Tallis and Byrd, Haydn and Mozart, Schumann and Brahms-- these are pairs of composers who were friends.
In each pair, the former is older and writes in a more pure, direct style. For example, one cool old guy I met said of a Haydn symphony, "It's so fucking human!"
The latter in each pair revered his older friend and writes in an intricate revision of the same style. They include more emotional ambivalence. Compare the ranging emotion of Schumann's C-major symphony with the superimposed emotions of Brahms' D-major.
Anyway, these artistic relationships are very exciting. They give us *two* looks at the same musical territory. Two whole ouvres. This is way better than twice as good.
To some extent, Schubert carries on the Haydn-Mozart thing and Dvorak carries on the Schumann-Brahms thing. Bill McGlaughin points out that these Bohemians bring a wonderful kind of dream logic to their respective lineages.
*Three* is just beyond awesome.
Tallis and Byrd, Haydn and Mozart, Schumann and Brahms-- these are pairs of composers who were friends.
In each pair, the former is older and writes in a more pure, direct style. For example, one cool old guy I met said of a Haydn symphony, "It's so fucking human!"
The latter in each pair revered his older friend and writes in an intricate revision of the same style. They include more emotional ambivalence. Compare the ranging emotion of Schumann's C-major symphony with the superimposed emotions of Brahms' D-major.
Anyway, these artistic relationships are very exciting. They give us *two* looks at the same musical territory. Two whole ouvres. This is way better than twice as good.
To some extent, Schubert carries on the Haydn-Mozart thing and Dvorak carries on the Schumann-Brahms thing. Bill McGlaughin points out that these Bohemians bring a wonderful kind of dream logic to their respective lineages.
*Three* is just beyond awesome.
-Thought up by Ben Heasly.
.