Vanessa Mae -- Toccata Fugue

danielescarpetti wrote:

I think that people like Mae deserve a monument erected in their honor because they truly manage to bring classical music to those who don't understand a damn thing about classical music.

Really?

But, as it happens, she brought BWV 565, which even stones know.

Why didn't she bring the Doric, which, poor thing, is more in need of being brought?

I won't tell you my opinion for now, but listen to this

I know I risk being lynched, but I will take the risk.

Report your opinion on the result of Mae's transcription to the original composer (we are talking about 3 composers: Bach, Vivaldi, and Beethoven)

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LucaCavaliere wrote:

Of course. And in this sentence you have already said everything.

However, I like to emphasize: "not forced", and "other "truths""

Time is always a factor... and the "how much" is personal and depends on one's own pace in the journey to which you are referring

Speaking of this

Oracolo wrote:

I think that at school no one is able to teach me how to do an orchestration of this type... always the same old things, over and over again. Truly, everything would need to be redone

No one can teach you this because there is a part of creativity that depends on you; at school you can learn instrumentation, but orchestration is an integral part of composition. It is up to you to direct your skills in the matter of orchestration wherever you prefer, but if you propose a project of this type to a good Maestro, they will surely be able to support you in making your idea credible... whether it has artistic value or not is another matter entirely (the Maestro can also formulate their own opinion). In contemporary times, an idea cannot be the object of teaching, otherwise it would be an imposition of the Maestro's idea. Imagine if I forced you to orchestrate 'La Dorica' like this in a course; if you were Luca, perhaps (but only perhaps) you would hate me... everyone directs their efforts toward what they believe in. It is clear that the academic world also has its own requirements

Frank wrote:

Time is always a factor... and the "how much" is personal and depends on one's own pace in the journey to which you refer

Yes! These are also aspects that I feel are very true.

So, summarizing (on the evolution of taste)

The aspect of freedom of the journey (no forcing).

Reaching other truths (they do not necessarily replace the starting positions).
Time (the time available to dedicate, the time of life behind one's back)

how much is "personal"? (we are all immersed in a social, family context... it cannot be avoided. Even forums help)

Frank wrote:

Speaking of this

No one can teach you this because there is a part of creativity that depends on you; at school you can learn instrumentation, but orchestration is an integral part of composition. (...)

Think if I forced you to orchestrate the Doric like this in a course, if you were Luca, perhaps (but only perhaps) you would hate me... everyone directs their efforts toward what they believe in. It's clear that the academic world also has its own requirements

But no, I don't hate you

Sorry: but we are discussing 'instrumentation' and 'orchestration' . . . this is it.

Do you like it!?

And besides... I ask with respect: aren't Mae's, instead of orchestrations, arrangements (or variations)?

Tantamount to the fact that the one on the Fifth starts with the final cadence.

(By the way: if you want me to relay my opinion to the original composer, you must at least give me his email)

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I thank the good Lord for giving me the strength not to respond impulsively only to regret it later.

In fact, I have had dinner and am now responding more calmly.

I would expect at least a little more politeness, Ilenia. Given that we have never exchanged any messages and I don't even know you.

So, I believe you are not aware of my educational qualifications, nor those of others.

That being said, I expressed my own opinion, which was certainly not dictated by ignorance or by failing to take events into consideration.

@frank.. indeed, I noticed the girl's historical attire from her costume, but I was in the car and therefore did not look into it deeply.

You also made a mention of the "cognitive" aspect... I believe I understand at least that it does not fall within my parameters of taste, nor within the scope of being able to formulate a judgment.

As for electronic music, it's a different story. Regarding how you understand it.... I agree... or rather, I believe I understand that you have a profound idea regarding composition.

Viel is another matter and will surely speak about the aspects of such music placed in a context but... I don't think they will dwell on the importance of Mae as a point of reference for future generations... perhaps as a... phenomenon...

And she is certainly a phenomenon.

LucaCavaliere wrote:

Yes?

But, as it happens, he brought the BWV 565, which even stones know.

Why didn't he bring the Doria, which, poor thing, is more in need of being played?

As for the fact that, today as it stands, even stones know it, I would have some doubts. Thirty years ago—or thereabouts—it was true, but now I fear not.

But aside from and regardless of this, I think we all agree that to a classical music novice, we would never propose an unknown piece, but rather a piece that is presumed to have already been heard, perhaps even in a simple commercial, and that is easily catchy.

LucaCavaliere wrote:

And besides... I ask respectfully: aren't Mae's ones, instead of orchestrations, arrangements (or variations)?

Tantamount to the fact that the one on the Fifth starts with the final cadence.

(By the way: if you want me to relay my opinion to the original composer, you must at least give me his email)

Stokowski's is a transcription; Mae's are pop-style arrangements, as they have always been made from the 70s onwards, and which had—and have—the merit of bringing people far from classical music closer to it.

In the 70s, for example, this one was raging:

This type of arrangement could only have been made in those years, as it was typical of a certain kind of music in vogue at the time. To the sound of this music, many of my peers approached classical music.

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Symphony 40 ??? . . . Arrangements ???

ecco un'altro

it's beautiful that every era has its own approaches! The ways of music are infinite

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