Listening to it after hearing it being mentioned by Alan Watts in one of his lectures. PS: Anybody from the current generation here? Fun fact, this concert inspired Disc 13 in Minecraft. Anyone? No? Ok. 🎹🎺🥁🎸🎼
L'œuvre vit avec le regard que nous lui donnons. Elle ne se limite ni à ce qu'elle est, ni à la personne qui l'a produite, elle est surtout faite par celui qui l'entend. La musique, la peinture, la littérature sont un espace de questionnement et de méditation où les sens que nous leur attribuons peuvent venir et se faire et se défaire 🤡🦹♀🧞♀
Hey I do not see a reason for all the bells and whistles, could this have been a solo piano piece with the ring modulator operated MUCH more dynamically? Would anyone care to discuss?
Sorry, aber das halte ich nicht noch eine Stunde lang aus. Bestimmt auch sehr anstrengend für den Dirigenten. Da höre ich mir lieber das Märchen als Erzählung an. Die Schallpltte hatten wir als Kinder zu Hause und wir waren von Andersens Märchen gefesselt.
Molto sperimentale, un pezzo intrigante affascinante vera sperimentazione musicale. Vero capolavoro altro sempre con sta musica classica!! E basta bisogna uscire un bel po' dagli schemi troppo antichi nell' insegnare nelle scuole medie! Ok?
from Google translate - Symphony No. 7 "Comoedia Millenni." emerged in 1999 (although it was not completed until 2004) at the request of George Pehlivanian, the young Lebanese conductor of Armenian origin, a student of Maazel and Boulez who today stands out among the best of his generation and who would premiere it on November 17, 2005, in Ljubljana, leading the Slovenian Philharmonic Choir and Orchestra. Marco saw in the dates of the commission an invitation to celebrate the Millennium and sought metaphorical support in the Divine Comedy (hence the subtitle) to conceive and name its three parts with allusions to the Dantesque circles of Hell, Purgatory and Paradise. But he did not take significant texts from Dante because he wanted an abstract way of singing for the choir, without words, only with phonemes and onomatopoeia as he had done on other occasions, notably in the Choral Concerto number 1 of 1980. The first movement, Avernus, is based on a previous choral symphonic work, Puerta del Sol, and since it mathematically addresses random movement in a large transit plaza, a chaos that ends up being very organized although with great contrasts of volumes, timbres and metrics, says the author. The second movement, Limbo, is based on his previous Rites of Passage and seeks to suspend a time in which timbres, colors and tones float as if in an abstract waiting place. Finally, Circuli Paradisi attempts a large movement of the voices and instruments in overlapping circles of different lengths. The choir finally manages to articulate words but these have no literal meaning, they are pure abstract singing.
Check out this rapper using the start of Livre pour Orchestre in his work.. Certainly worth listening to ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v7OAym5COzE.html
