Well done young man. I have been teaching African American music history for over 15 years. Florence Price is one of my composer/performers of interest, especially for her piano works and Art songs. Continue your research. It is difficult to present aspects of Florence Price's life as a Black American female musician/composer in an understandable context, especially in our current 2024 socio-cultural climate This biographical presentation presents information that was not easily available in the early 2000s. It gives those who are interested in extra musical research an accessible background for future research. My first interest in Florence Price started almost 20 years ago. Much work remains to be done on her as an American composer, for example, musical studies including score discoveries, actual score analysis, performnce practices. Also more Critical Musicology studies of Price and more methodological analysis from an Africana Studies and Women's Studies perspective. However, your comments at the end should indeed cause reflection for those who perform her music on the "why" of their performance.

The advent of irrational time signatures is an exercise in mathematical precision over art. Rubato, accelerando, espressivo, agitato, ritardando, rallentando, stentato, etc are available to add/subtract tempo in a nuanced way, as is the change of metronomic pace, without resorting to some formula that burdens the performer. The hyper-precise composers like Ades are preoccupied with minutiae, as witnessed by the use of "ppppp" as a dynamic. Unless applied in a repetitive structure, the use of irrational time signatures simply eliminates any sense of time, which can be just as easily achieved through more common means. And, if it is applied in repetition, there is surely a way of crafting it in traditional notation.

Incredible video! Thoroughly researched and beautifully edited, and about a very underrated composer. I hope the algorithm picks this up so this excellent documentary can get the attention it deserves.

From my relatively uneducated point of view I think of it as a tritone substitution for the V7 of V. Which is another notoriously hard to spell chord.

Actually, when you played them toghether I was able to tell them more apart. And when you played the 3 note cluster is definitely did NOT sound like a unison. I don't know if it is because I have to tune a lute all day long, and the unison strings are hellishly annoying to get to sound as one.

I understand the laughing at Trout Mask Replica. From a conventional perspective it is undoubtedly weird. But you neglect to mention Don van Vliet's genius and the album's status which remains consistently high. It's an inspiration to many still, after over 50 years.

Agustin Barrios ?

Incredible work. Thank you for this wonderful documentary film.

I have seen Him in the watch fires of a hundred circling camps.

Do you know how Charles Wuorinen was able to get those beautiful tonal colors from what is supposed to be a 12-tone structure in his "Mass for the Restoration of St. Luke in the Fields"? kzbin.info/www/bejne/ooTWqGB-lJh3pacfeature=shared

What I find funny about this whole exercise is you’re essentially calculating an integral. As you choose finer and finer divisions between notes, you better and better approximate what the whole octave sounds like. There’s probably some integral equation that allows you to calculate what such a wave would look and sound like in the limiting case, but given our brains can’t tell the difference between super fine tones anyways, it’s more of an academic pursuit to find it. The version you showed off is probably good enough for our ears.

15:43 Latter Day Saints believe the civil war was punishment on the United States for rejecting God’s Restored Kingdom among other sins.

Hey, I love your channel. Especially your great composers videos! Do you think you will ever make one on Moritz Rosenthal, or Leopold Godowsky?

Your presentations are superb, but why no African-American scholar to contribute to the discussion in this video?

You can just play white noise. That's as thick as it gets.

Phenomenal video. Gave me the motivation to finish a video I’ve had on the back-burner for a year

can someone please explain 49:35 F above middle C??

Brilliant episode. Thank you

What’s the piece called at 44:48? Still wondering !

thanks, this was amazing.

Where’s part 1 and 2 and 3 and 4 and 5?

У вас камера плохо закреплена и заваливается налево-направо.

Wonderul

Have you heard of Jean Louis Nicodé? I just discovered him, but he was a Prussian Romantic-era composer who composed a two hour long symphony that has been forgotten. Steffan Fahl made a virtual rendering of this symphony that you can check out on KZbin.

Cziffra number 1 pianist ever

Is there an online recording of Levee Land? I would be keen to hear the whole piece.

Amazing story

I once met him, had him to autograph a CD of his music for a friend of mine. Very humble and friendly person ❤️

Cool intro

Having a melodic line played in parallel gives the melody depth, substance, richness, gravity. It makes it thicker, more dominant. It gives a piece of music a greater sense of structure. One technique for paralleling a melodic line is doubling --- having two instruments play the same line simultaneously. Another method would be parallel octaves. Another method would be parallel fifths. So given the goal of a piece of music, or of the composer, if you want to bring greater structure to a piece through the melody, if you can analyze and articulate how each of those techniques differ in terms of the impact on the listener, you can decide which to use.

Thank you

Thank you!

Thank you!

Thank you

At last! A documentary on my favourite American composer.

I am 69 years old. Classically trained. Spent my years playing blues and jazz. I see classical music debating tonality vs atonality. Let me share something I learned in jazz. You can play on the inside and the outside. You can't do either one all the time. There are laws of physics. If you break them you get dissonance. Dissonance can be cool if you use it right and not too much. The trick is to flavor the inside playing with outside spurts that get resolved back into the inside. People want music to be half predictable and half unpredictable. That said, I find great freedom in classical composing. The freedom comes from being unchained from the drums. The polyrhythms and modal colors that jazz players crave live large in classical music. I write classical now because of the freedom from boots and cats and boots and cats.

What a fascinating video - thank you!

Did you mention that "Louange à l'Éternité de Jésus" (wich is part of the quatuor pour les fin du temps) is arranged from the earlier composition, "IV. L'Eau" from "Fête des belles eaux" for 6 Ondes Martenots, performed at the Paris International Exposition of 1937?

t h I c c

If Bach is god of music, Schnittke is archangel… BTW: his first concerto grosso is gorgeous…

I think Mussorgsky was inspired from the very begining part of Mendelssohn's "Violin Concerto In E Minor", reducing the tempo. I listened recent and for the first time this Mendelssohn Concerto and the first part seemed so familiar. Where it is from??? I finally remembered: Mussorgsky - Pictures at an Exhibition!!! I have the vinyl and I found!!! THE OLD CASTLE!!! I listened again and again, one and another. I'm not an expert, but for me was inspiration, theft or coincidence.

Thank you for a really interesting and perceptive talk on Edward Elgar. So often, musicologists have an axe to grind when it comes to Elgar - too old fashioned, too Imperialistic, etc, etc, without any reference to the context from which his music grew. Thank you for giving us such a balanced account of this, my favourite composer. It was so good to hear about his work as a pioneer in making recordings - there was a reason he was asked to open Abbey Road Studios! I know he is not the greatest composer who ever lived and his output is woefully inconsistent, but at his best, he wrote great music which speaks to me, at least, in a way no other composer can. Gerontius, for example, has been part of my life from the age of 15, and a constant companion through all the ups and downs of the past 60 years. Many years ago, I had the privilege of meeting Annie Mountford, Elgar's cook over the final few years of his life, and whose husband was his valet/chauffeur. She spoke warmly of her old boss, the spoiled dogs, his violinist lady friend, and the many famous people that visited his home. Her favourite visitor was Billy Reed, sometime leader of the London Symphony Orchestra, who wrote a book about their friendship. I can still hear her laughing at the memory as she told me, 'He was such FUN!' Thank you again for your excellent presentation.

У меня прадед убежал от революции и даже моему деду Василию завещал огромное состояние, но в СССР его получить практически было не возможно. Случайно узнал от сестры моей бабушки и то говорила шепотом.

Dude. MM had ADHD.

your channel has exposed me to some excellent music. thank you for that.

I'm learning his bass concerto right now and I can say that this man is a genius that has yet to reach it's full acknowledgement

Love Holst, his hymn tunes are some of the best in the entire genre. (Particularly Cranham, which aside from Vaughan Williams' arrangement of Kingsfold is probably the best one out there.) I've wanted to get into his non-Planets music for a while now but never quite had a strong enough impulse or knowledge of how to navigate it, so this video's a very welcome find.

Wanna hear Pictures at an exhibition by solo guitar? Prepare to be amazed! kzbin.info/www/bejne/jHbNenaCmN2kmNUsi=b6q5rmyafP0v2e7W

The lobster thing seems like an heritage of Gérard de Nerval who did the same thing before