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Mrs. Kerfoops
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« on: 11:21:16, 15-11-2008 » |
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In this thread members are invited to nominate what are in their opinion undistinguished and humdrum snatches of music from famous composers, and to submit suggestions of how they might be revitalized. After a certain number of improvements - say five - have been entered a vote could be arranged so as to find out whether there is a consensus as to which contribution constitutes the "best improvement" of each particular passage. Here to start off if you like are the first two bars of the second of Schönberg's three opus 11 piano-forte pieces: And here ( send-space / rapid-share) is what they sound like. Are they not unbearably unimaginative and monotonous? Could not you easily do better? Tell us then exactly how. |
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martle
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« Reply #1 on: 11:27:11, 15-11-2008 » |
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Tell us then exactly how.
I'll do better than than that, Mrs K. I'll show you:  |
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Green. Always green.
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SH
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« Reply #2 on: 11:27:32, 15-11-2008 » |
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Add an alto saxophone? Double bass? Drummer? Otherwise they sound fine to me  |
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IgnorantRockFan
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« Reply #3 on: 11:35:14, 15-11-2008 » |
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Tell us then exactly how.
I'll do better than than that, Mrs K. I'll show you: Ah, the Appasionata. I'd recognise it anywhere  |
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Allegro, ma non tanto
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autoharp
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« Reply #4 on: 11:53:53, 15-11-2008 » |
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Some would say that Busoni has done the job already by making a "concert version" of op. 11 no. 2.
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SH
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« Reply #5 on: 11:57:39, 15-11-2008 » |
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Some would say that Busoni has done the job already by making a "concert version" of op. 11 no. 2.
Or I suppose Brahms got there first  |
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autoharp
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« Reply #6 on: 12:02:15, 15-11-2008 » |
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Some would say that Busoni has done the job already by making a "concert version" of op. 11 no. 2.
Or I suppose Brahms got there first How so? |
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SH
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« Reply #7 on: 12:19:29, 15-11-2008 » |
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Some would say that Busoni has done the job already by making a "concert version" of op. 11 no. 2.
Or I suppose Brahms got there first How so? Daft thing to say really. I suppose I was thinking of the elliptical character of late Brahms piano music and continuous motivic variation. |
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oliver sudden
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« Reply #8 on: 12:45:38, 15-11-2008 » |
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...yes, but Busoni did, as autoharp mentions, actually publish his own 'improvement' of that very piece. Does anyone have it to hand?
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« Last Edit: 13:53:07, 15-11-2008 by oliver sudden »
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Kittybriton
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« Reply #9 on: 13:34:32, 15-11-2008 » |
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Stamping it out sounds like a good idea to me. Somehow more emphatic than clapping it out. I'll see if I can get some good wooden clogs for anybody who might be interested.
Was it Strafwinskyie who said that "the further music moves from the form of the dance, the less musical it becomes?"
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Click me -> About meor me -> my handmade storeNo, I'm not a complete idiot. I'm only a halfwit. In fact I'm actually a catfish. |
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Evan Johnson
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« Reply #10 on: 15:19:56, 15-11-2008 » |
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...yes, but Busoni did, as autoharp mentions, actually publish his own 'improvement' of that very piece. Does anyone have it to hand?
I do, but embarrassingly enough for old Ferruccio, he failed to make a single emendation to the apparently unsatisfactory two bars under discussion. |
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time_is_now
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« Reply #11 on: 17:47:09, 15-11-2008 » |
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I do, but embarrassingly enough for old Ferruccio, he failed to make a single emendation to the apparently unsatisfactory two bars under discussion.
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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thompson1780
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« Reply #12 on: 17:25:26, 16-11-2008 » |
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I would suggest that bar 3 needs a poco rit over the last 3 notes, with a tenuto over the last, and then an a tempo in bar 4. Dynamics, anyone? Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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martle
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« Reply #13 on: 18:24:26, 16-11-2008 » |
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Indeed, Prof. Tommo. Moreover, I would contend that Mr Yee's voice leading leaves something to be desired. The problematic bb. 3-4 you correctly question compound their infelicity with a very awkward half-resolution (6-5) whereby the E resolves downward not to the adjacent D but to the D a ninth lower. Unfortunate, especially given the rather admirable long-term exposition of precisely that relationship with the Es of bar 1 'resolving' to the Ds of bar 2. How much more satisfying were the first D of the final bar to be an octave higher! Could Do Better. Prof. martle  |
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Green. Always green.
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autoharp
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« Reply #14 on: 19:03:51, 16-11-2008 » |
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May we respectfully suggest that spooferK (Mrs.) plays the piece upside down in order to determine if the result is more interesting?
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