Music as an expression of politics, culture, and civilization

>employed by kikes in the largest kike industry.
>blatantly plagiarizes several key classical music pieces purely for profit.
>not kike
alrighty then.

Culture is the reflection of a people, you can notice a steep decline in western societies once classical's popularity went down. It's also revelating how plebs today try to paint classical as elitist, when it was enjoyed by common folk in the past too. Schoenberg killed classical.

Listen to some European folk, but beware of the cringy "le folk metal xDD" retards. Also, some kikes tried to infiltrate it, such as Alan Stivell.
I suggest Clannad for starters.
About classical: it's an universe of its own and I suggest you browse /classical/ on /mu/, it's good enough as an introduction.
Folk and classical both have their place, but I think they have different functions.

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link it

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THEN HAVE ANOTHER!

youtu.be/dQzJhfRmm4w

This was written with the harmony written in renaissance harmony conventions (phrygian mode, no iii ii I resolution) and a melody that develops with chromatic dissonance, just get over the "wrong" sounding notes.

He's not a kike by blood, it's ok, you can just admit you're wrong. As far as plagiarism, are these two plagiarized, is Handel a kike?
youtube.com/watch?v=7v8zxoEoA_Q
youtube.com/watch?v=JSAd3NpDi6Q

Actually kind of pseudo-swing already dominated pre-1945 German dance halls, we can't escape from modernity, even if we want to.
Of course classical and European folk music was greatly valued, but not what they called then in "light music" scene.

Good pic for everyone
youtube.com/watch?v=3gw9wafY9GY

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that's definitely different, the only observation I'd make is the beat doesn't sound synchronised with the melody
Perhaps swing the melody a bit to match the pocket
You could also try making a beat from some old dancey tunes like youtube.com/watch?v=g_7gdeIOaL0
Some dances from the likes of Lully might also give you some inspiration in that direction

Folies d’Espagne was a common theme in early music. People had a basic progression (which was usually rooted in folk music) and wrote variations for it. This has absolutely nothing to do with plagiarism as neither of the artists came up with the original melody and it was known to everyone involved.

You can find plenty of other follia variations:

youtube.com/watch?v=P1ngcsx1Drs
youtube.com/watch?v=VHRdFILo_Yw
youtube.com/watch?v=Bng6P118R48
youtube.com/watch?v=wIVKXz1mCu4
youtube.com/watch?v=5Frq7rjEGzs
youtube.com/watch?v=2dxy6fcXXog

>This has absolutely nothing to do with plagiarism
I was being cheeky

aesthetic pic, kinda looks like Ableton
I've been listening to a lot of Handel lately, the Firebird too. It's also a blast to discover some lute composers

I just wanted to emphasise the point because there are people out there who actually believe this.

Old-France was beautiful, refined, elegant. It’s a crime what those insane liberals are doing to it. The old-French will be missed.

youtu.be/liTSRH4fix4

being a court composer must have been peak comfy

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No, it would've been folk music that most people heard the most

>I've been listening to a lot of Handel lately
Handel is God tier and is only shadowed by Bach in my opinion
youtube.com/watch?v=EAP7j3B_yIY
youtube.com/watch?v=WDpXhlo0jK0
youtube.com/watch?v=G2rUEAyqpEM
youtube.com/watch?v=HWvJXgErRGs

>Old-France was beautiful
Should check this out by Lauridsen, one of our great American mystics who composed it as inspired by French folk music. He was actually honored under Bush. I think King Nigger invited Kendrick Lamar for comparison.
youtube.com/watch?v=gWXVZlrLa6E
more Lauridsen
youtube.com/watch?v=nn5ken3RJBo

Also Chopin was Polish

youtube.com/watch?v=aczX0cIcNi0
youtube.com/watch?v=w7mVbcz8Ixg
youtube.com/watch?v=zLdHAGy8tSY
youtube.com/watch?v=v6nstKIQsUM

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Take the Bach pill.

Seriously, he's incredible.

youtube.com/watch?v=IzZqeWNpe3U

youtube.com/watch?v=7hkw4rw3ong

youtube.com/watch?v=REu2BcnlD34

youtube.com/watch?v=BOZEj8wyj-I

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I feel like the only people nowadays keeping "classical" music alive are film composers. They are mostly white men that all grew up studying the classics. You can find some great scores nowadays.

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What's got into such a lute phase?

*you

>youtube.com/watch?v=zLdHAGy8tSY
this is great

John Williams was asked by the director (Lucas) to make a soundtrack that reminded people of Holst the Planets. This is because George Lucas was using "The Planets" as background music before the soundtrack was written.

John Williams has some seriously great music.

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>youtube.com/watch?v=7hkw4rw3ong
Check out Tatiana Nikolayeva's renditions of anything when it comes to Bach
youtube.com/watch?v=q5PtaN8axU0

It is. Although it was originally written for violin, I really like the lute adaptation. It sounds surprisingly modern and has almost a hint of Latin temper to it.
I also like this viol adaptation of the Kapsberger Passacaglia:
youtube.com/watch?v=w9bNMAyjwLg

There is a lot to discover when it comes to early music: youtube.com/watch?v=6ZQRlqCcLAM
youtube.com/watch?v=oYdnUHCpomQ
youtube.com/watch?v=kKwobKWAc6k

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>Buxtehude

Fun fact, Buxtehude was one of Bach's idols. He traveled across Germany to see him perform.

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That's only because you don't understand the industry. Most scores are cheap rip offs of classical and most composers are jewish(which explains the first point). This is not to say good film scorers are unexistent, but comparing them to the greats is impossible.
But you can say they are the classical composers of our day in the sense that they reflect modern culture, they work for Hollywood, as abhorrent as it is. On the other end of the spectrum, most classical composers worked in courts(or in a position with some connection to the nobility, such as Kappelmeisters). Back then people with money were aristocrats raised to be well versed in culture, today's rich are plebs who got rich, bourgeoisie. The closest to an actual noble we have today(and this excludes most of the remaining noble families because their influence is very little) are the Rothschilds, a family of kike bankers who bought their nobility title, likely from a small broke HRE duchy. The nobles of then and now obviously have very different interests in mind.
This is not to say degeneracy and the like didn't exist back then, but there was still some effort invested into promoting real culture, whereas nowadays profit comes first. This is why classical isn't coming back anytime soon.
It could survive if it continued being popular among the masses such as it became during the XIXth, but Schoenberg ensured it was reduced to academic exercises.

And I think John Williams' best work is on the guitar.

>the soul of a nation
Nations do not have souls. Nations are sets of people with the same passports.

>youtube.com/watch?v=6ZQRlqCcLAM
>Buxtehude was one of Bach's idols
I can see why

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I'm not comparing them to the greats. I'm just saying that if it wasn't for movie composers we would never get anything new that relatively close to classical.

And I know a lot of movie composers today are trash (Zimmer, Brian Tyler, etc)

But some have released some great music that can stand on its own without the movie. Which is what a lot of GOOD directors let composers do.

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>Schoenberg killed classical
Schoenberg was warners fanboy and continued what Wagner started.

Also, none in this thread understand classical music, and just post most known shit that just resembles soundtracks for epic movies.

Bach was actually a candidate to succeed Buxtehude (Händel too), but neither of them were willing to marry his daughter, which was his condition for succession. Johann Christian Schieferdecker was not so picky and ended up as Buxtehude's successor.

youtube.com/watch?v=Mi77IHsYelA

t. Ndugu Muhammadbari

>youtube.com/watch?v=oYdnUHCpomQ
this is also gorgeous

>we would never get anything new that relatively close to classical.
there's still people out there
youtube.com/watch?v=blUTC7zzzRI
and Morten Lauridsen from

Handel was strictly commercial composer who opened his own concert hall and started to massively sell out tickets for plebs to listen superstupid copy paste infused operas with tranny castratos.

good stuff. thanks

youtube.com/watch?v=oBDmAxSFt6A

youtube.com/watch?v=8l2YwQh3Eno

You are welcome

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good stuff. thanks!

>just continued what Wagner started
there's quite a leap from Wagner's chromaticism to Schoenberg's serialism ear rape
As much as Wagner too was subversive for his day, his music still had character, it wasn't the bland noise that would become popular with the serialists. Don't take my word for it, just look at how the masses ditched classical and it became confined to academia. The concert rooms that still get an audience play pre-Schoenberg music. Further, him being a fan of Wagner doesn't mean he is a worthy inheritor of his legacy.

>just post known shit
Enlighten us then paddy

speaking of marches. This is one of my favorites

youtube.com/watch?v=AKIGs59nRc8

Holst: First Suite for Military Band in E-Flat major Op.28-1

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>this is also gorgeous
It's my favourite madrigal by Monteverdi.

youtube.com/watch?v=JF18PG0-NUU

Stop being such a cunt, we don't give a fuck if you don't like it

So how did you guys get into Classical music? NONE of my friends like it, they are more into electronic and rock.

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I don't know about you but i think that despite being part jewish Dave Mustaine knows about (((them)))

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Comfy

youtube.com/watch?v=HeyMnzB_VII

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also check the lyrics of this song he wrote
Brother will kill brother
Spilling blood across the land
Killing for religion
Something I don't understand

Fools like me, who cross the sea
And come to foreign lands
Ask the sheep, for their beliefs
Do you kill on God's command?

A country that's divided
Surely will not stand
My past erased, no more disgrace
No foolish naive stand

The end is near, it's crystal clear
Part of the master plan
Don't look now to Israel
It might be in your homelands

Holy wars

Upon my podium, as the
Know it all scholar
Down in my seat of judgement
Gavel's bang, uphold the law
Up on my soapbox, a leader
Out to change the world
Down in my pulpit as the holier
Than-thou-could-be-messenger of God

Fuck your hypocrtical elitism. I will jam bocephus im a dinosaur and gollow it up with eluveitie. Im an american and ill be damned if i have some commy telling me what music i should or should not enjoy.

If you dont like the way im livin, you just leave this long haired country boy alone.

Wagner was just a showman, Nietzsche pointed that out pretty quickly.

>just look at how the masses ditched classical and it became confined to academia
First of all, those music in the beginning of the 20th century was not called 'classical'. Its a pretty modern definition, and now you try to retrofit things while being in (((adornian))) paradigm of high and low art.

>Further, him being a fan of Wagner doesn't mean he is a worthy inheritor of his legacy.
He was literally the only one, because everyone else was laughing at wagnerfags those days.

>stop liking things
no

Im pretty sure you don't even know who is harnoncourt and what he and his followers did to dig up all baroque music, that was completely forgotten after Beethoven.

You perceive this music out of its historical context.

youtube.com/watch?v=Ia0CUR160Vc
youtube.com/watch?v=aY-Hlpq1Iks
youtube.com/watch?v=P71LKv75DCI
youtube.com/watch?v=OPkTiL-tUZs

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>ywn have a qt pie French redhead sit on your face while she sings to you

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Just start going down the clickhole on youtube after you look around in this thread. If you already know you like something like Chopin or Beethoven, start from there and branch out.

>harnoncourt
If the name gets dropped, I can't help but post this: youtube.com/watch?v=pBNrw0OQDj8&t=5m53s

It's my favourite interpretation of this piece by Biber, which was actually a musical response to Johann Pachelbel's famous Canon. As the text in the video says, they played it on instruments made by Jacobus Stainer, so it probably doesn't get any more authentic than this.

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You guys want to listen to my music? I make all genres but mostly classical/film music. I can't even get more than 10 views lol

oh I'm already into it. I was just asking how everyone else got into it for the first time.

I personally played the violin in HS.

that sounds way before its time
youtube.com/watch?v=8EcIxJmKCQQ

>Wagner was just a showman, Nietzsche pointed that out pretty quickly.

Are you fucking retarded?
On Parsifal
>open quotes When I see you again, I shall tell you exactly what I then understood. Putting aside all irrelevant questions (to what end such music can or should serve?), and speaking from a purely aesthetic point of view, has Wagner ever written anything better? The supreme psychological perception and precision as regards what can be said, expressed, communicated here, the extreme of concision and directness of form, every nuance of feeling conveyed epigrammatically; a clarity of musical description that reminds us of a shield of consummate workmanship; and finally an extraordinary sublimity of feeling, something experienced in the very depths of music, that does Wagner the highest honour; a synthesis of conditions which to many people - even "higher minds" - will seem incompatible, of strict coherence, of "loftiness" in the most startling sense of the word, of a cognisance and a penetration of vision that cuts through the soul as with a knife, of sympathy with what is seen and shown forth. We get something comparable to it in Dante, but nowhere else. Has any painter ever depicted so sorrowful a look of love as Wagner does in the final accents of his Prelude?

>I cannot think of it without feeling violently shaken, so elevated was I by it, so deeply moved. It was as if someone were speaking to me again, after many years, about the problems that disturb me - naturally not supplying the answers I would give, but the Christian answer, which after all has been the answer of stronger souls than the last two centuries of our era have produced. When listening to this music one lays Protestantism aside as a misunderstanding - and also, I will not deny it, other really good music, which I have at other times heard and loved, seems, as against this, a misunderstanding!

>so it probably doesn't get any more authentic than this.
Historical reconstruction != authentic performance

>says the potatonigger that think Nietzche thought Wagner was superficial
k

How does it get more authentic then? Studying historical sources on the intricacies of the performance and attempting to emulate what one has learned using historical instruments is probably the closest one can possibly get to the original sound in this modern age.

He's an overly elitist cunt that tears down anything possible because it in some way elevates himself.

Again, emulation is not authenticity. Emulation is emulation. Authenticity is authenticity. Harnoncourt was not doing any reconstructions.

What do you think about the romantics, O'cocksucker? Liszt? Chopin?

I utterly hate romanticism in music

I can only repeat: emulating what one can find on historical performance in historical sources is the only way to authenticity.

Harnoncourt himself taught about historical instruments at art academies and universities:

>1972 bis 1992 unterrichtete Harnoncourt am Salzburger Mozarteum Aufführungspraxis und historische Instrumentenkunde und ab dem Wintersemester 1973 auch am Institut für Musikwissenschaft der Universität Salzburg.

And yes - he most definitely attempted to recreate a historical sound rather than perform in a modern manner. You should take note regarding the date of the performance and compare it to others from that time period - you will notice that it differs like night and day, in particular when it comes to the speed of the performance, e.g. listen to Karl Richter interpretations of Bach, which are excellent in their own way, but still don't attempt to sound like they would have sounded like in the time of Bach, as the field of historically informed performances was still developing and Harnoncourt was one of the protagonists.

Of course you do.

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>but still don't attempt to sound like they would have sounded like in the time of Bach
A man who knows
youtube.com/watch?v=2yd7LWi4wus

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Now behold, faggots! And bow down to Rameau
youtube.com/watch?v=w_Y3xMSxKXc

>you will notice that it differs like night and day
Of course it will differ. And don't reference wiki here, they conflate authenticity with historically informed performance. Historically informed performance is the same as three ruffians getting secrets from Hiram, if you now what I mean.

>What's some music produced by Europeans encapsulates the soul of a nation?
youtube.com/watch?v=SncAaTg0OKo

>they conflate authenticity with historically informed performance
I don't know what kind of nitpicking regarding terminology this is supposed to be but in my book a properly done historically informed performance is by definition authentic.

And if we read the booklet written by Harnoncourt himself we find:

>We have the unique opportunity of hearing on this recording three instruments made by Stainer. They have the original measurements, are strung with the corresponding catgut strings and are played upon with bows dating from about 1700. The tuning is half a tone below today's normal A. Playing technique and articulation correspond to those taught in old treatises. Thus, an optimum of the original sound picture is achieved.

Does that not sound like a man who attempts to recreate a sound from the period? Whose goal is not authenticity? It does sound like that to me.

Unless you can provide me with a proper and rigorous definition that demarcates one from the other I consider this discussion over.

>Whose goal is not authenticity?
Authenticity is "self-referentialness", when a "text" does not contain any "hyperlinks" to other "texts", as it was happening when pre-authentic performers were playing barque music as if it was romantic or classical.

It can include some historical research, but it is not the whole point.

As I said: this is nitpicking since the term 'authentic' also has another lexical and completely valid meaning. And which one was meant here should have been obvious to the attentive reader. Namely, authentic in the sense of original, i.e. resembling the sound of the period. And in that regard a historically informed performance is (supposed to be) authentic.

This is not a nitpicking, but a very important thing. Notice that you don't know and would never know how the original was sounding.

>And in that regard a historically informed performance is (supposed to be) authentic.
Of course not. For guys like you someone who pretends to be something is actually something.

youtube.com/watch?v=4YxTa1AUqps

Chopin, known (((anti-Semite)))

m.youtube.com/watch?v=8QT7ITv9Ecs

Thank you to whoever in this thread first mentioned Buxtehude. He has been such a wonderful artist to listen to this evening.
youtube.com/watch?v=NvNGAc-F_yk

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Camille Saint-Saëns

m.youtube.com/watch?v=ltHaHt3lv0E

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Claude Debussy

m.youtube.com/watch?v=hWTe3C_RoDo

>Notice that you don't know and would never know how the original was sounding.
This is a platitude because you could make the same argument about literally anything in history ("You weren't actually there").

We do have historical sources which tell us all kinds of intricacies regarding what historical languages sound like, what historical instruments sounded like, historical music, etc. and we can use these to make an informed guess. The fact that it is a guess does not devalue the attempt however.

>Of course not. For guys like you someone who pretends to be something is actually something.
No. I very deliberately chose my words saying "it probably doesn't get any more authentic than this". This doesn't imply that it is the real thing - which we both know is an impossibility, as the sceptical argument regarding history always applies. It is however well likely the best possible guess we can make at this point - and that has value too. Anything else is dumb nitpicking.

This guy has done a few rock songs in IndoEuropean.

youtu.be/izEvDv8KflU
youtu.be/l_gkhkVbs84
youtu.be/AwUpAufaNrU

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youtube.com/watch?v=RKV7PvXcWng
Great song about dreams and ambition

Gioachino Rossi (although today it might be called “The Algerian Woman in Rome”)

m.youtube.com/watch?v=2O6APyu868o

Rossini

A recorder quintet recreation of Arcangelo Corelli’s “La Folia”

m.youtube.com/watch?v=ipTXKoZX7Qc

youtube.com/watch?v=LZLMKkEGFRo

m.youtube.com/watch?v=SRmCEGHt-Qk
This one encapsulates the struggle between virtue and decadence.

Wow, that’s beautiful. The instruments pass the melody off to each other seamlessly.