Немного музыкальной философии

Я имею все основания полагать, что если господин И. С. Бах создал «Искусство фуги» (Die Kunst der Fuge), которое является лучшим в мире образцом для подражания в плане фуги, то труд пана Годовского мы не можем назвать иначе, кроме как «Искусство этюда» (Die Kunst der Studie). Выписывать по две оссии и расставлять аппликатуру почти везде — это пример неподражаемой заботы о пианисте. Так надо писать этюды.

И немного злости в адрес французских коллег по жанру.

I have discovered another source of inspiration of Christides’ Transcendental Etude “Oris”—it’s Saent-Saëns’ Toccata Op. 111 No. 6. Soo...

Saint-Saëns’ music often lacks depth and seems sophomoric. If compared to Alkan, Medtner, Godowsky, Rachmaninov and Liszt, our dear french friend is even inferior and mauvais-tone. However, this is one of his small jewels just to be admired.
My previous passage may seem to insult monsieur Saint-Saëns. Nevertheless, it is not true. He is just not as unique as any of the guys I mentioned. I should not have mentioned Liszt by virtue of the fact that much of his heritage is XIX century salon pop music. Who Wrote music with really serious intentions? Those in my previous comment except for Liszt... Maybe Reubke (if only he lived longer). Maybe Reger (a serious fritz). Maybe Lyapunov. Probably Berlioz. Who, except for Russians, Germans and any of them with Jewish combination? One may call me stereotypical, but I strongly believe that there is very few greatness outside the circle of Russo-Germano-Polish-Jewish composers. Dear Saëns, Massenet, Debussy (bwargh), Ravel (twofold bwaaargh), Bizet, Gounod, Offenbach (Do you often play Bach?—Y-y-yess, I-I Oftenbach!), Pierné, Fauré, Dukas, Satie (baarf!), Les Six... I am very sorry. I feel sad. But I will never hail any of you as a fundamental musical genius.
Forgive me, please!

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