I really appreciate that. Thirds always scream in my ear, and to get droned instruments in tune is worse than being waterboarded (figuratively, of course).
I could absolutely hear the flavor of baroque in #2, but you had so many lovely high classical flourishes that sounded great. And the chord progression was… How to say… Modern. The middle minute was quite counterpointy, bit the beginning and end sounded extremely 20th century in a good way.
I would love to hear a small fugue of yours, I’ll bet you could knock it out the park. Your counterpoint is spot on, and I’ll bet you’d kill with a harpsichord fugue.
And that is what is so damn infuriating!! Vander is the extreme opposite, and Hayden is at the other end of the spectrum.
Passion, Yes!! Jocular? As in Joe Green Jocular? Absolutely!
Buy Hayden is a fish soup with tarragon and no salt. Most of Mozart is enormous fish pies which you are supposed to admire, and not eat (except for his early stuff). Vander is an amazing musician (please tell me if you are him), but I can only take so much zatar and cardamom and asafetida.
The former isn’t very Bach-like, but is surprisingly strict for all of that. The latter is still being worked on (about 2/3 done) - “canzona francese” was a kind of variation fugue that developed as a form from arrangements of French polyphonic chansons (hence the name). There are distinctly non-Baroque elements in this as well, primarily in some of the rhythmic subtleties and in the harmonic structure.
No, I’m not Vander - I’m very (Scots-) Canadian. You might want to take into account the fact that I love Thai cuisine as well.
Not to turn this into a music theory discussion, but the transition to short lived 6/8 time signatures is quite unbaroque. But charming.
sigh
I miss talking about music, and I appreciate you indulging me. Some day I’ll get off my ass and actually put time into it again. This was my freshman recital (not me playing, I was better. Nothing to record with).
Edit
God damn that is the hardest thing I’ve ever played. The transition from evervescent, cloud like in altisimo while knowing you have a big show piece is insane. Copland and Martin can eat their heart out.
As you know, it is reeeally hard, doesn’t pay well, isn’t all that intriguing if you are writing it, and takes a shit load of time.
Mostly I’d rather bang a guitar or shape a Reed for a Racket or crumhorn.
(Listening to Martins ballade is giving me a twitch since I always planned to master that one. I almost hit level six, but bumped my head on the ceiling. The dude playing it transposed an entire section down to make it easier)
Zoltan Chaney, the drummer for Slaughter, turns a relatively straightforward four-on-the-floor job into something a bit more aerobic, probably due to the boredom of playing “Up All Night” show after show.
I like playing in odd time signatures like 13/4, but I don’t think I would have been creative enough to find a way to have fun with that performance. Pretty cool.
Hmm… Nothing wrong with banging a guitar or with double reed instruments in general (with or without reed caps, so long as it isn’t Highland pipes ;)), but that’s not necessarily mutually incompatible with getting back into the swing of things in classical music. Music is music - none of it pays well unless you’re at the very top; all of it is really hard, takes a shitload of time, and involves a shitload of scut work.
That’s what makes it so interesting.
Btw, if you as an executant think that it’s poorly paying, consider the lot of us poor classical-type composers who don’t have a university gig. Unless I start pulling in commissions, I don’t expect to make any money at this. It certainly helps that I’m semi-retired - my composing has improved immensely in the last few years now that I have some time to devote to it.
