Classical Music

[cubeananda]

Yes i completely agree,

At the same time I know for sure that there are objective qualities which can be observed. To create general rules for the qualities will always invite criticism, which is fine.

But, using a deck of cards I can describe any passage or melody or verse of any piece of music, because this music stuff is actually formed around the parts in ourselves which experience it.
And these parts have been illuminated by people in the formation of the common deck of cards.

Coming to understand this stuff requires direct experience and people to people relations, but all the same I can verify for myself that as a rule, if I need emotional food, it is better if I look for the classical music available to me in the moment rather than the modern pop music. It's so simple to me.

At the Same time, as I go about through my life, I will hear lots of pop music against my own desiring. It's better to be available to the food I can produce using those impressions rather than vehemently reject them.

 

[Bill Cipher]

 

[hug46]

a lot of pop music evokes the instinctive center to respond (which can feel like a profound experience)

I guess, in my case, if it feels like a profound experience, it generally is. I will give the Respighi a listen.
@ Art ..that clip has made me want to watch Dead Poets Society again. Haven"t seen it in ages and can"t rightly remember what it was about.

 

[Nydex]

Today I listened through something that shook me to the very core - the Violin Concerto in D minor, Op. 47, by Jean Sibelius, performed by the Frankfurt Radio Symphony orchestra. The reason it affected me so deeply is not just because it's one of the most beautiful violin concertos ever made, but because of the backstory of how it came to be, and what it means that it's being performed by none other than one of the greatest violin masters of our time - Augustin Hadelich.

I will just share one of the top comments because the author captured what makes this performance so special better than I could:

There’s an incredible synchronicity at play here between the man who composed this piece and the man performing it.

In 1880, a fifteen-year-old Jean Sibelius picked up a violin for the first time. In the classical world, fifteen is ancient to be starting out, but he didn’t care. He practiced from morning until night, desperate to become a concert soloist. Years later, a failed audition for the Vienna Philharmonic forced him to face a brutal truth: his hands would never catch up to his ambition. So, he poured all of that heartbreak—and every ounce of his mechanical knowledge—into his one and only violin concerto. As another commenter put it, this score is basically his "magnum opus of middle fingers" to the instrument and every violinist who would ever attempt it.

Now, look at the soloist, Augustin Hadelich. In 1999, he was also fifteen—and already a prodigy—when a fire tore through his family’s farm in Italy. It left him with severe burns across his face and his right arm. His bowing arm. Doctors didn’t know if he’d ever hold a violin again. Twenty surgeries and a grueling year of silence later, he had to completely relearn how to play around the scar tissue.

Two lives, a century apart, both completely upended at age fifteen. One man lost his dream of playing and wrote an impossible masterpiece out of the ashes. The other nearly lost his ability to play in an actual fire, fought his way back, and is standing here conquering that exact piece with hands that were never supposed to hold a bow again.

Contemplating this gives you chills before he even plays the first note.

And so, feast your ears:

You can feel however you want about AI, but I firmly believe that no matter how advanced it gets, it can never, not in a million years, recreate the raw passion and emotion that went into not only composing this heartbreaking piece of art, but also performing it. Never. And this is a hill I will die on.