The sun is on the east, we must be in the Western Hemisphere Based on this colored grass, These leaves formation, These houses This road, with these signs, And this terrain, We must in West U.S. This bush is native to California, We must near the bay, With These types of house colors and design. We have be at San Francisco California.
The facial expressions of this elderly couple looks very Mongolia Nice we'll take that This kind of mirror has a blue reflection when the sun is at a 65 degree angle this kind of material for mirror on cars can only be found in New Zealand Nice it was South Island indeed This building has a man staring at me, his beard looks French, Wow almost 5k This water looks kind of poluted looks just like a classic south New Jersey, Nice This cloud gives off a very Swedish vibe but these cars are more common in South Africa Nice 26k
Super Mexican! Like Germany is a war on black and white, French is Pizza, Africa is a safari, Japan is kung fu, England is a Bring and Egypt is a lot of sand.
There are 2 types of commenters in this video: 1: "Oh vivaldi did so well on the solo part, the augmented fifths are supreme" 2: "the lamp post looks from borneo, *smacks keyboard* nice, well take that
I don't get why anyone would say augmented fifth instead of minor 6th. Also shoutout Rainbolt for moving to Dusseldorf thats where Obsidian Gate who put out some of the best symphonic metal of all time in the turn of the millennium were based
@@spectriaofficialWhile augmented fifths aren’t very common, there are times when it’s useful to express something as an aug 5th instead of a minor sixth. For example, if you have a minor triad with a major 7th (really fun chord btw), the interval between the third and seventh of the chord would be an augmented 5th. I don’t think it’s actually in this piece but it comes up occasionally.
The original is written in 4/4 but Max Richter took off the last 8th note in every measure making it a 7/8. That creates a sense of rushing at the beginning of every measure like a syncopation.
*Have you ever gotten a Snapchat from a girl?* “no” 1:15 “is it Thailand?” *smacks spacebar* “nice” “is this Israel?” *smacks spacebar* “nice” “Lesotho” *smacks spacebar* “nice” “Bangladesh” *smacks spacebar* “we’ll take that” “Malaysia, mainland” *smacks spacebar* “nice” “5 for 5, keep going” “keep going, keep going” “Eastern Turkey” *smacks spacebar* “nice, wow” “USA, somewhere within this region” *smacks spacebar* “nice” “this looks like the A15 or the 15 in Jordan” *smacks spacebar* “omg it was, nice” “this is Kenya” *smacks spacebar* “nice” “and this is just ghana” *smacks spacebar* “not bad”
"Guessing where I am on google, in 1 seconds, the picture is distorted, black and white, upside down and pixelated This is just french air.. I can smell it, nice. This looks like Japan, nice. The grass looks very spanish, we'll take that. This is just mexico, nice. We'll take that"
"Guessing where i am on google maps, but i only have 0.000001 seconds, half of the screen and only see the grass" "The grass looks portugal" *breaks spacebar* "Nice, we'll take that"
I love covers of different pop songs. I actually have a passion for it. But never did I think of looking for covers of Classical music. Genuinely blown away! 🤯
I honestly love this. Vivaldi’s original piece is brilliant and original, and I think this adds an element of urgency to the piece. It feels much more similar to Colorado winters than Vivaldi. The cello and bass midway through the piece really make it. I also feel that dropping a beat and composing the refrain in 7:8 is brilliant-it brings an entirely new, chilling feel to the piece that I think Vivaldi didn’t foresee. Incredible.
@@alpinoalpini3849 I agree with you. One need only listen to a quality performance to understand that Vivaldi’s work is timeless and that this recomposition is sorely lacking in the spice of life. For example the interpretation of Fabio Biondi: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0s958pIlV60.html
To dismiss the imagination and creativity of a genius like Vivaldi is blasphemous at the very least. You’re talking about a composer who captivated the essence of seasons not with an opera or a symphony, but with a handful of instruments and yielded a result that has endured for centuries-and will endure for as long as our species possesses functional ears.
"this looks like a road in Idaho" **Smash space-bar** "That's a Croatian lamp post" **Smash space-bar** "That's a Zambian jungle" **Smash space-bar** "This is a Thai street" **Smash space-bar** "And those are mountains in Chile" **Smash space-bar** "That's some Australian rocks" **Smash space-bar**
Okay, as you can see the leaves here are a special type of green, and this type of green only comes from tijuana *Breaks spacebar* almost 5k nice OK lets see here, this guy's haircut looks like it was made from ulaanbatar, I know a barber who does that exact haircut, *Literally destroys spacebar* 4.5K, We'll take that Ok I can clearly see that this pizza is from nyc *Spacebar gets flung* 5k, Pretty good
1:11 that pole looks south korean *hits mouse as hard as humanly possible* nice, we’ll take that. leaf on camera, NSW *hits mouse* nice. german bin *hits mouse* we’ll take that. gen 2 camera, SA *hits mouse aggresively* nice, we’ll take that. those quarks look zimbabwean *breaks monitor with the hardest mouse hit* nice, we’ll take that.
You can't really compare the original composition to Max's recomposed version. I look at it as a two different possible outcomes of one single idea, one in baroque style and one in a modern minimal style. If you like minimal music in general, you will understand what I'm saying.
I love the original - and I love many of the reinterpretations, including this one. Listening to either is like falling asleep in bright daylight, and having a beautiful dream. Personally, I think they can be compared in some ways (remixes and originals), as they inevitably communicate some of the same ideas. In this case (for example), we can hear both composers communicate the winter weather (and its physical effects on humans). However, I think Richter's version communicates far more enjoyment, in experiencing the sensations of winter. This is compared to the original - which I think communicated in clearer terms, that the effects of winter could be both enjoyable and problematic. I guess that might coincide with the near-300 year gap between the two composers. Winter was more threatening in Europe overall, in Vivaldi's era. Overall though, it's not about 'improvement' or invalidating/decimating the original (as some paranoid snobs seem to think). It's about building on the original. Music is after all an art form, inevitably linked to individual creativity. I also think Richter revels in the heavy joy of the actual music, too (using numerous musical techniques to communicate that). It's almost an intense restlessness, to try to draw every last possible ecstasy out of the piece. It's lovely.
