Samuel Andreyev is a composer, professor, and host of the Samuel Andreyev Podcast. This channel features his lectures, analysis videos, interviews and videos of his compositions.
Tout qu'il dit est pertinent pour la musique aussi.
@yoddeb3 сағат бұрын
Because it is boring. Since 99.99999% of the population knows nothing about musical theory, modern music offers them nothing.
@jgmbennett3 сағат бұрын
Merci !
@jgmbennett3 сағат бұрын
Votre français est impeccable
@Cleekschrey4 сағат бұрын
Love him
@johnpcomposer5 сағат бұрын
It was like he was good at taking the stapler apart but not as good at putting it back together.
@AndrasAtlason6 сағат бұрын
There is extraordinary depth in this conversation. Every word coming out of his mouth seems to scream that art cannot be confined. It is only something if it is everything; life itself. Regardless of KZread analytics, the impact this can have on an individual artistic mind is incalculable, as it surely was for me. Thank you both for this and keep these coming.
@samuel_andreyev5 сағат бұрын
It was predictable that this video would not find favour with the Algorithm: it’s in French, it’s long, it’s with a Belgian photographer, it has little to do with music. Yet, it was important to do it, and I hope it meets with sympathetic ears, as it appears to have done with you.
@Scriabinfan5938 сағат бұрын
I always have wild reactions to Lachenmann’s music. I either think it’s really cool or really stupid. Never anything in between.
@samuel_andreyev8 сағат бұрын
Same
@jonathanparrycomposer10 сағат бұрын
Spot on Samuel...It's hard to be brave and different. There is an orthodoxy in education, publishing and funding which gives the available money and performances to superficially complex music and is wary of anything else - so it's possible to make a living in that avant-garde world by being 'in the swim'. Dare to step outside it and integrate more direct material and you then run the risk of competing with genuinely 'popular' music where the streaming royalties would leave you penniless...I like both avant-garde and more direct styles if they're original, but it baffles me that 'edge cases' are what grab all the available sponsorship money, performances and prestige publishing - it just becomes a self-fulfilling avant-garde prophesy.
@nidhishshivashankar488522 сағат бұрын
Thumbnail made me think this was a Lex Fridman episode for a second 😅
@VaSavoir200722 сағат бұрын
I’m absolutely obsessed with Xenakis and I thought I knew of every book about or by him, and then I find this. It wasn’t in the bookshop at the Xenakis exhibition in Paris in 2022, and they had an LP! On the other hand the time when I spent the entire day from opening to closing of that exhibition was the last day. I was initially interested in Xenakis only because of my three joint interests of contemporary music, music in general and mathematics. Then my mother brought back a CD of what I think was the only recording of Pleiades at the time, and I was spellbound and lifelong addicted. Hearing Nuits for the first time in a church in Paris of musique contemporaine was and is one of the most powerful moments of my life, I have not been able to interest many other people in his music, I don’t understand why. One friend even sneered at him as pretentious, which I didn’t understand. He is a hero of mine really. Many of my heroes in art seem to be people who met a bitter fate fighting on right side of history, and then turning their revolutionary adroit to the art world. This list is extremely useful. Maybe the book about popular music will give me an inkling into a domain I have a tin rat for with rare exceptions except for all of it used in the films I love. Alas I never met Xrnakis. I prefer to meet my heroes if I can but with him I never managed it,
@edelcorrallira23 сағат бұрын
Well it's quite interesting to listen to a complete opposite view to your own. You have but yourbowm eyes and ears to guide you, borrowing someone else's is a way of broadening your horizons. I absolutely love Shostakovich as well as Mosolov and most Russian futurism (before Stalin), but in the case of Shostakovich I simply love his catalog. So having someone present a different perspective is something I appreciate. It would be interesting to think well, what would have that humorous young enterprising man have turned out to be without the darkness of the Stalin regime and all those restrictions on art? What if Russia had become capitalist or retained their monarchy, how would that have shaped him provided he kept developing his vocabulary? These questions are often not formed because oh I love his 8th String Quartet, oh that thunderous rollercoaster of emotions that is his 7th with Leningrad being hit by the Russians and Germans simultaneously... Yes yes... But what if Shostakovich had kept on the path of "the nose?" Hmmm well who knows? But I really appreciate this man's insight to merely conyemplate it :)
@emili0xКүн бұрын
i believe this period HAS a lot to do with this seeming stalling of the novel in the composition world. Always struck with me how Terre Thaemlitz mentioned in an essay how music is not an universal language as everything is enclosed in its specific cultural contexts and the current influx of information we have might play a subconscious role in that idea, not only we are aware of those limitations but often composers may choose to work within the bounds of the familiar. And as far as the Popular, has sort of become kind of folk music in some form (probably does not make much sense to say this given the proclivities of officiality the process of recording dictates, we really don't have much room for versions moreso the reinforcement of elements) I think one great example is nearly every scene on the internet. Prior and during lockdown all of us doing strange little hyperpop numbers, sharing sample packs etc sort of had me noticing just how wildly different the ethos really is in terms of expression, some of us would have not been making music had it not been for even having a laptop, not to turn this into a romantic spiel of the laptop as the music industry has been selling for the last 20 years, we pretty much get it at this point) but that the exclusivity between the compositional and the pop also happens to have an equivalent between the fine arts and illustration world, the legacy and the new modes of expression that are imbued with "officiality"
@finlybenyunes8385Күн бұрын
Ten minutes? How prolix! Two words should suffice...
@wernervannuffel2608Күн бұрын
As long children and animals and the growth of plants are benefied by music we can speak about "good" music. The musical grammar, linguistics, vocabulary and the entire musical idiomaticum was build-up during the past centuries until all was experimented : The Good, the Bad and the Ugly. We don't needs to have 'new' or 'revolutionary' music theories and/or practices only for the fun to do different things. I'm happy all this experiments were made. But at the very end of all this we only needs to tell good narrative musical stories by composing GOOD music based on all what we learned by the masters. We need to go back to the ancient Greek period, to the Renaissance period, with the real revolutionary invention of polyphony and the Baroque period with the invention of counterpoint and functional harmony of the Common Practise Period. With the enrichments of romanticism, impressionism and expressionism. And the enrichments of good electronic music. I like to see a concerthall full of of high educated or self-taught and well formed autodidacts with a serious dedication and committment as trained musicians that can play on electrophones that will be played as all orchestral instruments are played by wellformed musicians. No with our nowadays synthesizers but with litlle electrophones with their own articulation facilities but played by virtuoze players. For me that's the real future of music. And no focusing too much on things that never had be done, as in much of modern art musea this seems too much the only guiding rule today.
@danantoniumaestrodistortionКүн бұрын
5 minutes in and this is utterly amazing. His views on reality and art are just so interesting. How he uses art to interact with reality.
@samuel_andreyevКүн бұрын
He is an amazing figure and should be far better known
@danantoniumaestrodistortionКүн бұрын
@@samuel_andreyev 100% I agree I can't stop watching this video it's got so many amazing ideas... I'll probably have to watch it a few more time to try to understand more of it.
@danantoniumaestrodistortionКүн бұрын
Omg he knows Meister Eckhart!
@_magnifyКүн бұрын
I've enjoyed your musical analysis, but these videos on more general art criticism convinced me to join on Patreon. Keep up the great work.
@samuel_andreyevКүн бұрын
Thanks for your support! Much more to come.
@ethermod307Күн бұрын
Why didn't you follow the score? That would make it a bit more tolerable, right? Haha!
@armankashefКүн бұрын
The suffering is “why Shostakovich”. And the latest works (specially after Stalin’s death in 1953) are the best of Shostakovich. The last string quartet is a marvellous masterpiece in the whole 20th century music. To say you do not find it appealing for your taste is one thing, but 😊I do not understand how any musician would degrade it.
@jillybe1873Күн бұрын
Schoenberg was indeed a German formalist. Nonetheless, he once claimed that Pavel Haas was the greatest composer ever, so he also heard well avant garde Czech music. His student was the utterly outrageous John Cage - Schoenberg covered the entire range!
@finlybenyunes8385Күн бұрын
You're wrong. I'd rather listen to Kraftwerk, Can, Arvo Pärt, Joni Mitchell, Tangerine Dream, Ella Fitzgerald, Joni Mitchell, Björk, the Beatles or many other excellent artists of the last 70 years. I'm happy to leave the ugly and deservedly obscure stuff to you!
@carlreijer4478Күн бұрын
Is this what vegan music sounds like?
@samuel_andreyevКүн бұрын
Definitely not. Webern was from Austria, you know :-)
@finlybenyunes8385Күн бұрын
Bach's music had intellectual coherence AND was accessible to hoi polloi as well as professors of counterpoint. Which composer of the 2nd Viennese School or their successors was capable of both?
@AlsoSprach_Zarathustra2 күн бұрын
Thanks for the explanation. It gave me more elements to appreciate music I find hard to get into.
@astoranoble89152 күн бұрын
I would pay actual money for a video of Samuel just reading the lyrics to a Chicago drill rap song
@samuel_andreyev2 күн бұрын
Let’s talk
@johnpcomposer2 күн бұрын
Opera has had a hard time figuring out how to be modern without being ugly and it has failed mostly. First you have to tell stories that people care about and things in the modern world they can relate to. Nico Muhly is onto something with Two Boys.
@johnpcomposer2 күн бұрын
Don't forget that opera has split off into the Broadway musical, the movie musical as well as traditional opera. If that is taken into account it's possible to say that some evolution has occurred....a light popular form has survived and remained popular with the public. In the 19th century you had everything from Wagner to the most silly farce and everything in between...and they were all called opera.
@tabletgamer22 күн бұрын
Weird request but please react to Lizzy McAlpine's album Five Seconds Flat. I think you'd find it interesting
@arnaudstegle50342 күн бұрын
Lorsque j'ai entendu la prononciation de Hugues Dufourt, je me suis dis que ce youtubeur américain avait un excellent accent français. Quelques secondes plus tard j'entends que M.Dufourt et vous-même êtes voisins à Strasbourg. Le mystère de l'accent est donc résolu. Je suis moi-même originaire du Grand Ried, mais habite Nancy depuis bientôt trente ans. J'ai découvert votre chaîne ce matin même, une vidéo sur Morton Feldman m'étant suggérée. Il y a pas mal de chose à voir, et passerai du temps à explorer vos vidéos. Bravo pour votre travail et merci de mettre en lumière les musiques d'hier et d'aujourd'hui.
Пікірлер
Tout qu'il dit est pertinent pour la musique aussi.
Because it is boring. Since 99.99999% of the population knows nothing about musical theory, modern music offers them nothing.
Merci !
Votre français est impeccable
Love him
It was like he was good at taking the stapler apart but not as good at putting it back together.
There is extraordinary depth in this conversation. Every word coming out of his mouth seems to scream that art cannot be confined. It is only something if it is everything; life itself. Regardless of KZread analytics, the impact this can have on an individual artistic mind is incalculable, as it surely was for me. Thank you both for this and keep these coming.
It was predictable that this video would not find favour with the Algorithm: it’s in French, it’s long, it’s with a Belgian photographer, it has little to do with music. Yet, it was important to do it, and I hope it meets with sympathetic ears, as it appears to have done with you.
I always have wild reactions to Lachenmann’s music. I either think it’s really cool or really stupid. Never anything in between.
Same
Spot on Samuel...It's hard to be brave and different. There is an orthodoxy in education, publishing and funding which gives the available money and performances to superficially complex music and is wary of anything else - so it's possible to make a living in that avant-garde world by being 'in the swim'. Dare to step outside it and integrate more direct material and you then run the risk of competing with genuinely 'popular' music where the streaming royalties would leave you penniless...I like both avant-garde and more direct styles if they're original, but it baffles me that 'edge cases' are what grab all the available sponsorship money, performances and prestige publishing - it just becomes a self-fulfilling avant-garde prophesy.
Thumbnail made me think this was a Lex Fridman episode for a second 😅
I’m absolutely obsessed with Xenakis and I thought I knew of every book about or by him, and then I find this. It wasn’t in the bookshop at the Xenakis exhibition in Paris in 2022, and they had an LP! On the other hand the time when I spent the entire day from opening to closing of that exhibition was the last day. I was initially interested in Xenakis only because of my three joint interests of contemporary music, music in general and mathematics. Then my mother brought back a CD of what I think was the only recording of Pleiades at the time, and I was spellbound and lifelong addicted. Hearing Nuits for the first time in a church in Paris of musique contemporaine was and is one of the most powerful moments of my life, I have not been able to interest many other people in his music, I don’t understand why. One friend even sneered at him as pretentious, which I didn’t understand. He is a hero of mine really. Many of my heroes in art seem to be people who met a bitter fate fighting on right side of history, and then turning their revolutionary adroit to the art world. This list is extremely useful. Maybe the book about popular music will give me an inkling into a domain I have a tin rat for with rare exceptions except for all of it used in the films I love. Alas I never met Xrnakis. I prefer to meet my heroes if I can but with him I never managed it,
Well it's quite interesting to listen to a complete opposite view to your own. You have but yourbowm eyes and ears to guide you, borrowing someone else's is a way of broadening your horizons. I absolutely love Shostakovich as well as Mosolov and most Russian futurism (before Stalin), but in the case of Shostakovich I simply love his catalog. So having someone present a different perspective is something I appreciate. It would be interesting to think well, what would have that humorous young enterprising man have turned out to be without the darkness of the Stalin regime and all those restrictions on art? What if Russia had become capitalist or retained their monarchy, how would that have shaped him provided he kept developing his vocabulary? These questions are often not formed because oh I love his 8th String Quartet, oh that thunderous rollercoaster of emotions that is his 7th with Leningrad being hit by the Russians and Germans simultaneously... Yes yes... But what if Shostakovich had kept on the path of "the nose?" Hmmm well who knows? But I really appreciate this man's insight to merely conyemplate it :)
i believe this period HAS a lot to do with this seeming stalling of the novel in the composition world. Always struck with me how Terre Thaemlitz mentioned in an essay how music is not an universal language as everything is enclosed in its specific cultural contexts and the current influx of information we have might play a subconscious role in that idea, not only we are aware of those limitations but often composers may choose to work within the bounds of the familiar. And as far as the Popular, has sort of become kind of folk music in some form (probably does not make much sense to say this given the proclivities of officiality the process of recording dictates, we really don't have much room for versions moreso the reinforcement of elements) I think one great example is nearly every scene on the internet. Prior and during lockdown all of us doing strange little hyperpop numbers, sharing sample packs etc sort of had me noticing just how wildly different the ethos really is in terms of expression, some of us would have not been making music had it not been for even having a laptop, not to turn this into a romantic spiel of the laptop as the music industry has been selling for the last 20 years, we pretty much get it at this point) but that the exclusivity between the compositional and the pop also happens to have an equivalent between the fine arts and illustration world, the legacy and the new modes of expression that are imbued with "officiality"
Ten minutes? How prolix! Two words should suffice...
As long children and animals and the growth of plants are benefied by music we can speak about "good" music. The musical grammar, linguistics, vocabulary and the entire musical idiomaticum was build-up during the past centuries until all was experimented : The Good, the Bad and the Ugly. We don't needs to have 'new' or 'revolutionary' music theories and/or practices only for the fun to do different things. I'm happy all this experiments were made. But at the very end of all this we only needs to tell good narrative musical stories by composing GOOD music based on all what we learned by the masters. We need to go back to the ancient Greek period, to the Renaissance period, with the real revolutionary invention of polyphony and the Baroque period with the invention of counterpoint and functional harmony of the Common Practise Period. With the enrichments of romanticism, impressionism and expressionism. And the enrichments of good electronic music. I like to see a concerthall full of of high educated or self-taught and well formed autodidacts with a serious dedication and committment as trained musicians that can play on electrophones that will be played as all orchestral instruments are played by wellformed musicians. No with our nowadays synthesizers but with litlle electrophones with their own articulation facilities but played by virtuoze players. For me that's the real future of music. And no focusing too much on things that never had be done, as in much of modern art musea this seems too much the only guiding rule today.
5 minutes in and this is utterly amazing. His views on reality and art are just so interesting. How he uses art to interact with reality.
He is an amazing figure and should be far better known
@@samuel_andreyev 100% I agree I can't stop watching this video it's got so many amazing ideas... I'll probably have to watch it a few more time to try to understand more of it.
Omg he knows Meister Eckhart!
I've enjoyed your musical analysis, but these videos on more general art criticism convinced me to join on Patreon. Keep up the great work.
Thanks for your support! Much more to come.
Why didn't you follow the score? That would make it a bit more tolerable, right? Haha!
The suffering is “why Shostakovich”. And the latest works (specially after Stalin’s death in 1953) are the best of Shostakovich. The last string quartet is a marvellous masterpiece in the whole 20th century music. To say you do not find it appealing for your taste is one thing, but 😊I do not understand how any musician would degrade it.
Schoenberg was indeed a German formalist. Nonetheless, he once claimed that Pavel Haas was the greatest composer ever, so he also heard well avant garde Czech music. His student was the utterly outrageous John Cage - Schoenberg covered the entire range!
You're wrong. I'd rather listen to Kraftwerk, Can, Arvo Pärt, Joni Mitchell, Tangerine Dream, Ella Fitzgerald, Joni Mitchell, Björk, the Beatles or many other excellent artists of the last 70 years. I'm happy to leave the ugly and deservedly obscure stuff to you!
Is this what vegan music sounds like?
Definitely not. Webern was from Austria, you know :-)
Bach's music had intellectual coherence AND was accessible to hoi polloi as well as professors of counterpoint. Which composer of the 2nd Viennese School or their successors was capable of both?
Thanks for the explanation. It gave me more elements to appreciate music I find hard to get into.
I would pay actual money for a video of Samuel just reading the lyrics to a Chicago drill rap song
Let’s talk
Opera has had a hard time figuring out how to be modern without being ugly and it has failed mostly. First you have to tell stories that people care about and things in the modern world they can relate to. Nico Muhly is onto something with Two Boys.
Don't forget that opera has split off into the Broadway musical, the movie musical as well as traditional opera. If that is taken into account it's possible to say that some evolution has occurred....a light popular form has survived and remained popular with the public. In the 19th century you had everything from Wagner to the most silly farce and everything in between...and they were all called opera.
Weird request but please react to Lizzy McAlpine's album Five Seconds Flat. I think you'd find it interesting
Lorsque j'ai entendu la prononciation de Hugues Dufourt, je me suis dis que ce youtubeur américain avait un excellent accent français. Quelques secondes plus tard j'entends que M.Dufourt et vous-même êtes voisins à Strasbourg. Le mystère de l'accent est donc résolu. Je suis moi-même originaire du Grand Ried, mais habite Nancy depuis bientôt trente ans. J'ai découvert votre chaîne ce matin même, une vidéo sur Morton Feldman m'étant suggérée. Il y a pas mal de chose à voir, et passerai du temps à explorer vos vidéos. Bravo pour votre travail et merci de mettre en lumière les musiques d'hier et d'aujourd'hui.