one friday night in my 2nd year of b.arch school i put on my headphones, put "adagio for strings" on repeat on my CD player (remember those?), and five hours later had designed and drawn what i still consider to be my favorite 36 square feet of space that i have ever created, a square cube of concrete with a sphere hollowed from within, with only an oculus and a small door -- something to literally curl up inside
my problem w/ Beethoven's 9th, is that although I love the 1st and 2nd movement, people seem to only be aware of the "Ode to Joy- Choral"; I love Beethoven's 2nd. movement of the Piano Concerto No.4 (such a brute!), and his Marcia Funebre from Eroica ( #3 Symphony);
but my favorite by far is the Aria from the Goldberg Variations (Bach)...about 2 min's of heaven!
my guilty pleasures is to listen to Mozart's Requiem at a deafening volume;
Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was even inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible). Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed. - Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you. My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship. But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended me life - it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence - truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. - Patience, they say, is what I must now choose for my guide, and I have done so - I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. - Forced to become a philosopher already in my twenty-eighth year, - oh it is not easy, and for the artist much more difficult than for anyone else. - Divine One, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good. - Oh fellow men, when at some point you read this, consider then that you have done me an injustice; someone who has had misfortune man console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artists and men. - You, my brothers Carl and [Johann], as soon as I am dead, if Dr. Schmid is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it possible at least the world may become reconciled to me after my death. - At the same time, I declare you two to be the heirs to my small fortune (if so it can be called); divide it fairly; bear with and help each other. What injury you have done me you know was long ago forgiven. To you, brother Carl, I give special thanks for the attachment you have shown me of late. It is my wish that you may have a better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery. Thanks to it and to my art, I did not end my life by suicide - Farewell and love each other - I thank all my friends, particularly Prince Lichnowsky and Professor Schmid - I would like the instruments from Prince L. to be preserved by one of you, but not to be the cause of strife between you, and as soon as they can serve you a better purpose, then sell them. How happy I shall be if can still be helpful to you in my grave - so be it. - With joy I hasten towards death. - If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later - yet even so I should be happy, for would it not free me from a state of endless suffering? - Come when thou wilt, I shall meet thee bravely. - Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy - be so -
Ludwig van Beethoven
Heiglnstadt,
October 6th, 1802
this statement is reflected in all of his music...what a man of the heart!
mahler, as a musician you should know it's not "Adagio for Strings"
that's just the pop name. It's really just a movement in a string quartet that he wrote.
shostakovich-string quartets (all 15) and violin concerto#1--sometimes perfect
sibelius- sym 6,7 the sixth sym is kind of strange and fragmentary, listening to it feels like watching a moody foreign film without subtitles--beautiful moments but it passes and i don't know what was going on. the seventh is opposite: perfectly focused and almost arythmic--just layering harmonies and slow cadences.
r strauss-alpensinfonie--obscure and in the same thick post-romantic as zarathustra--i love the slow build up and ferocious dispersal of its theme
brahms--german requiem
bruckner-sym 5--i love the way the first/last movements are made of so many discrete episodes that just sort of stack up to make the drama
mahler--what are your favorites by gm? sym6 has so much energy and disappointment it's my fav, but i'm as drawn to the broad assertiveness of mov1,sym7
i don't know too many "post-war" composers so i would be interested in learning about more
i cannot believe i forgot gorecki -- i can't remember which symphony it is of his, but the CD i have has the vocals by dawn upshaw -- incredible, incredible, incredible
it's gorecki's third symphony and it's exceptional. i'll also second the johan strauss...those waltzes are amazing and i've been listening to them frequently the last couple of years.
my music history is a bit fuzzy but, strictly speaking, isn't the word "classical" supposed to reference music from a specific time frame? i want to say it was roughtly 1750 through 1830, post-bach (baroque) to beethoven (who bridged into romanticism) and typically epitomized by handel & mozart...i should look this up before i write any more
"classical" is typically roughly mid 18th century to early 19th... mozart and beethoven. smaller orchestral works from operas to syphonies but no huge full orchestras.
preceded by "baroque" which was generally 17th century to early 18th with bach and vivaldi. no big symphony orchestras at this point yet. mostly string ensembles, some woodwind and small brass. handel was in here too. not classical. piano came later, predominant keyboard was harpsichord, which plucked strings rather than striking with a mallet.
then after that in the 18th c. was "romantic" which was chopin, debussy, etc.
that's all i can remember off the top of my head...
ok, i did a quick google to double check my facts and i was pretty close except that i was thinking of haydn (not handel) when i was referring to the classical era. handel's work is firmly rooted in the sensibilities of the baroque. sorry for the mis-information.
the CD of pines of rome i mentioned earlier has the one and only CSO brass section in full effect...put on your headphones and turn that mother up. like i mentioned, it's old and not enough people buy new "classical" releases so i try to as much as i can...but that is a pretty dang good version.
i also cannot believe i forgot to mention: charles ives: "the unanswered question"
Yes, the "Symphony of Sorrowful Songs" by Gorecki is astonishing. I assume you already know Arvo Pärt? Otherwise, look up "Fratres" and "Cantus in Memoriam Benjamin Britten" for more in the same vein.
I'm way out of my depth here (though that doesn't stop me from posting on the architecture as signals thread) but a "modern" composer I like is John Adams. The Chairman Dances is amazing and is part of the Nixon Goes to China opera. I listened to it plus other compositions (Short Ride in a Fast Machine I think is the name of one) a LOT in studio when I had to get serious thinking done.
The Architect Bruce Goff, was always interested in music and architecture. He did some interesting compositions, for the piano,
where he used visual asethic structure to form musical sounds.
Frank Lloyd Wright, also referenced music....in his details those
which dance along the eave of a roof, "Eye Music"
Favorite classical composers and compositions
fav...beethoven
recent fav. s. barber violin concerto
barber's violin concerto is great.
i like:
dvorak cello concerto - piatagorsky recording
dvorak dumky trio
bach violin sonatas and partitas - heifetz
tchaik - violin concerto
chopin piano sonatas
bach - goldberg variations - gould
i second all of the above...except for tchaik...btw gould was a master...i enjoy hearing him sing along!
J. S. Bach's Toccata and Fugue in D Minor, played on the Great Organ at the Cathedral of St. John the Divine, NYC. Musical bliss.
decomposing composers
by montey python?
JS Bach, "Das Wohltemperierte Klavier" (The Well-tempered klavier)
Beetoven's 9th Symphony. Hands-down favorite.
i love the 9th too...shindlers lyrics along with beethoven's melodies...pure bliss
r. strauss -- also sprach zarathustra (the whole thing, it's awesome)
hindemith -- symphonic variations on a theme of carl maria von weber
respighi -- fountains/pines of rome
debussy -- la mer
(the two above are featured on an excellent if old CD/album by the chicago symphony, fritz reiner conducting)
mahler -- pick a symphony
bruckner -- same
glad others love the barber violin concerto like i do
de falla -- nights in the gardens of spain
grieg -- peer gynt, suites 1 & 2
rimsky-korsakov -- russian easter orchestra
(sorry, i was an orchestra nerd, i'm glad architects don't just like minimalist electronica...)
russian easter OVERTURE...sorry
i grew up playing the viola and was an orch nerd too... great list.
bassoon / percussion myself...thanks, i wish more of my co-workers would let me put on classical, i get some complaints about drowsiness
some people will never get it...classical music doent put my to sleep..it helps my brain handle cd production!
vivaldi
tchaikovsky
and im not sure if this counts:
philip glass
k# 161...<---- i think of mozart's is a great little piece for the bassoon
philip glass counts
one friday night in my 2nd year of b.arch school i put on my headphones, put "adagio for strings" on repeat on my CD player (remember those?), and five hours later had designed and drawn what i still consider to be my favorite 36 square feet of space that i have ever created, a square cube of concrete with a sphere hollowed from within, with only an oculus and a small door -- something to literally curl up inside
it was a "chapel"
i played K161 for solo competition in HS -- it's HARD
everytime i hear "adagio for strings" i cant help but think of the last scene from platoon
my problem w/ Beethoven's 9th, is that although I love the 1st and 2nd movement, people seem to only be aware of the "Ode to Joy- Choral"; I love Beethoven's 2nd. movement of the Piano Concerto No.4 (such a brute!), and his Marcia Funebre from Eroica ( #3 Symphony);
but my favorite by far is the Aria from the Goldberg Variations (Bach)...about 2 min's of heaven!
my guilty pleasures is to listen to Mozart's Requiem at a deafening volume;
simples... i am going to try the mozart thing right now...
again later with a bottle of wine :)
why should the devil have all the good electronica?
For my brothers Carl and [Johann] Beethoven.
Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was even inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible). Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed. - Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you. My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship. But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended me life - it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence - truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. - Patience, they say, is what I must now choose for my guide, and I have done so - I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. - Forced to become a philosopher already in my twenty-eighth year, - oh it is not easy, and for the artist much more difficult than for anyone else. - Divine One, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good. - Oh fellow men, when at some point you read this, consider then that you have done me an injustice; someone who has had misfortune man console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artists and men. - You, my brothers Carl and [Johann], as soon as I am dead, if Dr. Schmid is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it possible at least the world may become reconciled to me after my death. - At the same time, I declare you two to be the heirs to my small fortune (if so it can be called); divide it fairly; bear with and help each other. What injury you have done me you know was long ago forgiven. To you, brother Carl, I give special thanks for the attachment you have shown me of late. It is my wish that you may have a better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery. Thanks to it and to my art, I did not end my life by suicide - Farewell and love each other - I thank all my friends, particularly Prince Lichnowsky and Professor Schmid - I would like the instruments from Prince L. to be preserved by one of you, but not to be the cause of strife between you, and as soon as they can serve you a better purpose, then sell them. How happy I shall be if can still be helpful to you in my grave - so be it. - With joy I hasten towards death. - If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later - yet even so I should be happy, for would it not free me from a state of endless suffering? - Come when thou wilt, I shall meet thee bravely. - Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy - be so -
Ludwig van Beethoven
Heiglnstadt,
October 6th, 1802
this statement is reflected in all of his music...what a man of the heart!
mahler, as a musician you should know it's not "Adagio for Strings"
that's just the pop name. It's really just a movement in a string quartet that he wrote.
i do know that! he re-worked it over and over...i have read that too..
shostakovich-string quartets (all 15) and violin concerto#1--sometimes perfect
sibelius- sym 6,7 the sixth sym is kind of strange and fragmentary, listening to it feels like watching a moody foreign film without subtitles--beautiful moments but it passes and i don't know what was going on. the seventh is opposite: perfectly focused and almost arythmic--just layering harmonies and slow cadences.
r strauss-alpensinfonie--obscure and in the same thick post-romantic as zarathustra--i love the slow build up and ferocious dispersal of its theme
brahms--german requiem
bruckner-sym 5--i love the way the first/last movements are made of so many discrete episodes that just sort of stack up to make the drama
mahler--what are your favorites by gm? sym6 has so much energy and disappointment it's my fav, but i'm as drawn to the broad assertiveness of mov1,sym7
Of the post-war composers, definately György Ligéti: "Lux Aeterna", "Métamorphoses Nocturnes".
i don't know too many "post-war" composers so i would be interested in learning about more
i cannot believe i forgot gorecki -- i can't remember which symphony it is of his, but the CD i have has the vocals by dawn upshaw -- incredible, incredible, incredible
it's gorecki's third symphony and it's exceptional. i'll also second the johan strauss...those waltzes are amazing and i've been listening to them frequently the last couple of years.
my music history is a bit fuzzy but, strictly speaking, isn't the word "classical" supposed to reference music from a specific time frame? i want to say it was roughtly 1750 through 1830, post-bach (baroque) to beethoven (who bridged into romanticism) and typically epitomized by handel & mozart...i should look this up before i write any more
"classical" is typically roughly mid 18th century to early 19th... mozart and beethoven. smaller orchestral works from operas to syphonies but no huge full orchestras.
preceded by "baroque" which was generally 17th century to early 18th with bach and vivaldi. no big symphony orchestras at this point yet. mostly string ensembles, some woodwind and small brass. handel was in here too. not classical. piano came later, predominant keyboard was harpsichord, which plucked strings rather than striking with a mallet.
then after that in the 18th c. was "romantic" which was chopin, debussy, etc.
that's all i can remember off the top of my head...
ok, i did a quick google to double check my facts and i was pretty close except that i was thinking of haydn (not handel) when i was referring to the classical era. handel's work is firmly rooted in the sensibilities of the baroque. sorry for the mis-information.
One for the mix
William Orbit
"Barber's Adagio for strings"
i have always loved g holst: the planets.
sorry, i was low brass...i love the powerful heavy stuff.
BOTS, that one is awesome.
the CD of pines of rome i mentioned earlier has the one and only CSO brass section in full effect...put on your headphones and turn that mother up. like i mentioned, it's old and not enough people buy new "classical" releases so i try to as much as i can...but that is a pretty dang good version.
i also cannot believe i forgot to mention: charles ives: "the unanswered question"
take that, schönberg
ochona:
Yes, the "Symphony of Sorrowful Songs" by Gorecki is astonishing. I assume you already know Arvo Pärt? Otherwise, look up "Fratres" and "Cantus in Memoriam Benjamin Britten" for more in the same vein.
Janacek is another one of my favourites.
an occasional drinking/cigar smoking accomplice...
www.awadagin.com/
I'm way out of my depth here (though that doesn't stop me from posting on the architecture as signals thread) but a "modern" composer I like is John Adams. The Chairman Dances is amazing and is part of the Nixon Goes to China opera. I listened to it plus other compositions (Short Ride in a Fast Machine I think is the name of one) a LOT in studio when I had to get serious thinking done.
Heavily influenced house from the classics.
Marmion - Schöneberg (Hooj Choons)
for post wwII would recommend morton feldman
for baroque j.s. bach english suites/ partitas
for classical/rococo mozart piano concertos
for opera- idomeneo, cosi fan tutte, nixon in china.
The Architect Bruce Goff, was always interested in music and architecture. He did some interesting compositions, for the piano,
where he used visual asethic structure to form musical sounds.
Frank Lloyd Wright, also referenced music....in his details those
which dance along the eave of a roof, "Eye Music"
hey wow, bruce goff- i will check him out.
funny i've been thinking about compsoing a string quartet by drawing the score visually first.
maybe we are kindred spirits.
just got it and wow.....
also...
this thread made me go out and get more contemporary classical.
carl stone is a good contemporary composer.
Society for the Activation of Social Space through Sound
too
I like shostakovich, piazzola, korngold, bach, and beethoven personally :)
Block this user
Are you sure you want to block this user and hide all related comments throughout the site?
Archinect
This is your first comment on Archinect. Your comment will be visible once approved.