(2) Whatever it was that Schoenberg so wonderfully discovered about sound, Berg didn't.
(3) Beethoven should have left vocal composition well alone.
Strange. I think that Berg's "Lyric Suite" is really the best thing that the original 3 twelve-toners produced (Copland's 12-tone stuff is really quite brilliant as well).
Also, excepting the end of the 9th Symphony, AGREED on the Beethoven bit. We . . . like to pretend that "Fidelio" doesn't exist. Other than the overture.
We also like to forget Mozart Koechel numbers before about 300.
I tend to go diving for French composers between about 1875 and 1950. There's a LOT in there that isn't Ravel or Debussy (although I love 'em as well).
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(3) Beethoven should have left vocal composition well alone.
Strange. I think that Berg's "Lyric Suite" is really the best thing that the original 3 twelve-toners produced (Copland's 12-tone stuff is really quite brilliant as well).
Also, excepting the end of the 9th Symphony, AGREED on the Beethoven bit. We . . . like to pretend that "Fidelio" doesn't exist. Other than the overture.
We also like to forget Mozart Koechel numbers before about 300.
I tend to go diving for French composers between about 1875 and 1950. There's a LOT in there that isn't Ravel or Debussy (although I love 'em as well).