lordsummit
Moderator
Nope, that’s the apotheosis of dance!
The future of classical music
- Thread starter Kit Taylor
- Start date
Nope, that’s the apotheosis of dance!
mandryka
pfm Member
lordsummit
Moderator
It’s still tonal in nature. Rite is special, it abandons tonality and makes percussive rhythms the focus.
PsB
Citizen of Nowhere™
The agitateurs were from all around Europe and the world. Diaghilev’s outfit was called Ballets Russes. As the name indicates, the crew was mostly Russian, although Diaghilev drew talent from all around Europe.
There was a lot going on in Paris in those years. Stravinsky certainly picked up influences there, but he also influenced the French scene just as much. His seminal works were composed in a few years between the death of his mentor Rimsky-Korsakov and the beginning of his prolonged stays in France and Switzerland. Firebird (1909) and Petrushka (1911) are full of Russian themes, and Rites of Spring (1913) also seems very much part of this Russian period. One could argue that life in France ushered in his neo-classical period.
richardg
Admonishtrator
Hmm I guess I don't really know what classical music is then...that sounds like messing about with violins and other orchestral instruments. It's also not really listenable!
Jim Audiomisc
pfm Member
TBH I doubt that Stokhausen or Boulez represent the *future* of 'classical music'. As I think one political leader said to another in the past, "You were the future, once..."
These days I suspect it is more likely to be from various others - e.g. one of my favourite Proms this year was the one with Anoushka Shankar. Really enjoyed that, and I expect Asian/African/etc music to affect 'western classical music' more in the future. In more traditional terms I've enjoyed in recent years first hearings of works by Whiteacre, as well as by Part and others.
Many recent compositions have, for me, been *far* better than the flood of "two farts and a raspberry" we were subjected to a few decades ago. erm IMHO.
What will endure, only time will tell. But I suspect that some works are already ones that will maintain themselves, e.g. ones like Gorecki's 3rd symphony because they have an impact on the listener.
These days I suspect it is more likely to be from various others - e.g. one of my favourite Proms this year was the one with Anoushka Shankar. Really enjoyed that, and I expect Asian/African/etc music to affect 'western classical music' more in the future. In more traditional terms I've enjoyed in recent years first hearings of works by Whiteacre, as well as by Part and others.
Many recent compositions have, for me, been *far* better than the flood of "two farts and a raspberry" we were subjected to a few decades ago. erm IMHO.
What will endure, only time will tell. But I suspect that some works are already ones that will maintain themselves, e.g. ones like Gorecki's 3rd symphony because they have an impact on the listener.
herb
brain's right hemisphere
mandryka
pfm Member
He did it partly to jolt the bourgoisie, to rattle them up.
You've missed the point. It's physical. The point is that you don't just listen, you watch the bizarre movements of the cellist. There's a strong circus element. So you're going to have to watch the diesel truck.
Ah, now there's something interesting. Because I believe that formally Lachenmann's music is quite traditional. He deliberately put these unexpected noises in a traditional classical music form to confound the unbelievers. (This is just something I've read, I've never checked it out.)
Cheese
Bitter lover
As there is with any orchestral work. Sorry, but after listening to it, I also found: 'oh well'. The vibrating sort of harmony that you can hear is interesting at best.