clemenshaas wrote:Getting back to the topic: Bach (father), Beethoven (son), Mozart (holy ghost), Dowland, Schumann, Brahms, Rachmaninoff, Skrjabin, Debussy, Ravel, Lennon/McCartney
I guess you believe that's how it must be for everyone, or he has no clue what music is. Well, I hope this view of things helps you to compose new contemporary music. What about composers before your trinity, and what has Lennon/McCartney to do with earnest writing?
clemenshaas wrote:... certainly di lasso and palestrina are not obscure :)
To me obscure (latin ob-scurus) means of dubious origin, unknown, pseudointellectual, out of the dark.
If you meant ‘unknown' then I agree, but not knowing the composers I listed is your personal nescience. When you look at what the orchestras and smaller ensembles play today all over Europe, we see that the gross of the repertoire is different from place to place, not even talking about the local idiosyncrasies.
If you meant the other meanings, then you can discuss the word obscure with the the musician and music lovers in Andalucia and Catalonia for Albéniz Lauro, Mompou, de Falla, Lauro, Granados, Halffter, Montsalvatge, Nin-Culmell, Sarasate, Tarrega - In Naples, Mantova and Venice for Monteverdi, Porpora, Scarlatti, Vivaldi, Albinoni, Benedetto, Ponchielli - In Milano for Rossini, Verdi, and Meyerbeer - In Paris for Jacques Ibert, d'Indy, Florent Schmitt, Ravel, Satie, Poulenc, Varèse, Debussy and back yard composer Saint-Saens - in Zurich for Charles Koechlin, Arthur Honegger, Burkhard, Kelterborn, Raff, Schoeck, Sutermeister - in Rumania for George Enescu - In Aix-en-Provence for Milhaud, de Séverac...
... just to name a few ‘obscure' composers as you call them, quasi non comparable to your trinity, and about Beethoven and Bach, don't get the idea I am not a German myself, I am German back to neanderthal.
Ever thought about taking a composer as what he is, and not comparing him to any other, understanding his personal character and style, instead of praying to your trinity?
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