Re: WAYLTL 2025!

On Wed, 15 Jan 2025 00:13:39 -0800, DeepBlue wrote:

On Wed, 15 Jan 2025 1:59:22 +0000, cheregi wrote:
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On Wed, 15 Jan 2025 1:08:08 +0000, cheregi wrote:
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Today I can't get enough of specifically Preethi de Silva playing CPE
Bach's Sonaten fur Kenner und Liebhaber. She's incredibly funny and
sharp and thoughtful and unafraid.
>
I think it's an insult to CPE to list him as a Romantic ahead of his
time. He is so much more interesting than that. He is the polar opposite
of cloying, insipid and sentimental.
>
https://www.congioia.org/cd-recordings.html and on qobuz/deezer

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To expand on this, I find in CPE, as played especially by de Silva and a
select few others (but emphatically NOT by Spanyi or Belder), some of
the same caliber of aesthetic sophistication I find so satisfying in
good performances of early French Baroque keyboard music, or Sorabji for
example. This is something that I don't find in most of the composers
CPE is often compared to, like Mozart, Haydn, or Beethoven. And it's
certainly something I find even less of in the type of Romantic music
seemingly concerned primarily with expressing a series of emotional
states for the listener to bask in, which I find almost unbearable. CPE
is obviously working with affective signifiers in his music but they are
treated with a sense of distance and irony rather like the handling of
emotions in a jazz ballad.
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I think much of what's difficult for me to express about my appreciation
for his style has to do with his position at a very particular moment in
the transition to capitalist economic systems. I think from the Austrian
perspective it was important that CPE lived and worked in a relatively
more marginal and backwards area. So maybe CPE's influence on his
younger peers was something like what had already happened in France and
Italy some centuries prior: the machine of capitalism hungrily
processing whatever feudal culture was left. I mean, whatever had been
truly connoisseur-oriented about south German musical life had already
been destroyed by the incentives towards populism, so Haydn and Mozart
looked north. CPE/empfindamer Stil was eaten and what came out the other
end was Schumann or whatever.
>
But then at the same time CPE is obviously avant-garde in a way that
hadn't even really existed a couple generations prior, I mean the idea
of "avant-garde" had only recently started to make any sense even as a
retrospective assessment. I mean he now sounds like he's pushing and
pulling the nascent bourgeois language of tonal music restlessly in all
kinds of crazy directions. And he's absorbed all the latest developments
from Italy and France. So it's hard to square it all.

>
My friend Clara likes to say "talking about music is
like dancing about architecture". Methinks you dance

People dance about architecture all the time. It's
one of the prime reasons people dance.

too much. This ng focuses on RECORDINGS rather than
on COMPAWSERS. Obviously the two topics mix a little
and cannot be completely separated from each other.
>
As to CPE's "influence" on other compawsers, give us
a break! One hears Chopin's influence in the music of
all the composers who followed him. One doesn't even
hear CPE's "influence" in Schubert or in Schumann!
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Are you a musicologist perchance? Just curious .....
>
Cheers!

Go 'way, you drunken bum, were talking about music here