Post something just for the heck of it

[belamyi]

 

[ChickenGuy]

^ Out of vague curiosity (and boredom ) I looked up Handel's catalogue:

http://en.wikipedia.org/wiki/H%C3%A4ndel-Werke-Verzeichnis



Which of those categories are your favourites and are those which you prefer to listen to?

Do you like oratorios or cantatas or arias or sonatas?

(I assume you don't like the operas as much, because I've never seen you post operatic singing)

That then led me on to his full works:

http://en.wikipedia.org/wiki/List_of_compositions_by_George_Frideric_Handel



How do you manage to make sense and filter through all of this? Trial and error?

Can you predict what you'll like before hearing it, based on its category and description?

EDIT:

http://en.wikipedia.org/wiki/Hallische_H%C3%A4ndel-Ausgabe

It was first published in the 1950s: initially as an adjunct to the HG edition, but by 1958 as a collected edition in its own right.

It is expected to be completed by 2023

Do you have any of these books? I never knew they compiled anything so colossally numerous.

 

[IamNoah]

We are definitely entering the Darker Era: I just got this message on Gayromeo...

El corazón humano no tiene la culpa por ser limitado si alguien no te dio la felicidad que tu esperabas es por que nadie te puede dar aquello que no tiene , pero cuando tu aceptes recibir en tu corazón ese amor que perdona , ese amor que no cobra , ese amor que da la paz , la alegría , tu corazón humano será transformado en un corazo espiritual pues en el habitara el amor de Jesucristo entonces tu vas a comenzar a ver a perdonar y amar como Jesús El Señor . Y finalmente tu vas a encontrar aquello que tanto buscas: la felicidad, pues solo el amor de Jesucristo tiene la capacidad de dar todo lo que tu necesitas para ser feliz, Mira nadie te puede amar como El Señor Jesús te ama .

And I felt somehow compelled to respond:

La felicidad es buena salud, más mala memoria, más buenas intenciones... que adoquinan el camino del infierno.

Mayhap it was from the Holy Father.

 

[zoltanspawn]

Pass the Baked Indian, please.

(Better view here: https://upload.wikimedia.org/wikipe...rcineograph.jpg/2000px-This_Porcineograph.jpg)

 

[belamyi]

 

[belamyi]

^ Out of vague curiosity (and boredom ) I looked up Handel's catalogue:

http://en.wikipedia.org/wiki/H%C3%A4ndel-Werke-Verzeichnis



Which of those categories are your favourites and are those which you prefer to listen to?

Do you like oratorios or cantatas or arias or sonatas?

(I assume you don't like the operas as much, because I've never seen you post operatic singing)

That then led me on to his full works:

http://en.wikipedia.org/wiki/List_of_compositions_by_George_Frideric_Handel



How do you manage to make sense and filter through all of this? Trial and error?

Can you predict what you'll like before hearing it, based on its category and description?

EDIT:

http://en.wikipedia.org/wiki/Hallische_H%C3%A4ndel-Ausgabe







Do you have any of these books? I never knew they compiled anything so colossally numerous.

As I said, this was too long for me to respond right away and, what is worse, by doing it I would be repeating myself and, worst of all, the complete response will be typically unbearably belamian... anyway:

Haendel has never actually made me go crazy. but. the "architectonic" quality of his music, what Beethoven so highly esteemed in his late years, is something that raptures anyone who expects from music something more solid than Vivaldi's random harmonies, Wagner's inane efforts in the same, or Tchaikovsky's orchestral pop.

That is why there is more Haendel in a version for electric guitar of the ouverture of his Messiah than Mozart in a Karajan version of his works.

I prefer instrumental music by default, and a couple or three of his concertos, particularly from the op. 6, but the best of Haendel is his vocal work: I didn't post from the Ariodante by chance (well, not totally by chance), since it's one of his finest, and the first of his opera I listened from beginning to end, in this version, that I recorded on video from a TV broadcast in the late 1990s: http://www.amazon.com/Handel-Ariodante-Rodgers-English-National/dp/B000055XSK However, I prefer his oratorios: Saul, Hercules, Theodora, Semele, Israel in Egypt... in fact, I like his "sacred-ish" stuff even in earlier works like the ones in this disc: http://www.barnesandnoble.com/w/han...minus-deller-consort/4809506?ean=794881509027

So the reason why you don't remember me quoting from operas is that, either you have Mr. nice's problem, or you just decide to ignore, falsely justified by the fact that, as I said, I prefer instrumental music.

As for the last part of your inquiries, my culture, at least the base, in that department derives mainly from the acquisitions of my brother in the 1990s, which then I complete with all the resources we have available in our time of streaming multimedia virtually for free.

No, I do not even care when they sell out stuff in this shop. I only bought and treasure one volume of the NMA, of the old edition bound in leather, because it contained my favorite passage of his whole output (when I reduce my preferences to such point), that wasn't printed anywhere else, namely, the third version of the Andante of his second G-minor symphony, in which the fugato of the woodwind section is replaced by the strings.

You mean you never knew there was so much to compile from Haendel or anyone... of you knew what Telemann's complete works would look like...


So are you satisfied now

 

[ChickenGuy]

So are you satisfied now

Yes.

And thankyou for taking the tame to post this detailed reply.

In fact, I have a bit of a surprise for you....

I seem to have got into the subject quite deeply, and I actually listened to a full Handel oratorio! Yes indeed! The whole 2 hours of it! ! It was Athalia I listened to - I was reading along at the same time, as there's a link to the libretto for many of the oratorios on the Wiki list. I'm not sure it'd have sustained my interest without the story as I'd have had trouble making out the words without it.

I found it a lot more enjoyable than I'd ever have expected! But part of that is reading along with the story while listening at the same time. It massively helped, of course, that it was in English (never knew that Handel spent most of his time in London) - in fact they say it was one of the first English-language performances, when performed in 1733.

I like the subject matter of either Greek mythological stories or (if I must) the ancient Biblical tales - this particular one was based on a queen of Judah in the 9th century BC.

I've also been looking up the operas of the early Baroque (mostly Italian) in the late 1600s - the trouble there is I can't understand the story without an English translation of the libretto, which is impossible to find in virtually all cases. Yes an online translation could do a vague part-gibberish hash up but it's not the same.

I never knew so many Greek classical stories were told as operas.

You might just have sparked an interest here in me, belamo!

 

[belamyi]

Yes.

And thankyou for taking the tame to post this detailed reply.

In fact, I have a bit of a surprise for you....

I seem to have got into the subject quite deeply, and I actually listened to a full Handel oratorio! Yes indeed! The whole 2 hours of it! ! It was Athalia I listened to - I was reading along at the same time, as there's a link to the libretto for many of the oratorios on the Wiki list. I'm not sure it'd have sustained my interest without the story as I'd have had trouble making out the words without it.

I found it a lot more enjoyable than I'd ever have expected! But part of that is reading along with the story while listening at the same time. It massively helped, of course, that it was in English (never knew that Handel spent most of his time in London) - in fact they say it was one of the first English-language performances, when performed in 1733.

I like the subject matter of either Greek mythological stories or (if I must) the ancient Biblical tales - this particular one was based on a queen of Judah in the 9th century BC.

I've also been looking up the operas of the early Baroque (mostly Italian) in the late 1600s - the trouble there is I can't understand the story without an English translation of the libretto, which is impossible to find in virtually all cases. Yes an online translation could do a vague part-gibberish hash up but it's not the same.

I never knew so many Greek classical stories were told as operas.

You might just have sparked an interest here in me, belamo!

... ... are you British, and I mean, English, not Scottish or Welsh... you would call yourself British? based on what? did you also ignore that Haendel was buried in Westminster Abbey? I would be less surprised that someone thought Haendel was born in Britain, like those who believe Picasso was French.

http://en.wikipedia.org/wiki/Athalie

 

[ChickenGuy]

... ... are you British, and I mean, English, not Scottish or Welsh...

I am Scottish. I mentioned this before to you once, and your response was something like "Who cares?"

http://en.wikipedia.org/wiki/Athalie

So THAT is who Racine was.... I've heard his name before, but never knew he was a playwright, and never knew the time period (late 1600s) that he was active. Some of those names I recognise from the lists of Euripides/Sophocles/Aeschylus plays (Andromache, Iphigenia, Phaedre)

Esther is one the other Handel oratorios available on YouTube (along with Acis and Galatea) so there are possibilities. Deborah was nowhere to be found. (I was going to try a vague chronological method). Wiki says your piece HWV 334 was based from Judas Maccabaeus.

All more interesting than I ever thought the subject matter of these kinds of things would be.

 

[belamyi]

I am Scottish. I mentioned this before to you once, and your response was something like "Who cares?"

So that obviously justifies your total ignorance of one of the jewels of England-based British culture

 

[chrisrobin]

 

[JPGhost]

http://www.xtube.com/watch.php?v=Ge2Kj-G685-#.VSTNOPnF_Xo

 

[ChickenGuy]

At great length I have listened, in Italian, to Francesco Cavalli's Il Giasone (1649) - it was a bit of an endurance task but (a) I have a habit of finishing things I started, however long it takes, and (b) I wanted to see how similar it was in theme and storyline to the 1963 film Jason and the Argonauts (answer: not very much at all)

It was a lot plainer and simpler and admittedly a lot more dull, both musically and vocally, than the Handel oratorio, which was a lot more dynamic and better to listen to. I followed along with a crude Google translation of the libretto. I suspect it was ever-so-slightly inaccurate when words like 'motorcycle' appeared.

On a similar topic....

belamo, how would you personally rate these following Italian composers:

Abbatini, Cavalli, Cesti, Bertali, Ziani, Melani, Draghi, Sartorio, Pallavicino, Scarlatti.

(they were the ones that most frequently showed up on Wiki's '16** in music' articles under 'Opera' from about the period 1650-1680 which was what I somewhat randomly looked at to see the origins of the operatic form)

Oh and do you prefer Lully or Rameau?

And you'll be familiar with Juan Hidalgo de Polanco?



(pretends I'm an expert now)

 

[vacancy3]

http://www.xtube.com/watch.php?v=Ge2Kj-G685-#.VSTNOPnF_Xo

Lol....he's hot. I would definitely fuck the shit outta him

 

[belamyi]

At great length I have listened, in Italian, to Francesco Cavalli's Il Giasone (1649) - it was a bit of an endurance task but (a) I have a habit of finishing things I started, however long it takes, and (b) I wanted to see how similar it was in theme and storyline to the 1963 film Jason and the Argonauts (answer: not very much at all)

It was a lot plainer and simpler and admittedly a lot more dull, both musically and vocally, than the Handel oratorio, which was a lot more dynamic and better to listen to. I followed along with a crude Google translation of the libretto. I suspect it was ever-so-slightly inaccurate when words like 'motorcycle' appeared.

On a similar topic....

belamo, how would you personally rate these following Italian composers:

Abbatini, Cavalli, Cesti, Bertali, Ziani, Melani, Draghi, Sartorio, Pallavicino, Scarlatti.

(they were the ones that most frequently showed up on Wiki's '16** in music' articles under 'Opera' from about the period 1650-1680 which was what I somewhat randomly looked at to see the origins of the operatic form)

Oh and do you prefer Lully or Rameau?

And you'll be familiar with Juan Hidalgo de Polanco?



(pretends I'm an expert now)

- I wonder how long it took you to stop listening to Cavalli before you finished hearing...

- I only know half the ones you mentioned (I assume you are referring there to Alessandro, not Domenico?), and that's almost a half too much.

- Music wasn't born in France until the Couperins, so go figure. Lully is of interest only insofar as it would serve to give you an idea of how Racine made La Champmeslé recite his verses.

- No fucking.

Did I do well this time with my much shorter response?

 

[ChickenGuy]

- I wonder how long it took you to stop listening to Cavalli before you finished hearing...

If you mean the themes, subtexts, the 'feel' and the 'spirit' then it's very hard to do when so much of it is, very literally, lost in translation. I'd have got a colossal more amount of depth and feeling from it if my native language was Italian and *I* was Italian.

I heard enough to recognise the themes though. Passion for love, desperate longing, deep sensuality, etc. It seems the Italian psyche hasn't changed in 400 years.

Did I do well this time with my much shorter response?

Not so well this time.

I was wanting more of your characteristic informed and critical analyses. You managed it with Lully though.

I thought you'd say more about de Polanco, as surely it helps that you have a shared heritage, language, and country? (I just know you will take issue with this statement)

Let me frame it this way - do you regularly listen to any of the names I mentioned? If you had to, which one would you choose?

And beyond those names, who would you say is your favourite 'pre-Handel' composer? Name a few if you want.

I was going to say 17th century but I know you well enough to doubt you define that as being 1600-1700.

 

[belamyi]

If you mean the themes, subtexts, the 'feel' and the 'spirit' then it's very hard to do when so much of it is, very literally, lost in translation. I'd have got a colossal more amount of depth and feeling from it if my native language was Italian and *I* was Italian.

I heard enough to recognise the themes though. Passion for love, desperate longing, deep sensuality, etc. It seems the Italian psyche hasn't changed in 400 years.



Not so well this time.

I was wanting more of your characteristic informed and critical analyses. You managed it with Lully though.

I thought you'd say more about de Polanco, as surely it helps that you have a shared heritage, language, and country? (I just know you will take issue with this statement)

Let me frame it this way - do you regularly listen to any of the names I mentioned? If you had to, which one would you choose?

And beyond those names, who would you say is your favourite 'pre-Handel' composer? Name a few if you want.

I was going to say 17th century but I know you well enough to doubt you define that as being 1600-1700.

It's fucking music! if you are music illiterate enough you will not be getting much from the "musical dramas" only with the librettos.

I'm sorry but I am too busy and stressed lately and I come to this site to relax, not to strain myself under your queries and inquiries

BTW, did you notice today I mentioned Vivaldi's Tito Manlio in another thread?

 

[belamyi]

 

[Harke the Boeotarch]

Shoot!

 

[belamyi]

:thumb458450477:

What's that, someone's size in nanoinches?