have yet to really delve into them. Other than what I experienced in my music history courses in college, I've never spent much time studying Renaissance music. So, the thought of actually getting into this wonderful period of music intrigues me.
Submitted by jsdubose015 on Sun, 02/28/2010 - 10:43
After my last post, I had full intentions of making a trip into the music of the Renaissance. However, I was slightly sidetracked along the way. The cause of my distraction: the Bach organ works. One can only marvel at the organ works of the immortal J.S. Bach. First of all, there is the sheer number of works he composed. Yet, even more significant, is their profound artistry. While most of these works are cast in the archaic forms of prelude and fugue or chorale preludes, their musicality and expression are far from stagnant.
Submitted by jsdubose015 on Fri, 02/26/2010 - 17:14
While driving around the other day, I had the radio on the local classical station. The current program was doing a comparison between the works of Thomas Tallis and his lesser-known contemporary John Shephard. To be honest, this was the first time I had actually listened to any Renaissance music for quite some time. Yet, it was incredibly refreshing. There is something about the music of the Renaissance, of Palestrina and Allegri, Tallis and Monteverdi, that, even today, possesses a unique and striking quality. Maybe it's the purity of the music, or the solemn character.
Submitted by jsdubose015 on Wed, 02/24/2010 - 15:26
Today, I was listening to Rostropovich's recording of the Dvorak Cello Concerto with Karajan and the Berlin Philharmonic. Even though I've listened to this recording countless, just to re-read that first sentence leaves me awe struck. Antonin Dvorak, Mstislav Rostropovich, Herbert von Karajan and the Berlin Philharmonic all mentioned in one sentence and together in one recording. The recording was made during the turbulent 1960s in Cold War ravished Berlin. The political overtones of the collaboration did not go unnoticed.
Submitted by jsdubose015 on Tue, 02/23/2010 - 15:29
For the past century classical music has experienced a decline in popularity. In consequence, we often hear of professional orchestra having budget problems and what not. It's often said that classical music suffers from a bad case of elitism. This much is true. I can say that I've dealt with my fair share of classical musicians and scholars who have elitist attitudes, and to speak bluntly, I abhor dealing with them. But what causes elitism? I believe elitism starts when one's passion has died out and all that is left is an empty shell.
The Classics and Waldo de los Rios
Submitted by jsdubose015 on Wed, 03/10/2010 - 18:28
Usually, I don't care much for the pop remixes of classical works. More often than not, the remix is so far removed from the spirit of the original work that it amounts to nothing more than a mauling of a great work of art. However, I was introduced to the performances of Waldo de los Rios. The album is simply called Classics, and to be honest, I was quite surprised at these remixes. Just listening to them was fun and, for the most, they remained fairly true to the character of the work.
Read more...A Chance Discovery
Submitted by jsdubose015 on Tue, 03/09/2010 - 14:21
Over the weekend, I chanced upon Bach's Prelude and Fugue in G minor BWV 535. It is not one that I ever remember hearing before, but I have become quite attached to this piece. It has proven to be quite an interesting and fun piece to study and full of all kinds of compositional goodies. Most striking is the middle part of the prelude. Chromatically descending diminished seventh chords and fundamental sevenths create a tonally ambiguous section more typical of late Romanticism than Baroque music.
Read more...In Pursuit
Submitted by jsdubose015 on Sat, 03/06/2010 - 14:55
He that hawks at larks and sparrows, has no less sport, though a much less considerable quarry, than he that flies at nobler game: and he is little acquainted with the subject of this treatise, the understanding, who does not know, that as it is the most elevated faculty of the soul, so it is employed with a greater, and more constant delight, than any of the other. Its searches after truth, are a sort of hawking and hunting, wherein the very pursuit makes a great part of the pleasure. - John Locke
Read more...When in Doubt, Follow the Great Composers
Submitted by jsdubose015 on Fri, 03/05/2010 - 15:40
"If one has the talent it pushes for utterance and torments one; it will out; and then one is out with it without questioning. And, look you, there is nothing in this thing of learning out of books. Here, here and here [pointing to his ear, his head and his heart] is your school. If everything is right there, then take your pen and down with it; afterward ask the opinion of a man who knows his business." - Mozart to a boy who asked him how to learn composition
Read more...Interpreting Music
Submitted by jsdubose015 on Wed, 03/03/2010 - 16:23
Glenn Gould's 1981 recording of Bach's Goldberg Variations is one of my all time favorites, not just of that particular piece, but of every recording I've ever heard. While listening to it yesterday, I began thinking about interpreting music. How can you not think about interpretation when listening to Gould since his were often so far from the beaten path? Nevertheless, it's a topic that comes up often in the music world, usually with much debate. What makes a "good" interpretation? What makes one better than another? How do you go about interpreting a piece of music?
Read more...Destination: The Renaissance
Submitted by jsdubose015 on Tue, 03/02/2010 - 15:54
I was finally able to pull myself away from Bach's organ works and get back to my intended destination: Late Renaissance music. I located a few scores that I'll start with but have yet to really delve into them. Other than what I experienced in my music history courses in college, I've never spent much time studying Renaissance music. So, the thought of actually getting into this wonderful period of music intrigues me.
Read more... 1 commentBach on a Sunday Morning
Submitted by jsdubose015 on Sun, 02/28/2010 - 10:43
After my last post, I had full intentions of making a trip into the music of the Renaissance. However, I was slightly sidetracked along the way. The cause of my distraction: the Bach organ works. One can only marvel at the organ works of the immortal J.S. Bach. First of all, there is the sheer number of works he composed. Yet, even more significant, is their profound artistry. While most of these works are cast in the archaic forms of prelude and fugue or chorale preludes, their musicality and expression are far from stagnant.
Read more...Rediscovering the Past
Submitted by jsdubose015 on Fri, 02/26/2010 - 17:14
While driving around the other day, I had the radio on the local classical station. The current program was doing a comparison between the works of Thomas Tallis and his lesser-known contemporary John Shephard. To be honest, this was the first time I had actually listened to any Renaissance music for quite some time. Yet, it was incredibly refreshing. There is something about the music of the Renaissance, of Palestrina and Allegri, Tallis and Monteverdi, that, even today, possesses a unique and striking quality. Maybe it's the purity of the music, or the solemn character.
Read more...Dvorak, Rostropovich, Karajan and the Berlin Phil
Submitted by jsdubose015 on Wed, 02/24/2010 - 15:26
Today, I was listening to Rostropovich's recording of the Dvorak Cello Concerto with Karajan and the Berlin Philharmonic. Even though I've listened to this recording countless, just to re-read that first sentence leaves me awe struck. Antonin Dvorak, Mstislav Rostropovich, Herbert von Karajan and the Berlin Philharmonic all mentioned in one sentence and together in one recording. The recording was made during the turbulent 1960s in Cold War ravished Berlin. The political overtones of the collaboration did not go unnoticed.
Read more... 1 commentWhere is the Passion?
Submitted by jsdubose015 on Tue, 02/23/2010 - 15:29
For the past century classical music has experienced a decline in popularity. In consequence, we often hear of professional orchestra having budget problems and what not. It's often said that classical music suffers from a bad case of elitism. This much is true. I can say that I've dealt with my fair share of classical musicians and scholars who have elitist attitudes, and to speak bluntly, I abhor dealing with them. But what causes elitism? I believe elitism starts when one's passion has died out and all that is left is an empty shell.
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