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"This is the only hypothesis. From these two constraints and with the aid of stochastics, I built an entire composition without admitting any other restrictions."
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    File: 1724388933382.png (243.82 KB, 506x511,square.png)

     No.69Sticky[Reply]

    Only great recordings will be categorized, rating 4~5:
    https://kollect.itinerariummentis.org/user/xenine/collections/01917d6a-671c-7424-9a3e-b67e0ae952f6

     No.105

    rating 2~3.5 (few of them): https://kollect.itinerariummentis.org/user/xenine/collections/019293c3-d6f2-7f69-9744-9fc90e4ede0c


     No.48[Reply]

    Some newly discovered important new music compositions.
    5 posts and 4 image replies omitted. Click reply to view.

     No.107

    >>106
    >At the time of writing "Crosswind", Aperghis was interested in the writings of the behavioral scientist Konrad Lorenz and, based on this, also took a closer look at animalistic behavior among musicians. There is now stalking, posing and attacking, sniffing, noisily warning and protesting.
    >The territories of each individual are presented. One has the impression of listening to a mob facing a victim, which is obviously the viola. You don't know exactly what happens in the end, but it's a kind of animal confrontation."

    >a mob facing a victim, which is obviously the viola
    Wtf is this. Victim. I still think, even he wants to show this there's no clear clue why use human voice here is so essential and inevitable.

     No.108

    As for the using of humanic sound/voice, view them as samplings is the best strategy for me. Tbh, Wolfgang Mitterer almost did the best at using samples and combining them harmonically. Especially when among western scholastic composers no one actually like to largely use traditional underground electronic techniques like him, and Romitelli. (actually I'm prefer Mitterer than Romitelli)
    Just listened his Radio Fractal/Beat Music (2002). Amazing sample twerking!

     No.109

    Inexhaustible masterpiece. It's hard to tell the instruments apart because they all blend together. Like he said, "resonance". When listening to Scena and Ruah, I was actually thinking of the Indiana Jones series movie btw.
    https://www.ivanfedele.eu/data/composition/eng/13.html
    https://www.ivanfedele.eu/data/composition/eng/33.html
    https://www.ivanfedele.eu/data/composition/eng/20.html
    Stradivarius STR33650

     No.115

    File: 1747970901971.webm (4.75 MB, 600x600,06. Gao Hong - Prelude to the Divine Realm.webm)

    My recommendations:
    - 1. Drunken Immortals 飲中仙 – 4:35
    - 5. Portal to the Clouds 步虛九霄 – 5:46
    - 6. Prelude to the Divine Realm 神遊引 – 5:59
    I don't own this CD so don't know further information. Knew this release from http://www.medieval.org/music/jazz/index.html

     No.116

    File: 1748763853542.webm (2.44 MB, 600x600,02. Iglooghost - New Species.webm)

    EPIC. NO JOKING.
    Symphonic electronics.

    recommendation: whole length, and especially New Species


    File: 1739528664726.jpg (66.98 KB, 300x450,bee.jpg)

     No.113[Reply]

    Everything ends but blooms.

     No.114

    File: 1739780377535.jpg (10.72 KB, 300x300,cover.jpg)

    Wrote for the second movement of Harnoncourt's 1990 Graz recording of Beethoven's sixth symphony.
    元宵燃起火束
看那星曜
难以被察觉着均匀转动
红光初现在冬季正午河流上空
晶莹的河水闪耀着西方的黄昏
他们的坟墓前总刮着寒风，
去时总是严冬，祖先们循环着灵魂——
四散逃逸，同梦想一起
这一切都会消失
这一切都会消失
他倒下哭泣
这一切都会消失
只要向外看去，没有什么得以永恒
这一切都会——消失在天际


    File: 1726301896544.jpg (53.38 KB, 374x480,haydn.jpg)

     No.95[Reply]

    Haydn, the mentor of Mozart and Beethoven.

     No.96

    File: 1726302429335.webm (8.05 MB, 600x600,01. Martin Haselböck - Keyboard Concerto in D Major, Hob. XVIII2 I. Allegro moderato.webm)

    I just can't imagine how this was composed. The first movement of his Keyboard Concerto No. 2 was godmade.

    (this is so identical with Mozart's K. 39)

     No.97

    >>96
    Now I think it has been categorized into the group of BWV.1042-Op.111-K.626 for me. Hard to tell the exact feelings.

    It's like Heinrich von Ofterdingen,
    >Alle Empfindungen stiegen bis zu einer niegekannten Höhe in ihm. Er durchlebte ein unendlich buntes Leben; starb und kam wieder, liebte bis zur höchsten Leidenschaft, und war dann wieder auf ewig von seiner Geliebten getrennt.
    It's like Tolkien's poems of Tom Bombadil.
    >Old Tom Bombadil was a merry felow;
    >bright blue his jacket was and his bloots were yellow,
    >green were his girdle and his breeches all of leather;
    And also, Blake and Klopstock's poems.

     No.101

    >>96
    Haydn was a truly Dionysian composer when it comes to his keyboard/organ concertos. The Haydn-Mozart combination is in a way very much a combination of Goethe-Novalis, with its aristocratic naturalism (even Spinozaism). Beethoven was in spiritual and violent temperament.
    So a simple conclusion can be drawn: The former is naturalistic/feminine and the latter spiritualistic/masculine, so the former is Dionysian and the latter Apollonian.
    Thus, although Haydn-Mozart's music sounds quite naively positive, it actually corresponds to the very innocent-pure nature of Dionysus, whereas Beethoven's compositions, especially those string quartets (Op. 132 III), they were stoic, restrained, and ascetic: painfully Apollonian.
    I think I really prefer Haydn's than Mozart. Since Mozartian naivety compositions can be particularly terrifying sometimes.

     No.102

    >>97
    Haydn's Keyboard Concerto No. 2 and Bach's BWV.1042 are perhaps the greatest compositions I have ever experienced. Now the spiritual/religious heights of Beethovenian or Schubertian string quartets seem to have been smashed into pieces.
    Besides that. Now I finally know why naturalism, pantheism, paganism, etc. are feminine. For philosophy, for arts, preferences for any of the antithesis, feminine and masculine, are bound to change. At the moment I think I'm obsessed with Dionysian music. And that's why I can appreciate the music of Autechre, Burzum or Biosphere, for this age. But to be very honest, It's rare to successfully find any true Apollonian musicians now.
    And I think the best route to balance this antithesis have to be (Indian) improvisition. Maybe Bach was also a perfect answer.

    >art - philosophy
    >nature - history
    >love - religion
    >Mary - Christ

     No.112

    >>102
    BWV1042 and K.39 are in the same boat as Haydn's Keyboard Concerto No. 2. The second movement of Schubert's D. 810 feels weak, fake and even somewhat amusing. Schubert's Winterreise only has literature values. The third movement of Beethoven's Op. 132 becomes irrelevant.
    Yuji Takahashi's rendition of Goldberg variations were the second ever work I have experienced about the highest art after I listened many Op.111 which I thought was the first.
    His intellectualistic rendition removes the elements that can easily become trivial in the Goldberg variations, infusing it with a Haydn-Mozart-like temperament that allows thought to engage with feeling. Spirit reveals itself in all its facets. Everything comes to life.
    The art of blending pain with happiness is the highest art. This has been perfectly embodied in the works of Novalis, Haydn, and Mozart.
    Pain and happiness are equally profound just because they are almost identical to each other. The combination of them is vitality, is life itself.


    File: 1733476558366.jpg (26.15 KB, 220x221,wirth.jpg)

     No.110[Reply]

    I really wonder where can I find a copy (in any language) of Wirth's dissertation: The Degradation of Dutch Folk Song
    >Wirth explored his entire country far and wide. In 1910, he defended his thesis entitled The Degradation of Dutch Folk Song and already in this first work surprised others with his incredible erudition, which subjected to analysis practically all available material relating to Dutch folklore. Moreover, he attempted to construct a general model, a kind of proto-mythology that stood behind all folk art and which could help one better understand the holistic worldview of the ancient ancestors. Proceeding from the symbols and elements of Dutch antiquity, Wirth expanded the range of his ethnographic, cultural, symbolical searches first to all the Germanic lands, and then broader to Europe, Eurasia, and, finally, to the regions most distant from Europe itself: America, Oceania, Africa, and so on. In search of a formula that could generalize the worldview of the ancient Aryan ancestors, Wirth moved in a spiral, clarifying, correcting, extending, or re-considering all the information hitherto gathered by linguists, archaeologists, historians of religion and art, anthropologists, etc. His endeavor was one of incredible intensity.
    >Dugin, https://txtdot.deep-swarm.xyz/get?url=https%3A%2F%2Feurasianist-archive.com%2F2017%2F04%2F13%2Fherman-wirth-runes-great-yule-and-the-arctic-homeland

     No.111

    new Avalanche series (currently no pdf samples available): http://dswarmsikhttkg7jgsoyfiqpj3ighupfrvuz5ri3lu5q2dlqyrpgk7ad.onion/projects/avalanche-series.html
    Since I've learned more about the history of mountaineering recently (mainly Hansen's The Summits of Modern Man and "mountaineering" wikipedia page), I gradually think some ethnomusicology stuff can also be included in this series, they're all related to the demise of something.

    https://deep-swarm.xyz/share/archive/alpine/Hansen.The%20Summits%20of%20Modern%20Man.pdf


    File: 1725288210128.png (382.43 KB, 399x626,imageMagick.png)

     No.87[Reply]

    ein Quellenbunch der deutschen Musik Äshthetik von Kant und der Frühromantik bis zur Gegenwart
    by Felix Maria Gatz
    —
    An immense source on philosophy and aesthetics of music. I'll scan this book maybe in 1 week, then append my reading log under this thread.
    - book.itmens: https://book.itinerariummentis.org/book/10022/s/musik-asthetik-in-ihren-hauptrichtungen

     No.104

    File: 1730541435050.png (323.67 KB, 587x822,imageMagick.png)

    - Chinese translation: Gatz.德奥名人论音乐和音乐美.pdf

    Note: currently no toc and ocr.


    File: 1726903463953.png (566.41 KB, 690x573,bruckner.png)

     No.103[Reply]

    Placeholder.

    File: 1726721000233.jpeg (33.31 KB, 435x700,cover.jpeg)

     No.98[Reply]

    Placeholder.

     No.99

    I'm afraid my favourite interpretation of Op. 111 is still Barenboim's spectralistic rendition at the vienna Palais Rasumofsky: https://inv.nadeko.net/watch?v=bYe27pJ2RBI
    I agree that this was extremely attached to his "strong personal style". It became slower and slower in some places.

    Give a recollection on Kretzschmar:
    > And at that word, Kretzschmar began to stutter violently; holdingon to its initial consonant, his tongue set up a kind of machine-gun fireagainst his palate, setting jaw and chin pulsing in sync, before theycame to rest in the vowel that allowed one to surmise the rest. But oncethe word had been recognized, it did not seem appropriate for someone to relieve him of it, to do what we sometimes did and call it out tohim in jovial helpfulness. He had to complete it all on his own, and hedid so. Where greatness and death came together, he declared, therearose a sovereign objectivity amenable to convention and leaving arrogant subjectivity behind, because in it the exclusively personal-whichafter all had been the surmounting of a tradition carried to its peakonce again outgrew itself by entering, grand and ghostlike, into themythic and collective.


    File: 1712152146391.jpg (33.52 KB, 500x737,radulescu-500.cleaned.jpg)

     No.20[Reply]

    Horatiu Rădulescu, a former member of the krautrock band, Can.

     No.40

    File: 1715092354024.webm (1 MB, 1080x983,01 Streichquartett Nr. 4 Opus 33.webm)

    Killed me: Ed.RZ4002

     No.93

    File: 1725539847825.jpg (120.57 KB, 1280x720,mpv.cleaned.jpg)

    Hommage a Horatiu Radulescu
    Samstag, 23.03.2013, Kolumba - Kunstmuseum des Erzbistums Köln
    Viola: Vincent Roye
    > I use a special type of phase-shifting bowing (which Rohan de Saram called 'u dhu u dhu'), which I discovered in 1981 in Versailles while composing my large ensemble work Iubiri. The bow glides very swiftly over the string and seems to be rebounding off two imaginary walls; I found this bowing technique on the violin, on the G string. I also use a new approach to playing harmonics with one finger, which I call “little devils”, which produces an irregular melody of very high harmonics, with fast bowing, interspersed with occasional sounds of the open string, like Morse signals. Some of these techniques I used before in Ecou Atins from 1979, in thirteen dreams ago from 1978, in Everlasting Longings from 1971 and in Credo from 1969, the first spectral work for nine celli. The compositions Iubiri and even Awakening Infinity for very large ensemble from 1983, and Ecou Atins, are like big sisters and little sister to Das Andere, and prepared the way for it.

    https://invidious.flokinet.to/watch?v=wWxBlj-R8OQ

     No.94

    The original content was missing, link broken.
    >BG Although your own music is very radical in its technical aspects, and its sound is very new, nonetheless the great love you obviously have for the whole tradition of Western music always comes through in your work. That is different than some of the American composers you’ve mentioned, who sometimes seem more ambivalent in their attitude toward European tradition. I was struck, for example, by the dedication of your Das Andere, ‘to Patrick Szersnovicz for his Brahmsian soul.’
    >HR For me the most important is to be very close to, for example, Josquin Des Pres, because you have the feeling of a fresco; you forget the technique and you get into a special atmosphere, a special state of sound which is much more – as in the sense of Xenakis – a metropole of small elements into a big mass. Clouds of polyphonies, and so on. Or by Tallis also, no? It’s very beautiful. You have to work in this sense today with new means. To create a big fresco, a Leonardo in sound. Why not? But of today. Maybe more crazy, like nature is. Like the ocean. What we see today – it’s sometimes more crazy. From the plane, when you see the whole ocean and whole clouds. Leonardo only imagined this. In this sense you have more freedom also.
    > https://horatiuradulescu.com/writings/interviews/2-wild-ocean


    File: 1725538106208.jpg (87.46 KB, 800x378,ae ikeda.cleaned.jpg)

     No.90[Reply]

    Starting from a converse in itmens lounge. Also archiving here for future use. I'll apend/edit when it's neccessary.

     No.91

    /l/7On Ryoji IkedaAn Autechre enjoyer2024-09-04 03:21:49No.7

    What is true is that an Ae enjoyer will have no idea how to listen to any of Ikeda album in a way that doesn't hurt ears. I think they're in a sort of dichotomy, and in a way, Ikeda is a complete Apollonian musician. Plan to see a Ikeda gig.

    /l/8An Autechre enjoyer2024-09-04 03:27:20No.8 - No.9

    It's interesting that Ircam's brahms database includes him: https://brahms.ircam.fr/en/ryoji-ikeda

    >The present state of electronic music
    Autechre is boring and Autechre is factually boring.
    Btw. Their live performance would be devastatingly different from their album, it's like… You stand in the inner part of Bohor.

    —

    /l/10More on the comparisionAn Autechre enjoyer2024-09-04 09:52:58No.10>>11
    Post too long. Click here to view the full text.

     No.92

    >>91
    This's why I love conversing with gesang. I need none agreement but thinking. I need to think or even forced to think.
    Need meaningful content, thinking process, not playful easy talk.


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