Does anyone here listen to classical music?

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Febel

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I doubt I could actually name any composers or tracks in general but I'm a big fan and have several gigs worth of modern and classic stuff on my ipod right now.
 

RJ Dalton

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I'm a big fan of Mozart. I also like Bach and Beethoven. I listen to a lot of classical music when I'm writing. It's good mood music.
 

j.alex

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Sariteiya said:
To be honest I've never been big on Beethoven though. Too... aggressive for my tastes.
How about this http://www.youtube.com/watch?v=PakU0Tyot5M&feature=related? Sure, it has its passionate moments, but the opening is beautiful and could hardly be less agressive.
 

Dan Steele

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My Favorites

In the hall of the mountaing king - grieg
Flight of the valkayre - wagner
1812 overture - tchaiakovsky
O fortuna - carl orff
la gazza ladra - giochinno rossini
william tell overture - giochinno rossini
Infernal gallop - offenbach
 

remnant_phoenix

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I don't really listen to much music from the classical period, but I love modern orchestral music, particularly taken from movies and video games I love.

Favorite composers: John Williams, James Horner, Hans Zimmer, Nobou Uematsu, Yasunori Mitsuda
 

j.alex

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billygoverton said:
what a shame. he does lack some of the expression my favorites have, but he's quite inventive and minimalist in a way that's completely separate from minimalism as a movement. He plays a bit mechanically, but your words are harsh.
Inventive is the very last word I would use to describe him. I read an interesting thread on another forum a while back on him, here it is http://www.thestudentroom.co.uk/showthread.php?t=834560, which might be worth looking through if you have time. If not, the most important points were made in this post:

When I listen to Einaudi all I hear are the barest clichés (eg. 'ritornare' employing an augmented fourth suspended about IV [or presumably VI since this is minor]), with the buzzing fifths in the background all the time like Schubert's organ grinder (but without any of the complex irony in Schubert). Then the figures starts with all those 9ths in... I feel like all development has been evacuated, and all attempt to really explore how something might /feel/ has been replaced by automatic devices that have been well tried and tested for producing 'feeling' -- but deployed almost automatically. If you see what I mean... This is what leaves me so blank. There is also something really bleak about Einaudi's total lack of modualtion or deviation from a diatonic scale, which is the kind of tonal landscape you get at times in Ravel and Debussy, and also in Froberger / earlier contrapunctal composers, and which Bach summons occasionally in Die Kunst -- and it can be genuinely haunting there. But in Einaudi rather than greating a kind of meditative or peaceful stasis it creates just a void.

If people can't tell cliché and artless simplicity from thoughtful simplicity, if they can't tell automated 'emotive' responses to subtle and nuanced responses, this suggests to me that their emotive perception is somehow impaired. It's like crying at a Hollywood happyending: you've been taken in. It's one thing for music/films to be merely entertaining, but if they dictate your capactities for interpreting yoru experience, and in this case we're talking about emotive and empathetic capacities, it worries me that we might as a culture be losing the ability to genuinely feel anything or empathize with anybody. Einaudi's music is inhuman.
 

j.alex

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GartarkMusik said:

About time he was mentioned. http://www.youtube.com/watch?v=MGmUHepwVE8 is one of my favourite overtures ever, along with http://www.youtube.com/watch?v=LOEAgrBgWvo.
 

GartarkMusik

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j.alex said:
GartarkMusik said:

About time he was mentioned. [youtube]MGmUHepwVE8[/youtube]
He's damn brilliant, but some people tell me that he can be an acquired taste, which I don't get. http://www.youtube.com/watch?v=uxPLU-jWjL8 I just direct them to this and watch their jaws drop. XD
 

TiefBlau

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I've played cello since I was nine, and continue to do so in college, but I have to say that I only really ever like pieces that I've played before.
 

Dasrufken

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As a smartass I feel obliged to say that I do quite fancy classical music.

http://youtu.be/u2W1Wi2U9sQ <---- favorite and only piece of classical music that I actually know the name of...
 

Fiz_The_Toaster

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frizzlebyte said:
Fiz_The_Toaster said:
frizzlebyte said:
Fiz_The_Toaster said:
Yeah, Tchaikovsky was one of my favorites for a long time, but I kind of fell into the Baroque period and just never got out, I guess.

If not for Smetana, Zelenka would probably still be unknown to modern audiences. At least by and large.

Unless I miss my guess, unless you're hardcore into classical (orchestral) music, Zelenka's still unknown to you. He might be more well-known than I am aware, though.
I'm an orchdork...

I got a chance to perform Zelenka's Miserere in c-minor, was freaking amazing.

Smetana has some great chamber music, and his piano works are awesome.
When I said "you," I meant the universal you, not personally. Obviously, you know what you're talking about. Sorry if I offended you. I didn't mean to at all. :)


But wow, you got to perform Zelenka? Nice. My few attempts at learning an instrument failed amazingly. Just never cared enough to take it all the way. Sometimes, I wish I'd tried harder.
Oh no offense, I didn't mean to come off as rude. I guess I meant it as more of a joke, which failed spectacularly, fantastically even.

My one and only time, really hard too, which came as a surprise to me. But if I really think about it he was good friends with Bach, and his stuff can be deceptively easy. Choir was super loud, could barely hear my own instrument!

That's a shame though, but at least you can appreciate it, at a different level and experience of course. Not a whole lot of people can say that.
 

j.alex

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GartarkMusik said:
He's damn brilliant, but some people tell me that he can be an acquired taste, which I don't get.
I suppose some of his later stuff (Tristan, Der Ring from Sigfreid Act 3 on etc) isn't to everyone's taste, but works like Tannhauser, Lohengrin and The Flying Dutchman are pretty accessible (despite sometimes dragging a little). The shame is that the later stuff is his best, so people who don't like it are really missing out.
 

flashgriffin

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I'm a music composition major in university up in the great white north.
Favourite composer: heitor villa-lobos.

the latin american composers are all pretty good and have very unique sounds.
from the european family I really like tchaikovsky, brahms, and modern composers like lutoslawski.

Classical music is my music of choice to listen to. That being said, I'm not snobbish and enjoy listening to all kinds of music (yes even country. I'm looking at you Johnny Cash.)
 

PuffyMuffin92

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I used to only because i took a band class all through middle and high school. So i've hear, and played, my fair share of classical music. Can't really pin down a favorite though.
 

AlAaraaf74

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BudZer said:
Franz Liszt is the greatest composer of all time.
I feel that Liszt is very underrated at times. Too many people focus on how difficult his pieces are.


One of my favorites by him.
 

billygoverton

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j.alex said:
Inventive is the very last word I would use to describe him. I read an interesting thread on another forum a while back on him, here it is http://www.thestudentroom.co.uk/showthread.php?t=834560, which might be worth looking through if you have time. If not, the most important points were made in this post:

When I listen to Einaudi all I hear are the barest clichés (eg. 'ritornare' employing an augmented fourth suspended about IV [or presumably VI since this is minor]), with the buzzing fifths in the background all the time like Schubert's organ grinder (but without any of the complex irony in Schubert). Then the figures starts with all those 9ths in... I feel like all development has been evacuated, and all attempt to really explore how something might /feel/ has been replaced by automatic devices that have been well tried and tested for producing 'feeling' -- but deployed almost automatically. If you see what I mean... This is what leaves me so blank. There is also something really bleak about Einaudi's total lack of modualtion or deviation from a diatonic scale, which is the kind of tonal landscape you get at times in Ravel and Debussy, and also in Froberger / earlier contrapunctal composers, and which Bach summons occasionally in Die Kunst -- and it can be genuinely haunting there. But in Einaudi rather than greating a kind of meditative or peaceful stasis it creates just a void.

If people can't tell cliché and artless simplicity from thoughtful simplicity, if they can't tell automated 'emotive' responses to subtle and nuanced responses, this suggests to me that their emotive perception is somehow impaired. It's like crying at a Hollywood happyending: you've been taken in. It's one thing for music/films to be merely entertaining, but if they dictate your capactities for interpreting yoru experience, and in this case we're talking about emotive and empathetic capacities, it worries me that we might as a culture be losing the ability to genuinely feel anything or empathize with anybody. Einaudi's music is inhuman.
is this post yours?

it's a bit of a headache to be honest. It's well-written, but I can't help but feel like I'm reading politician-style rhetoric. I'm going to respond to this rather sporadically, for the sake of keeping myself attentive.

The Hollywood comparison: my love of movies is rather different from my love of music. I make music, constantly-- daily. I'm getting my bachelor's in recording arts, but I'm certainly not indignant about people who make music without training. So, there's some context anyway. With movies, it's sort of a blind love. To some extent my film-major buddies or critics (this includes Movie Bob on this website) rub off on me, but mostly I enjoy whatever movies I connect to most. There's a catch, though, which is how much I find myself absorbed and emotionally committed to what's happening on screen. A movie like Avatar and most melodrama for that matter fail to captivate me for a very identifiable reason. This brings me to your point of "cliche". I would argue the relationship music has with this term and what many movies are guilty of is quite different. Music, in my experience and taste, absolutely (most of the time) has to strike a balance between both tension and release, and thematic placement in order to work most cohesively. What I'm saying is what this person identifies as cliche are merely the tools all musicians use in their compositions. This person is looking for the art in the wrong places with this particular composer. It's in the constant attention to texture and to constructing very clear, very easily digested music. So pointing out the fact that he never pushes boundaries tonally, or rhythmically doesn't really convince me that there's no quality there. oh, and inventive is a tricky word, I'll definitely concede i was the wrong one. The conclusion that it's "thoughtless" is completely beyond my comprehension. This music to me is an exercise in what Einaudi likes best about music, and I think it find it's uniqueness in it's shrugging of traditional complexities assumed necessary.

the end of the post is stupid, pointless, and insulting. just because you don't find value in something, doesn't mean anybody who listens to it doesn't have taste. words like "artless" and "cliche" become meaningless when you are only using them to discount a style you don't like.

emotional value IS a matter of taste. and while this is probably not the best way of achieving that result, there is feeling in these melodies, and there are subtleties of texture I find interesting.

sorry for the long post, and sorry again if any of my points got lost along the way in the mess of it.