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On Wed, 21 Jan 2009 22:09:26 -0500, triple_r wrote:
> Jim Henderson <nos### [at] nospamcom> wrote:
>> > Dunno. What's he sound like?
>>
>> His later work is loud, largely due to his deafness. Check out his
>> fifth symphony (a very well known work) or the 9th.
>
> Or his late string quartets (~Op. 127-135), some of the last music he
> wrote, not to mention some of the best.
True, I always forget the quartets - also the solo works for stringed
instruments (with accompaniment) are quite good.
Jim
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On Wed, 21 Jan 2009 23:07:05 -0500, nemesis wrote:
> "triple_r" <nomail@nomail> wrote:
>> Jim Henderson <nos### [at] nospamcom> wrote:
>> > > Dunno. What's he sound like?
>> >
>> > His later work is loud, largely due to his deafness. Check out his
>> > fifth symphony (a very well known work) or the 9th.
>>
>> Or his late string quartets (~Op. 127-135), some of the last music he
>> wrote, not to mention some of the best.
>
> I don't know what loudness you guys are talking about. If you're
> talking about dynamics of expression, Beethoven always had a passion for
> very contrasting dynamics. His music is filled with passion and extreme
> emotional states, even from before deafness: going from pianissimo to
> fortissimo and vice-versa -- using the full dynamic range the developing
> piano-forte allowed in contrast with the older harpsichord. How can you
> convey passion without dynamics?
Have you heard Barber's "Adagio for Strings"? Very passionate piece of
music (I've been fortunate enough to perform it as a member of an
orchestra), and while there is one notable section that is has a very
strong fortissimo, the quiet sections aren't any less passionate.
> Think Beethoven is loud? Ever heard Wagner? But yes, not too many
> people enjoyed his "savage" sounds, like Chopin once put it.
I regularly listen to the entire "Ring" cycle. Beethoven's loudness is
very different from Wagner's, but it is no less pronounced. The final
movement of the 9th symphony is kinda the epitome of this, but the later
works definitely have fewer quiet places than his earlier works.
Particularly when comparing the different periods of music the two
composed in; I could as easily argue that Beethoven is quiet as a mouse
compared to Aaron Copland, Howard Hanson, Igor Stravinsky, or Antonin
Dvorak. The four of them are much more modern composers than Beethoven.
Compared to his contemporaries, Beethoven was quite loud.
This is not to say Beethoven wasn't absolutely brilliant. It was, and I
listen to my collection of the 9 symphonies about as often as I listen to
the Wagner. There is a lot of musical variety just in those 9 works of
his.
Jim
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Jim Henderson <nos### [at] nospamcom> wrote:
> On Wed, 21 Jan 2009 23:07:05 -0500, nemesis wrote:
>
> > "triple_r" <nomail@nomail> wrote:
> >> Jim Henderson <nos### [at] nospamcom> wrote:
> >> > > Dunno. What's he sound like?
> >> >
> >> > His later work is loud, largely due to his deafness. Check out his
> >> > fifth symphony (a very well known work) or the 9th.
> >>
> >> Or his late string quartets (~Op. 127-135), some of the last music he
> >> wrote, not to mention some of the best.
> >
> > I don't know what loudness you guys are talking about. If you're
> > talking about dynamics of expression, Beethoven always had a passion for
> > very contrasting dynamics. His music is filled with passion and extreme
> > emotional states, even from before deafness: going from pianissimo to
> > fortissimo and vice-versa -- using the full dynamic range the developing
> > piano-forte allowed in contrast with the older harpsichord. How can you
> > convey passion without dynamics?
>
> Have you heard Barber's "Adagio for Strings"? Very passionate piece of
> music (I've been fortunate enough to perform it as a member of an
> orchestra), and while there is one notable section that is has a very
> strong fortissimo, the quiet sections aren't any less passionate.
>
> > Think Beethoven is loud? Ever heard Wagner? But yes, not too many
> > people enjoyed his "savage" sounds, like Chopin once put it.
>
> I regularly listen to the entire "Ring" cycle. Beethoven's loudness is
> very different from Wagner's, but it is no less pronounced. The final
> movement of the 9th symphony is kinda the epitome of this, but the later
> works definitely have fewer quiet places than his earlier works.
>
> Particularly when comparing the different periods of music the two
> composed in; I could as easily argue that Beethoven is quiet as a mouse
> compared to Aaron Copland, Howard Hanson, Igor Stravinsky, or Antonin
> Dvorak. The four of them are much more modern composers than Beethoven.
> Compared to his contemporaries, Beethoven was quite loud.
>
> This is not to say Beethoven wasn't absolutely brilliant. It was, and I
> listen to my collection of the 9 symphonies about as often as I listen to
> the Wagner. There is a lot of musical variety just in those 9 works of
> his.
>
> Jim
Beethoven?
to understand what we are talking about... ;-)
Mp3:
Sinfonia n 5 in Do minore op. 67, 1950, De Sabata Victor
Sinfonia n 8 in Fa maggiore op. 93, 1951, De Sabata, Victor
link: http://www.liberliber.it/audioteca/b/beethoven/index.htm
--
Carlo
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Orchid XP v8 <voi### [at] devnull> wrote:
> Enya, "And Winter Came...", track #3: "White is in the Winter Night".
>
> Just so you know, it ****in PWNZ! I've just listened to it, like, 4
> times back-to-back, and you know what? I think I'm going to play it yet
> again...
>
> Such PWN3RSH1P is rare indeed!
>
> --
> http://blog.orphi.me.uk/
> http://www.zazzle.com/MathematicalOrchid*
I bought all the cd of Enya, until a few years ago.
I have the impression that Enya has *run out of ideas*.
Enya continues to copy itself.
(She made me hate the staccato!) :-)
--
Carlo
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On Wed, 21 Jan 2009 21:55:41 +0000, Orchid XP v8 <voi### [at] devnull> wrote:
>nemesis wrote:
>> Orchid XP v8 escreveu:
>>> I've just listened to it, like, 4
>>> times back-to-back, and you know what? I think I'm going to play it
>>> yet again...
>>
>> I usually choose one single Bach or Beethoven piece to go along all day. ;)
>
>I defy you to dance to that though. ;-) Let alone sing along...
>
I dare you not to sing along to Beethoven's setting of "Ode to Joy" (An die
Freude).
--
Regards
Stephen
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Carlo C. wrote:
> I bought all the cd of Enya, until a few years ago.
> I have the impression that Enya has *run out of ideas*.
> Enya continues to copy itself.
Yeah. And somebody complained to me that they took an Enya CD and played
it backwards and it still sounded the same. Whatever, each to their own.
I listed to what *I* like listening to, and I'm really not bothered if
anybody else approves. :-P
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Stephen wrote:
> I dare you not to sing along to Beethoven's setting of "Ode to Joy" (An die
> Freude).
1. That was Beethoven?
2. There are *words*??
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On Wed, 21 Jan 2009 23:48:52 EST, "triple_r" <nomail@nomail> wrote:
>
>Or, as Mark Twain put it, "Richard Wagner, a musician who wrote music which is
>better than it sounds."
Or as Mary Macgregor (a friend of my wife) said. "Music to slaughter pigs by".
(No reference to certain atrocities 60 odd years ago)
OTOH his early music is quite jolly, "The Mastersingers of Nuremberg".
--
Regards
Stephen
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On Thu, 22 Jan 2009 09:32:22 +0000, Invisible <voi### [at] devnull> wrote:
>Stephen wrote:
>
>> I dare you not to sing along to Beethoven's setting of "Ode to Joy" (An die
>> Freude).
>
>1. That was Beethoven?
>
Yes.
>2. There are *words*??
By Schiller.
--
Regards
Stephen
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>>> I dare you not to sing along to Beethoven's setting of "Ode to Joy" (An die
>>> Freude).
>> 1. That was Beethoven?
>>
>
> Yes.
>
>> 2. There are *words*??
>
> By Schiller.
Mmm, OK. I just played it... ;-)
Simple, yet effective.
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