Listening Project

"Do you think there are many people in this forum who actually know that well Schubert's Forelle Quintet?"

Translation: They're all cretins! (I, on the other hand, know it really well......) Furthermore, who the Hell do you think you are trying to expand your repertoire? You don't even know your alphabet.

Didn't I say you were all wasting your time? I knew He would get into the act and undermine the thread with his condescending poison. (And He isn't even taking part in it!) But this is only the beginning, of course. Wait and see what happens when you actually start making comments on a chosen piece.

My advice, somber as it is, is that you need to abandon the thread now before the Beast destroys it - as he eventually destroys every thread.

Find another discussion site before it is too late........

I'm impressed, Madamina Jane! If you are so brilliant in "translation", you should excel in "your alphabet".

However, as a brand new member of this forum, all your three posts address only the...Beast. Apparently, you should follow this forum for sometime and you decided to join in for this reason alone(?)..It's a quest, after all...

There is nothing "somber" here, dear Jane. If and whenever you wish to participate in any thread, on the substance, you'll be welcome. So far, we have managed to achieve some level of agreement in few issues, to raise some important questions on significant aspects of Classical Music, to raise awareness of some quite interesting genres of this music too.

My reservation and fear for this thread is that, since we never had a truly substantive and thorough debate on a major work of a Classic composer (normally we deal only with performances and performers), it is futile to invite anyone to comment either on Koppel's Third or on Kerll's Missa Nigra. However, if there is a substantive number of forum members who may feel otherwise, by all means you may give a shot.

Finally, there is plenty to be said e.g. about Franck's Violin Sonata in A major, but, even for this fundamental work of the repertory, I doubt if we may create a viable debate.

Parla

You've heard it, everyone: this whole enterprise is "futile". The Master has spoken!

(I did warn you.........)

Fair enough. I'm out. I don't want to spoil anyone else's thread. 

But I was trying to raise a serious problem. I am not the first, and I won't be the last. Plenty of reasonable people have felt compelled to leave this forum over the years.........

(Just wait until you start discussing the music you are listening to. I am genuinely sorry to say it and really don't want to discourage you, but you will wish you had never started the damned thing.)

I believe Chris' suggestion makes perfect sense. Why Koppel's Third, (to start with)?

Jane, I'm also "genuinely" sorry because your participation in this forum was not on account of your musical contribution to it but rather to "raise a serious problem" (which, apparently, none else could raise or handle it properly). Be mindful that, unintentionally, you may offend more people than me. There are still quite a few people who "have not felt compelled to leave this forum" (over the one year and few months I have been a member). And I do not think they are not "reasonable".

Anyway, I am sure you'll keep following our debates, maybe from time to time...

Parla

Despite the Danes tried to present Herman Koppel as the worty heir of their Nielsen, the ugly reality did not prove kind to him.He has not convinced even the rest of the Nordic people.

I happen to have one CD with his Piano Quartet and Piano Quintet, which, somehow, are interesting works but nothing exceptional or memorable, and one with his oratorio "Moses", supposedly a "significant" work. Still, it is far from becoming my cup of tea.

In any case, for those who interested (it is "fascinating" how many members of this forum are interested in 20th century's all sort of figures of composition rather than the Masters of previous centuries) in his works, there is a quite informative discography by the very good Danish labels, dacapo and danacord, on his vocal, Concertante and Symphonic opus.

As for Nyman, after such a discography, publicity, film music involvement, promotion in various ways, still he cannot convince he is a composer of serious music, let alone Classical. Like all these sort of minimalist composers, he offers...minimum service. Sometimes, it is at least pleasurable (The Piano). Even his Chamber Music projects (String Quartets and Piano Trios), recently released on his own label MN, simply use these mediums, without serving them. It is not surprising that the Classical Music magazines are not dealing, but only very occasionally, with his music. By the way, is he "Classical enough" for you, Graham?

Parla