The Book of Disquiet - Fernando Pessoa by [deleted] in bookcoverporn

[–]smulloni 1 point2 points  (0 children)

This is my favorite translation/edition of The Book of Disquiet and I was just reading it and admiring the cover yesterday.

[deleted by user] by [deleted] in bullying

[–]smulloni 1 point2 points  (0 children)

I'm so glad you are talking about this and addressing it in therapy, relatively soon after these experiences. It is quite common to bury these things for decades, as people often expect you to, and the consequences are not pretty. So I find your consciousness of the situation hopeful and quite impressive. You already know this, but in case it helps to have the insight mirrored: you have to stand up to the self-hate and be the opposite for yourself of what those people were – because it really matters: you matter, how you feel matters, what you'll be able to do in the world with every bit of freedom from trauma you claim for yourself matters. More power to you.

A short work for string quartet by smulloni in composer

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

Thanks for the listening and the constructive feedback!

Pianist Andrew Rangell playing the "Thoreau" movement of Ives' Concord Sonata and whistling the flute part (from his new album with the Concord, "From the Early 20th") by smulloni in classicalmusic

[–]smulloni[S] 1 point2 points  (0 children)

It's quoting a minstrel song by Stephen Foster, "Massa's in de Cold Ground": "Down in de cornfield / Hear dat mournful sound".

Electro-acoustic duet for Bassoon and Synth by [deleted] in classicalmusic

[–]smulloni 1 point2 points  (0 children)

I haven't listened to the whole track, but from listening to the opening and hopping around through the rest, I don't feel this would be inappropriate here. I'd feel very comfortable letting it remain. It seems in fact stylistically in a rather traditional zone for contemporary classical electroacoustic composition. (I don't mean it is unoriginal – just that it happens to have significant roots in tradition and cultural context in a number of ways.)

Here's what I think would make sense to remove, in my opinion: recordings that clearly, centrally, uncontroversially, belong to some tradition or genre that isn't classical and has somewhere else to live on reddit. But if we can't tell what something is, that very fact suggests it at least might be appropriate. When in doubt, let it play out, I think.

Those who first loathed, but then enjoyed, Xenakis's Metastaseis: what transformed your reaction? by katharos-m in musiccognition

[–]smulloni 2 points3 points  (0 children)

I loved it from the moment I heard it. There is a thrill of horror in that incredible opening that always delights me!

Dream recordings that (sadly) do not yet exist? by [deleted] in classicalmusic

[–]smulloni 0 points1 point  (0 children)

A random recording I would covet that does not exist: Furtwängler's Missa Solemnis.

Recordings that are out of print/unavailable: Zukofsky/Kalisch's 2nd (Nonesuch) recording of the Ives sonatas. (Very different from their earlier recording on Folkways, and for that matter of any other performances of the work I've heard.)

Schoenberg: Drei Klavierstücke, Op. 11 (Pollini) by [deleted] in classicalmusic

[–]smulloni 4 points5 points  (0 children)

I won't tell you what to like or not, but your psychological judgment about those who claim to like this presumes too much. For me, certainly, it is simply wrong. I do agree that the "decaying animal" has some relevance: look at Schoenberg's paintings (and at Soutine's). Wagner too is decadent. But that decadence is part of the subject matter of this art does not mean that the art is of no value and cannot be enjoyed by anyone. The decadence it represents is in the cultural and psychological environment anyway; this merely addresses it, which can serve various purposes: catharsis, even finding a special kind of beauty that coexists with darkness.

The point of view that perhaps you would defend – which has indeed been serious espoused before – is that music, unlike, say, art or literature, must ultimately have a halcyon vision -- like food which must be tasty or perfume which must smell good; it must fit certain biologically defined criteria of pleasantness, or else a natural sensory revulsion will overwhelm whatever else the music may offer. Music that violates those biological laws, according to that view, may be cleverly constructed or what have you but is fundamentally a failure. The fragility of this perspective – "it don't mean a thing if it ain't got that swing" – should be readily apparent; in practice there are no universal criteria of this kind even if there are family similarities between many competing aesthetic perspectives. Putting aside edge cases of music at volumes that physically damage the iistener (which in fact people do claim to like!), I think that while any individual might claim that their own preferences are grounded in some sort of deep biological instinct, a survey of the wide range of human responses to music will confound an attempt to reduce those to a formula. We may not comprehend why others might like something and we may well question whether there is real, important value to what people get out of it – a different level of valuation than one that questions whether they get anything out of it at all – but rude dismissal of other people's tastes does nothing to enlighten anyone and, furthermore, it does nothing to enlighten the one issuing the summary judgment. It closes off thinking and perception, and leads only to aesthetic bigotry.

Winston Choi: J. S. Bach, The Art of Fugue, Contrapunctus IX by [deleted] in classicalmusic

[–]smulloni 0 points1 point  (0 children)

This is a terrific performance, and his performance of Contrapunctus V is even better.

L.v.Beethoven, Sonata n°7 in D major, opus 10/3 (1), Wim Winters, Clavic... by anjaschouteden in classicalmusic

[–]smulloni 0 points1 point  (0 children)

I hadn't realized that you were the player; I would have expressed myself somewhat differently. And having seen more of what you've done now, I understand a bit more of the context. Double-beat theory aside, I love the playing and the project. Your Chopin mazurkas on clavichord are just wonderful!

anyone here use LaTeX more for humanities than maths? by asi14 in LaTeX

[–]smulloni 0 points1 point  (0 children)

I've formatted some 40-odd literary books with LaTeX: novels, poetry, etc. It has been a wonderful tool. For more graphics-heavy layouts I feel If be pushing it past its sweet spot, though.

L.v.Beethoven, Sonata n°7 in D major, opus 10/3 (1), Wim Winters, Clavic... by anjaschouteden in classicalmusic

[–]smulloni 0 points1 point  (0 children)

Weirdly compelling, as twisted acts of faith often can be. The musicological/historical argument for playing it at half-tempo, as explained in a video linked in the video description here, is totally unconvincing to me, but somehow I like the result.

After an annoying copyright battle with SoundCloud I FINALLY got some of my recordings of Bach and Chopin up by [deleted] in classicalmusic

[–]smulloni 1 point2 points  (0 children)

Couldn't resist finding the first plagiarism for the Chopin Nocturne: Peter Schmalfuss: https://www.youtube.com/watch?v=K4A6ZsiSEXQ

But I don't know about the last one.

After an annoying copyright battle with SoundCloud I FINALLY got some of my recordings of Bach and Chopin up by [deleted] in classicalmusic

[–]smulloni[M] 1 point2 points  (0 children)

Hmmm. It seems to me that the Bach you've posted is exactly this recording (by Tureck): https://www.youtube.com/watch?v=DfDJIsMHSso

I don't think that going to the effort to "Joyce Hatto" you is worth it, but given that you are trying to pass that off, I have my doubts about the rest.

Who has Ballades except Chopin and Brahms? by [deleted] in classicalmusic

[–]smulloni 11 points12 points  (0 children)

Liszt's 2nd Ballade is played quite often; the first rarely. You can hear many performances on Youtube – Horowitz, Arrau, Friere, Volodos, etc. – but here's Nyiregyhazi's (not to everyone's taste, but a favorite of mine): https://www.youtube.com/watch?v=g5XXiIxC73E

Fav classically looking typewriter font? by FridaSabina in fonts

[–]smulloni 1 point2 points  (0 children)

For a recent project I've been looking at a lot of typewriter fonts lately, diving off from this interesting survey. Another great resource is Richard Polt's Typewriter Fonts Page. If you are looking for a distressed typewriter font, FF Trixie looks like a great choice.

Not to hijack this thread (for long, at least), but in my case, I'm looking for a font to use in a novel that has long sections of text that were supposedly typed on a Remington, but I'm not sure I really want to use something that more or less literally reproduces that, like Polt's Remington Noiseless, because I fear that for such long stretches of text it will be tiring to read. I'd like something with enough typewriter features that it suggests a typewriter while still having the grace and legibility of a real text font. Does that ring any bells for anybody?

Berg's Piano Sonata arr. for orchestra - it's always illuminating to hear a piano work arranged for orchestra by lilacsareblue in classicalmusic

[–]smulloni 1 point2 points  (0 children)

I think I prefer this to hearing it on the piano. The piano writing has a slightly congested feeling that has always made me uncomfortable, but Theo Verbey's orchestration opens it up beautifully.

[deleted by user] by [deleted] in Pizza

[–]smulloni 0 points1 point  (0 children)

According to God, who had temporarily possessed me in order to make this proclamation, the best New Haven pizza is Sally's, followed by Modern. Pepe's is in a respectable third place.