Re: things of sad beauty

["Todd Matthews" <gtmatthews@gmail.com>]

I didn't mention the Gorecki. I think that might have been Richard but its a strange coincidence because I just got the score to that piece about a month ago and I've been working out a looping arrangement for bass.

More pieces on my achingly beautiful classical list include:

Verklärte Nacht by Schoenberg
3rd Movement of Pines of Rome
and even another Copland's Nonet for strings, 1st movement
Richard Strauss, Metamorphosen
Arvo Pärt, Cantus in Memory of Benjamin Britten (fitting for the looping community:))
Ravel, Gaspard De La Nuit (Piano) this piece never gets old to me. I could listen over and over.


Todd

On Mon, Jan 5, 2009 at 7:05 PM, Rick Walker <looppool@cruzio.com> wrote:

Richard and Todd both recommended
Variations on a Theme by Thomas Tallis by Sir Ralph Vaughn Williams

That was my father's favorite piece of Vaughn Williams (in addition to his
beautiful and masterful 3rd Symphony).............so I love it very much as well.

Also,  Todd recommended the Gorecki 3rd (what is it about 3rd symphonies,  I think
Coplands and Vaughn Williams best symphonies were their 3rds).

so, again,  in the melancholic or sad mode,

It is very simple but I also love ADAGIO FOR STRINGS by Samuel Barber
and REQUIEM by Garbiel Faure

I love a lot of the piano works of Debussy and Satie.

I love that one famous aria from LAKME by Delibes.

They are more complex, harmonically, (so , to my mind it adds both
bittersweet and menace emotionally)   but I love the
Cello Suites by Bartok
his amazing Concerto for Orchestra,   with the quietest pianissimo in the entire classical repertoire at
it's beginning.......................maybe one of the few times where the dynamic range of CDs excelled
over the warmth of Vinyl and Tape..............hard to get the entire dynamics of that piece onto vinyl properly
(if you've ever heard it performed live).

what else?

Le Tombeau de Couperin   by Maurice Ravel (still one of my favorite composers..........I'm still
marvelling at his use of suspended chords that do NOT resolve.)