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Classical music
- Antonov
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- Antonov
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- Jesper Hvid
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- Jesper Hvid
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This is what sort of happens when you combine the innocently pastoral with the eerily Lovecraftian. Yeah, the dark side wins, doesn't it. Better to be a little light in the dark, that everyone sees, rather than a light in the light which is ignored, or a darkness in the light, which everyone scorns. Hail Lucifer!
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Peering over my shoulder from the comfy chair of this very room, I behold a glorious, rare and undoubtedly valuable two-volume edition of MacPherson's epic Poems of Ossian. I wonder how this Gaelic, Cymric, Nordic, Celtic and Anglo-Saxon fusion thing always worked so well with me. I think I was possibly the ruler of those realms at some point in aeons forgotten. What a quaint, pleasant, romantic, and entirely absurd notion.
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Nice one, Verdi. Gypsies banging away on anvils, early in the morning... That'll go down well... Or, more aptly, they will, one.
That's the thing! I almost wish I was there.
- Antonov
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- strad
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It's not the whole sinister, if somewhat naïve Pantheism of it. It's the underlying creepiness of the suggested elflike enthralment of the human mind, which gives it power. A cosmic sense of the unreal. Yet even with all the restrained magic of this beautiful music, it still does not match that certain passage in Grahame's The Wind in the Willows. But as close as it gets. An eerie masterpiece, and a variation of an eternal mood.
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And thus also with this fruity old genius Offenbach.
Hoffmann's Tales, nothing less. Conveying if anything the grotesque, rather than the romantic, or should, at the very least, combine the two. This is the only theme that survived. The direct musical antithesis of the original works. The entire opera is riddled with mediocre elements of levity and chivalrous romance. It's basically a frustrating parade of meandering ooh-la-las.
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This is fantastic, and would have made it in terms of hoffmannesque weirdness, as it moves deftly in the borderland betwixt the real and the unreal, never entirely devoting itself to either side of the equation.
Hoffmann's Tales, nothing less. Conveying if anything the grotesque, rather than the romantic, or should, at the very least, combine the two. This is the only theme that survived. The direct musical antithesis of the original works. The entire opera is riddled with mediocre elements of levity and chivalrous romance. It's basically a frustrating parade of meandering ooh-la-las.
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This is fantastic, and would have made it in terms of hoffmannesque weirdness, as it moves deftly in the borderland betwixt the real and the unreal, never entirely devoting itself to either side of the equation.
- Antonov
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- Antonov
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- Jesper Hvid
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- Jesper Hvid
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Painter got the wrong swan colour... But maybe it's not supposed to be a mythologically inspired piece of art.
https://en.wikipedia.org/wiki/The_Swan_of_Tuonela
- Everso Biggyballies
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Perhaps a more appropriate artistic depiction of the story behind the music / poem?
Fixed ?
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