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Classical music thread welcoming your suggestions and why...

My best for Schumann 4 th

Incredible haunting surreal out of this world Furtwangler whose interpretation had never even be rivaled save by Klemperer mastery second, but really only second... Furtwangler here surpass all maestros and taught a lesson ...Perhaps the greatest musical recording among all his recordings, if not, i dont even know which one is over this one....

i stop listening anything after these two, which give their musical direction the power to reveal Schumann obsessiveness near madness and his way to control it with music healing power over tempest...

is it music? It is more a desesperate victorious act to keep control over oneself by music writing ... It is the way Furt, directed it... A glimpse of hope amidst terrors and in spite of it , as a boat lost on sea between sunrising and sun down and directed as such by these two maestros... Sometimes a whirlwind capture us desesperate and is replaced by a false calm and the sun illuminate the darkness to be replaced by fate returning in the turmoil again and again ...

The suggestive power of this music put Schumann beside Beethoven with his evocative power and Furtwangler and Klemperer knows it , it is not another musical piece, but the radiography of a soul...

Sometimes music is more than just music... Here it is the case...

it is not a leisure nor a mere pleasure more a deep vision, crisis, meditation, a trance ...

Any other maestro direct it only as a beautiful musical piece... It is not...It is a mystery dancing in some living soul and here for us to see not just listen ...

...

If the world spiritual had a meaning in music it is now...

 

Furtwangler:

https://www.youtube.com/watch?v=LbyEiplksn0

 

Klemperer :

https://www.youtube.com/watch?v=UkU8ULGs4aE

 

128x128mahgister
mahgister's avatar
mahgister OP
12,660 posts
 

But Furtwangler direct everything as he directed Schumann or Bruckner or Beethoven...

The time dimension and timing is INSIDE the music, the music dont obey to a "beat "outside of itself with him... The PULSE is born with the music and NEVER imposed on it from an EXTERNAL representation or from an arbitrary conception... At least so it seems and is felt by most... As Alas! it is not the case with many lesser maestros...

Then Melody is revealed and appear as rythm and rythm itself is melody in the making...

Rythm here has nothing to do with what people call a "beat" which is something outside the body and which is used to move the body by an external means...

Rythm is the mystery of time emerging from inside and manifested as pure melody, but a melody which do not grow as an horizontal line but as a spiralling apocalypsos: a revelation from inside through our gestures , in translation... Not a "beat "then and deeper than a dance because it is the origin and source of dance itself ...

In african percussion, rythm is not growing in horizontal line but spiralling from inside and never exactly repeating...Rythm is rolling without repeating itself exactly as speech is...

 

Each Furtwangler direction is more than mere beautiful because with him beauty as said Rilke is a" terror " experience as is the "sacred" experience an experience of dying and birthing ...

And all mysteries are in all religions about TIME experience called life and living, and dying then about the power of rythm as harmony emerging or disapearing ..

Furtwangler is the greatest maestro because he know that and make it felt... it was the opinion of another master the great Ernest Ansermet and few years ago Valery Gergyev said the same answering a journalist about Furtwangler...

 

One day i understood why i was unable to stop listening a Furtwangler work and then trying to go for a distraction : it is because we dont listen music with him, nor to a melody, we listen to our own PULSATION through the pulsating music as two communicative waves in ONE heart....The human body is made on this pattern through the two blood flows...Through the two cycles of aspiration and expiration... Even walking and thinking extend in time with the same rythmic pattern... It is the reason why life dont come for mere atoms but from the music of spheres... Anyway number theory is even based on rythm... but it is not the place for me to give it us to see... 😁😊

 

 

Furtwangler directing Beethoven 9th symphony ( 1942):

https://www.youtube.com/watch?v=_AI9kp02eq0

 

Furtwangler in Schubert 8th symphony called Unfinished`:

https://www.youtube.com/watch?v=S7Z0O6OxEpo

 

mahgister's avatar
mahgister OP
12,660 posts
 

I made an error creating this thread and i cannot correct it...And add an introductory post...

My introductory post dont exist...

 

Ok i looked for a classical thread and i discovered that there seems to be none...

And these posts of mine about Furtwangler in Schumann 4th had been posted at the wrong thead... Then looking for a thread there was none... I created one...

 

Feel free to give your ideas...To all...

edcyn
1,876 posts
 

Ah, a Classical Music thread that actually announces exactly what it is...😀

In any event, a good intro might be to say what I like like about the stuff...er...genre.

First off, the utterly excellent tunes. Or the exciting, mind-bending lack of same...

How it can express drama, danger, comedy, or romance to beat the band.

The utter beauty of the sound that's produced.

The complexity and sophistication that hides within the music's accessibility. Putting it another way, the sheer joy of being caught up in the profundity that lurks within the prettiness.

mahgister's avatar
mahgister OP
12,660 posts
 

😊😊

mahler123
3,050 posts
 

Reading these posts I was reminded of the Toscanini quote about the famous first movement of Beethoven Fifth:  “For some, this represents Fate Knocking at the door: for me it’s just Allegro Con Brio”.   The point being that we can become so enthusiastic about a piece of music, or a certain performer, that we overload the language to try and express our enthusiasm.  Music is a language of its own, and it is difficult to place in a language that relies upon words instead of tones to describe it.  I once saw a You Tube of someone explaining a Debussy Chanson in Mandarin.  The attempt was earnest but didn’t survive the translation, and I suspect the recreation of classic Mandarin Poetry wouldn’t survive the reverse.

  Furtwangler had the effect of making Music escape bar lines.  The Orchestra seems to speak in paragraphs not in short phrases.  His Schumann Fourth sounds more like a Shakespeare soliloquy as delivered by a great tragedian than a series of emails (for contrast, try the same work conducted by Yannick Sezet -Neguin.).

  I was readin an article in the Gramophone the other day. A young conductor had been hired to rehearse the Luxembourg Orchestra in Berlioz Symphonie Fantastique.  He was a stand in for Gergiev, who was too busy having dinner with Putin or something to actually rehearse prior to the concert.  So this young pup is rehearsing the grousing orchestra until 20 minutes prior to the curtain, at which point Gergiev shows up.  The rookie is amazed that from the first downbeat the Orchestra sounds totally different.

    How does this happen?  What black magic do the really great conductors stash in their batons and transmit to players?  They have a vision and they communicate it, non verbally, to players who speak the language.  And imho, most of the greats phrase like singers

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