mass in d major

anonymous asked:

Wow, your summer sounds stressful. Sorry things aren't going your way... I hope you have a great turn around soon! What would you change your major to? Are you going to be in college longer than 4 years now?

So, technically I wont be in college for more than four years since I’m taking the semester off, lol. That six months doesn’t count! And I would probably do 15 credits a semester, instead of 12, when I got back and another 6 credit summer semester next year in order to make up for the break. I graduated high school a year early so I have time to spare. I’ll still graduating college at 21, that’s all part of my justification for this (since I do feel like I have to “sell” the idea to my dad even though I’ll be relying on him less now that I’m paying for my own insurance).

Idk what I’d change my major, too. I had consider Mass Com. but I’m not smart enough for that. I’m really not all that smart in general? I might keep with English but look into teaching or business certification just so I can go into education or something involving pr after. It’s not that stressful, just disappointing and it all just happened so I’m still really in my feelings over it.

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WOMEN COMPOSERS

▪ ETHEL SMYTH (1858-1944)

Dame Ethel Smyth was an English composer and suffragette. She was alternately praised and panned for writing music that was considered too masculine for a “lady composer”. “Smyth’s music was seldom evaluated as simply the work of a composer among composers, but as that of a “woman composer.” This worked to keep her on the margins of the profession, and, coupled with the double standard of sexual aesthetics, also placed her in a double bind. On the one hand, when she composed powerful, rhythmically vital music, it was said that her work lacked feminine charm; on the other, when she produced delicate, melodious compositions, she was accused of not measuring up to the artistic standards of her male colleagues.” {x}

Notable Works: Concerto for Violin Horn and Orchestra, Mass in D Major, operas The Wreckers and Der Wald.

Schubert in 1815, age 18

The year 1815 has been called Schubert’s annus mirabilis. This hardly overstates the case. His output in this year can be summarized as: four Singspiele, a symphony and a half, a string quartet, nine works for solo piano, eight or nine church works involving orchestra, some two dozen partsongs mostly with piano accompaniment, and about 140 songs. It is worth analyzing the rate of productivity and extrapolating an illustration that will be readily understood by anyone who has dabbled in composition, has played music if only for private pleasure, or simply knows a few works by Schubert. Schubert composed about 21,850 bars of music in this one year, of which 11,072 involved an orchestra. Arranged out over the calendar year of 52 weeks, this amounts to an output of 420 bars a week, of which 213 bars involve an orchestra. This would mean that Schubert produced, in each week of 1815, the equivalent of the slow movement of the Third Symphony; the Gloria of the Mass in G; the slow movement of the E major piano sonata, D. 157; the partsong Trinklied for TTBB and piano, D. 267; Erster Verlust; Heidenröslein; Sehnsucht [Lieder].
     Given that this illustration permits no weekends off and not even a single day’s holiday throughout the year, it would be remarkable enough if Schubert were a full-time composer. But he was employed throughout the year as a teacher in his father’s primary school. Taking all these factors into account, and the fact that Schubert maintained social contacts, had twice-weekly lessons with Salieri, went to concerts and opera performances, undertook some private teaching, attended the regular [family] orchestra rehearsals at Frischling’s, and presumably enjoyed moments of relaxation and exercise, his productivity was phenomenal … If a true composer is one who can seldom escape the compulsion to compose, Schubert was probably the truest composer of all time. 

Schubert: The Music and the Man, Brian Newbould