Sociopath Community

prefer baroque. 

Liszt is sure as hell classical music even someone with basic understanding of the genre would get that... 

Exploring new themes or incorporating new styles does not exclude you from the umbrella of classical music.

It's like saying because Mozart's music was enjoyed by the masses and is easy to listen to it is not 'classical'(the 'pop' of his time). When one refers to classical music one usually is referring to symphony based pieces or operas.

Quality contribution to the thread. Clémencic Consort's Carmina Burana sounds interesting though, might have a listen.

SC may have, but you may not much.  Liszt  is not exactly a 'classical' but rather what you'd call 'pop' of his times.  Orff has somewhat the same reputation too.

As for the Carmina Burana, i prefer the original - Clémencic Consort's is the best i heard so far.  Mind you, i loved Orff's version as a teen - it's an absolute must-have for teens, then you grow out of it. 

Well it's a tad less simplified than that.  I wasn't referring to his popularity (mass-appeal) by 'pop'.   There were composers in all periods who didn't hit the mark. 

Strictly spoken "classical" refers to from late/post-baroque (early 18th century, cca. Haydn etc) 'til modernist ('contemporary').  In the broader term, people use 'classical' for anything non-"pop", including preclassical & contemporary.  "Symphony based pieces" and operas are in the minority in that way (esp.in baroque), as most works were written for diff. setups / in diff. formats. 

Myself i like baroque the most, also mediæval/renaissance (commonly called 'early music'). 

Didn't really mean to offend you,  just tried to mirror your opening tone in a likewise fashion. You're not the first one here trying to pull the 'cultured' stint,  it's always a good laugh. (There was even a girl with the name 'Classical' - she may be still cutting herself after the trauma.)

I lack culture. Used to have an affinity (still do) but i don't talk about music or even literature because I quite frankly dont give a crap about what is great and what is bad. And don't choose to degrade any music or hold any certain type on a pedastal 

People are way too obsessed with music. I have little appreciation for it but thank it for it's entertainment 

I'm not really versed in early music so I feel I would miss a lot of the aesthetics of Clemencic Consort's version. I felt that i should open up the thread with some easily accessible classical composers who I was currently making my way through.

As for baroque classical music Handel and Pachelbel hold a special place in my hart.

A friend of mine who was also a organist loved Pachelbel and would always play some of his works and from that it always stuck with me.

G minor's a damn fine fuga, and Koopman is damn good!!  Check out Lionel Rogg's too, i think he's the best (Gribley turned me onto LR.) 

One of my favourites is the toccata and the fuga bits of this (i tend to skip the adagios): 

- it's quite an extraordinary one.  

(Once I learnt the first few pages (approx the first 2+ minutes) of the toccata (also the first bits of the fuga) on piano,  itsa thunder once you get it going.  I totally suck at instruments so for me it's not for making listenable music but for getting inside it - playing it out makes you get it  on an altogether different level than simply listening and/or reading the scora in your head.  Learnt most of the good ol' toccata & fuga in D minor too, but there's a bit in the toccata at around 2 minutes in where my fingers jumble in a heap like a drunk spider. And that's only the lowly piano, nothing like the organ where all four limbs play.)

I'm quite a sucker for toccatas,  though they demand the most of the player's own interpretation/instinct - thus the most prone to fuckups, but also to brilliance.