Who likes classical music?

SyntaxVorlon · Post by **SyntaxVorlon** » 2004-01-06 11:55am

As for the 1812 Overture, I don't understand why so many people like it

Agreed, Marche Slav is better anyway, transitions are less forced.

Post by **haas mark** » 2004-01-06 12:04pm

SyntaxVorlon wrote:
As for the 1812 Overture, I don't understand why so many people like it
Agreed, Marche Slav is better anyway, transitions are less forced.

They are. Marche Slav has always been one of my favorite pieces to play, as well.

~ver

phongn · Post by **phongn** » 2004-01-06 01:48pm

aerius wrote:Ah yes, the one that comes with a warning sticker since it's been known to kill speakers & amps with strong bass that goes down to something like 6Hz.

There's other music on it, but that release is more for home-theatre showoff and testing than anything else

Post by **Zaia** » 2004-01-06 02:05pm

Classical music? Meh, it's a'ight.

Rogue 9 · Post by **Rogue 9** » 2004-01-06 02:16pm

Dahak wrote:
Rye wrote:Yup, i recently bought a 5-cd classical box set. Full of stuff like Montagues and Capulets, Mars, Bringer of War, and other such classical stuff.
Mars is cool, but I think Jupiter is vey good too. It is happier

Well Mars is more aweome.

(Says the bassist who almost never gets to play the melody when we're not playing Mars.

)

Orchestra geek here. Classical music rules!

Post by **haas mark** » 2004-01-06 02:28pm

Rogue 9 wrote:
Dahak wrote:
Rye wrote:Yup, i recently bought a 5-cd classical box set. Full of stuff like Montagues and Capulets, Mars, Bringer of War, and other such classical stuff.
Mars is cool, but I think Jupiter is vey good too. It is happier
Well Mars is more aweome. (Says the bassist who almost never gets to play the melody when we're not playing Mars. )

Orchestra geek here. Classical music rules!

LOL. Sucks to be you, huh.

Course, we violists don't have it a whole lot better..

~ver

Rogue 9 · Post by **Rogue 9** » 2004-01-06 02:38pm

Frankly, I'd rather play bass than viola. May not get the melody much, but I'll let you in on a little secret. We control the orchestra. If the bass section decides that the piece needs a different tempo, the tempo changes. Period. Most people aren't even conscious of it, but the bass line sets rhythm, tempo, and pitch to a very large degree. The power is intoxicating.

Post by **Zaia** » 2004-01-06 02:41pm

Bah, triangle ownz all.

Rogue 9 · Post by **Rogue 9** » 2004-01-06 02:44pm

Zaia wrote:Bah, triangle ownz all.

Does not. Shut up.

Post by **Zaia** » 2004-01-06 02:46pm

Rogue 9 wrote:
Zaia wrote:Bah, triangle ownz all.
Does not. Shut up.

Hmm, You sound a bit..nervous. Getting testy because you know I'm on to something? Hmm? HMMMM?!!

Rogue 9 · Post by **Rogue 9** » 2004-01-06 02:48pm

Hah. If I ever decide I don't want to hear the triangle, I outpower it. Low E drone ownz all.

Post by **Zaia** » 2004-01-06 02:49pm

Obviously you play with pansy percussionists. You should see some of the beaters I keep in my bag. You wouldn't overpower shite, my friend.

Post by **haas mark** » 2004-01-06 02:50pm

Rogue 9 wrote:Frankly, I'd rather play bass than viola. May not get the melody much, but I'll let you in on a little secret. We control the orchestra. If the bass section decides that the piece needs a different tempo, the tempo changes. Period. Most people aren't even conscious of it, but the bass line sets rhythm, tempo, and pitch to a very large degree. The power is intoxicating.

I've played violin for 10 years, viola for 7. You think I don't know that?

Besides, I'd rather captivate the audience than control the orchestra.

Besides, I can sing almost every note a cello can hit, from low C to F on the A string.

~ver

Post by **haas mark** » 2004-01-06 02:50pm

Zaia wrote:Obviously you play with pansy percussionists. You should see some of the beaters I keep in my bag. You wouldn't overpower shite, my friend.

-shudders- Me + triangle = headache (for me).

The gong is t3h r0x0r.

~ver

IRG CommandoJoe · Post by **IRG CommandoJoe** » 2004-01-06 03:03pm

phongn wrote:For some other pieces, I'm tempted to get Telarc's rendition of the 1812 Overture (Telarc CD-80541, SACD-60541, DVD-A-70541). It's not the best rendition of it, I hear, but they actually recorded cannons for it

(The SACD edition is dual-layer, so it'll play in normal CD players)

Look for Ricardo Muti's rendition. It is the best rendition I've heard so far, with a full chorus as it was meant to be performed, and with great-sounding cannons.

The CD I have of it also has his interpretations of Liszt's Les Preludes and Ravel's Bolero. Great CD.

verilon wrote:As for the 1812 Overture, I don't understand why so many people like it. It's overdone, as is Wagner's Ride of the Valkyries.

A good suite would be the Nutcracker suite by Tchakovsky, particularly The Waltz of the Flowers (which, by the way, is one of the most fun pieces I've ever played).

I find these two paragraphs to be contradictory. I believe Tchaikovsky's Nutcracker suite is overdone too.

Post by **haas mark** » 2004-01-06 03:15pm

IRG CommandoJoe wrote:
verilon wrote:As for the 1812 Overture, I don't understand why so many people like it. It's overdone, as is Wagner's Ride of the Valkyries.

A good suite would be the Nutcracker suite by Tchakovsky, particularly The Waltz of the Flowers (which, by the way, is one of the most fun pieces I've ever played).
I find these two paragraphs to be contradictory. I believe Tchaikovsky's Nutcracker suite is overdone too.

Never said it wasn't.

The Nutcracker Suite is, in my opinion, one of the most overused works there are. Same with the Oprheus and Carmen suites (which are also very good pieces, I might add - just overused). Waltz of the Flowers is just my favorite movement of the piece.

Handel's Water Music is tremendous music, as well (also very fun to play).

~ver

IRG CommandoJoe · Post by **IRG CommandoJoe** » 2004-01-06 04:03pm

But you said you don't understand why many people like the 1812 Overture and the Ride of the Valkyries since they are overdone, which would contradict your liking the Nutcracker suite although it is also overdone.

phongn · Post by **phongn** » 2004-01-06 06:01pm

IRG CommandoJoe wrote:Look for Ricardo Muti's rendition. It is the best rendition I've heard so far, with a full chorus as it was meant to be performed, and with great-sounding cannons. The CD I have of it also has his interpretations of Liszt's Les Preludes and Ravel's Bolero. Great CD.

Bah, why are't people making my life easy and posting the catalog number?

jenat-lai · Post by **jenat-lai** » 2004-01-06 06:07pm

verilon wrote:Besides, I'd rather captivate the audience than control the orchestra.
~ver

Trumpet can do both when we get to play something. There's been so many times especially at cadences, where if you push ahead just a touch, the entire piece gains some speed. also when we get melodies, it is an uplifting sound. makes audiences go wow... and then the dumb portion of the audience go *ow my ears*... panzys...

though I must feel sorry for the violas, sitting there not 6 feet from my bell right in the firing line... must get damn loud. I'v always wanted to befriend a female violist...

never could... I think this could be why

Rogue 9 · Post by **Rogue 9** » 2004-01-06 10:23pm

All right, who said Bolero? Who was it? You know, your average orchestra bassist's contract specifies that the orchestra has to hire freelancers to do Bolero. It sucks. The repetition... Ow...

aerius · Post by **aerius** » 2004-01-06 10:28pm

Rogue 9 wrote:All right, who said Bolero? Who was it? You know, your average orchestra bassist's contract specifies that the orchestra has to hire freelancers to do Bolero. It sucks. The repetition... Ow...

Bolero only sucks until you've had sex to it, you have no idea how good it is to climax when the music climaxes.

Baron Scarpia · Post by **Baron Scarpia** » 2004-01-06 10:44pm

Bolero is a musical travesty. How anyone can sit through it in concert is beyong me.

I, for one, think 1812 Overture is superior to Marche Slav. It was him refining his style. Certainly, the final tune, which he uses in both, is far more effective in the later work.

The Nutcracker is certainly far more overused than 1812, and frankly, like most Tchaikovsky, gives me a stomach ache with its saccharineness. True, it's not remotely as bad as the Manfred Symphony ("Garbage," Bernstein pegged it), but I just don't like the schmaltz so much.

If you want a work as good as the Mozart Requiem, perhaps better, go for his C Minor Mass. An all-round fantastic work.

Frank Hipper · Post by **Frank Hipper** » 2004-01-06 11:06pm

Please to forgive my ignoramitude, but what opus number is Albinoni's adagio for strings and guitar? If it even is for strings and guitar?
I've heard it full orchestra, orchestra and organ, guitar only...A little confused as to which is the original, and which are re-arrangements.

But, I likes it, it's sad and purty.

Baron Scarpia · Post by **Baron Scarpia** » 2004-01-06 11:14pm

Frank Hipper wrote:Please to forgive my ignoramitude, but what opus number is Albinoni's adagio for strings and guitar? If it even is for strings and guitar?
I've heard it full orchestra, orchestra and organ, guitar only...A little confused as to which is the original, and which are re-arrangements.

But, I likes it, it's sad and purty.

There is no opus number for it. The popular Adagio for Strings and Organ owes only a little to Albinoni. An Italian musicologist, Remo Giazotto, took a fragment from an Albinoni manuscript and wrote the piece in 1945. Giazotto has the copyright to the music, actually.

Post by **haas mark** » 2004-01-06 11:57pm

jenat-lai wrote:
verilon wrote:Besides, I'd rather captivate the audience than control the orchestra.
~ver
Trumpet can do both when we get to play something. There's been so many times especially at cadences, where if you push ahead just a touch, the entire piece gains some speed.

-glares- Of course, as a violist that has been the ONLY voice in both the viola AND second violin section before, I must say I've done the same.. As a violist, we've got themes like that in music, as well.

also when we get melodies, it is an uplifting sound. makes audiences go wow... and then the dumb portion of the audience go *ow my ears*... panzys...

Ok, we're NOT trying to make the majority of the audience [i.e., the dumb people] deaf, here.

though I must feel sorry for the violas, sitting there not 6 feet from my bell right in the firing line... must get damn loud. I've always wanted to befriend a female violist... never could... I think this could be why

It is EXACTLY why. Which is why I liked youth orchestra. We were in fron of the trombones. ^^;

~ver