"We have a world in which the instant response of the untutored becomes the sole criterion for judgment.'' - Charles Wuorinen (9 June 1938 - 11 March 2020)
Wuorinen like so many others knew how the world was changing .Luckily others with brains see Rump's Folly ! Dont put a child in charge in the WhiteHouse !
Um, one of my favorite piano concertos of all time. Don't get me wrong, it can't touch Carter or Schoenberg in terms of complexity or transcendence, but like Paul McCartney you just cant deny that it is the work of a musical genius and so enjoyable to listen to. I still remember the day my violin teacher, a famous Los Angeles area pedagogue, looked at me after I made some comment while struggling to learn the Bach Partitas and Sonatas, "do you think i have never listened to Beatles music?"
@@gerardbegni2806 listening to this work quite often of late. it really is a wonderful piece of music. I can't remember the last time I listened all the way through a work by Mozart, Beethoven or Schumann.
He seems to fall somewhere in between Webern and Schoenberg. Not as minimalist or austere as Webern and not as dense or jarring as Schoenberg. Neither does he serialise rythym or tempo ala Carter.
@@stueystuey1962 You cannot say that about Carter. The so-called Darmstadt school serialised rythms, but precisely Carter was very critical about it (and about Messiaen too). His rhythmic conception id based upon "polyrythms", an overarching rhythmic organisation which could even e considered at the opposite of serialism in many aspects. You a can easily find excellent papers about polyrythms in Carter"s music by a very simple Internet query. In addition, I would be a bit reluctant about X Webern's "minimalism". You probably think about his op. 21, 24, 28. I think that things are a bit more complex. But I fully understand you in a "symbolic" meaning.
@@eppiehemsley6556 So we agree. This is precisely what I meant by " difficult to unknot. In my mind, "Difficult" did not mean "impossible', but rather "challenging". Very interesting music and composer, indeed.
Start of the second movement is one of my favorite moments in modern music. Generally speaking I like the lean, sparse constructions of Wuorinen. The long limbed melodic lines remind me of William Schuman.
Very funny you would pick the Beatles. Wuorinen and McCartney are similar in their artistry. They take what is at first considered a form of music that is enjoyed by an alienated group and turn it mainstream.
When as a child learning to play the piano, I used to doodle around like this for fun, I should have written the score down, and called myself a modern composer.- wow ! and this is to be taken seriously ?
@@chrislong6999 Yes, this is to be taken absolutely seriously. This is a skilfully composed postserial concerto with influences reaching back to the late Strawinsky. I guess you have little experience with contemporary classical music, or your judgment would be different.
Interesting take... I have almost no musical training, and only a very cursory understanding of theory, but this sounds absolutely incredible and transcendent to me. I wish it didn't, but pre 1950's classical music, bores me to tears. With some notable exceptions.
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3 Now we enter to the other side: 2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)* ignoring the negatives we have * 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tones scale is 2^(1/14) fourteenth root of two
"We have a world in which the instant response of the untutored becomes the sole criterion for judgment.'' - Charles Wuorinen (9 June 1938 - 11 March 2020)
@@spikespa5208 "We have a world in which the instant response of the untutored becomes the sole criterion for judgment.'' - Charles Wuorinen (9 June 1938 - 11 March 2020)
