/Classical Blindfold Test/

1. Hear My Prayer O Lord - Henry Purcell
Choir of King's College, dir. Willcocks

One of Purcell's finest works. The increasingly plaintive cries from the choir build and build until the final resolution. The double choir setting also allows for a thicker texture in the build-up

2. Violin Concerto in E-flat major ' La Tempesta di Mare', Op. 8 No. 5, RV 253 - I. Presto
Andrew Manze, The Academy of Ancient Music

Quite obviously Vivaldi. Doesn't fall prey to what is often one of Vivaldi's major failings (great start, then falls apart). Manze's Vivaldi is quite spectacular too.

is the regular thread on Thursdays? And this is the reveal thread?

>>68591580

I don't know what the timetable is, I have been in dereliction of my duties anyway, since I think I posted the original link almost 2 weeks ago (plus my tag scrubbing leaves something to be desired, even though I think I got rid of most of the stuff)

But yeah, this is the reveal.

Alright, let's do this. I've been doing some listening and feeling a little sad that these are not getting more interest, so I'll participate.

I listen to some contemporary/20th century "classical" music and have some general knowledge otherwise, but music is cool and all.

>1
Nice vocal requiem, type thing. So baroque is 1600-1700 time period stuff, so this feels very influential. A lot of stuff refers to this kind of music whether in concert or soundtrack music to evoke this feeling of sad/awe.

It feels heavy, but for this time period I feel like this is a precursor of this type of music.

>2
Overly excited Verdi-type music. This is much like one, or two, of the Four Seasons, isn't this?

Almost feels like one of those sound-alike pieces that you make for commercials that sound like a well-known iconic thing without having to pay big bucks.

I've never felt the need to know of cheap Verdi -clones. Maybe this predates the famous things that sound like it, probably every casual listener in our /jazz/ blindfolds feels this way about everything - all I know is that I wasn't really looking for more of this in my life.

>3
This has that Bach-feel from the start. Several jazz-musicians I know have stated that Bach was the first real jazz musician, and I think I can hear where that thought comes from.

There is a lot of strength in these kinds of intertwining lines. Bach is a baroque figure, so I have to say this is a Bach-thing. This is really awe inspiring music, I think - really makes you feel small and humble. I really could do without that shit of ending on a major chord, why?

On a lighter note, this kind of music always makes me think of that scene in Big Lebowski where the big Lebowski has his big speech about a chinaman taking his legs in Korea. Also, Big Lebowski has one of the best selections of non-original music ever outside of Quentin Tarantino movies.

>4
Alright, this is straight up "period TV-series with powdered wigs" -stuff.

The choir gives it enough oomph that it doesn't even fit that soundtrack anymore. There are exceedingly few contexts today where this music makes sense, I think.

>5
If Track 2 was a Verdi-like this is music from a world where they didn't realize that music could have that much substance.

Man, this is like the worse of multiple worlds. I hope this isn't some undying classic because this is music that is not widely known for a good reason. It feels like a combination of things much better done elsewhere.

I have no idea how sensitive I should be in writing about music from an unknown time like this. Shit could place anywhere in a 150 year period and sound "appropriate" for me, but with a cursory understanding of the trends chances that I'm overly rude are huge - at least in our /jazz/ threads I typically have no problem placing a track in a 15 year window, no matter what.

>6
One of the signs of growing old and getting middle-aged is that you find yourself liking Sting's albums.

This music reminds me very much of the music of John Dowland that Sting recorded on his Songs from the Labyrinth -album. Dowland was a renaissance figure, died in the early 17th century, so I'm guessing this is early baroque.

I'm a little conflicted. On one hand this seems like sparse enough, that the lute/vocal approach I have in my mind from that Sting -recording feels like a better thing, on the other there is some contemporary folk music by accordionist Maria Kalaniemi and fiddlist Sven Ahlbäck that I really like that has a very similar style. I couldn't find a good example online, but seek for the album Ilmajousi - Luftstråk , one of my favorite contemporary folk recordings.

>7
Nothing like an organ to make everything feel like a funeral.

I live in a country with a state religion (Lutheran but still), so regular visits to the church were a thing. Shit sounds like I'm in church right now.

Goes into some Bach-like figures at the one minute mark, but Bach couldn't be this rudimentary. I have to say that I don't even know how much he innovated - it's currently beyond me to say if this is a simpler follower of Bach's stylings or just the normal style at the time.

This sounds like you were young and inexperienced in life and then you died and were buried with little fanfare while some random dude played the town organ.

If this isn't pre-Bach, I don't see why anyone would listen to it if they aren't related to the composer or some shit. At the latest JSB figured how to make the organ do things way beyond this.

>>68592687
additional note on 7:
that was how you work up to ending your sad song on a major chord, oh yeah - best part of the thing

>8
I thought this really sounded like a Jane Austen soundtrack song, so I asked my wife about what kind of a scene this would appear in because she is an expert

She says that this plays when you introduce a hoighty-toighty arrogant character like Lady Catherine.

It does reek of "whoever this is playing in tribute of thinks too much of themselves". The name could be "this emperor/empress has no clothes, actually".

I have a hard time envisioning the kind of psychopath who would listen to this for fun without imagining some sort of historical intrigue going on.

>9
When one learns to play the piano, one plays this kind of stuff. I've gone through some Suzuki-books, I'll have you know.

Mozart doesn't count as baroque by any means, but that little brat listened to shit like this enough, I'm sure.

If you happen to be living in a Woody Allen movie and are faced with people who are just too old fashioned to understand your budding unconventional love affair (and the clarinet swing jazz that goes with it), you might hear this start to play.

>10

Another song that plays when someone has died or love has been lost.

This time Windows Media Player has decided to ruin the surprise for me and tells me this is Webern, who is quite a modern character.

It's really hard to get away from the feeling that this is "general funeral music" that can be easily replicated by anyone with any experience. Also good for telling bums that a chinaman took your legs in Korea.

I will admit that I have relatively little ear for classical arrangement, so deal with it. I sense a little more may be going on in that department than in some of the others! Ha!

>>68592381
>>68592521
>>68592687
>>68592710
>>68592888
>>68592951

Your thoughts made interesting reading. I'll continue revealing now.

3. Contapunctus IX (from The Art of Fugue) - J. S. Bach
performed by:Solistengemeinschaft der Berliner Bach Akademie

The debate over the question of on which instrument Bach would have wanted the Art of Fugue played is a favourite (in /classical/ at least). This album slightly circumvents this issue by performing the different sections on a variety of instruments. This one with percussion is something a bit different, hence why I chose it for inclusion.

>>68593077
I hope me mixing up Verdi and Vivaldi aren't among the high points, because I 100% totally did that there

I'm always really looking forward to the /jazz/ threads and wish people with less knowledge would participate, so I'll try to make an effort here

>>68593077

(Also the 'major' key ending is a device known as a Picardy Third, and is a feature quite particular to baroque music. Bach uses it often, but he's certainly not alone in doing so. It features in post-baroque music, but with nowhere near the same regularity)

4. Chandos Anthem 'Let God Arise' HWV 256a - II. Let God arise
Vocalsolisten Frankfurt, Drottningholms Baroque Ensemble, G. Jenemann

With hindsight I probably would have included a movement of Handel's Dixit Dominus instead of this. Musically the most interesting this is probably the rhythms of 'let his enemies be scattered'. There's a lot to be said about English verse anthems, but they can be quite dry. Handel elevates the form somewhat with his flair for the dramatic.

>>68593228
any chance of a timeline of all the tracks when you're done with reveals?

as I said, baroque is a pretty long period and coming our of this with a better sense of what relates to what would be cool

>>68593228

5. Missa Votiva, ZWV 18: XII. Credo. Credo in unum Deum - Zelenka
Václav Luks, Collegium 1704, Collegium Vocale 1704

Zelenka's music is becoming more and more well-known. The Missa Votiva is infectiously celebratory and at points you can see aspects of the mass that will lead into the mass settings of the classical period (Haydn comes to mind). The work also combines contrapuntal inventiveness in the full-choir sections with more emotional, quasi-operatic arias for soloists.

>>68593424
Sure thing, I'll post at the end

6. Pastorale for violin in scordatura - 1. Grave - Tartini
Andrew Manze

Tartini is most well-known for his "Devil's Trill Sonata" and the folklore surrounding him that he had made a pact with the Devil in return for mastery of the violin (also rumoured that he had 6 fingers as a result of this pact in order to further boost his skill at the violin).

The scordatura refers to the re-tuning of the violin strings to different pitches than usual (in this case, I believe it is AEAE). The lilting, carefree nature of the piece manages to captures the pastorale spirit without slipping into the twee category so often heard in 'shepherd music' of the baroque period.

With Bach's solo violin work being so monumental in the baroque repertoire, it's interesting to hear other examples. Biber's rosary sonatas are also worth a listen if you want more of the same.

6. Prelude in E minor, BuxWV 142 - Buxtehude
Bine Bryndorf

>>68592687
You were fairly on the money here. Buxtehude was a huge influence on Bach - Bach was a huge admirer of Buxtehude and walked 250 miles to get to Lubeck where Buxtehude was based in order to learn from him.

His preludes are written in the stylus phantasticus which reached something of a zenith under Buxtehude and Bruhns. It combines exuberant, free improvisation with sections of counterpoint with often spectacular effects. Particularly in the free sections, the motifs traverse the voices in quite an electrifying manner. The fugal subjects are also often worthy of note, playing around with many of the rules of the form

(whoops misnumbered the last one)

8. 'Wachet auf, ruft uns die Stimme' BWV 140 - I. Wachet auf -- J. S. Bach
Bach Collegium Japan, Suzuki

One of Bach's finest cantatas. Based on the parable of the 10 virgins (awaiting the arrival of the bridegroom, much as the church should await the arrival of Christ). This movement is the most beautiful chorale fantasia, with the sopranos taking the cantus firmus (the 'tune' of the chorale) while the orchestra features the dotted rhythm we hear opening the piece. The other chorus parts frequently interject with calls of "Wach Auf!" and "Wo, wo?", creating this sense of excitement and anticipation for the arrival of Christ the Bridegroom. The extended melismas on "Hallelujah" prompt Gardiner to note:

"From this a rising syncopated figure emerges, taken up later on by the altos as they lead off with their funky 'alleluia' figure and adopted by all the other singers. If anyone in the posh world of classical music ever doubted that JS Bach could also be considered the father of jazz, here is the proof."

9. Sonata in A major K.322 - Scarlatti
Arturo Michelangeli

Not too much to say here beyond the fact that Michelangeli's Scarlatti is beautiful.

10. Ricercar a 6 - J. S. Bach (arr. Webern)
Cleveland Orchestra, Dohnanyi

Perhaps one of Bach's most incredible achievements. This is a contrapuntal masterclass. Webern's arrangement passes the subject across instruments every few notes, allowing the tone colours of each instrument to create a curious kaleidoscopic effect where the fugue is both elucidated and confused.

And timeline:

Hear My Prayer - Before 1683
Prelude in E Minor - (Probably sometime between 1667-1707, can't narrow it down further)
Let God Arise - 1717-8
Tempesta di Mare - 1723-5
Sonata in A major K. 322 - (Again difficult to tell. Probably between 1720-1750)
Pastorale scordatura - c. 1731
Wachet auf, ruft uns die Stimme - 1731
Missa Votiva - 1739
Ricercar a 6 - 1747 (orch. 1935)
Art of Fugue - c. 1740-50

>>68594508
if you want contributors, I could pick some tracks from what I know to get this show on the road

I guess natural themes would be just a wildcard of "Jazzpossu favorites" - probably the tracks being chosen by someone who mostly likes jazz is context enough, "Finnish composers" - hey, it's more than Sibelius! I probably know enough local composers of note to keep it interesting or maybe "minimalism" since that's the area that I know some of that interjects with /classical/

I'm a big fan of our weekly /jazz/ /blindfold/s, so would be cool to see similar stuff come alive

>>68594157
so it was a Webern arrangement of Bach - that naturally changes things by orders of magnitude. Bach was quite the character, wasn't he?

I was always so annoyed of Windows Media Player ruining shit that I try to pitch shift everything enough so it doesn't recognize shit anymore

On a related note, is there a really good musical example video demonstrating Bach's inventiveness out there somewhere? He seems like such a towering figure in creating these forms and formats where the fundamental mathematical nature of music is revealed that one would think there would be a really cool YouTube video by now...

>>68594760

Yeah go for it. Just need to keep persisting and we'll hopefully get more people on board.

And it really depends what sort of Bach inventiveness you're looking for. You've also got the fact that Bach was seen as quite old-fashioned in his day because he used form which were viewed as dying. He also combined traditions from across Europe, taking aspects of existing German baroque and combining it with French and Italian influences. You've got the monumental achievement of the cantatas (for about 3 years, Bach was writing one per week) plus the Passions. Then there's all of his organ music which makes up the cornerstone of the repertoire, his work for keyboard (Well-Tempered Clavier + Goldberg Variations). The violin+cello suites/sonatas/partitas, Brandenburg concerti and other concerti... there's something worth exploring in almost every genre for which he wrote (much like Mozart)

If you want a 'gimmicky' youtube video, the crab canon always seems to be well-received.

https://www.youtube.com/watch?v=xUHQ2ybTejU

>>68595242

yeah, Jesus Bach was an inventive bastard

is there an email address to email with new lists?