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Juilliard Releases Banned Repertoire List
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I imagine this would fairly devastate Curtis!

am I the only one who can't open this?

This slots nicely with the neglected repertoire thread - everything that is not on the banned list is on the neglected list.

The "there's a reason this music is so popular" bit was particularly funny - I didn't realize that was a trope beyond PW.

Well the fact that seems the only website publishing that story makes.me think it is fake

I'm beginning to think the same thing...

Some of it seems a little over-the-top. I can understand banning certain pieces that are over-played, but violists banned from playing "any passage of music containing a rhythm in 16th-notes or faster" and vocalists from "any Mozart aria containing a trill"... that takes it a tad too far.

If it is true, I'd like to see a full list.

Edit: just noticed the point at the bottom of the page:
"Note: Submediant is a satirical segment within The Backyard (see: the logo), and its contents should not be mistaken for real events—however believable."

Guys, wake up. "The Yard" is a student-run newspaper at Juilliard. It's a joke. Got it???

Footnote to the article :

"Note: Submediant is a satirical segment within The Backyard (see: the logo), and its contents should not be mistaken for real events—however believable."

Cheers!

Argh, they missed something - should've included "EVERYTHING WRITTEN BY CHOPIN", perhaps excluding the op. 45 prelude. (which - why the helll doesn't anybody play!?!?)

What's wrong with Chopin? Not everything written by.him.is.overplayed

I can't retrieve it either. Does anyone have a better link?

No. Only about 88% of it.

Surprised they didn't toss Prok 2 and 3 and his 6th and 7th sonatas, which are not only overplayed, but would sound suuper harsh while being practiced

Thanks for sharing the link. It brought a smile to my face and made my day! I loved the bit about "especially composers and Historical Performance students".

I really can't believe how many people think this is real. I mean jesus christ.

As a dad of a Baroque flute student (whose last performance was with a harpsichord accompanist), I had to smile at that one as well. I had fun with the image of a harpsichord player gnashing proverbial teeth at the sound of over-pedaled 19th century piano music.

Have you all seen the Aspen/marijuana article? I was rolling over on my sides!!

I didn't think anyone did???

I think it's a remarkable work and, apart from the cadenza which I haven't yet mastered, I enjoy playing this work a great deal. How would you analyze it, harmonically; what tonalities become momentary tonic keys and which ones would be considered simply leading? With all the modulations, is there a key in this piece that Chopin has not touched upon?

Regards,

I often get the sense with Chopin that he operates not along the vertical, as Rameau espoused in his treatise on harmony, but along the horizontal like Bach. He composed using counterpoint and long lines and voice leading, and in so doing I feel he mastered harmony more completely than any other composer in history. In this Prelude, he uses another Baroque device, the sequence, together with the effortless modulations that characterize his late work.

Sounds like utter BS.