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in my best

Why did it take mankind so many years to find out that parallel motion stacks of thirds are the bomb?

There are usually rules to music, but Stravinsky said, “ I’ll just break and distort those rules until they’re beyond recognition”

That one section in Spring Rounds is an actual banger. 8:36

👏👏👏

Omg! I almost had a heart attack when the drums came in. 😂😅

L’avant-gardiste de la polytonalité de Darius Milhaud 🤍🤍

This is a magnificent Hymn in honor of our savior Jesus. May we never forget what a great sacrifice Jesus made for us. God gave us his only begotten son so that we may be saved from our sins. Now doesn't that show us how much God and his son truly love us. Let us never forget that. Anyways, this is simply a very beautiful hymn. Thanks be to Gustav Holst for composing this and to you for uploading this wonderful recording.

*Living legend*

I love Mvmt II. thank you.

Prodigieux... Merci infiniment.

based

much better than that other dogshite

The 3rd movement feels like something Copland would write

Trumpet music for degree work is so ugly.

Fabuleux...Merci infiniment.

Based music taste

Thank you for sharing!

2024 -- the 100th Anniversary of this amazing work.

Call that music

Exquisite!

That was wonderful. Thank you for all your time and attention.

Based 🎉

Based🎉🎉

6:46 is what ADHD sounds like

based Rautavaara

Magnificent! So happy to hear this.

this is insane

i cant read music too well. but god damn

Wonderful work. One of the most interesting composers today.

Modern is a big word.. modern is Hendrix’s Star spangled banner, or Debussy’s La mer, a little kid could love and / or hate one or the other, or both …what do you mean modern? I wonder how can someone be exposed particularly to this specific work, it’s so rare.

I love all the doubling instruments!

Based

This is one of the all-time most impactful pieces I've ever heard. However, as much as I'd like to own and study the score, your link doesn't lead to that. It does have a watermarked score to view. And at Ricordi, you can only rent it. So I ask you, in all due respect, unless Julia gave you permission to display this--as much as I'd like to see it- how did you legally get this precious copyrighted score without a watermark?

Nice

I love your channel - wonderful works and absolutely stunning performances... But can you please cite who the performers are, and the recordings. Thanks, David.

No. 4 and No. 7 are my favourite. Such lush harmonies!

Beautiful! Thank you.

INCREDIBLE STUFF

Magnifique et toujours poétique...d'une finesse incroyable, merci.

That's fucking hard, like really hard

Quelle merveilleuse musique, une oeuvre superbe dans cette interprétation de qualité. Merci.

2:54 the rite.

a kind of pre Poulenc, lovely sonata

this gives off such midsommar vibes, like the movie

based Rautavaara

Maravilhosa!

based Rautavaara

I heard this live in January 1974, Seiji Ozawa conducting the San Francisco Symphony, Yvonne Loriod at the piano and Jeanne Loriod at the Ondes Martenot, the composer present as well. An unforgettable experience! Messiaen had said that Turangalila was one part of a trilogy of pieces inspired by the Tristan legend, especially about the idea of a powerful love that leads inexorably to death. It was only after the composer's death that the deeper meaning of this piece came to be known. Messiaen's first wife, the violinist and composer Claire Delbos, developed a severe mental deterioration due to complications following an epidural. This resulted in extreme amnesia -- to the point where, when Messiaen brought her violin when she was hospitalized, she no longer had any idea what it was. She lingered in this state in a nursing home for decades, until her death. Meanwhile, the brilliant pianist Yvonne Loriod was in Messiaen's Analysis class at the Paris Conservatoire right from when he started teaching there after being released from the German Stalag (where he had written and premièred the Quartet for the End of Time). They soon became collaborators, premiering his Visions de l'Amen for two pianos, and him then continuing to write a series of works featuring her virtuoso skills. As Loriod admitted in interview after her husband's death, they grew to love each other, but it was "an impossible love," because he was married, and with their both being strictly devout Catholics, their love could never be admitted to, let alone consummated. Messiaen still loved his wife, and obviously held onto the hope that somehow her condition could be healed. Loriod said that Messiaen kept a photo of Delbos on his work desk at home for the rest of his life. So he was torn, between his love for his wife, even though she had become a stranger, and his love for Loriod. Thus he was compelled to write so passionately about a love that could only end in death -- whether his wife's, or his own. This work makes infinitely more sense to me now after I came to know this background. It explains the frequency of terrifying sounds, heard alongside over-the-top transports of joy: the piece is all about confronting death, and all the fear that entails, in the knowledge that this is where such a powerful love inexorably leads. Of course, after Delbos' death, Messiaen and Loriod did finally marry.

As a society, we're getting more and more used to listening to atonal/aleotoric music and coping with a multitude of sound sources, often simultaneously. In this context, Ives music is starting to sound rather tuneful and straightforward. The harmonies on this remind me of some jazz-fusion style pieces. I think I'm gradually starting to like his work.