Most boring piece ever written?

Contratrombone64

Admiral of Fugues
Now, in the category of the most boring piece of music EVER written, I give first prize to:

Gorecki's Symphony Number 3, "Sorrowful Song"

For me it is tedious, irksome and brain dementing in the extreme.
 

Dorsetmike

Member
Sir, how dare you use that title in the same post as the word MUSIC, I find it most offensive, MUSIC is something pleasant, a joy to hear, not the cacophony you mention.

As soon as I hear it mentioned it gets switched off before the announcer has finished yakking. The names Einnaudi, Part and Glass trigger the same reaction.

As a matter of interest how many recordings of the mentioned abomination have been made, also has anybody other than Einnaudi recorded or performed any of his ramblings
 

Krummhorn

Administrator
Staff member
ADMINISTRATOR
Thinking that I had not heard this piece before, I had a listen on YT ... that jogged my memory back to the college days when we had to listen and analyze that composition in a Music History & Literature class. Yup ... it's certainly not my cup of tea today anymore than it was then. :crazy:
 

methodistgirl

New member
I know of another song that's boring. Pie Jesu puts me to sleep
everytime we sing it in the choir. Any other latin piece but that!
judy tooley
 

Soubasse

New member
Usually, I tend to stay clear of threads like this as they can only ever convey a subjective opinion rather than any sort of fact. What some call tedious, irksome, boring or dull, others may call relaxing, contemplative or introspective and therefore derive their own enjoyment from it for those reasons. I happen to be a fan of Glass and Pärt for example - not every single thing they've done but I am appreciative of their contribution to contemporary music and have enjoyed performing their works too.

By the same token I'm not a fan of every single thing of dear old JSB. There are a few of his pieces that I find intensely boring but in which others find beauty and enjoyment.

I apologise if anyone takes offence, but I have to put up with this sort of thing on a depressingly regular basis from classes who are so resistant to listening to anything that's practically less than a couple of days old, let alone a couple of centuries.
"It's boring!"
"Really? Why?"
"Because I don't like it"
"That's not a valid reason for it to be boring. Why don't you like it?"
And from there, what little there is of any sort of intelligent "conversation" boils down to the fact that they just don't understand it and have no desire to understand it which makes my job even harder because I'm trying to make them understand it!:crazy: They're supposed to be there to learn things beyond their own little world and their own - uninformed - opinions.

Most of us here on the other hand have been around the traps long enough to formulate an informed/educated opinion, but that's still all it remains, an opinion. In other words; To each their own.

By the way, I'm not a huge fan of the Gorecki either, but I certainly don't dislike it. And for what it's worth, amongst my list of what I consider boring includes:
- Mozart Eine Keline Nichtmusik : Its overt trite-ness makes it boring for me, can't stand it.
- Rheinberger Organ Sonatas : Was once (thankfully only once) made to sit through a couple of them and was bored with each of them.
- Some Mendelssohn Sonatas bore me as well.
- Ravel's Bolero : Not a fan, good exercise in orchestration (which I gather was its original intention), but ultimately tedious. His piano works however, I love hearing!
- JSB Prelude I in C Maj (from the WTC) : Interesting technical exercise to test the tuning of the harpsichord, but as a piece of music, it's dull.

Remember, it's only my opinion, and so in the end, should only matter as much as anyone elses! :grin:
 

Contratrombone64

Admiral of Fugues
Well now, my South Australian friend, for someone who boldly stepped out criticising this thread of being 'personal' and stating that you never particiapate ... you certainly not only HAD your cake and ate it but you bloody well baked it, too.

:)
 

jhnbrbr

New member
^^ Molto :lol::lol: 's @ CT64! I would have to disagree with much of Matt's list, but it (ie this subject) really is so subjective, arguing about it would be pointless. To take just the Bach Prelude #1, if it's played how I like to hear it played, it seems to me to take on a hypnotic quality, which is quite different from boring. However, Gounod must have agreed with Matt, or he wouldn't have felt the need to add a melody to it. I must admit there's one of the Goldberg Variations (somewhere in the middle) which I find extremely tedious, and I always breathe a sigh of relief when it's over. All the others I love.
 
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jhnbrbr

New member
jhnbrbr - ah WHICH of the Goldbergs do you find irksome? I like just about all of them but not the whole bunch, too.

It's variation no 25 which makes me fidget in my seat :( - it seems to go on and on and on, and it just seems so dead and empty, like a musical wasteland. But I'm sure the fault lies with me, not JSB!

On the subject of the Goldbergs (and straying way, way off topic) I heard Joanna MacGregor play the ending in an intersting way. She finished the quodlibet with a fine flourish and lots of sustaining pedal, so lots of notes were left hanging in the air, then - with the pedal still down, she started to play the Aria very quietly underneath it. Then as the other notes faded away you gradually heard the beautiful simplicity of the Aria emerging from the chaos. Couldn't possibly be authentic, could it? but i liked it a lot. The return of the Aria is definitely one of music's "magic moments", the invisible thread which ties everything together.

Rambling on again, I think it is true to say that while bach would have very occasionally played an early piano (fortepiano?) he would never have owned one. Isn't it amazing then that there are modern day pianists like Angela Hewitt who have built their entire reputation on playing Bach on the piano?
 

Soubasse

New member
Zing!!

...for someone who boldly stepped out criticising this thread of being 'personal' and stating that you never particiapate ... you certainly not only HAD your cake and ate it but you bloody well baked it, too. :)

At the risk of sounding pedantic, but also to clear up something
a) I wasn't criticising
b) My exact words were "Usually, I tend to stay clear" which is not the same as "never".
Oh and, if I'm going to go to that much trouble to bake a cake, I sure as hell ain't going to sit there and look at it!!:grin::grin::grin:

Quick Survey: Would Riley's In C be considered (i) boring, or (ii) something to induce insanity? Opinions please.


(PS: can't stand Gounod's addition to the JSB Prelude ;) and I have to confess to being surprised at how much I can listen to Angela Hewitt playing JSB at the piano)
 

jhnbrbr

New member
Sorry I'm not familiar with Riley in C (a service setting?) but it does raise the question: is C major a boring key? Logically, with equal temperament tuning, it should be no more or less boring than any other key, but that impression seems to persist - all those white notes - too much vanilla!
 

Contratrombone64

Admiral of Fugues
Angela Hewitt playing Bach on the piano is just fine in my book. She recorded some of the "keyboard" concerti with the Australian Chamber Orchestra. Excellent recordings EXCEPT the use of the harpsichord as continuo which I found rather silly (considering the solo parts were played on a 100 foot Steinway).
 

jhnbrbr

New member
Just to clarify - I didn't intend to criticise the brilliant Ms Hewitt, nor to say that Bach should only be played on harpsichord (Heaven forbid!) What I was trying to say was .... Isn't it amazing that Bach wrote music which has become such a major part of the piano repertoire when (if I'm correct) he himself never owned a piano and only rarely got to play one. I think I nailed it that time.
 

Soubasse

New member
... EXCEPT the use of the harpsichord as continuo which I found rather silly (considering the solo parts were played on a 100 foot Steinway).

That is silly :crazy: I heard Hewitt when I was in Calgary (Canada) for the Organ Competition - she played some of the French Suites really very nicely. I thought she brought a new light to these works with her interpretations. I would also admit to being mildly curious hearing elements of her interpretations at the harpsichord

jhn, In C is a notorious (for want of a better adjective) minimalist piece by Terry Riley and probably wouldn't go down well at a mass (well, not a traditional one anyway). A score is actually freely available for perusal here. I have played (harpsichord funnily enough) in a performance of this piece. There were about 20 of us and we managed to stretch it to almost a 1/2 hour and, only one person walked out (leaving 2 remaining :lol: ... no, not really).

all those white notes - too much vanilla!
:grin::grin:
 

Dorsetmike

Member
At the opposite of boring, and considering Bach keyboard works, have any of those in this discussion heard a CD "Pro Cembalo Pleno"? Bach played on pedal harpsichord by Douglas Amrine; fascinating to compare the tracks against the same works played on the organ. (Priory PRCD 523)

Passacaglia and fugue in C minor (BWV582), "Dorian" Tocatta and fugue (BWV 538) also BWVs 542, 733, 541, & 552.
 

Fretless

Member
The Gorecki Sym. 3 was the first thing I thought of when I read the thread title. I do like other works by him, and I am a big fan of Glass and Part as well.

I can't really think of any other works I would consider boring, but there are quite a few I haven't found a connection to yet. For example a few of the Shostakovich piano prelude & fugues--my mind begins to wander and I lose the thread of the piece.
 

Contratrombone64

Admiral of Fugues
"my mind begins to wander and I lose the thread ..." a delicious way of saying "my brain shutsdown and my eyes glaze over" eh? ;-)
 

Art Rock

Sr. Regulator
Staff member
Sr. Regulator
I consider Gorecki's 3d an absolute master piece. Tastes differ.

Beethoven's 9th, movement 4, would be my choice. With Fuer Elise as a runner-up. And I do like Beethoven.
 
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