TTC Video – Concert Masterworks

(This course is immediately available) Brahms’s deep sense of caution, engrained by his solid middle.-How his class background influenced his choice of publishing topics. File size: 5.18GB

TTC Video – Concert Masterworks

Have you ever wondered what goes through a composer’s mind during those magical weeks and months when a musical composition—something meant to become a listening experience—is being notated on paper? Have you tried to imagine the creative process that boils inside geniuses like Mozart, Beethoven, Dvorák, Strauss, Brahms, Mendelssohn, or Liszt? Or any composer?
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    Is it pure inspiration?
Is it possible for a composer to hear the music before picking up a pen?
Or, does the music actually start on that blank piece of paper?

What is most important is that lay listeners, like us, who are not trained in the technicalities and nuances of music, can be taught to hear the creative intents of a composer.
Learn the art of listening to great music

Can we learn to listen so that great music is even more enjoyable and insightful?

Dr. Robert Greenberg believes that the answer to this last question is “yes.”

Now, the winner of three Nicola De Lorenzo Prizes for composition, whose music courses cover several classical genres is among our most loved, is attempting to prove his point again.

He has created a course designed to give you a new level of sophistication as a music listener—using as his teaching tools some of the most memorable works in all of music.
You can achieve a new level in listening sophistication

This course will teach you the skills to recognize and interpret all aspects of musical structure, narrative, and purpose in music.

Although this course is quite demanding, and requires a deeper understanding musical structure than the average listener, it is not overwhelming.

Professor Greenberg is able to place each composition and its creator in the historical and musical context of their time. So you can fully understand the music’s societal and artistic context.

His vivid descriptions evoke dramatic images of:

Precocious young Mozart
Beethoven’s journey towards his goals “Heroic” style, his inner tendencies were exaggerated during turbulent times
Brahms was a solid middleman, and he instilled in him a profound sense of caution.-How his class background influenced his choice of publishing material.

Professor Greenberg shares fascinating details about the musical world that each composer created in these lectures.

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Discover Beethoven’s Advantage Over His Predecessors

It is possible to learn, for instance:

Beethoven had a tremendous advantage over his harpsichord because of how the piano evolved and how design innovations helped.-Predecestors who were trained
How the 19th-Century cult of individual artists as heroes led to the rise in virtuoso stars such as Niccolo Paganini, an Italian violin virtuoso who revolutionized violin playing and inspired Liszt into becoming a piano virtuoso like no other.
how the folk elements used by nationalist composers became part of the shared, common language of concert music, so Dvorák could feel perfectly comfortable using “American” Elements in his Symphony no. 9 The New World Symphony is examined in this course.

The course’s core is its outstanding structural analysis of eight of most important pieces of music ever created. Professor Greenberg has divided the composers and their works into four pairs that each clarify different aspects of music.

Part I: The Classical Piano Concerto:

Mozart—Piano Concerto no. 25 in C Major K. 503 (1786).
Beethoven—Piano Concerto no. 5 in E-flat Major, op. 73, The Emperor Concerto (1809).

The emphasis of these lectures is on the musical substance of the concerti themselves—their formal structure, thematic relationships, expressive content, and the role of the piano soloist.

Part II: Nationalism and Expressionism during the Late 19th Century Features:

Antonín Dvorák—Symphony no. 9 in E Minor, Op. 95, The New World Symphony (19893)
Richard Strauss—Death and Transfiguration (1889).

Here Professor Greenberg focuses on Dvorák’s structural use of conflicting keys to reflect conflicting themes, and on Strauss’s tone poem as an example of a “through-composed piece,” In which themes and motives are created from material that precedes them.

Part III: The Great 19th-Century Violin Concerti features:

Beethoven—Violin Concerto in D Major, op. 61 (1806)
Brahms—Violin Concerto in D Major, op. 77 (1878).

In comparing these two works—the “backbone of the 19th-century violin concerto repertoire”—Professor Greenberg shows how the work of Beethoven, trained in the structures and techniques of 18th-Century Classicism, and Brahms the 19th-century Romantic, so clearly reflect the characteristics of each.

Part IV: Early Romantic-Era Music features:

Felix Mendelssohn—Incidental Music, op. 61 (1842), Overture to A Midsummer Night’s Dream and 61 (1842). 21 (1826)
Franz Liszt—Totentanz (1849).

Professor Greenberg discusses Mendelssohn’s hilarious and endearing interpretation Shakespeare’s comedy with Liszt’s masterful example of Romantic era fascination with the Gothic, and the macabre in his 14th century work.-Century Black Death
Deep Structural Understanding

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This is a way to study musical composition more deeply than ever before.

Professor Greenberg refers to the experience as understanding great works architecture. Although we can see their surface and be moved by their beauty in their beauty, our eyes won’t be able to comprehend their greatest glories unless we learn to see them and understand them.

They are constructed
Their clever blending of technique and purpose is a genius feat
They are a force of philosophy.

Your listening experience will change dramatically if you can perceive the artistic, structural, expressive and narrative information that composers add to music.

What is the result? Music that you listen to is more vivid, vibrant, life-enhancing and exciting. It’s all about the experience.
Explore New Methods to Plumb Music’s Depths

These lectures give you the tools of vocabulary and the structural fundamentals most of us, no matter how much we love music, have never acquired—even if you’ve taken “music appreciation” You have learned how to play an instrument on a basic level.

You also gain an understanding of the structural conventions that original audiences assumed as a given, which allows you to share musical experiences with those audiences when you are challenged or surprised by a composer’s deviation from these conventions.

Three components are required to ensure that you get the best out of the lectures.

Background: The life, times and personality of the composer under investigation.
A thorough examination of the work being studied, including analysis of its form, themes and thematic relationships, expressive contents, and other details.
The WordScore Guide—a unique visual device that allows you to follow the musical narrative as it unfolds before you, even if you can’t read a note of music.

This course will help you understand how a composer can surrender to the status quo or defy it. You’ll also be able, just like the first audience, to feel the full intellectual and expressive power of music.

 Here’s What You Will Get In TTC Video – Concert Masterworks