I am an intellectual lightweight, so feel ill equipped to discuss form and content without Jean. Late medieval and early Renaissance church composers would have regarded their forms (cantus firmus, isorhythm, menusuration canons, etc) as religious devices in themselves, and hence, for them, content would be an inevitable result.
This put me in mind of an unpleasant performacne of VW's G minor Mass broadcast yesterday on Afternoon on 3. VW had (rather in the same vein as a Renaissance composer) set out to write this with a set of 'rules', namely that there should be no dissonances whatever, just pure triads. There's the form. Content, i.e. an ethereal, spiritual sound soaringl to the heights of (perhaps) a great medieval vault, was entirely missing because the BBC Singerrs cannot and should not attempt music where the beauty of well-tuned triads and effortless soaring lines (the form) are the means of producing it.
Got a bit off topic there maybe. Possibly it was the early Romantics (and I regard Weber as one such) who thought of content first and then strove to achieve it with the musical language at their disposal. Think how The Storm in Beethoven's Sixth might have turned out if he'd had the tools of, say, Korngold at the tip of his quill?
This put me in mind of an unpleasant performacne of VW's G minor Mass broadcast yesterday on Afternoon on 3. VW had (rather in the same vein as a Renaissance composer) set out to write this with a set of 'rules', namely that there should be no dissonances whatever, just pure triads. There's the form. Content, i.e. an ethereal, spiritual sound soaringl to the heights of (perhaps) a great medieval vault, was entirely missing because the BBC Singerrs cannot and should not attempt music where the beauty of well-tuned triads and effortless soaring lines (the form) are the means of producing it.
Got a bit off topic there maybe. Possibly it was the early Romantics (and I regard Weber as one such) who thought of content first and then strove to achieve it with the musical language at their disposal. Think how The Storm in Beethoven's Sixth might have turned out if he'd had the tools of, say, Korngold at the tip of his quill?
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