Messages

But I think we're getting close to submitting any printed notation to such software and having it produce a reliable, decent quality audio rendition without too much user input at all.

If you are saying generating reality-quality other than midi-quality performance, then there won't be miserable circumstances like Ulrich Leykam "conducting" literally his own "Bayreuth Digital Orchestra" to accompany Naxos-Marco Polo's S. Wagner Sonnenflammen production.

I remember there was some experimenting with computer composed classical-esque music in the early 90s. This really isn't a new thing.

Yeah, David Cope is a big name among them. Centaur published recordings of his computer-composed music, as well as 39 volumes of Consortium to Distribute Computer Music (CDCM) recordings with compositions produced by many people. That was many years ago

It has no sense of form, theme and development, so it can't generate real counterpoint. I think the mechanism of large language model dictates it, that is predicting a likely next step using a given last step. While I think there is certainly the possiblility of it referencing some further past material that it processes, it doesn't know abstraction and "understand" what macroscopic pattern is. This, I think, is exemplified by its inability to correctly produce images of intricate decorative patterns.
The way to solve it, I think, is to let another AI trained with pattern abstractions edit the "source material". (Or human arrangers, which results in the rise of their importance).
There are two ways of AI composing, one is audio generation, the other is midi file generation. It is hard to edit the music itself with only an audio file and is defeating its own purpose transcribing it to sheet music. But an AI arranger of midi file could be trained. And I think an arranger AI could be trained on abstracted polyphonic inner workings, and it will rely on midi renditions of existing pieces as its training material. So it could be a good news for midi rendition makers. 

Theodore, are you cooperating with Bartje Bartmans recently? What are your newly discovered recordings aside from what he has uploaded?

Also I don't think anyone's mention the other Alfano recording they just released?

https://www.naxos.com/CatalogueDetail/?id=8.574533

I did, so the topic resurfaced!

Now there are some new orchestral music by him on naxos, including Suite romantica and Divertimento for Chamber Orch w/ Pno Obbligato

from the late 1850s (IMSLP) to 1882/1883 (German Wikipedia)

There's the problem of giving a composition date or a publication date. I think for most of his compositions, the dates from 1880s and 1890s are publishing dates.

Back when I was attempting to compose, I remember hearing one of Beethoven's cello works in concert, had never heard it before, rondo tune stuck. I soon forgot who wrote it and some years later (just) started  writing the opening of a piano quintet on a very similar theme, thinking it mine (after checking it wasn't by the composers who it brought to mind. Then I heard the Beethoven on the radio and that was that. So yep.

I've experienced that, too. I unconsciously took the opening phrase of Halm's Symphony, slightly adjusted it, and used it as the theme in a piano sonatina. Fortunately not too long after that I realized where I got that tune from.

I have the score of symphony no.3 in D-flat major (finale in, and ends in, in C# minor) on my table borrowed from U. Houston.

The third one is really amusing. It borrows from Schoenberg's Pelleas a clarinet passage not long into Mov I, and the beginning of Mov II is entirely from Busoni's PC.

II never knew Lange had composed one.

Maybe you are thinking about Gustav Lange. But this Lange is a totally unknown Julius

After somewhat enjoyed Senfter's PC I returned to Reger PC Mov I (I don't have many problems with the latter two, especially the second one), and still can't quite stomach the latter.
I feel Senfter in her PC made chromaticism somewhat gorgeous, decorating it with occasional consonant "oasis", though surely not up to the grade of Scriabin or Szymanowski, and the slowish and meditative overall tempo helps, although there are tropes of "chromatic sludge" like a tritone step after a semitone step.
Reger in his Gesang de Verklärten exhibits his gorgeously chromatic mode,  but in his Mov I of PC he literally climbed up and down the chromatic scale. It is empty like the introduction/Melisande theme of Schoenberg's Pelleas. But Reger did it with so impetuous a tempo that it is not only boring but also endless.

I find it a bit more tolerable than Mov I of Reger's PC...

I'm sorry to say that I find Senfter's relentless, shifting chromaticism virtually unlistenable for any length of time

I listened to her Clarinet Quintet a few months ago and have the same feeling. She inherited the worst traits of Regerite chromaticism. It is aimless and empty, instead of angular.

The sonatinas are available for streaming on Piano Works, Vol. 6

thank you for your new information Theodore. We are closer to the truth!