| >> | No.53139740
>>53139570
probably this, no?
https://www.youtube.com/watch?v=7l8vPWFIgxI
>Kagel also made films, with one of the best known being Ludwig van (1970), a critical interrogation of the uses of Beethoven's music made during the bicentenary of that composer's birth (Griffiths 1978, 188). In it, a reproduction of Beethoven's studio is seen, as part of a fictive visit of the Beethoven House in Bonn. Everything in it is papered with sheet music of Beethoven's pieces. The soundtrack of the film is a piano playing the music as it appears in each shot. Because the music has been wrapped around curves and edges, it is somewhat distorted, but Beethovenian motifs can still be heard. In other parts, the film contains parodies of radio or TV broadcasts connected with the "Beethoven Year 1770". Kagel later turned the film into a piece of sheet music itself which could be performed in a concert without the film—the score consists of close-ups of various areas of the studio, which are to be interpreted by the performing pianist.
|
| >> | No.53142301
>>53142132
Serial techniques would imply organization of not just pitches, but dynamics, articulation, and so on. It's simply a distinction from post-war/Darmstadt composers that took it to bizarre levels of fetishism and worship of Schoenberg and his disciples.
Might as well say, to make up for my asshole post, that Schoenberg was very much a master composer of the Late-Romantic style, and that he saw his post-Op. 12 (???) pantonal (or atonal, whichever you prefer) music as a natural, necessary evolution, and wished to compose in his 12-tone technique in similar grandiose of the Late-Romantic style. Of course, the post-war composers, like Boulez, would criticize him for trying to justify his compositional method using pre-existing forms like sonata, rondo, etc.
SDF or whoever can correct me on this.
|
| >> | No.53143769
>>53143473
Favorite 19th century composer after Beethoven, and probably the most convincing balance of form and content in tonal music after Beethoven.
Serenade No. 1, Op. 11
Piano Concerto No. 1, Op. 15
Serenade No. 2, Op. 16
Horn Trio, Op. 40
Ein Deutsches Requiem, Op. 45
Motets, Op. 74
Violin Sonata No. 1, Op. 78
Violin Sonata No. 3, Op. 108
String Quintet, Op. 111
Clarinet Quintet, Op. 115
Piano Pieces, Op. 116-119
Chorale Preludes, Op. 122
|
| >> | No.53147479
>>53146958
Do you mean Bb1? Bb2 is still on the stave for the bass clef and would make you a baritone, not a bass (and unable to sing O Isis und Osiris), so I'm going to assume you meant
I like a mixture of stuff. If you've got that lower range, you might want to consider angling yourself towards the 'low' roles; often performers in this niche will have 4 or 5 parts which they know and will sing mostly those for most of their career, as they're always in demand.
Stuff like:
>O Wie will ich triumphieren - from Die Entfuhrung auf dem Serail (Mozart)
https://www.youtube.com/watch?v=K7OMOFJACB4
>Claggart's Aria - from Billy Budd (Britten)
https://www.youtube.com/watch?v=iNtWZfR6HYo
You can also have a go at some lyric buffo roles (Don Magnifico, Doctor Basilio, Don Alfonso, Mustafa) which can be fun to do.
Then there are a number of roles for low bass in Wagner operas, which can build up another side of your repetoire.
For art songs, it's often a question of looking through a composer's back catalogue and finding stuff that you like. Most composers wrote songs, so chances are that if you pick a composer at random, you'll find something you're interested in singing by them if you look hard enough
|