Well, here it is, the greatest composer of music of all time, Giovanni Battista Pergolesi, presented by these wonderful young talented musicians, a gift that sadly almost no one will be able to appreciate. Thank you, Kris and Seri. When the West finally finds out about the transcendental qualities of Pergolesi's music, unparalleled in human history, people will be shitting in their pants, as the American saying goes. And you will have earned a place among the stars. Don't forget, Jean-Jacques Rousseau is on our side. We will win this. Trust me. Leo Depuydt
@@trombonegamer14 The Spaniard Esteban Arteaga In 1785 published a complete three volume history of Italian opera. President Jefferson owned a copy in his library at Monticello and that copy is still at the library of congress. Other volumes of his library were lost in a library fire around 1850. That includes the 12 volume edition of Pietro Metastasio's libretti. I was able to secure a first edition of Arteaga from the antiquarian librarian Zanfrognini in Modena, Italy, and it arrived a few weeks ago. I cite from pages 22 and 23 of the second volume. Someone is called "inimitable." He is also called the Raphael of music and the Virgil of music. Wow! Who could this be? Let us read: "Pergolesi, il gran Pergolesi divenne inimitabile per la semplicita` accopiata alla grandezza del suo stile, per le verita` dell'affetto, per la naturalezza, e vigore della espressione, per l'aggiustezza, ed unita` del disegno, onde vien meritamente chiamato il Raffaello, e il Virgilio della musica. Simile al primo egli non ebbe altra guida, che la natura, ne` altro scopo, che di rappresentarla al vivo, _L'arte, che tutto fa, nulla si scopre_. . . . Niuno meglio di lui ha saputo ottenere i fini, che dee proporsi un compositore: niuno ha fatto miglior uso del contrappunto, ove l'uopo lo richiedeva: niuno ha dato piu` calore, e piu` vita ai Duetti . . ." ( I could go on). PS I also own the 1785 edition of Metastasio, acquired recently from London. President Jefferson's copy did not survive.
@@trombonegamer14 This is what I wrote at the video of Rameau's symphonie imaginaire (easy to find on TH-cam). Rameau would have applauded Kris and Seri because he regretted so much later in life that he had not composed all his life like Pergolesi. "THIS IS NOT MUSIC! IT IS JUST PLEASANT NOISE! (It starts with) BOOM! BOOM! BOOM! And surprise, surprise: Rameau himself would agree with me (and many others) I stated somewhere else in a comment to the video (“Symphonie imaginaire") of the music of Rameau something like the following: THIS IS NOT MUSIC! IT IS JUST PLEASANT NOISE! Obviously, someone took offense; I decided not to get into a rotten tomato contest. Who knows where this was going to end? Fortunately, duels went out of fashion. Or at least, I hope. I am too young to die! I realize that many people have derived much pleasure from listening to this. I can understand that. It is easy to get caught up in all the pomp and the grandeur of Versailles. And Rameau’s compositions are not unpleasant at all. Vive la France and all that! The dresses, the splendor, the decor. Make no mistake: J’aime la douce France like no other. I therefore decided to take a second and third listen. Maybe I missed something. But my opinion just got worse and worse. This music is just so bad as music per se (though not necessarily as pleasant noise), especially in comparison to contemporary Italian music (see below). At some point, it seems as if the musicians were just banging pots and pans. Is this just scarecrow tactics? I fully realize what the reaction to this kind of opinion could be: This is just the opinion of a crazy person who should be banned from the Internet. And yet, this opinion is not mine at all, not mine alone at all. Many people in the eighteenth century thought exactly the same. And what is most important, Rameau himself did. Now really? I own a first edition of the Memoirs of the famous Belgian composer Andre Gretry (who famously stated: “Pergolesi was born, and the truth became known”; and also: “The music of Pergolesi is as indestructible as nature”). In his Memoirs, Gretry reminisced that, while he was studying in Rome, someone said that he looked like Pergolesi. He certainly did not, but it made him so happy. Gretry transmits a credible report that Rameau in his old age told a friend that, if he could start life over, he would move to Naples and compose in the manner of Pergolesi. Wow! What a confession. I could cite so many testimonies that Rameau’s music is pleasant but just fails from a compositional and melodic perspective. I will just cite two references. One is by Jean-Jacques Rousseau, an accomplished composer of music himself whose compositions brought him much wealth. Here is what he writes about French music in his famous letter on French music. The first edition of this letter appeared in the summer of 1753. There were two second editions: one of 1753 and one of 1754. I am the happy owner of the 1753 edition. I am not sure what the first edition would go for these days if a copy is offered for sale. Probably hundreds of thousands if not millions of dollars. And believe me, it would really be worth the money. Rousseau says the following about French music (and he is clearly aiming at Rameau, no doubt): “I think that I have made obvious to all that there is neither a clear beat nor a melody in French music because the French language is not susceptible to either. French song is only a continual squealing, intolerable to every unbiased ear; French harmony is brutish, without expression and suggests nothing other than the filler material of a rank beginner; the French “air” is not an air at all; and the French recitative is not at all a recitative. From all this I conclude that the French do not have music, and that if they ever do have it, it will be all the worse for them.”
Wow! Thanks for taking the pressure away from me, Jean-Jacques. I thought Rameau’s music kind of stinks. But I badly needed your support to confirm my opinion. I hear you got yourself buried in the Pantheon in Paris. Well deserved. Rest in peace, my friend in arms. I hasten to add, again, that some pleasure is to be derived from listening to Rameau’s music/noise. And what is my second testimony? It is that of US President Thomas Jefferson, the principal author of the US Declaration of Independence, the third president of the United States. He was a diplomat France in the late 1780s and even witnessed the French revolution and let people associated with the revolution use his hotel room. President Jefferson is the American president probably most knowledgeable and appreciative of classical music. So here is what he writes: Thomas Jefferson’s books, Sowerby catalogue, vol. IV, 400, epigraph (Chapter XXXII on Music begins on that page) “. . . If there is a gratification which I envy any people in this world it is to your country it’s music. This is the favorite passion of my soul, & fortune has cast my lot in a country where it is in a state of deplorable barbarism . . .” (Letter to Giovanni Fabbroni, June 8, 1778) Do you remember me saying “banging pots and pans.” I was trying to avoid the term “barbarism.” But the third president of the United States of America took the words right out of mouth. Thank you, Mr. President. Your composition of the Declaration of Independence of the United States of America was a fine piece of prose. The French and Lafayette did so much to help out the American cause. So it must have pained you to describe French music, which you experienced in person as a diplomat in France up to the French Revolution and as an ardent student of music (quite possibly America's most musically erudite president), as “barbarism.” But that is what it was and you know it and I know it. Thank you again, Mr. President. You know, Mr. President, it is time to declare Neapolitan music of the earlier settecento UNESCO heritage. Leopold Mozart famously told little Wolfgang something along the lines of: in each of the big cities in Europe (Paris, London, etc.) there may a few good composers but in Naples there are at least 300. Got that, Wolfgang? "Yes, Daddy." Even if one disagrees (with the above possibly very strong language), the question remains worth asking: Why did Jefferson and Rousseau independently make such strong statements? Even before knowing these statements, I had come to the same conclusion. Now why is that? Any enlightenment will be much appreciated. In sum, I still think of Rameau as a highly accomplished individual. Let us charitably assume that he was not scheming too much to get in favor with the royals at Versailles. Still, when it comes to distinguishing the earthly and the transcendental in music, his music was just pleasing noise. As the American meaningless and nonsensical expression says: "Enjoy!" Leo Depuydt
@@leodepuydt308 So, what do you think about the Germans? To me, the French kinda seem to be the weak one in the classical music world in comparison with, say, the Italians and Germans. But... The French baroque music, no matter how frillish it feels, has its own unique charm that I would call French elegance given form in music. I mean, I have my favourite baroque composers from France, ya know. Guys like... Lully, Couperin, Rameau himself etc. Their music some may find boring, plain or simply bland. I can see that and I feel that way too at times. But, over repeated listenings and chances, I sorta start to assimilate their music. Rewired my brain perhaps, but not to my displeasure. And so I see now the French baroque's worth and value in music history. Thanks btw for the elaborate comment. Rare to see real intelligent people on the internet. And I say this about you. 👍👍
Wow, I just totally love the way you play the trombone, Kris! Very musical and expressive, lovely sound quality that is live, centered, and resonant.
A fine demonstration of the technical and lyrical capabilities of the trombone as a solo instrument in baroque literature.
Beautiful!
Beautiful performance!
0:05 > 1
1:40 > 2
3:46 > 3
6:05 > 4
Biutiful
Do you have your solo performances for download anywhere? I absolutely love your playing!
👏👏👏👏👏👍👍
who ever the one dislike is has too high of a standard
Well, here it is, the greatest composer of music of all time, Giovanni Battista Pergolesi, presented by these wonderful young talented musicians, a gift that sadly almost no one will be able to appreciate. Thank you, Kris and Seri. When the West finally finds out about the transcendental qualities of Pergolesi's music, unparalleled in human history, people will be shitting in their pants, as the American saying goes. And you will have earned a place among the stars. Don't forget, Jean-Jacques Rousseau is on our side. We will win this. Trust me. Leo Depuydt
谢谢你们！你们的心是我的心。李德浩。
This is possibly the most pretentious comment I've ever seen.
@@trombonegamer14 The Spaniard Esteban Arteaga In 1785 published a complete three volume history of Italian opera. President Jefferson owned a copy in his library at Monticello and that copy is still at the library of congress. Other volumes of his library were lost in a library fire around 1850. That includes the 12 volume edition of Pietro Metastasio's libretti. I was able to secure a first edition of Arteaga from the antiquarian librarian Zanfrognini in Modena, Italy, and it arrived a few weeks ago. I cite from pages 22 and 23 of the second volume. Someone is called "inimitable." He is also called the Raphael of music and the Virgil of music. Wow! Who could this be? Let us read:
"Pergolesi, il gran Pergolesi divenne inimitabile per la semplicita` accopiata alla grandezza del suo stile, per le verita` dell'affetto, per la naturalezza, e vigore della espressione, per l'aggiustezza, ed unita` del disegno, onde vien meritamente chiamato il Raffaello, e il Virgilio della musica. Simile al primo egli non ebbe altra guida, che la natura, ne` altro scopo, che di rappresentarla al vivo, _L'arte, che tutto fa, nulla si scopre_. . . . Niuno meglio di lui ha saputo ottenere i fini, che dee proporsi un compositore: niuno ha fatto miglior uso del contrappunto, ove l'uopo lo richiedeva: niuno ha dato piu` calore, e piu` vita ai Duetti . . ." ( I could go on).
PS I also own the 1785 edition of Metastasio, acquired recently from London. President Jefferson's copy did not survive.
@@trombonegamer14
This is what I wrote at the video of Rameau's symphonie imaginaire (easy to find on TH-cam). Rameau would have applauded Kris and Seri because he regretted so much later in life that he had not composed all his life like Pergolesi.
"THIS IS NOT MUSIC! IT IS JUST PLEASANT NOISE! (It starts with) BOOM! BOOM! BOOM! And surprise, surprise: Rameau himself would agree with me (and many others)
I stated somewhere else in a comment to the video (“Symphonie imaginaire") of the music of Rameau something like the following: THIS IS NOT MUSIC! IT IS JUST PLEASANT NOISE! Obviously, someone took offense; I decided not to get into a rotten tomato contest. Who knows where this was going to end? Fortunately, duels went out of fashion. Or at least, I hope. I am too young to die! I realize that many people have derived much pleasure from listening to this. I can understand that. It is easy to get caught up in all the pomp and the grandeur of Versailles. And Rameau’s compositions are not unpleasant at all. Vive la France and all that! The dresses, the splendor, the decor. Make no mistake: J’aime la douce France like no other. I therefore decided to take a second and third listen. Maybe I missed something. But my opinion just got worse and worse. This music is just so bad as music per se (though not necessarily as pleasant noise), especially in comparison to contemporary Italian music (see below). At some point, it seems as if the musicians were just banging pots and pans. Is this just scarecrow tactics? I fully realize what the reaction to this kind of opinion could be: This is just the opinion of a crazy person who should be banned from the Internet. And yet, this opinion is not mine at all, not mine alone at all. Many people in the eighteenth century thought exactly the same. And what is most important, Rameau himself did. Now really? I own a first edition of the Memoirs of the famous Belgian composer Andre Gretry (who famously stated: “Pergolesi was born, and the truth became known”; and also: “The music of Pergolesi is as indestructible as nature”). In his Memoirs, Gretry reminisced that, while he was studying in Rome, someone said that he looked like Pergolesi. He certainly did not, but it made him so happy. Gretry transmits a credible report that Rameau in his old age told a friend that, if he could start life over, he would move to Naples and compose in the manner of Pergolesi. Wow! What a confession. I could cite so many testimonies that Rameau’s music is pleasant but just fails from a compositional and melodic perspective. I will just cite two references. One is by Jean-Jacques Rousseau, an accomplished composer of music himself whose compositions brought him much wealth. Here is what he writes about French music in his famous letter on French music. The first edition of this letter appeared in the summer of 1753. There were two second editions: one of 1753 and one of 1754. I am the happy owner of the 1753 edition. I am not sure what the first edition would go for these days if a copy is offered for sale. Probably hundreds of thousands if not millions of dollars. And believe me, it would really be worth the money. Rousseau says the following about French music (and he is clearly aiming at Rameau, no doubt):
“I think that I have made obvious to all that there is neither a clear beat nor a melody
in French music because the French language is not susceptible to either. French song
is only a continual squealing, intolerable to every unbiased ear; French harmony is
brutish, without expression and suggests nothing other than the filler material of a rank
beginner; the French “air” is not an air at all; and the French recitative is not at all a
recitative. From all this I conclude that the French do not have music, and that if they
ever do have it, it will be all the worse for them.”
Wow! Thanks for taking the pressure away from me, Jean-Jacques. I thought Rameau’s music kind of stinks. But I badly needed your support to confirm my opinion. I hear you got yourself buried in the Pantheon in Paris. Well deserved. Rest in peace, my friend in arms. I hasten to add, again, that some pleasure is to be derived from listening to Rameau’s music/noise.
And what is my second testimony? It is that of US President Thomas Jefferson, the principal author of the US Declaration of Independence, the third president of the United States.
He was a diplomat France in the late 1780s and even witnessed the French revolution and let people associated with the revolution use his hotel room. President Jefferson is the American president probably most knowledgeable and appreciative of classical music.
So here is what he writes:
Thomas Jefferson’s books, Sowerby catalogue, vol. IV, 400, epigraph (Chapter XXXII on Music begins on that page)
“. . . If there is a gratification which I envy any people in this world it is to your country it’s music. This is the favorite passion of my soul, & fortune has cast my lot in a country where it is in a state of deplorable barbarism . . .” (Letter to Giovanni Fabbroni, June 8, 1778)
Do you remember me saying “banging pots and pans.” I was trying to avoid the term “barbarism.” But the third president of the United States of America took the words right out of mouth. Thank you, Mr. President. Your composition of the Declaration of Independence of the United States of America was a fine piece of prose. The French and Lafayette did so much to help out the American cause. So it must have pained you to describe French music, which you experienced in person as a diplomat in France up to the French Revolution and as an ardent student of music (quite possibly America's most musically erudite president), as “barbarism.” But that is what it was and you know it and I know it. Thank you again, Mr. President.
You know, Mr. President, it is time to declare Neapolitan music of the earlier settecento UNESCO heritage. Leopold Mozart famously told little Wolfgang something along the lines of: in each of the big cities in Europe (Paris, London, etc.) there may a few good composers but in Naples there are at least 300. Got that, Wolfgang? "Yes, Daddy."
Even if one disagrees (with the above possibly very strong language), the question remains worth asking: Why did Jefferson and Rousseau independently make such strong statements? Even before knowing these statements, I had come to the same conclusion. Now why is that? Any enlightenment will be much appreciated.
In sum, I still think of Rameau as a highly accomplished individual. Let us charitably assume that he was not scheming too much to get in favor with the royals at Versailles. Still, when it comes to distinguishing the earthly and the transcendental in music, his music was just pleasing noise. As the American meaningless and nonsensical expression says: "Enjoy!"
Leo Depuydt
@@leodepuydt308 So, what do you think about the Germans? To me, the French kinda seem to be the weak one in the classical music world in comparison with, say, the Italians and Germans. But... The French baroque music, no matter how frillish it feels, has its own unique charm that I would call French elegance given form in music. I mean, I have my favourite baroque composers from France, ya know. Guys like... Lully, Couperin, Rameau himself etc. Their music some may find boring, plain or simply bland. I can see that and I feel that way too at times. But, over repeated listenings and chances, I sorta start to assimilate their music. Rewired my brain perhaps, but not to my displeasure. And so I see now the French baroque's worth and value in music history. Thanks btw for the elaborate comment. Rare to see real intelligent people on the internet. And I say this about you. 👍👍
1:40
6:05
Жакшы ойнойт кен