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uXs
May 3, 2005

Mark it zero!
No problem happy to help.

Also never mind streaming isn't available in the 3rd world nation of Europe yet so whatever.

Goddamn I hate regional licensing poo poo.

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Mederlock
Jun 23, 2012

You won't recognize Canada when I'm through with it
Grimey Drawer
Spotify is surprisingly robust for classical music

Cobaltshift
Jul 15, 2013

Spotify has a great collection, and most people I know who are currently recording in the brass world tend to make their music available there.

firebad57
Dec 29, 2008
Not sure who this will interest, but I'm doing a new project where I leavestream my classical guitar practice on Twitch (and YouTube).

https://www.twitch.tv/mobiusmatt/

The goal is to stream real practice, not perform for Twitch chat or anything like that. I'll be doing my normal practice as a professional classical musician, but I'll be talking through it a bit (if there are enough viewers to warrant it).

I'll be going live in a few if ppl want to check it out.

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Cobaltshift posted:

Spotify has a great collection, and most people I know who are currently recording in the brass world tend to make their music available there.

I wasn't arguing against Spotify, it's primarily what I use. My post was an attempt to answer an earlier question about Classical Streaming apps that don't gently caress up the metadata like Spotify, Pandor, et al.

Cobaltshift
Jul 15, 2013

XBenedict posted:

I wasn't arguing against Spotify, it's primarily what I use. My post was an attempt to answer an earlier question about Classical Streaming apps that don't gently caress up the metadata like Spotify, Pandor, et al.

Oh, sorry! I missed that, thought people were just saying what they use haha

Mederlock
Jun 23, 2012

You won't recognize Canada when I'm through with it
Grimey Drawer

firebad57 posted:

Not sure who this will interest, but I'm doing a new project where I leavestream my classical guitar practice on Twitch (and YouTube).

https://www.twitch.tv/mobiusmatt/

The goal is to stream real practice, not perform for Twitch chat or anything like that. I'll be doing my normal practice as a professional classical musician, but I'll be talking through it a bit (if there are enough viewers to warrant it).

I'll be going live in a few if ppl want to check it out.

Cool idea! As an euphonium player, I don't think I'd be willing to subject the world to my practice :v . Missed the stream but checked out the video.

And jesus, a goon who looks like a well-adjusted and fashionable individual! We have ourselves a rare find here, dear viewers.

firebad57
Dec 29, 2008

Mederlock posted:

Cool idea! As an euphonium player, I don't think I'd be willing to subject the world to my practice :v . Missed the stream but checked out the video.

And jesus, a goon who looks like a well-adjusted and fashionable individual! We have ourselves a rare find here, dear viewers.

I don't think of myself as either of those things, but I'll take it!

Also - I'm not so concerned with the WHAT as much as the HOW in terms of streaming practice. Like, I'd love to hear a brass player or a pianist or a cellist or an oboeist do real practice, especially on rep. And especially if they were to talk through their process. Sure, I might not want to listen to 30 min of long tones without explanation for why the person is doing what they're doing, but I think people like watching experts be experts, so you might be surprised!

I've got big plans for the stream. I've currently figured out ways to get my sheet music up on screen (I read off an iPad, and it's relatively easy to capture from) and stuff like rep counters and the like, but currently my laptop can't handle any of that stuff. Going to turn some gig paychecks into some better PC hardware soon to upgrade the stream/video setup.

Cobaltshift
Jul 15, 2013

Streaming your practice, pretty cool! I'm sure it helps you keep focused during your practice session, plus then you have quality video of all of your practice to go back to for self critique! Good stuff! I think recording your playing and listening back to it is a sure fire way to improve your playing.

Franchescanado
Feb 23, 2013

If it wasn't for disappointment
I wouldn't have any appointment

Grimey Drawer
I was listening to The BQE by Sufjan Stevens, and it dawned on me that I really don't know any modern composers or notable compositions (besides a few things by Steve Reich and Philip Glass and Zappa's later work--I really love Strictly Genteel). I'm less interested in minimalism or avant-garde (a little avant-garde is nice).

Can I get some suggestions for modern composers and/or compositions? Maybe with an emphasis on brass and woodwind arrangements?

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Franchescanado posted:

I was listening to The BQE by Sufjan Stevens, and it dawned on me that I really don't know any modern composers or notable compositions (besides a few things by Steve Reich and Philip Glass and Zappa's later work--I really love Strictly Genteel). I'm less interested in minimalism or avant-garde (a little avant-garde is nice).

Can I get some suggestions for modern composers and/or compositions? Maybe with an emphasis on brass and woodwind arrangements?

Mason Bates is pretty cool. Also Nico Muhly and Judd Greenstein.

Breadallelogram
Oct 9, 2012


Check out all the Bang on a Can stuff.

Giga Gaia
May 2, 2006

360 kickflip to... Meteo?!

Franchescanado posted:

I was listening to The BQE by Sufjan Stevens, and it dawned on me that I really don't know any modern composers or notable compositions (besides a few things by Steve Reich and Philip Glass and Zappa's later work--I really love Strictly Genteel). I'm less interested in minimalism or avant-garde (a little avant-garde is nice).

Can I get some suggestions for modern composers and/or compositions? Maybe with an emphasis on brass and woodwind arrangements?

Some of John Zorn's stuff, maybe?

firebad57
Dec 29, 2008
https://www.twitch.tv/videos/166976094

I finally got my practice stream looking (mostly) the way I want! I'm working on this crazy arrangement of the Concierto de Aranjuez for 3 guitars, so hopefully this is interesting to someone, anywhere.

david crosby
Mar 2, 2007

firebad57 posted:

https://www.twitch.tv/videos/166976094

I finally got my practice stream looking (mostly) the way I want! I'm working on this crazy arrangement of the Concierto de Aranjuez for 3 guitars, so hopefully this is interesting to someone, anywhere.

That's cool. do you generally practice standing up? I've only seen one other classical guitarist do that, it looked super awkward.

firebad57
Dec 29, 2008

david crosby posted:

That's cool. do you generally practice standing up? I've only seen one other classical guitarist do that, it looked super awkward.

In Feb, I injured my back while exercising, and it's kinda turned into a huge, lifechanging thing. V long story short - turns out I minorly injured a disc in my lumbar spine, and when we xrayed to check it out, we discovered I have a congenital fusion of L3 and L4 vertebrae, meaning spine-loading activities like lifting weights, sitting, etc. will always be way harder on that disc than they would be in a normal person. As a result, my physical therapist strongly advised me to avoid sitting as much as possible, especially while I am recovering from the injury, but in general as well.

I've been making a bunch of lifestyle changes since, including change all my working to standing - that includes using a standing desk for administrative work, arranging, etc, practicing and teaching standing, and basically only sitting to eat food with people. I'm still going to perform sitting down with Mobius Trio, cuz it would be weird as hell if I was standing while the other two dudes sat.

TL;DR - yeah, I always practicing standing now because I am an old gimp. It's weird, but it's surprisingly easy, and I'd rather look like a dork than have the type of sciatica symptoms I've seen end the performing careers of some great artists .

david crosby
Mar 2, 2007

firebad57 posted:

In Feb, I injured my back while exercising, and it's kinda turned into a huge, lifechanging thing. V long story short - turns out I minorly injured a disc in my lumbar spine, and when we xrayed to check it out, we discovered I have a congenital fusion of L3 and L4 vertebrae, meaning spine-loading activities like lifting weights, sitting, etc. will always be way harder on that disc than they would be in a normal person. As a result, my physical therapist strongly advised me to avoid sitting as much as possible, especially while I am recovering from the injury, but in general as well.

I've been making a bunch of lifestyle changes since, including change all my working to standing - that includes using a standing desk for administrative work, arranging, etc, practicing and teaching standing, and basically only sitting to eat food with people. I'm still going to perform sitting down with Mobius Trio, cuz it would be weird as hell if I was standing while the other two dudes sat.

TL;DR - yeah, I always practicing standing now because I am an old gimp. It's weird, but it's surprisingly easy, and I'd rather look like a dork than have the type of sciatica symptoms I've seen end the performing careers of some great artists .

THat sucks rear end dude. have you had to adjust your technique to cope with this different body position? I've tried with cushions instead of footstools and I feel like I have way less control, or that the guitar is slipping away from me, idk.

Wyw
Jan 22, 2014

by FactsAreUseless

Franchescanado posted:

I was listening to The BQE by Sufjan Stevens, and it dawned on me that I really don't know any modern composers or notable compositions (besides a few things by Steve Reich and Philip Glass and Zappa's later work--I really love Strictly Genteel). I'm less interested in minimalism or avant-garde (a little avant-garde is nice).

Can I get some suggestions for modern composers and/or compositions? Maybe with an emphasis on brass and woodwind arrangements?

whats the point of the first paragraph at all lmfao no one gives a poo poo

A human heart
Oct 10, 2012

Do any of you classical guys that actually know what they're talking about know something that sounds similar to Silvestrov's Requiem for Larissa? Either some of his other works that are close or other composers who've done similar stuff.

Honj Steak
May 31, 2013

Hi there.

A human heart posted:

Do any of you classical guys that actually know what they're talking about know something that sounds similar to Silvestrov's Requiem for Larissa? Either some of his other works that are close or other composers who've done similar stuff.

First composer I would look up is Arvo Pärt, maybe Cantus in memoriam Benjamin Britten?

Franchescanado
Feb 23, 2013

If it wasn't for disappointment
I wouldn't have any appointment

Grimey Drawer

XBenedict posted:

Mason Bates is pretty cool. Also Nico Muhly and Judd Greenstein.

These were excellent, thank you.

Same with the Zorn reccomendation.

von Braun
Oct 30, 2009


Broder Daniel Forever

Franchescanado posted:

Can I get some suggestions for modern composers and/or compositions? Maybe with an emphasis on brass and woodwind arrangements?

Kjartan Sveinsson's Der Klang der Offenbarung des Göttlichen is good, tbh. It's new, atleast.

Franchescanado
Feb 23, 2013

If it wasn't for disappointment
I wouldn't have any appointment

Grimey Drawer

von Braun posted:

Kjartan Sveinsson's Der Klang der Offenbarung des Göttlichen is good, tbh. It's new, atleast.

I just finished listening to it. Beautiful haunting melancholy. Thank you for the recommendation.

Shark Sandwich
Sep 6, 2010

by R. Guyovich

Wyw posted:

whats the point of the first paragraph at all lmfao no one gives a poo poo

Don't do this

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Wyw posted:

whats the point of the first paragraph at all lmfao no one gives a poo poo

Being a cock is optional.

Vanagoon
Jan 20, 2008


Best Dead Gay Forums
on the whole Internet!
I suppose I am a horrible fuckwit for even asking this, but here's a trivial thing that has been bugging me for a long time

https://www.youtube.com/watch?v=P39WfH3nC9M

That windows 98 Cd sampler intro is based on some piece of music and I discovered what it was long ago and I have since forgotten, does anyone know what it is?

Thanks in advance.

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Vanagoon posted:

I suppose I am a horrible fuckwit for even asking this, but here's a trivial thing that has been bugging me for a long time

https://www.youtube.com/watch?v=P39WfH3nC9M

That windows 98 Cd sampler intro is based on some piece of music and I discovered what it was long ago and I have since forgotten, does anyone know what it is?

Thanks in advance.

https://www.youtube.com/watch?v=Ifj8dwuAzAQ

Mr. Mambold
Feb 13, 2011

Aha. Nice post.




Hahaha. That should have told the world what a piece of poo poo Windows 98 was by how they butchered the piece.

edit- piano by the mighty Annie Fischer. She was sublime.

zenguitarman
Apr 6, 2009

Come on, lemme see ya shake your tail feather


As a music teacher, I get anxious wondering if I have everything ready for my concerts. This article was like a full blown panic attack every paragraph.

https://www.bostonglobe.com/arts/music/2017/09/13/ambitious-rhode-island-music-fest-ends-chaos/8haudXCj8N05mbm0G63mtI/story.html

quote:

Ambitious Rhode Island music fest ends in failure of ‘epic proportions’

For a first-time festival, the Newport Contemporary Music Series boasted a program that might make even Tanglewood blush: a star-studded lineup featuring appearances by Philip Glass, four-time Academy Award winner André Previn, and “Lord of the Rings” composer Howard Shore.

The festival hired more than 100 professional musicians to form the Newport Contemporary Arts Orchestra, which over six weeks starting in July was to perform challenging works by some of the titans of contemporary music, including a Previn piece commissioned specially for the occasion.


The man behind it all: Paul Van Anglen, a 25-year-old impresario who managed to present just three concerts before his grand dream cratered amid charges of broken promises, rank amateurism, and an estimated $120,000 in unpaid orchestra musicians fees, plus tens of thousands more for unpaid soloists and other costs.

“This is probably the greatest amateur act the union has ever seen,” said John “Bebo” Shiu, a director on the board of the Boston Musicians Association.

Kate Foss, a bass player from Quincy, called it a failure of “epic proportions that will go down in the Boston freelancing lore of nonpaying gigs.”

Van Anglen, a Portsmouth native who now lives at his mother’s Rhode Island home and offers his services online as a composer for hire, said the festival imploded after key donors failed to deliver.

“[I]t is nothing less than extremely depressing to have to wake up in the morning every day knowing that the series had the outcome that it had,” Van Anglen said via e-mail. “I am doing everything I can to try and right the ship.”


How did it founder?

For starters, Van Anglen tried to net Glass, whose propulsive works have made him perhaps today’s most celebrated living composer. Glass’s producer said she negotiated a $75,000 contract last September with Newport Contemporary Arts Inc., the nonprofit presenting the festival. The Glass engagement was meant to be a weekend celebration of the composer’s 80th birthday featuring performances and talks with Glass and the Philip Glass Ensemble.

But the trouble began in October, when Van Anglen missed his first payment, said Linda Brumbach, founder of the production company staging the Glass concerts. Brumbach let it slide after Van Anglen assured her everything was on track.

But another red flag appeared when Van Anglen failed to secure the large concert venues they’d discussed. His solution: Hold the concerts at the Rogers High School auditorium in Newport.

“I don’t usually have the Philip Glass Ensemble performing in a high school auditorium, so I was concerned,” said Brumbach, who sent her team for a site visit in May. “Paul didn’t show up for this meeting.”

Van Anglen soon missed his second advance payment, which prompted Brumbach to pull Glass from the series. She said that she has since written Van Anglen several letters, requesting a cancellation fee.

“He stopped communicating with me altogether,” said Brumbach, who said she’s personally out $15,000 after compensating her team for work they did or gave up to participate. “It was a huge loss.”

Van Anglen declined to discuss the Glass situation in detail, saying he didn’t feel his presence was needed at the site visit and referring a question about the Glass payments to his lawyer, who did not respond to a request for comment.

At the festival’s inaugural concert, Van Anglen was slated to conduct a program including the world premiere of Previn’s “Almost an Overture” and Aaron Copland’s “Appalachian Spring.”

“He chose really challenging pieces,” said Melody Giron, a New York cellist, whose first inkling that something was off came when she didn’t receive sheet music before rehearsals.

But the real shock came when they arrived for rehearsal to find the stage in disarray, missing chairs and music stands. Musicians, some of whom had traveled from as far as Florida, said Van Anglen didn’t even take time to introduce himself to the orchestra.

It went downhill from there.

“He would get lost in very simple things,” said Boston area violist Alexander Vavilov. “His beat was really swimming, really unsteady. We had to ignore him, essentially.”

Musicians said they began whispering meter counts.

“He couldn’t count to four sometimes,” Foss said. “It was the most inept conducting I’ve probably ever seen, and that’s counting grad students.”

The players said they managed to get through the July 1 concert, but only after they cut large sections of “Appalachian Spring” from the program.

“We ended up just doing the end of it,” said Beth Welty, a violinist from Waltham. “He was like a deer in the headlights.”


Although Previn did not appear at the concert, a representative for his publisher said that it “had nothing to do with [the festival],” which had paid him for the commission.

Meanwhile, Van Anglen, who says he studied music in France, blamed his difficulties at the podium on the combined stress of conducting while managing the rest of the festival.

“It’s hard to focus on all those things at once,” said Van Anglen, who was initially scheduled to conduct all of the concerts.

But Van Anglen said an even bigger problem was brewing: A donor, who he said promised a large check, was failing to deliver. “They didn’t at the last second,” said Van Anglen, who declined to identify the donor.

Meanwhile, concertmaster Harris Shilakowsky, who as the festival’s contractor recruited orchestral musicians and served as personnel manager, told musicians they’d have to wait to be paid.

“After the concert I said [to Van Anglen], you’ve got to give me a check,” said Shilakowsky, a violinist. “He said he didn’t have his checkbook.”

Shilakowsky said Van Anglen wrote him a check the following morning for $47,000, which he deposited in his own account.

Shilakowsky repeatedly assured musicians by e-mail that payment was just around the corner, blaming the July 4 holiday and “new banking regulations . . . which create holds and delays on the transmission of funds.”

The check ultimately didn’t clear, said Shilakowsky: It either bounced or was canceled.

At one point Van Anglen did pay Shilakowsky around $14,000, and in late July Shilakowsky wrote musicians that he had “just confirmed the transfer” of the remaining funds to pay them.

“That was an error,” Shilakowsky said. “I misstated myself, and I am embarrassed about that.” Shilakowsky said he’s received around $7,500 for his work on the series and is still owed about $6,000. He said he’s paid a handful of musicians a total of around $6,500.

Meanwhile, the festival ground on with a July 15 concert featuring soloists from the New York-based International Contemporary Ensemble. Ross Karre, co-artistic director of the ensemble, said his group is still awaiting payment for the show.

Several orchestra musicians began reaching out to the Boston union for help. They discovered that although they believed they were signing a union musician’s contract — the contracts mentioned union requirements and promised payments to a union pension fund — Newport was not a union gig.

Edward Plunkett, vice president of the Providence Federation of Musicians, said it was up to the contractor to file with the union. “With a project of this magnitude, not to have a [union] contract under circumstances like that seems terribly naïve,” he said.

Shilakowsky, who previously ran the Bristol Chamber Orchestra (“never missed a payroll”), called the union issue a mistake.

“I’ve screwed up on a couple of things,” he said. “It was supposed to be a union job.”

As Van Anglen’s debts grew, tensions reached a boiling point at a rehearsal in late July when someone asked about the missing payments.

“What ensued was an hour I can’t even explain,” Giron said. “[Shilakowsky] was super upset — crying, yelling. They’re yelling at each other. [Van Anglen] starts crying. . . . It was like ‘Mozart in the Jungle’ in real life.”

Finally someone put the question to Van Anglen: “Do you have the ability to pay us?” recalled Shilakowsky. “He looked right at everybody and said: ‘Absolutely.’”

Some musicians walked out, but the young impresario’s assurance convinced many in the orchestra to go on — so long as they were paid before the concert, which was to feature an appearance by “Lord of the Rings” composer Shore.

When the musicians returned to rehearse the following morning, however, Van Anglen wasn’t there. Calls and texts went unanswered. He didn’t respond to a Facebook message.

Finally, Shilakowsky received a text, which he read aloud: “Let the musicians go: I don’t have the money to pay them if we proceed,” recalled Giron. “We’re all just like: Are you kidding me?”

Late that evening, Van Anglen sent a long, apologetic note to the musicians, acknowledging that “people are upset they have not been payed yet (and rightly so).”

“I can fully understand if this comes across as completely dysfunctional and a joke,” he continued. “I personally feel that I have completely failed in what I was promising to the community, what I was promising to you as musicians, and what I was promising the visiting artists and composers. I don’t think I could possibly be more ashamed.”

Orchestra musicians said they’ve had very little communication since from Van Anglen, and none of those contacted by the Globe said they’d been paid since the festival’s demise.

Roughly 10 musicians have filed small-claims suits against Van Anglen, and Shiu, whose Boston union is helping members cover costs, said many more plan to file.

Van Anglen said he took no money for his work on the festival and sold about 330 tickets for the three concerts he staged. He said he’s doing odd jobs, trying to raise money, and hoping to reschedule the canceled shows “after everything is taken care of.”

“It’s basically going to come from private donors or some kind of mix between private donors and a bank loan,” he said. “I would hope to [make payment] in the next month or so, but I’m not 100 percent on that.”

I don't even know where to start or what parts to bold because everything is just... :psyduck: I don't want to drag this kid's name through the mud because the dude's pretty hosed every which way, but...dude. I mean, I got to perform with a professional orchestra once and it was intimidating as hell because those guys come to loving play (and get paid big money) so you better have your poo poo together, but this guy was organizing everything AND conducting?? What do you even cut from Appalachian Spring? You're going to get Philip Glass AND Howard Shore? Also lol at $75,000 for Philip Glass, I mean, come on. I wonder how much that Andre Previn commission cost. And then imagine rehearsing beautiful Appalachian Spring and somebody just raises their hand and goes: "Hey where's our money??"

Anyway, I just needed others to experience the rollercoaster of emotions I did when reading this article.

A human heart
Oct 10, 2012

how did he get the job in the first place if he's so unqualified?

Hawkperson
Jun 20, 2003

A human heart posted:

how did he get the job in the first place if he's so unqualified?

Bravado. Acting like you know what you're doing (and $$ behind it) can work wonders.

I'm a teacher too and the conducting part especially is freaking hilarious. "It was too stressful running the festival AND prepping the music" = "I am not nearly the conductor I think I am." Like Christ Appalachian Spring isn't even that hard to conduct, fuckin Copland himself wrote some poo poo with trickier pattern transitions and entrance cues. I'm betting I would sightread that score better than he did but maybe I am also not nearly the conductor I think I am, haha. (At least I didn't put on a complete mess of a festival over it!)

Cobaltshift
Jul 15, 2013

Yeah, I read that article the other day. Making its rounds through various music communities. Pretty sad. I know most of my colleagues definitely would have walked out of the orchestra in that situation.

A human heart
Oct 10, 2012

Hawkgirl posted:

Bravado. Acting like you know what you're doing (and $$ behind it) can work wonders.

I'm a teacher too and the conducting part especially is freaking hilarious. "It was too stressful running the festival AND prepping the music" = "I am not nearly the conductor I think I am." Like Christ Appalachian Spring isn't even that hard to conduct, fuckin Copland himself wrote some poo poo with trickier pattern transitions and entrance cues. I'm betting I would sightread that score better than he did but maybe I am also not nearly the conductor I think I am, haha. (At least I didn't put on a complete mess of a festival over it!)

I figured that people might check if you can actually conduct an orchestra before hiring you, but i guess that's why i'm not a cool orchestra scam guy

Hawkperson
Jun 20, 2003

Nah, if you strut around like you're hot stuff people just assume you can also conduct. Same thing happens with K-12 teachers and professors actually. There's a joke in here somewhere about conductors...but really it's that we should stop being tremendous douchebags so that people can't mimic us so easily, haha.

zenguitarman
Apr 6, 2009

Come on, lemme see ya shake your tail feather


It sounds like he started a nonprofit, put up a flashy website, and gave the artists/musicians a great sales pitch, along with hiring a reputable concertmaster/personnel manager with connections in New England. Rhode Island has a pretty happening arts scene so it's not that outlandish that some pop-up would come along and put on a series of concerts. What they didn't know was that the organizer had no experience doing any of this. If he had any sense, he would have separated the administrative and artistic teams instead of shouldering it all himself, that's really standard procedure. I imagine being a nonprofit he's filed Chapter 11, but his reputation as some sort of impresario is definitely ruined before his career even started. Although, someone in the comments in the Boston Herald mentioned that Wagner went bankrupt around the same age, so hope springs eternal I guess!

re: Conducting, I ended up on the spot sight-reading some of Grainger's Lincolnshire Posy this summer and at some point you just conduct beat patterns through the changing meters and give the players something clear to follow. Seasoned musicians will be subdividing like crazy anyway. OTOH, contemporary, ESPECIALLY new music, you need to be clear as hell because players have no frame of reference. But if you're constantly chasing down donors, that eats into valuable time better spent on score study.

Money Bags
Jun 27, 2013

Speaking of Mozart in the Jungle has anyone seen it? Any good? I'm wondering how much classical music plays in.

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Money Bags posted:

Speaking of Mozart in the Jungle has anyone seen it? Any good? I'm wondering how much classical music plays in.

I quite enjoyed it. I haven't watched the new season yet, but what I have seen was excellent.

Money Bags
Jun 27, 2013

I guess what I'm really asking is what does Mozart in the Jungle have to do with Mozart the composer or classical music in general?

XBenedict
May 23, 2006

YOUR LIPS SAY 0, BUT YOUR EYES SAY 1.

Money Bags posted:

I guess what I'm really asking is what does Mozart in the Jungle have to do with Mozart the composer or classical music in general?

Zero to do with Mozart. About 15% about the music.

It's mostly the in and out of life in a professional orchestra.

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The March Hare
Oct 15, 2006

Je rêve d'un
Wayne's World 3
Buglord
Hi thread, I've been really enjoying Veljo Tormis for the past week or so after learning that he had passed earlier this year :ghost: and wanting to get more of a feel for him. He did a lot of work from and or inspired by Finnish epics (I think he was Estonian though), but the songs I've been listening to so far all have a really great feel to them. Has been nice to listen to some contemporary (western) choral music that isn't explicitly in the Christian tradition and or corny as gently caress. Anyone else have maybe some slightly more fringe stuff they could share that is in a similar vein?

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

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