http://www.musicanthology.org an anthology of musings on music, culture, cosmology, spirituality, and other favorite things by Jeffrey B. Langlois and Geej Langlois Tue, 17 Apr 2012 11:33:05 +0000 hourly 1 http://wordpress.org/?v=3.2.1 http://www.musicanthology.org/?p=105&cpage=1#comment-7130 Jeffrey B Langlois Tue, 17 Apr 2012 11:33:05 +0000 http://www.musicanthology.org/?p=105#comment-7130 Sorry for the late reply. I've been very busy. I think it's more accurate to say that J.S. Bach represents the culmination of the Baroque period. Mozart and Haydn represent the full flowering of the classical style, and Beethoven represents the expansion and extreme expression of the classical style. Some people see Beethoven as a bridge between the classical and Romantic styles, but actually Beethoven composed with very little influence of that style, which was in its formative years during his life. I see Brahms more as the beginning of modern thinking or modern creativity in the realm of music. Anyone else out there care to comment on this? Sorry for the late reply. I’ve been very busy. I think it’s more accurate to say that J.S. Bach represents the culmination of the Baroque period. Mozart and Haydn represent the full flowering of the classical style, and Beethoven represents the expansion and extreme expression of the classical style. Some people see Beethoven as a bridge between the classical and Romantic styles, but actually Beethoven composed with very little influence of that style, which was in its formative years during his life. I see Brahms more as the beginning of modern thinking or modern creativity in the realm of music. Anyone else out there care to comment on this?

]]> http://www.musicanthology.org/?p=89&cpage=1#comment-7110 philippines Sun, 15 Apr 2012 11:58:18 +0000 http://www.musicanthology.org/?p=89#comment-7110 A person essentially help to make critically posts I would state. This is the very first time I frequented your web page and to this point? I surprised with the analysis you made to create this actual post extraordinary. Wonderful job! A person essentially help to make critically posts I would state. This is the very first time I frequented your web page and to this point? I surprised with the analysis you made to create this actual post extraordinary. Wonderful job!

]]> http://www.musicanthology.org/?p=105&cpage=1#comment-7087 Rich Farris Thu, 12 Apr 2012 17:51:44 +0000 http://www.musicanthology.org/?p=105#comment-7087 Jeff, I have a rather abstract question for you, since your music history is so good. It has been a theory of mine that "modern thinking" or "modern creativity" began with Beethoven. I alway sensed that Mozart marked the end, as perhaps the peak culmination of the Baroque period, whereas Beethoven ushered in the beginning of modernity - in the history of creativity in music. Do you think my generalization makes any sense from your perspective? Or do you prefer a different demarcation? Jeff, I have a rather abstract question for you, since your music history is so good. It has been a theory of mine that “modern thinking” or “modern creativity” began with Beethoven. I alway sensed that Mozart marked the end, as perhaps the peak culmination of the Baroque period, whereas Beethoven ushered in the beginning of modernity – in the history of creativity in music. Do you think my generalization makes any sense from your perspective? Or do you prefer a different demarcation?

]]> http://www.musicanthology.org/?p=108&cpage=1#comment-7013 Leonard Layne Thu, 05 Apr 2012 05:02:19 +0000 http://www.musicanthology.org/?p=108#comment-7013 This was my first exposure to the recordings of the MBO and Chorus weh I was in High School. I played it over and over. I had recorded it on Reel to Reel from the radio (not a bad recording :). This approach to the St. Matthew Passion provide a breadth of approach which gives an insight, not only to the music but into the connection between the music and the gospel it reflect. The respect which comes out in the performance demonstrate what I learned as a chorister in my youth and later in music schools, that the interpretation of choral art must be take largely from the text. Then in this case as in the case of all of Bach's music, it is Soli Deo Gloria. This was my first exposure to the recordings of the MBO and Chorus weh I was in High School. I played it over and over. I had recorded it on Reel to Reel from the radio (not a bad recording . This approach to the St. Matthew Passion provide a breadth of approach which gives an insight, not only to the music but into the connection between the music and the gospel it reflect. The respect which comes out in the performance demonstrate what I learned as a chorister in my youth and later in music schools, that the interpretation of choral art must be take largely from the text. Then in this case as in the case of all of Bach’s music, it is Soli Deo Gloria.

]]> http://www.musicanthology.org/?p=105&cpage=1#comment-6893 Peter Cluytens Wed, 21 Mar 2012 23:15:53 +0000 http://www.musicanthology.org/?p=105#comment-6893 This is remarkable. Most people who are in classical music even don't notice the difference between J.Haydn and W.A. Mozart. There is indeed a way to distinguish. As you analyse it well. I personally am looking to find an answer to the intrigueing question, how did Mozart compose. What makes his composing ability different from e.g. Haydn, or Beethoven. What I found, what makes Mozart a different composer, is that variation on popular, existing themes as his own mozartian themes and the drive to put into his music a cadance, what I mean an impulse, a motion, as that of a horsemilll or a horsewalk or again a turquish march as in Jona Lewies Stop the cavalry and then again a very romantic 'say goodby' theme. Mozart was - as far as I see it - a melodyfinder, but rather a gifted, creative man, who could create original music by variing common musical material in such a simple, almost childish way, that sets to tears, that is by the fact it sticks close to the natural note and chord following order, so that both audience and executing musicians can continue without the score. My idea. My blog on 'How Mozart composes' is in flemish, my mothertonghue. END. This is remarkable. Most people who are in classical music even don’t notice the difference between J.Haydn and W.A. Mozart. There is indeed a way to distinguish. As you analyse it well. I personally am looking to find an answer to the intrigueing question, how did Mozart compose. What makes his composing ability different from e.g. Haydn, or Beethoven. What I found, what makes Mozart a different composer, is that variation on popular, existing themes as his own mozartian themes and the drive to put into his music a cadance, what I mean an impulse, a motion, as that of a horsemilll or a horsewalk or again a turquish march as in Jona Lewies Stop the cavalry and then again a very romantic ‘say goodby’ theme. Mozart was – as far as I see it – a melodyfinder, but rather a gifted, creative man, who could create original music by variing common musical material in such a simple, almost childish way, that sets to tears, that is by the fact it sticks close to the natural note and chord following order, so that both audience and executing musicians can continue without the score.
My idea. My blog on ‘How Mozart composes’ is in flemish, my mothertonghue. END.

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