Classical Music for Aficionados

We can map the sound and the numbers in a different way...

Another one :

For Alain Connes and for Roger Penrose too the distribution of prime numbers express a musical universal memory beat that comes from BEFORE this universe and INFORM it...

We reincarnated probably to add something new to "the music score"...Pygmies and Yoruba drummers get it more easily than us thats all...They have not waited for geometer like Connes to teach them... 😁😊 And the first humans creating language too...

Furtwangler never directed symphonies with an EXTERNAL beat but with an INTERNAL pulse emerging with the music itself... Valery Gergiev explain it well...

«Valery Gergiev: The most difficult thing in conducting is to avoid a mechanical beat. This endless search for a true tempo, the right tempo for every bar of music, and not just a single tempo for the whole movement, is something few conductors ever master. Few leaders will recognize, perhaps, that it is something difficult for them, but they will try to do it and compete with Furtwängler, and most likely they will fail.»

This also explain why some jazz musicians are so great, like the youruba drummers, they are not handicapped by the burden of INTERPRETATING with the right beat written music and more easily access to this spontaneous spiralling waves expressed in pygmies songs or Amerindian or Indian drummers...Spiralling waves of the cosmic primes or divine heart itself...

By the way Connes admitted he was inspired by palindromic rythm studies of Olivier Messiaen and discovered  a relation between palindromic beats and some non commutative operators in Hilbert Space that described genesis of time itself...

This is why MUSIC COMMAND TIME not the reverse......

I will stop here...

i hope to have convinced some that music is not about our taste only and is not only a hobby but a key to the heart and to the cosmos....

My best to all

i cannot resist to post that...

«Furtwängler has always been Bruckner’s great protagonist. In 1942, the Telefunken firm persuaded Furtwängler to experiment with improvements in recording technique. Having consented, he opted for the famous Adagio from the 7th symphony, and later for Gluck’s Alceste Overture, in order to verify, as he said himself, whether the microphones were capable of restoring the breadth of his orchestra, and particularly the famous double basses of Berlin.

The results were amazing. This interpretation of Bruckner by Furtwängler is the slowest and yet the most sustained with its striking tension. Once again the tragic element and the grandeur of the speech are unmatched. It is indeed a recording for a desert island, happily restored to the delight of music lovers everywhere, to be kept and cherished for a lifetime.

Ironically, its tragic grandeur did not deter the Nazis from playing this recording on Radio Berlin to announce Hitler’s death, long after Furtwängler had fled Germany. Suffice it to say simply that no man, however great, or a fortiori vile, is worthy of the dimensions of this work.»

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But because this universal internal beat and rythm precede TIME itself it can accomadate many manifestation at the same time... Compare the adagio version from Furtwangler to the Celibidache version...The Bohm version and the Giulini version also...Karajan,Wand and some others...

it is impossible to choose really...There is many different roads that come from the same peak and go back to it....