Re pianistic -- I didn’t know that was what it meant! Cool! I had heard the adjective, but had made up my own definition -- something like ‘music which makes outstanding use of the sounds a piano can make.’ For instance, I had always assumed all Rachmaninoff was beyond my abilities, but when I attempted a Rachmaninoff piece my piano teacher said I might be able to manage, I was surprised by the big sound coming out of the piano without me having to do as much as I thought would be required. So I thought of Rachmaninoff’s piano works as pianistic. Some Brahms is like this too. Of course, this notion and the one Joey explains aren’t unrelated -- if a piece lies well under the fingers, it’s likely to make a better sound more readily than one that is torturous to play.
I'm more sporadic with the Name-That-Tune than I would like, but I do enjoy the feature.
Regarding this week's NTT: Gliere? I know he has a harp concerto that I know I've listened to at some point, but it didn't stick with me enough to know for sure if this is it.
I enjoy the challenge - and the opportunity to learn about more music - with the Name That Tune feature. Even though I might not comment for weeks because I have absolutely No Clue where to even start guessing. On the other hand, I've also nailed the answer on several occasions!
If I can ever figure out how to make unidentifiable 30 second clips, I have a list of ideas to submit.
I hope you'll keep the feature, even though the soundbite often swirls in my head unsolved all week . . .
NTT guess: Maybe Leroy Anderson? It’s light and American-sounding and uses a trumpet, and, per the hint. I know him for Bugler’s Holiday and The Typewriter, mainly. But he wasn’t a one-hit wonder, since he also wrote Trumpeter's Lullaby and The Syncopated Clock and some other pretty popular pieces. So I guess I am wrong.
Following along with Chris Willis’ comment, I just am not knowledgeable enough about tonal, fin-de-siècle composers to come up with a list. But since I have a little time left and I already stuck my kinda ignorant neck out with Leroy Anderson, I will listen a few more times and see if i can come up with something more.
I like NTT! If I have a note, I guess it’s this: maybe I haven’t followed closely enough, but it often seems like the pieces are drawn from the same well. (Obscure composers, sorta fin-de-siecle, tonal-ish). I’ve never seen one where the answer was just, like, Mozart or something. When one plays NTT informally by switching on classical radio, I think it’s more fun because the answer could be anything - including pieces that are famous.
Chris said exactly what I was going to say, only better than I would have said it. It’s just too hard for me! It was more than fine when it was hard and on the podcast, because it was so much fun and so educational to hear the three of you riff about your guesses. You picked up on things like orchestration and other stuff that I wouldn’t have thought to use and I learned how to listen more intelligently. But now it’s just me and my inadequate knowledge. So yeah, let’s us listeners who didn’t train as professionals or who aren’t otherwise super-knowledgeable agree to send in some softballs, and Joey and Will agree to lob them to us occasionally. I have held back from sending in pieces from the Renaissance and from the baroque keyboard literature, the only areas where I know anything at all obscure, but that’s left you with little to choose from except what the hosts and Listener Jeremy come up with.
Re pianistic -- I didn’t know that was what it meant! Cool! I had heard the adjective, but had made up my own definition -- something like ‘music which makes outstanding use of the sounds a piano can make.’ For instance, I had always assumed all Rachmaninoff was beyond my abilities, but when I attempted a Rachmaninoff piece my piano teacher said I might be able to manage, I was surprised by the big sound coming out of the piano without me having to do as much as I thought would be required. So I thought of Rachmaninoff’s piano works as pianistic. Some Brahms is like this too. Of course, this notion and the one Joey explains aren’t unrelated -- if a piece lies well under the fingers, it’s likely to make a better sound more readily than one that is torturous to play.
I'm more sporadic with the Name-That-Tune than I would like, but I do enjoy the feature.
Regarding this week's NTT: Gliere? I know he has a harp concerto that I know I've listened to at some point, but it didn't stick with me enough to know for sure if this is it.
Clapping enthusiastically for Tinkerbell here!
I enjoy the challenge - and the opportunity to learn about more music - with the Name That Tune feature. Even though I might not comment for weeks because I have absolutely No Clue where to even start guessing. On the other hand, I've also nailed the answer on several occasions!
If I can ever figure out how to make unidentifiable 30 second clips, I have a list of ideas to submit.
I hope you'll keep the feature, even though the soundbite often swirls in my head unsolved all week . . .
NTT guess: Maybe Leroy Anderson? It’s light and American-sounding and uses a trumpet, and, per the hint. I know him for Bugler’s Holiday and The Typewriter, mainly. But he wasn’t a one-hit wonder, since he also wrote Trumpeter's Lullaby and The Syncopated Clock and some other pretty popular pieces. So I guess I am wrong.
Following along with Chris Willis’ comment, I just am not knowledgeable enough about tonal, fin-de-siècle composers to come up with a list. But since I have a little time left and I already stuck my kinda ignorant neck out with Leroy Anderson, I will listen a few more times and see if i can come up with something more.
I think Anderson is a great guess! The way it modulates chromatically several times but repeats the same theme each time seems quite light-music-ish
Thanks, Chris! Let’s keep this mutual admiration thing going :-)
I like NTT! If I have a note, I guess it’s this: maybe I haven’t followed closely enough, but it often seems like the pieces are drawn from the same well. (Obscure composers, sorta fin-de-siecle, tonal-ish). I’ve never seen one where the answer was just, like, Mozart or something. When one plays NTT informally by switching on classical radio, I think it’s more fun because the answer could be anything - including pieces that are famous.
Chris said exactly what I was going to say, only better than I would have said it. It’s just too hard for me! It was more than fine when it was hard and on the podcast, because it was so much fun and so educational to hear the three of you riff about your guesses. You picked up on things like orchestration and other stuff that I wouldn’t have thought to use and I learned how to listen more intelligently. But now it’s just me and my inadequate knowledge. So yeah, let’s us listeners who didn’t train as professionals or who aren’t otherwise super-knowledgeable agree to send in some softballs, and Joey and Will agree to lob them to us occasionally. I have held back from sending in pieces from the Renaissance and from the baroque keyboard literature, the only areas where I know anything at all obscure, but that’s left you with little to choose from except what the hosts and Listener Jeremy come up with.
idk but keep ntt! Stan thinks he recognizes it from a Hallmark Christmas movie.