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Disco Stu

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Everything posted by Disco Stu

  1. I'm starting to try and teach myself music theory fundamentals in a systematic way. As I'm starting (using a textbook on archive.org), it goes back and forth between reviewing what I already know from over the years and filling in the gaps between. Without the time limits of an actual course, it's nice to spend as much time as I want on a chapter/concept. Anyway, in going over beat and meter I'm taking music pieces I already love, following along with the score, and practicing counting out the meter aloud. This odd metered section of Appalachian Spring that goes back and forth between 2/4 and 5/8 was really fun to figure out how to count out loud along to "1 and 2 and / 1 and a 2 and / 1 and 2 and / 1 and a 2 and / 1 and 2 and / 1 and a 2 and / 1 and a 2 and / 1 and a 2 and" etc. 13:16 - 13:46
  2. I've been really into Carl Vine's String Quartet No. 3 for the past day or so. The middle slow section is so gorgeous. I love how the solo instrument leading the melody moves from the cello to the viola to 2nd violin back to viola over the course of the movement. And the finale is absolutely righteously infernal. The whole thing plays like some mythical battle between Heaven and Hell. Really cool piece. I suggest listening and following along with the online perusal score here: https://www.fabermusic.com/music/string-quartet-no-3-2467/score
  3. This photo of Leonard Bernstein and Aaron Copland is I’m pretty sure newly released. How sweet.
  4. BrotherSound's brainfart became my brainfart! I don't really listen to the FYC much. The OST is a perfect album.
  5. For me, "Lee's Departure" is the highlight of what's on the FYC and not available elsewhere.
  6. Without a doubt this is the finest original composition for brass quintet I’ve heard. I’ve been meaning to dig into Malcolm Arnold’s oeuvre more seriously for years, maybe now is the time.
  7. Obviously I want Gorannsson to win, but Britell is doing good work on Succession.
  8. I'm so happy someone did a score video for Copland's monumental "Piano Fantasy." I would've gotten to it eventually!
  9. Amistad is the one I want the most out of all them.
  10. The theme in AI that most reminds me of the concerto section I highlighted above is probably the "Mecha Motif" (as named by Inky) heard prominently in the opening act of the film.
  11. War Requiem is probably his masterpiece yes. But I prefer Britten in his more playful and colorful mode generally.
  12. Here's the concert they're pulling Mark O'Connor from. May 11 1992, 5 days before the Bonnie Raitt concert. https://archive.org/details/bostonpopsorches1992bost/page/n58/mode/2up
  13. Yeah I was instantly searching my memory of AI or Minority Report. That darker early-2000s Williams.
  14. This section of the slow movement sounded *so* much like something from a Williams film score, it was driving me NUTS trying to place the connection. I *think* @Holko figured out that I was being reminded of the "Meeting ET" cue from ET. If anyone has any other ideas for what this section sounds like, please chime in! In the concerto, 2:48 - 3:00 below: Compared to ET
  15. My question is why, especially in the last 10 years, sometimes a project has credited orchestrators (e.g., William Ross on TFA and TROS) and sometimes there is none. From my understanding, when there is no credited orchestrator, Williams hands his detailed short scores directly to JKMS to expand out into the parts and conductor's score, but when we are told that the credited orchestrators aren't doing anything more complicated than what a score preparer does, why sometimes use them and sometimes not? How is what Mark Graham and his team at JKMS do on these projects functionally different from what a credited orchestrator does?
  16. What are your favorite Britten pieces? The ones I find myself returning to the most are the Spring Symphony and the Serenade for Tenor, Horn, and Strings. The former especially is easily my favorite of his entire catalog.
  17. Some Michael Torke to get your morning started right that recording would more accurately be called the “Extended Suite” for orchestra. Although the differences are slight, they are there. Copland essentially just orchestrated the largest missing section and stuck it into the suite. The true full ballet for orchestra was only published in 2016, with David Newman doing some work to orchestrate measures that Copland hadn’t ever converted from the original 13 instrument version. You can hear an archived performance by the Philadelphia Orchestra here: https://www.philorch.org/your-philorch/learn-more/ondemand/coplands-appalachian-spring/ Here are a couple of articles that explains all the different versions of the ballet. It may be more detail than the casual listener desires, but I eat it up https://blogs.loc.gov/music/2019/10/not-the-suite-aaron-coplands-appalachian-spring/ (this article actually has Leonard Slatkin himself in the comment section ) https://appalachianspring.info/o-appalachian-spring-the-many-versions-of-aaron-coplands-ballet-for-martha-1944-2016/ Truly I recommend the original full ballet for 13 instruments above all other versions. It’s only been commercially recorded a couple of times. The best recording is the Atlantic Sinfonietta:
  18. I desperately want to read the complete correspondence between Williams and Milton Babbitt. The writer of Star Wars exchanging ideas with the writer of "Who Cares If You Listen?" My god.
  19. I assume Frank is too busy weeping on the floor to comment at the moment
  20. The call and response part of this arrangement between Goodman and the trumpet (Charlie Shavers) is so charming and joyful. (At 5:07)
  21. I've been listening to Michael Torke's Color Music album over the past couple of days. It's certainly vibrant and exciting. I can't shake the skepticism that, even for each individual piece, the whole is less than sum of its parts, but those parts are still very appealing to listen to. It's actually kind of addictive. "Purple" is probably my favorite.
  22. seems like this thread is just disenchantment spillover
  23. At this point, Naxos releases so much from so many different sources I'm not sure you can generalize about them anymore. If you mean specifically the albums they have recorded by the cheapie Eastern European orchestras in Ukraine, Slovakia, etc., I think those albums have risen in quality as the orchestras themselves have risen in quality from all the experience of American productions hiring them over the last 30 years. Really Naxos is the only American classical label of any consequence left. The majors (Sony, Warner, etc.) stopped really trying and the biggest name orchestras (SFSO, LA Phil, NY Phil) are self-releasing their albums because they don't want to split the tiny slices of streaming money pie with a record label. But I'm glad Naxos is still here releasing interesting stuff every month, and such a wide variety as well.
  24. Too many sovereign nations in Europe as it is anyway!
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