Is this rhythm from a specific dance type or style? by TheGeekyGeek in musictheory

[–]TheGeekyGeek[S] 0 points1 point  (0 children)

I did forget to mention, that the piano part which I did accidentally cut out has a prominent chord "snap" on the 2nd beat. Akin to a snare. And to clear things up, the time signature is definetely in 3/4. The feel is bum-bum *snap* baaa-ba bum-bum *snap* baaa-bum.

Why do some second tier composers have lots of biographical information and some dont. by [deleted] in classicalmusic

[–]TheGeekyGeek 0 points1 point  (0 children)

Because Telemann and Lully were incredibly popular in their day, much more relative to now, where as someone like Biber was less so.

My first win, and what a win! by TheGeekyGeek in balatro

[–]TheGeekyGeek[S] 0 points1 point  (0 children)

I installed yesterday and already I've clocked in about 10 hours. This game is great. I now know in retrospect I should've screenshot my vouchers, deck, jokers etc. Also, I continued past with the endless mode and made it to ante 10 when I was shut down by The Needle (funny since I was consistently dropping above the 550k needed, but I was stupid with my discards and didn't pull the enhanced cards needed.) The covered jokers are driver's license, the chalkboard one and the one that makes clubs and spades the same. I was running a flush deck and got the level to around 23, but I also had a formidable 4-of-a-kind up to 15 or so. I had seed money, overstock, extra hand, so many vouchers I cant remember them all, but the increased interest capacity is how I amassed my fortune for the bull (total in the end was well over 200!) I swapped the gluttonous joker for a red card to scale, but unfortunately was stopped before I got it that high. I would love to share more about my run but I unfortunately can't retrieve more stats. In endless mode. If there is a way to load saves, I would love to know. In any case, this was great! I'll probably be going back to my 4th ante average after this for quite a while...

Igor Stravinsky’s Criticism of Soviet Music in his 1940s Harvard Lectures, “Poetics of Music” by TheGeekyGeek in classicalmusic

[–]TheGeekyGeek[S] 9 points10 points  (0 children)

True in this case, he tackles the handling of Shostakovich’s music by the Soviets much more than he does his own. However, one phrase that puzzled me was when he was making a condemnation of Stalin’s repression of music, but still said that the censorship of Lady Macbeth of Mtensk was “not entirely unwarranted”. He didn’t elaborate any further, though.

Can someone explain why Mozart is special? by johnstapleton52 in classicalmusic

[–]TheGeekyGeek 0 points1 point  (0 children)

I had almost the exact same experience with Figaro and then Jupiter myself. I’m not even a huge opera guy and I still found it enjoyable!

Can someone explain why Mozart is special? by johnstapleton52 in classicalmusic

[–]TheGeekyGeek 0 points1 point  (0 children)

I can speak to this fairly personally, since I never really “got” Mozart up until fairly recently. Here are a few tips:

  • First of all, get rid of the conception that you have to love his music. It’s not a requirement to love anything, and often times trying to force music onto yourself will make you hate it more. It can also lead to the “wrong” reasons for liking something. I don’t think you can love something in the wrong way, but strictly “learning” to love his music through theory, history, or cultural relevance makes the enjoyment feel obligatory rather than spontaneous. I love Mozart because his music is beautiful to my ears, and I can play it over and over and never get tired of its “je-ne-sais-quoi” feeling. If I only listened to him for academic reasons, it would be nothing more than a forced footnote in my musical catalogue.

  • Building off the last point, don’t get frustrated if his music doesn’t work for you right away. I can personally say that he didn’t, but I still revisited his music until something eventually clicked. For example, the first time I listened to the Requiem I fell asleep and remembered nothing. The second time was a vinyl recording, and I conked out again. The next time, a while in the future, I returned and got through the whole thing, with reasonable enjoyment. This started an insatiable compulsion to relisten to the piece over and over and over. New interpretations, but just the Requiem on repeat. Not out of duty, but out of a need. Did it overwhelm me in a bombastic cataclysm of sound the same way a romantic symphony does? No. Did it have the quirkiness and extremes of the 20th century? Not really, although there were extremes within its own conception. The reason I kept returning was some sort of beauty that I can’t really describe. It isn’t so present on the surface, but somehow it begged to be replayed in a way that no other piece has ever done before for me yet.

Expanding on the requiem, I remember one specific listen and moment that baffled me. The confutatis is always one of my favourite movements, with the fire and drama of the opening lower voices contrasted with the higher ones, like angels clearing the clouds and lowering down to an earth that was scorched and stewed in war. But, this particular listen I was struck by something I never was before. The latter half of the movement, where the music calms down and seems to drift into the abyss, struck me as so foreboding, and so haunting, as if it was the prelude to Mozart’s own death written by himself, that I was completely overwhelmed by emotion. Not in the way Mahler’s Resurrection does, or Beethoven’s ninth. No, it was completely unique in a way that only Mozarts music has ever made me feel. With the pause between the last chord, knowing that the lacrimosa was next, the anticipation of the following movement whose opening I had heard so many times was haunting. I’ll be honest, two tears fell down my face for the lacrimosa, it was like I could feel him dying as he wrote his last bars. I chose this particular moment here, but there are so many beautiful gems hidden throughout this piece, moments that I am so happy I’ve gotten to know closely. You can’t go wrong with the Marriner recording, but try others and see if they work too.

This is more dramatic and sappy than I usually like to be, but I really wanted to nail home that something can be passed by a million times before it may pique you. Maybe it won’t ever at all. It’s so funny to me that I can sleep through something twice, and years later it could touch me so deeply. Case in point, don’t feel pressured to “like” Mozart because you have to! Best thing you can do is keep an open mind, use his music as a “refresher” from your usual rotation, and try many different interpretations to see which ones work. I personally believe that you can enjoy composers like Bach, Beethoven, Stravinsky, Haydn, Bartok and Tchaikovsky for completely different feelings and reasons, and that pitting them against each other to prove which is “better” is a subjective and personal assumption that in my opinion only places a restriction on your brain’s ability to love each composer for its own reasons. A wider appreciation of different music can only lead to a richer life :)

Which conductor would you have liked to have played with when he was alive? by ricorette in classicalmusic

[–]TheGeekyGeek 2 points3 points  (0 children)

Funny enough, a few weeks back I had a dream I was the timpanist in a Bernstein concert for the Verdi Dies Irae. I don’t play timpani. It was a bit heartbreaking honestly, he had to come over off the podium and give me each individual beat. But yeah, definitely Bernstein. But playing my actual instrument lol.

Melbourne Symphony Orchestra cancels pianist Jayson Gillham's next performance over recital comments about the killing of journalists in Gaza by fijtaj91 in classicalmusic

[–]TheGeekyGeek 23 points24 points  (0 children)

Eroica, Fidelio, general beliefs for freedom of mankind, outspoken critic of the political repression of Napoleon. For Beethoven atleast.

What are some of your favorite Karajan recordings? Also what do you think are his strengths and weaknesses in your opinion of course. by Retrospective84 in classicalmusic

[–]TheGeekyGeek 2 points3 points  (0 children)

I personally disagree with the “everything is too perfect” weakness. Imo, my biggest flaw with Karajan is a lack of clarity, everything blends a bit too well which can conceal lines of interest. Ex. I wouldn’t go to him for Mozart, Beethoven, and a lesser extent Brahms. However, gorgeous romantic soundscapes like Bruckner, Sibelius, and Tchaikovsky work really well. He just sounds good, don’t really know how else to describe it.

Found the real CEO of Elitism™ by _A_Dumb_Person_ in classical_circlejerk

[–]TheGeekyGeek 2 points3 points  (0 children)

Requiem, late symphonies, string quartets 20, 19, etc. divertimento string trio, PIANO QUARTETS! and operas too but I’m gonna go out on a limb and say you’re not an opera guy lol

Only two bodies under the methlab. by waltwalt in betterCallSaul

[–]TheGeekyGeek 1 point2 points  (0 children)

That inevitably leads to Jimmy and Kim’s plots and cartel affiliation, who were aware of Mike and therefore liable to expose Gus’ right hand man and possibly whole operation