Thanks Seda and Jeffrey! I'm always very interested in the dead ends of history. There's often a little window there to something that hasn't been milked to death. That's why I like Bruckner motets and Wolf string quartets, etc... I'm sure my Naxo...
OK, I'll play:
Josef Rheinberger. Best liturgical composer of the 19th c. (overall better for that than Bruckner, more consistently tasteful than Gounod --who when not playing to the groundlings can be a very good sacred composer indeed). Perhaps ...
Sure! I am better informed about the Viennese scene, so I am naming a few composers who were active there. (At Harvard I spent sometime researching the development of modernity and Viennese musical life before the WWI.) All of these guys were born...
I definitely agree... for some reason we seem to love the "history of progression", which is of course very interesting, but in order to have a fuller picture of a certain time frame, I think it is unavoidable to look at the other side of the meda...
Like political history, musical history gets written by the victors...and I'm getting increasingly interested in 19th-c "also-rans". Very often, it's not a question of quality, but of departure from the progressive musicohistorical narrative, of t...
Yes, I basically agree with you, Greg, but I sense there is a mild danger in science becoming prescriptive.
(of course all lunatics use mobile phones today...)
From NetFuture ... extract from one of many articles addressing this tendancy, AI and human responsibility in technology... I'm sorry, I love this site, but get irked by some of what I read here. Talbot puts it better than i however....
Losing Co...
I listened to yer CD, and downloaded the freebees---which I will definately listen to---and thank you for that.
WOW! Yer a genius!
About Schoenberg’s contemporaries: I’m getting into Hans Eisler---the forgotten student of Schoenberg---whom Schoenberg considered one of his most brilliant students. His music, philosophy, and writings are amazing. He is not mentioned much, I believe, because he was a radical socialist first kicked out of Nazi Germany, and then booted out of the good ol’ US of A. He has a lot to say about what he calls the music of the bourgeois society. It’s starting to make sense to me.