I upload videos of (classical) music, synchonised with the score. I try to find the best recordings, with a deliberate bias towards post-1990 stuff that isn't too well known. Then I try to say something about the music which will make you like it more. That's basically it!
39:05 is one of the most beautiful passages ever written. But once I found the original chromatic-descending motif present in the inner voices of this E major section, my mind was truly blown. The chromatic theme is present in the inner voices marked tenuto, but then is even further reduced to just a 3-note chromatic descent through those amazing chords to the end of the mvmt. The fact that that ubiquitous chromatic motif is woven into such beautiful counterpoint with the principal theme of mvmt 2 is astounding.
A piece of alleged music that can only honestly be described as disingenuous. Rows and voicings are consistently dissonant for dissonance's sake, creating a soundscape that merely inverts tonal-hierarchical structures in lieu of creating any actually post-tonal techniques. And for what? Just to lend credence to his Germanocentric metanarrative of "emancipation of the dissonance"? Or maybe to subconsciously make up for the structural traditionalism of his works? Whichever it is, I'd much rather listen to real atonal music like that of Hauer or Obukhov.
I hate being good at many things but a master of NONE. Seeing the sweetness but never stepping into the promise land. I’d rather be a fuddydud at everything save one.
16:22 - 16:52 Lugansky plays some different things than what's written here, curious to see other publishings of this score.. I do prefer what he plays over the score! Beautiful rendition over all!!
