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The fact that some here even consider the above to be an example of "phoning it in" is but one little reason I rarely look in these days.



"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy

"It's ok if you disagree with me. I can't force you to be right."

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Originally Posted by stores
The fact that some here even consider the above to be an example of "phoning it in" is but one little reason I rarely look in these days.

Which part of "it's not really an example of 'phoning it in'" did you not understand?

Offensive much.


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Originally Posted by SiFi
Originally Posted by stores
The fact that some here even consider the above to be an example of "phoning it in" is but one little reason I rarely look in these days.

Which part of "it's not really an example of 'phoning it in'" did you not understand?

Offensive much.


I don't remember addressing you. The thread's original post was my target. Whether someone decides to alter their original intent is irrelevant. They said it and that is enough for me.



"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy

"It's ok if you disagree with me. I can't force you to be right."

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Originally Posted by SiFi
Originally Posted by phantomFive
Originally Posted by wr
And that's not the only time he phoned it in, either. It seems to me that once you get away from the most well-known and popular Bach harpsichord and keyboard works, and look at the miscellaneous pieces, you start running into some fairly long stretches of what sounds to me like fairly mindless note-spinning on endlessly repeated patterns. It's just not very interesting writing, IMO, and you'd never be able to predict his great music, if that was all that you knew.

I'm assuming that stuff is mostly from early in his compositional career, but am not sure. And some of it may be falsely attributed, too.

And some of it he might have expected you to add your own improvisations.

As a comparison, I have a copy of the score to Handel's Messiah, at times it's just a melody and a figured bass

I'm coming to this late, I know, but what is so strange about the Messiah example?

Took me a while to get to this, but check out this example from the Messiah:

[Linked Image]

Notice how none of the instrument parts are written out? (except perhaps the bass). Handel expected the performers to be able to figure out what notes to play. A lot of more modern editions actually have the notes written out.


Poetry is rhythm
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Originally Posted by SiFi
Originally Posted by RealPlayer
That example from the WTC is not the kind of thing we're talking about. How come you "can't wait till it's over"? It's over in about 3 seconds.
Maybe my aesthetic insight is off-base; yes, it is only my opinion; there is purpose to the passage (ingeniously dissected by phantom 5)

I understand your feeling on this one lol. I always try to trust my 'aesthetic insight.' If it isn't interesting to me, then surely it won't be interesting to my audience!

Then I try to find a way to make it interesting.


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Maybe Anna wasn't around to edit Johann's output on the phone-in days:

Quote

Did Bach’s wife write his finest works?

Forensic analysis of some of Johann Sebastian Bach’s best-loved works proves they were actually written by his wife, an academic has claimed.

Martin Jarvis, professor of music at Charles Darwin University in Australia, argues that Anna Magdalena, Bach’s second wife, was actually the composer of some of his major works, including the Cello Suites.

The academic, who first proposed his theory to his sceptical peers in 2006, has spent years compiling evidence, with a comprehensive study of handwriting and manuscripts.

A new documentary will now detail the analysis of ink and writing style to "prove" Mrs Bach had far more input than previously thought.

http://www.telegraph.co.uk/culture/...d-Bachs-wife-write-his-finest-works.html

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Originally Posted by Luthrin
Maybe Anna wasn't around to edit Johann's output on the phone-in days:

Quote

Did Bach’s wife write his finest works?

http://www.telegraph.co.uk/culture/...d-Bachs-wife-write-his-finest-works.html

Interesting. The following seems to be the primary evidence:

Originally Posted by article
While Anna is known to have transcribed for Bach in his later years, researchers found the handwriting did not have the “slowness or heaviness” usually attributed to someone who is merely copying, but was likely to have flowed from her own mind.

They also pointed to numerous corrections to scores written in her hand, signalling she is likely to have been composing it as she went along.




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whats the meaning of "phoned it in" can somebody explain?



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Originally Posted by Batuhan
whats the meaning of "phoned it in" can somebody explain?


Some explanations from Urban Dictionary:

http://tinyurl.com/y297k79

Literally, to present something, whether an idea, project, product, etc. by way of a phone call, rather than in person.
Used to describe a lazy or uninspired attempt.
Minimal effort.

Perform an act in a perfunctory, uncommitted fashion, as if it didn't matter.
"She sang the National Anthem, but she was just phoning it in as far as I could tell. "


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Thanks for providing the details. Need to check on this, but off the top of my head I'm thinking this is just voices and continuo, with most likely a chamber organ providing the filler (which would, of course, be improvised based no the figures, though these seem to be rather sparse in the example!). Anyway, good fodder for discussion.


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Originally Posted by phantomFive
Originally Posted by SiFi
Originally Posted by RealPlayer
That example from the WTC is not the kind of thing we're talking about. How come you "can't wait till it's over"? It's over in about 3 seconds.
Maybe my aesthetic insight is off-base; yes, it is only my opinion; there is purpose to the passage (ingeniously dissected by phantom 5)

I understand your feeling on this one lol. I always try to trust my 'aesthetic insight.' If it isn't interesting to me, then surely it won't be interesting to my audience!

Then I try to find a way to make it interesting.

A very mature philosophy.

The enervating effect of this very short passage is largely mitigated by the current practice of performing the fugue much faster than it used to be played in the olden days. However, when it is played faster, it seems almost more perfunctory to me. I guess I'm perplexed by this admittedly vey short passage in a way that is similar to Spohr's feelings about the last movement of Beethoven's ninth: " . . . so monstrous and tasteless and, in it's grasp of Schiller's Ode to Joy, so trivial, that I cannot understand how a genius such as Beethoven could have written it." Of course Spohr was talking about an entire movement of a huge symphonic masterpiece and I am referencing a single bar in an otherwise flawless keyboard piece (IMO). But it still bugs the heck out of me, however unreasonable that may seem. frown


SRF
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