Tonal music, the foundation of much contemporary music, revolves around triads and reflects a cultural interpretation of the harmonic series rooted in physics. Although it serves as a rich resource yielding countless musical possibilities, it has faced historical criticism, especially in educational settings. The transition from the tonal structures established by Bach through to the Romantic era introduced dissonance, leading to a complex evolution in music. As dissonance accumulated, composers began to experiment with music devoid of a tonal center, birthing innovative methods of organization such as serialism, pioneered by Schoenberg. This approach emphasized preordained sequences of tones and a systematic interpretation of music that disconnects from traditional emotional expression. This transformation into an abstract musical language marked a significant shift in the 20th century, fostering a culture of increasingly complex and abstract compositions.
It wasn't that long ago, historically speaking, that you might put on your tuxedo or floor-length evening gown to go out and hear a live opera or symphony. But today's world is faster, more technologically connected, and casual. Is there still a place for classical music in the contemporary environment? Max Richter, whose new album In a Landscape releases soon, proves that there is. We talk about what goes into making modern classical music, how musical styles evolve, and why every note should count.
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Blog post with transcript: https://www.preposterousuniverse.com/podcast/2024/09/09/288-max-richter-on-the-meaning-of-classical-music-today/
Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence. He was a co-founder of the ensemble Piano Circus. His first solo album, "Memoryhouse," was released in 2002. He has since released numerous solo albums, as well as extensive work on soundtracks for film and television, ballet, opera, and collaborations with visual artists.
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