The Unfolding of Classical Music's Morphology opus 395
| 14 July 2024 2040 Hours | | Music, Art, Behavior, History |
Palestrina -- Forbidden to add a touch of dissonant spice.
Bach, Vivaldi, Corelli, Handel, Scarlatti -- Lush harmonies of longitudinal
interaction with not a single pause.
Haydn -- Father of the orchestra, but always locked into the motif.
Mozart and Beethoven -- Students of Haydn, but each morphed so
differently--still locked into the motif--the former just a more
brilliant form of the teacher; while the latter struggled with new
forms,--still locked into the motif!
Mendelsohn -- Composing on the Christian side of a split family.
Brahms and Bruckner -- Giant, with so much more free form--truly Romantic.
Debussy -- The gentler tone poem--stories in a pleasant flow of notes.
(e.g. La Mer).
Tchaikovsky -- A tortured man, but the flash of musical Russia is
always there.
Shostakovitch -- New frontiers with his 12-Tone System.
Stravinsky -- New style and sound--Picasso-like. (Listen to his Mass.)
Now the electronics -- Several good composers have worked in this
medium for years.
Modern freestyle -- Lose and often cacophonous and kaleidoscopic.
There is something for every listener, in any mood and/or with any emotion.