Welcome, Guest. Please login or register.

Login with username, password and session length

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Topics - Prospero

1 [2]
17
Audiofile / Tchaikovsky, Pyotr Ilyich
« on: November 26, 2007, 01:22:28 AM »
Tchaikovsky, Pyotr Ilyich: Rapidshare, Blogspot, Megaupload

Pyotr Ilyich Tchaikovsky

Symphony No. 1, "Winter Daydreams" - G minor, Op. 13 (1866)

Symphony No. 2 - C minor, Op. 17, "Little Russian" (1872)

Symphony No. 3 - D major, Op. 29 "Polish" (1875)

Symphony No. 4 - F minor, Op. 36 (1877)

Quote
"You asked me whether there is a definite programme to this symphony? Usually in respect of a symphonic work I would answer: none whatsoever. And indeed, this is the answer in to your question. How can one put into words the intangible feelings which one experiences, when writing an instrumental work without a definite subject? This is a purely lyrical process, and essentially a musical unburdening of the soul in music. similar to the way in which a poet expresses himself in verse... In our symphony there is a programme, i.e. it is possible to express in words what it is trying to say, and to you, and only to you, I am able and willing to explain the meaning both of the whole and of the separate movements. Of course. I can do this only in a general way."

The introduction is the seed of the whole symphony, undoubtedly the main idea:


Quote
"This is fate: this is that fateful force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above the head like the sword of Damocles, unwaveringly, constantly poisoning the soul. An invincible force that can never be overcome - merely endured, miserably."

Symphony No. 5 - E minor, Op. 64 (1888)

Symphony No. 6, "Pathétique" - B minor, Op. 74 (1893)

Violin Concerto - D major, Op. 35 (1878)

String Quartet No. 3 - E♭ minor, Op. 30 (1876)

Souvenir de Florence - String sextet, D minor,  Op. 70 (1890)

The Year 1812 - Festival overture, E♭ major, Op. 49 (1880)

18
Interzone / The roots of modern alternative and indie music
« on: November 13, 2007, 07:13:51 PM »
The roots of modern alternative and indie music / the root of all evil

I recently "studied" the whole "alternative"/"post-punk" phenomenon from the 80s. I'm talking about Joy Division, The Jesus & Mary Chain, The Smiths, etc. Unfortunately, I did not live during this time but I have come to interesting conclusions.

I do enjoy some of artists from the new scene (Charlotte Gainsbourg, new Sonic Youth, not much more). But more importantly, I have this tendency to go to the core of things. By getting deep into those exploratory artists of 20 and 30 years ago I came to realize something. Nothing in music is new today. I can't hear the Killers on the radio without thinking of New Order or hear Arcade Fire and not think of Talking Heads. However, it is not surprising. What is frustrating is that, in general, the Killers and Arcade Fire (to name only two) make stuff that is barely interesting while Cocteau Twins, Morrissey, Talk Talk, etc. all made stuff that was inventive and obviously finer than most contemporary artists. The new generation will deny that they are outrageous copies of the past and most teenagers will not be interested at all in knowing where this crusty "indie" sound comes from.

A parallel with metal is possible here. Is metal in the same crisis than the so-called "indie" rock and other modern "alternative" mostly-shitty stuff? Would the problem be that people take stuff without questioning themselves? Where does that come from?

I remember discovering jazz music. I wanted to know its origins. I remember discovering alternative music. Like you can see, I dug the shit. I remember discovering classical music. I am still learning about it. I remember discovering metal. I wanted to know EVERYTHING about it.

The more time passes, the more music turns into shit, the more people don't care why, the more shitty it gets... Folks, let me ask you... WHAT THE FUCK IS HAPPENING!? We are losing ourselves. Our culture is becoming meaningless, it is somekind of vicious circle.

Thanks to ANUS and its dedication to "metal days of yore"

19
Metal / Iron Maiden, lyrically evolved?
« on: October 24, 2007, 05:58:37 PM »
I, like most of you certainly, listen to the classics from time to time. I really enjoy Maiden's so-called "experimental" era, especially the "Somewhere in Time" album. The title track always fascinated me, but the other day I realized that maybe it had something more than great vocals and challenging dual-lead solos.

"Caught Somewhere in Time", could that mean 'being stuck in space-time'? The part of the song that held my attention was this:

"You've only got your soul to lose
Eternally, just let yourself go

Caught somewhere in time..."

People often call this possible void beyond space and time the "eternal". The song, although being pretty abstract, also deals with morality (sins, wrong or right). In the end, the chorus changes to:

"Caught somewhere in time...
Caught now in two minds..."

Two minds? Space vs. time? Soul vs. Flesh? Good vs. Bad? I might be pushing all these reflections to deep but I always felt Iron Maiden (post-di'Anno) were, most of the time, not making songs only for the sake of making song. They frequently used movies, books (i.e. Lord Of The Flies, Dune, Seventh Son) etc.

What do you think of Maiden's lyrics?

20
Interzone / Art
« on: October 14, 2007, 11:42:47 PM »
Here's a topic for you to show your favourite painters and most bizarre/beautiful discoveries.

I'll start by mentioning Otto Dix, I really like his grotesque style.



more here:
http://www.tendreams.org/dix.htm

21
Audiofile / Strauss, Richard
« on: October 13, 2007, 12:56:00 AM »
Strauss, Richard: Rapidshare, Blogspot, Megaupload

Richard Strauss

Richard Strauss - Also Sprach Zarathustra
William Steinberg/Boston Symphony Orchestra

Don Juan (Karajan, BPO, 1973)
Till Eulenspiegels lustige Streiche (Karajan, BPO, 1973)
Dance of the Seven Veils from Salome (Karajan, BPO, 1973)

Vier Letzte Lieder (Last Four Songs for Soprano and Orchestra) (1950, Rapidshare)
World Premiere Performance
Kirsten Flagstad, Soprano
Wilhelm Furtwangler conducting
Note: This performance is one, twenty minute MP3 file. This is also a very old performance, so the sound quality is poor.

Vier Letzte Lieder (Last Four Songs) & 12 Orchesterlieder (1968, Megaupload)
London Symphony Orchestra conducted by George Szell
Elizabeth Schwarzkopf, soprano
[Buy]

Richard Strauss - Eine Alpensinfonie, op. 64
Concertgebouw Orchestra Amsterdam
Bernard HAITINK
PHILIPS 1985

22
Interzone / ANUS logo
« on: October 11, 2007, 08:40:41 PM »
I was wondering where does the Y looking ANUS logo comes from? Tolkien perhaps? And most importantly, what does it mean?

23
Interzone / Cryptopsy 2008 (expectations?)
« on: October 01, 2007, 10:01:54 PM »
After the masterpiece that is None So Vile and a flow of average recordings Cryptopsy seems to be lost like many of similar bands unfortunately.

The return of Lord Worm did not give good results. But will the still unknown new singer and keyboardist give the band another life?

Or perhaps the only thing still worthy in the band is Flo Mounier insane drumming skills... The only interesting aspect of "Once Was Not".

http://www.cryptopsy.net/lost/express/english.html

24
Audiofile / Lussier, René
« on: September 18, 2007, 04:28:39 PM »
Lussier, René: Rapidshare, Blogspot, Megaupload

René Lussier

René Lussier - Le Trésor De La Langue (Megaupload)

This obviously needs a little description; René Lussier is a French Canadian experimental musician who, after recording various Québecois people around the province of Québec, took their voices and added musicians playing the notes of roughly every syllabes of each words and then mixed the whole thing with jazz and rock music. The result is very strange but also very funny and very challenging at some points.

25
Metal / Good classical labels for beginners.
« on: August 29, 2007, 11:55:22 PM »
When you buy classical music, it's a balance between Naxos low priced recordings and the Grammophon, Decca, EMI, etc. high priced ones. Most of the time I stick with the well-known conductors (Bernstein, Abbado, Solti, etc.) and musicians which are usually featured in the higher priced editions. I know Naxos musicians are very talented and highly skilled and may be better than big labels ones but what do you buy? Do you go for the Naxos versions of the popular ones? Do you know any outstanding Naxos recordings?

1 [2]