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Post by nutsberryfarm π on Jan 27, 2020 19:47:43 GMT
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Post by Sulla on Jan 27, 2020 20:45:59 GMT
Excerpts from The Magic Flute...
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Post by Eva Yojimbo on Jan 27, 2020 23:16:41 GMT
Way too many for me to list. I'll try to just select a few from each genre:
^ One of the handful of symphonies one could easily consider the best ever. That finale never fails to give me chills and frequently brings me to tears with its sheer, heavenly perfection.
^ Also one of the handful of operas that one could easily consider the best ever. Only Wagner's masterpieces vie with Mozart's mature masterpieces for that distinction. Hell, it's impossible to even choose between Don Giovanni, Le Nozze di Figaro, and Cosi fan Tutte; they're all essentially perfect.
^ How does one choose between Mozart's piano concertos? So many of them are masterpieces and the cycle stands as the greatest concerto cycle of all time. I choose this one only because it's often considered to be the precursor to the romantic concerto, but one could just as easily choose 19, 21, 22, 23, 24, or 25.
^ Of his other concertos, this is an easy choice. Simply one of the most sublime pieces of music ever written for any instrument.
^ Mozart's solo piano music is often overlooked, but in pieces like this you can hear the roots of what Beethoven, Chopin, Liszt, and others would later develop.
^ Mozart's chamber music is also vastly underrated. This is one of his many masterpieces that so few have heard.
^ Mozart must've really loved the clarinet; how else to explain how he wrote arguably the two greatest pieces of music ever for the instrument?
^ Of course, there's also this towering, unfinished masterpiece that was so extraordinary even Beethoven called it "wild and terrible."
That's enough. I could post stuff all day. My favorite classical composer... probably my favorite musical artist of any kind ever.
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Post by nutsberryfarm π on Jan 27, 2020 23:31:15 GMT
very sweet birthday selections! post more, please!
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Post by Eva Yojimbo on Jan 27, 2020 23:36:53 GMT
^ Pretty sure it'd take people long enough to listen to the ones I already posted! Already that's ~7 hours of music.
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Post by DrKrippen on Jan 27, 2020 23:55:55 GMT
I'll throw a coupla favs up, there are so many it's easy.
Maria JoΓ£o Pires plays Mozart Sonata No 8 in A minor, K 310
Mozart - Symphony nΒ°36 "Linz" - Columbia / Walter
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Post by DrKrippen on Jan 28, 2020 0:01:29 GMT
I know there is a Jupiter Symphony on here already but one has to listen to Bruno Walter's rendition. Sublime.
Mozart - Symphony nΒ°41 "Jupiter" - Columbia / Walter
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Post by jackspicer on Jan 28, 2020 0:05:17 GMT
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Post by jackspicer on Jan 28, 2020 0:10:10 GMT
And how could we forget Mozart's greatest hit, "Lick Me in the Ass".
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Post by nutsberryfarm π on Jan 28, 2020 2:30:55 GMT
very nice choices!
another one:
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Post by Sulla on Jan 28, 2020 4:28:01 GMT
The Marriage of Figaro - from Act IV ("Contessa perdono")
"The restored third act was bold, brilliant. The fourth... was astounding. l saw a woman disguised in her maid's clothes hear her husband speak the first tender words he'd offered her in years. Simply because he thinks she is someone else. l heard the music of true forgiveness filling the theater... conferring on all who sat there perfect absolution." ~ Amadeus ~
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Post by Ass_E9 on Jan 30, 2020 4:12:43 GMT
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Post by petrolino on Jan 31, 2020 20:55:11 GMT
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Post by Eva Yojimbo on Jan 31, 2020 21:13:11 GMT
The Marriage of Figaro - from Act IV ("Contessa perdono")
"The restored third act was bold, brilliant. The fourth... was astounding. l saw a woman disguised in her maid's clothes hear her husband speak the first tender words he'd offered her in years. Simply because he thinks she is someone else. l heard the music of true forgiveness filling the theater... conferring on all who sat there perfect absolution." ~ Amadeus ~
The remarkable thing about the finale of Figaro is how it so abruptly shifts gears from the comic buffoonery of mistaken identities, to that moment of realization when everything stops, the count asks forgiveness and the countess accepts it. If you look on the page, it's just two simple lines of dialogue: "Contessa, forgive me" and "I am kinder: I will say 'yes.'," but the way the music shifts from these dizzying runs and pyrotechnics to silence and stillness, then to these minimal chords with a minimal orchestral accompaniment is so emotionally charged. No opera had ever gone from comedy to profound emotion so deftly. Mozart showed you didn't need grand tragedies to find deep truths about humanity in opera, you just needed the perfect music at the perfect moment. Composers have been trying to capture that same poignancy ever since and, outside the best of Wagner and Verdi, have mostly failed to reach those same heights.
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