You Ain't Never Heard Baroque...
... until you've heard it on period instruments (the instruments that would have been used at the time of composition). It's really different from the Romantic-period instrumentation found in classical orchestras today. It's earthier, deeper, faster, more exciting, closer to a rock band than anything else, really:
Holy shit, just listen to these guys kill it with Vivaldi:
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
That's a big guitar.
If you think that lute's big, take a look at this one:
It's called a theorbo.Sort of like a European sitar.
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
It's awesome!!! Although I can't really tell if Vivaldi's "Four Seasons" are simply amazing or if it has something to do with those period instruments you're talking about...
I just love replying in your threads. Socionics everywhere.
It's definitely an amazing piece of music. Here's a version with modern instruments. It's good, but in a different way. It feels less spontaneous, and there isn't as big a range of dynamics, tempo, or color/tones. It feels more smoothed out:Originally Posted by neverthesame
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
k, here, let's have some original recipe Pachelbel:
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
I like this.
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
Weird...classical music reminds me more of trance than any other kind of music when it comes to its progression/formatting. I guess its because psytrance is really the only genre of music that generally evolves as much as classical over the course of one piece.
But, for a certainty, back then,
We loved so many, yet hated so much,
We hurt others and were hurt ourselves...
Yet even then, we ran like the wind,
Whilst our laughter echoed,
Under cerulean skies...
And I am smart again.
Baroque core.
Nuff said.
“I tell you, freedom and human rights in America are doomed. The U.S. government will lead the American people in — and the West in general — into an unbearable hell and a choking life. - Osama bin Laden
Crazy shit, Aquagraph! Not too bad... I wouldn't listen to it for the second time, though.
Enough said.
I can see that. For the rock parallel, I meant more like how a good band can go into a groove with each other, totally in sync. It turns into something spontaneous and intense. This is the group from above:
reminds me of this (after around 6:00):
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
I love this, heh.
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
You ain't never heard baroque music until you hear a Japanese trance producer remix it
^ From 1:24 - 1:42ish is awesome.
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
Just heard this on the radio and I almost drove into a tree at 7:35:
"How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love."
-- Rainer Maria Rilke, Letters to a Young Poet
Why mozart was an 18th century pimp
http://en.wikipedia.org/wiki/Die_Ent...aus_dem_Serail
Ok so basically this involves a turkish king that captures a ship and a bunch of spanish people. Of the spanish people is someone's love and a servant, so the hero tricks the king into hiring him on as an architect. Meanwhile the king puts his love in the seraglio, which is the quarter women and concubine are kept. It is considered holy and no one but the king can enter. The hero breaks in and frees the servant and his love from the seraglio, but at the last minute is discovered. The king taunts him about how he will kill him and has a noose around his neck and sings all these lyrics about how they will get their just deserts in the aria "Ha, wie will ich trumpieren".
http://www.aria-database.com/transla...erail19_ha.txt
If you are unfamiliar with the language he tends to repeat a noose around you a lot when the music goes back and forth playfully, thus serving to the audience as a sort of pun, being that the singer has a noose around their neck or they are on the edge of their seat. Also the phrase "und erhaschet euren Lohn" and receive your just deserts is thrown in before it goes into a sort of sweet area in the music involving walking 6th's downward diatonically while the singer sings "However softly and cautiously you creep, you damned harem-mice, our ears soon detect you". This is a device to make you feel sorry for the protagonist, making his plight seem hopeless, but at the same time eventually the king decides to let him go moved, so the just deserts is kind of foreshadowing.
The real genius behind the play though is he presents it to the nobility of the time in an oppressive time era in which propriety, court manners, and royalty ruled. So in a way it was mozart's way of speaking through the opera and dialogue to deliver a larger message about the stupidity of the "Seraglio" mentality, the alpha male king with holding women against their will and having it all under this concept of holiness. It would have been rather irritating to the nobility at the time which inevitably was watching any opera performed so the meaning of lyrics such as "However softly and cautiously you creep, you damned harem-mice, our ears soon detect you" was in a way mozart pleading to the nobility to win them over and at the same time delivering a charming message to win over women.
The music of mozart plays very heavily on this concept of "The emperor has no clothes" in which he playfully mocks the pretension of class based society. Most people do not realize this because well first and foremost they are idiots, and secondarily people are not familiar with the spirit of historical time frames. Most people mistaking think something like mozart is haughty and classy and do not see that its actually making fun of the entire pretension of the entire spectacle. It was a way for people to express freedom from the oppression of the times in a way that wasn't too offensive and was subtle enough to not disturb the sensibilities of the aristocracies eyes. In escape from seraglio he mocks the pretension behind love and class, and at the time charmed millions of people and irritated the nobility in a way that was subtle enough not to be hung. This is why I say we was an 18th century pimp.
Here is the song "Ha, wie will ich trumpieren"
it's also schadenfreude at its finest as the king laughs at the eventual death of the hero. Also its interesting to note in german there is no distinction between will and want so the title could mean something between "Hahaha how I will triumph" or "Hahaha how I want to triumph".
http://www.youtube.com/watch?v=eNxaJh5gbCc
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