György Ligeti, Requiem
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- Опубліковано 20 вер 2024
- György Ligeti
Requiem
Makeda Monnet, soprano / Victoire Bunel, mezzo-soprano
Chœur National Hongrois / Csaba Somos, Chef de chœur
Orchestre du Conservatoire de Paris / Ensemble intercontemporain
Matthias Pintscher, direction
Enregistré en direct le 07.12.2018 à la Philharmonie de Paris
Un bâtiment conçu par les Ateliers Jean Nouvel
(c) 2018 Heliox Films - Ensemble intercontemporain
Props to the audience for attending this concert even though they're dying of tuberculosis
Fuck!! Terrible audience!!
Public concerts should not be recorded. Only studio performances! No respect for the music.
I think they brought in the audience from a PDQ Bach recording.
To be fair, they probably attended this requiem thinking it was for them.
Imagine how many times the conductor, the singers, and the musicians wanted to kill those coughers. Still, what a fucking brilliant performance.
What strikes me as especially fascinating about this requiem is how he utilized the dying audiences coughing
LOL
At least the hackers were overrun by the later louder section.
I think this work was registered in an hospital.
There is a LOT of coughing!
Your comment rules.
Vocalists: "EEEEEEEEEEEEEEEEE"
*turns page in song book*
"EEEEEEEEEEEEEEEEEE"
timestamp?
@@prodbydanielsan throughout nearly the entire Kyrie... since the lyrics to that are literally just "Kyrie eleison, Christe eleison"...
EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
Well, the score just gives a reality check! Every one knew it was 'EEEEEEEEEEEEEEEEEEEEEE'!
kyyyyyyyyyyyyyyyyriiiiiiiiiiiiiiiiiiiiiiiiiiieeeeeeeeeeeeeeee
Before you scroll down, 90% of the comments are about the audience coughing. There, just saved you 10 minutes.
Thank you!
I came here for the comments. Thank you for assuring me it wasn't in vain.
Hahaha so true
Thank you!
@@4stringsbetter I came for the coughing but the music spoiled it.
imagine going to your first concert and its this
💀
Lol :D
"I'm sorry Dave, I'm afraid I can't do that...."
2001...
Ooooaaahhhh... Oooooooooaaaaaaaaaahhhhh... Ooooooaaaahhhhhhhhh...!
Genius
Please edit the video description to give credit to the audience as guest vocalists
This was my wedding song! My wife and I danced to this as new husband and wife!
couple goals tbh
I pray that you guys will last longer than a year
Dave Bowman, commander, starship USS Discovery: "Open the pod bay doors, please, Hal."
Lol😊😊😊
Ha. xD I love the joke even if many others are getting wooshed.
00:33 - I. Introitus
07:52 - II. Kyrie
14:53 - III. Dies Irae
23:34 - IV. Lacrimosa
Dies Irae is actually insane. I am shocked someone could write something like this, what unbridled geniusity.
Really appreciate your timestamps :)
СПАСИБО.
Rest in peace, George Ligeti.
Legend has it that all the members of the audience actually came in with hrwlthy lungs but Ligetis music was so haunting that they began spontaneously infected with terminal tuberculosis
In all my years attending and playing concerts I have never heard such a consumptive audience!!
lol! it somehow fits tho
It shows that some people have lost concentration or were not concentrating from the word go. I wish these people would stay at home.
@@InstazomeASMR 🤡
11:02 lady hits her head with tuning fork. Some amazing expressions in the choir must be wonderful to perform.
I assume entering on the correct pitch without perfect pitch or a reference tone would be near impossible in this giant flurry of voices... though i was also confused the first time i saw it
Nice catch!
and I be like......another youtube joke/metaphor *sigh.......clicks reference* OMG lol......she really does.....!!!
Well it's actually quite common, because it does not hurt at the head because of the bones and the tuning fork can resonate loudly due to the hard impact. Other common places would be the knee, or the hand, though both hurt more and and further away from the ear.
Yeah, used to sing in a choir and we were going to perform it, the score was just amazing. We managed to get through the Kyrie ok, but later parts proved too difficult (we were amateurs) and yes a lot of head banging with tuning forks lol. We did sing Lux Aeterna in a later concert and that went pretty well, also an amazing piece and also used in 2001 (the trip with the shuttle over the moon towards the monolith).
The added coughing brilliantly underscores the frailty and uncontrolled nature of human existence... I've never heard it in the studio recording but it adds so much. Bravo
Yeah, there really was no audience, just another professional choir and they practiced on their part for weeks, some actually did get a cold from all the rehearsing and you gotta admire Ligeti for getting it all on paper.
lol
@@voiceover2191 ROFL
recorded in a sanatorium if you ask me...
the feeling of dread, hopelessness, fear, death, evil but all of it is so damn beautiful.
well said.
When I listen to this piece, I'm always thinking for what reason should one want this piece to be played at their loved ones funeral. Even more, if they are religious. It's like hell and damnation are ensured and Satan is laughing at your face, black metal before it was even invented. It's indeed awesome, though, one of my favourites in this style of music.
7:50 - The Monolith
9:00 - Approaching the Monolith
9:50 - Fear and Reckoning
10:12 - Terror
10:59 - Subsides
I would also like to see the cough timeline.
I though yall was joking bout the extent the audience is coughting. I was mistaken. And gosh what a mistake it was
Proud. My nations composer and choir. Great conductor. I didn't know about any hospital with such concert hall....
As kids we had the album for 2OO1. We tried to see how long we could play this piece with the lights off without getting scared to death.
... and the record time was?
I used to blast it for tricker-treaters on Halloween.
I did that as well Tim. I still bear the scars. :)
that's the kind of thing I would have like to try 😅
Meanwhile I fall asleep to this on loop. 😊
This is the soundtrack for COVID-19 ☠️👩🚀😷
this audience has covid for sure... :/
@ But this was made in April 2019. COVID didn’t exist back then
@@me_is_hobo All this is covid saying "prepare! I´m coming!"
Accurate.
Requiem for Covid. Placement of microphones in or near the audience always results in a hospital ward soundtrack. Very wonderful music. Thank you.
Makeda Monnet is amazing! Her pitch and control are dead nuts on!! Actually both gals were. Wow. Despite the tuberculosis brigade the performance is masterful all around. Ligeti absolutely visionary and so patient in his notation ascriptions.
There's no way to remove the coughing and other ambient noises from the audience, simply because of the techniques necessary to correctly mic this orchestra. With a choral section like this, very sensitive mics are used. You can pick up the creak of chairs, the click of a bow on a cello neck as the musician turns a page, even sometimes the gurgle of a stomach. The coughing of this audience in the beginning is very infuriating, however. /Audio engineer
ligeti knew
@Tom Somhairle sure there are, but they aren't the mics you use for a concert hall recording because you actually want the room reverb and ambience, otherwise it doesn't sound natural. Might as well record in a studio if we go that way, but then the orchestra doesn't have the effervescence that comes from performing live.
On further thought there *might be* ways of removing the coughs that I neglected to mention, but they require tricky things like miking the audience, adding it into the mix and reversing polarity, thereby removing the extraneous noise due to phase cancellation. I have no idea if that would actually work, and you also actually do want the audience ambient noise and applause. So, in short, it sucks.
@Kelly Fis6her Maybe you should re-read the comment. The natural sound of the music, and the infuriation caused by the coughing audience are very different in context.
I'll follow your example and give you an analogy, but one that makes sense: Imagine you want to record the sound of a needle falling on your desk, but everytime you record a truck drives by your house, making the recording somewhat unusable and thus you're getting frustrated. Doesn't have anything to do with being a douche, just with appreciating a good recording and being a little appalled by the noisy audience.
TL/DR: you're a douche
Kelly Fis6her they way you throw with douches around you one begins to wonders why you had all of them in the first place. anyways, i hope your rectum is all clean now and that you find something in life that brings you joy, except commenting douche on youtube.
@Kelly Fis6her "This shouldn't have been performed live" okay weirdo
A wonderful performance of a twentieth century masterpiece. Shame about the noisy audience.
Audience noise is part of a live performance, but in this recording it really sounds like they had microphones dedicated for the audience too.
Much more shame about the noisy music.
@@TheMikkis100 Is that a comment on the particular performance or on the written music itself?
@@marcellmagyari The music itself.
@@TheMikkis100 Well, I think that's a personal problem, and I hope you overcome it! Don't forget that every piece of art is preceded by a historical necessity.
When you die:
What your family feels: Mozart - Requiem
What you actually feel: Ligeti - Requiem
Only a brilliant mind can compose sounds like these, Kudos to you György Ligeti! Love the Kyrie with its extended polyphony which Ligeti called micropolyphony. Some of the sounds are almost like the dead speaking, scary music influenced by Ligeti's family history of being sent to concentration camps. His brother died in one, only his mother survived. Even Ligeti was sent to a labour camp, when you know this you can understand the sounds he creates much more and the closeness he has been to death during his life! The Kyrie influenced by the Renaissance composer Ockeghem is wondrous, listen to the 20 part polyphony. It's almost like people mourning the dead during a funeral to me, or even the dead souls seeking redemption? The horrors of war are horrendous, which in this 20th Century masterpiece Ligeti totally encapsulates.
This comment describes it all, well done.
I learned about this piece from the great movie, of course. I thought it too avant garde at first, but as I listen to it, it's just fantastic and moving. Human voice is so special, I feel. Thanks for your post, it seems to give still greater depth to my experience.
Literally I feel like I’m hearing the cries of long-lost, angered spirits. It’s super spooky and it gets even more real when you hear Ligeti’s backstory.
Keith, would you regard yourself as capable of putting intelligent questions to a student of Ligeti's? You sound as though you are capable... what would you ask them? What would you want to know about having learned directly from Ligeti?
Please spare no time replying if possible.
yes!
the impact this song has had on cinema
Smoking a really nice joint and listen to this great music. Love it!!
Roberto / Try music without drugs ... The music is a suficient drug to listen correctly !
@@yvesgerard1308 try both it makes it better
@@yvesgerard1308 I always find that a funny thing to hear, since the person listening to music while doing drugs obviously has also listened to music while sober, but the person giving the "advice" that listening to music sober is better and the other should try it most likely has never tried listening to music while high, so they're the one who doesn't know what they're missing out on to begin with, and not the other way around.
If I listened to this on the ganja i’d be skitzing out
@Kelly Fis6her what the fuck kelly
Bravo et merci à Pintscher d'avoir persévéré malgré l'ajout impromptu des notes discordantes du tousseur, car cette prestation est sublime. L'étrangeté, l'inquiétude, l'angoisse et le désarroi de cette pièce y sont parfaitement interprétés et facilement ressentis. Mais moins d'un an plus tard, c'est le tousseur qui dirige l'orchestre.
c'est à dire ?
I’m so glad there are others who “get” this amazing piece of music. It’s admittedly not an “easy” piece but once affording it the proper time and attention one can’t help but be mesmerized.
What kind of genius does it take to imagine such sounds, and then figure out how to notate all of it? Incredible stuff. And this was the same genius who, many years later, gave us the _Etudes for Piano_ and the _Horn Trio..._
the audacity not just to notate but to *ask* a group of professionals to perform this is startling
tomorronow Don’t tell me you’re one of those people and you’re going to rant to us about how Boulez, Ligeti, Stockhausen and Berio aren’t real music.
@tomorrow just does not have good taste imo
Unparalleled, unprecedented, ultimate masterpiece.
I dare to say this music is the greatest one written in 20th century. Probably still now.
Agreed.
The worst*
the best
@@InstazomeASMR The worst ×2
@@diegosepulveda2222 The best ×3
This performance had me entranced! To hear this piece performed live is just a stroke of genius by the composer and the artists... Well done you all!!!!!!
this was probably the most impressive thing in the whole movie. incredible atmosphere and mood set by these sounds. especially the thrilling vocal part.
Composed 1961 - 1963. We still hear something on the expressionist side but all the composition Is wounded by Second World War with all its atrocities
This is definitely one of the greatest works of the 20th century.
You must be joking mate
I think i agree, i listen to all genres, that piece triggers an emotion in me that i cannot find anywhere else. Its visceral music.
@@delko000 - Because it’s so radically different than most pieces it’s easy for many people to write it off but after several attentive listenings a person adjusts to its unique vocabulary.
If i would wittness this live I don’t know if I would cry or be shaking
Both
Statistically speaking, you’d be coughing.
Seems like an emotional and deep piece I would love to listen to
*non stop coughing in the background*
It is a piece that demands your attention from start to finish, and remains completely memorable, unforgettable. Like Penderecki’s St. Luke Passion, this work shows is the “other side” to music, one we never knew existed.
Uma obra prima incontestável!!!! Ligeti maravilhoso!!! Sobreviveremos à hecatombe final, à sombra dos grandes Mestres e Artistas do mundo!!!
You better go home when you're sick unless if you want your own requiem
This aged well.
Social distance yo
How prophetic!
The usuel brat-pack, want to be seen and heard because they earn it in greens.
By the way, the music is fantastic!
Interesting choice on the part of the audio tech to mic the audience
The only requiem in existence that does not ascend towards heaven in the end, but to the grave.
The greatest oratorium of the 20th century imo
I assume most people know about the usage of the Kyrie in 2001, A Space Odyssey?
If you want to go all out, after this listen to Giacinto Scelsi's "Uaxuctum" about the downfall of an ancient Aztec city.
Listening to this while I write something truly mad.
The phrasings written by Ligeti in this Requiem and how well achieved they are in this peformance are memorable.
8:50 when Kubrick himself is part of the choir.
Oh, and selling cough drops at this venue would be a fantastic business venture.
And at 2:06 there's Anders Breivik (Norwegian terrorist) himself in front of Kubrick. What a choir!
Listening to Ligeti I couldn't help thinking this piece must be incredibly difficult to perform, so I googled and found an account by a singer in the Seattle philharmonic. Bottom line is, yes, it takes months of rehearsal and is extremely difficult to perform. Hats off to these performers
Dissonance is hard to pull off! Choirs can go flat or sharp all the time, but they're usually doing it together. Not singing a note right next to it's neighbor and staying in tune.
Most terrific coral work of XX century, but superb
Stefano Baruffetti choral*
I love what the Ensemble Intercontemporain does. Once again it offers us a superb version of a masterwork of contemporary music. Thank you for all these emotions!
Love the choir member checking the tuning fork at 11:02.
Not that uncommon, I used to be in an amateur choir for contemporary music and with some pieces chords could be so complex that you regularly checked to get the right note, I remember it distinctly with pretty much every Morton Feldman piece we did, but yeah it looks rather odd of course.
Also 12:07
I firmly believe that everyone else inside this room had the moral duty of beating the coughers into mush. Nobody who goes to watch something like this and is unable to keep quiet can possibly have a valid reason to exist.
So cool how Godzilla 2014 used this song during the HALO jump scene. God meets man
Quelle magnifique exécution et surtout quelle profondeur d'âme et de vérité dans cette musique ü Je l'écoute souvent chez moi et l'adore. Merci pour ce partage.
2001 space odissey, 2014 godzilla
The most terryfing ,epic,amazing masterpiece of the music... love the female voices of angels dante,s inferno
Tragique et prenant. Une musique de timbre et de sons... Superbe interprétation toute en tension
Absolutely fantastic work and performance! Brings to mind another contemporary Requiem - by Eli Tamar.
Darkly beautiful.
A lot of people are complaining about the audience's intrusiveness in the recording, and I can sympathise. However, for me it highlights one of the distinctive upsides of Western Formal Music (classical music, for the layman): there are expectations about which sounds are intended by the composer to be perceived by the listener. Because of the history of live performance central to the genre, one can quite easily guess that the coughs are not intentional in regards to the music, and can therefore look beyond them to the intentional sounds, something you can't easily do with other styles of music. While I absolutely do notice the coughs, making me wish I could find a studio recording, I can quite easily look past them in favour of being mesmerised by the music itself.
Conclusion: do not make a public recording in winter.
L'œuvre centrale de l'un des géants du ciècle précédent avec une magnifique interprétation !
Merci ensemble intercontemporaine et Matthias Pintscher!!!
Public infect. Oeuvre magistrale
Magic music, spine tingling - THANKYOU
Masterpiece that comes from infinity and goes to the infinity. Amazing performance.
This piece befuddles me. I have the full score, and have listened to it well over a hundred times, and still I feel I have barely started to understand much less ''track'' with the piece. I will probably have to listen to it probably closer to a thousand times, before it makes sense...AND I LOVE, AND ADORE SUCH CHALLENGES!
I was in the audience. Beautiful and haunting moment (I hate coughing people too)
Are you ok?? How are you doing with the TB?
Félelmetes egy zenemű! Kell hozzá egy elszántság, hogy végighallgassa az átlag zenerajongó. Viszont egy zsniális alkotás!
A zenészek, énekesek megszólalása is kiváló, igazi mesteri előadás.
(Azt a két-három bénult agyú köhögőgépet azért kizavarhatták volna - ha már maguktól képtelenek voltak felismerni, hogy köhögősen nem illik koncertre menni)
Simplesmente fantástica a interpretação dessa obra prima!!!!!! Mathias Pintscher em sua melhor forma.
2:41 when you put your head against the bus window while it’s moving
Relatable!
7:52 The Monolith appears
12:43 The Monolith vanishes and the Stargate opens
That's INSANE! 🥵😵💫🤩🥰💖💖💖
i love seeing things as the woman in 12:08 during performance
Also at 11:04
The dynamics of this piece is incredible.
Beautifully scored for the gagging, choking and hawking chorus.
Certain sounds can trigger the release of cortisol, a hormone associated with stress. This can lead to increased heart rate, blood pressure and anxiety. Physiological responses could be any; for example: loss of balance (when vestibular system is stimulated), itching skin or uncontrollable cuff (when the nervous impulse reaches the brain stem, from where a motor response occurs in the muscles), just to mention the harmless ones. Among an audience of over 100 people, mathematical chances are that at least 1 is going to be quite and badly affected (without even knowing it) by this type of low frequency and then odd pitch changing sounds.
Wanting to see this Ligeti piece performed. Awesome directing and to see so many people and instruments involved.
It's rarely performed for obvious reasons, it's a very difficult piece to perform. I once sang in a choir that rehearsed it, managed to do the Kyrie as well as the Introiitus. The Dies Irae proved too difficult technically (we were amateurs).
Just listen to the basses at 1:54. Absolutely impressive.
Didgeridoo
Me in the morning trying out that morning lower register
10 minutes in I felt like crying from fear. Dear god....
Haunting piece.
Indeed.
This piece is so dissonant that at 11:01 a vocalist pulls a tuning fork out of thin air and knocks herself in the cranium to check if she can still hear a regular pitch.
LOL
“Cranium”
Splendida esecuzione, grande direzione, grazie.
Thanks to the audience, I could not finish this masterpiece. 10/10
Composto fra il 1961 e il 1963. C'è ancora parecchio espressionismo ma si sente anche la seconda guerra mondiale alle spalle. E non sono da escludere influenze dal Requiem di Verdi. Comunque, un capolavoro.
this is pure, visceral music output from a lot of pain.
This is my kind of concert.
La potenza di quest'opera e' tale che i musicisti hanno assunto delle espressioni "funerale " così tanto potere ha 'questa musica da coinvolgerli completamente .
29:27 cough signaled the end of the concert wtf
LOL
Hahahaha
Morí de risa.
What is this? A requiem for the coughers?
Wonderful, yet misunderstood music.
this is my wedding song
wow.... felicitaciones.... en general.. gran orquesta y coro... ni se diga las solistas, no solo suena complicadísimo, sino que la interpretación y voces son magnificas.
The first movement is one of the greatest works in all music.
Tubercular coughing is actually written in the score of this masterpiece: Ligeti was a genius not only of music for the dead, but for those attending their own requiem mass at the concert, itself!
Technically difficult piece, well done!
Beautiful. Simply beautiful. Thank you for posting.
Je connaissais depuis longtemps cette œuvre.
J’ai de nouveau pris mon courage à deux mains et opté pour un certain détachement sensible afin de la réentendre et la voir interprétée dans cette acoustique magnifique et par ces musiciens exceptionnels, enfin pour écrire ce long commentaire. Je ne vais pas me faire des amis par celui-ci, mais il n'y a rien de très original compte tenu de mon parcours artistique iconoclaste et de mes déclarations précédentes sur le même sujet. Je voulais à cette occasion principalement observer les réactions des musiciens et du public.
De confession judaïque, György Ligeti a composé son Requiem pour dénoncer les absurdités du communisme et du nazisme.
Nul besoin de s’étendre sur la cauchemardesque Histoire du XXème siècle, je suis né en son sein en 1961.
Mais quelle impression sournoise se glisse petit à petit en moi en écoutant la masse sonore, en observant les visages ?
Nous n’avons pas ici une assemblée de dénonciateurs, nous avons affaire à une assemblée de disciples énamourés !
Ce n’est pas une nouveauté, György Ligeti n’est pas seulement le dénonciateur de l’absurde, il rejoint lui-même par ses œuvres ce théâtre de l’absurde, il en devient un promoteur acharné par sa musique, rendant compte de l’observation factuelle qu’il a complètement été mangé par son sujet : l’absurdité.
Ce n’est pas un scoop dans le monde de la musique, le concernant. Lui et ses amis, les suiveurs, sont sans autre boussole que celle de l’argent public de la Kultur qui coule à flot dans ce théâtre officiel de l’absurde.
En toute logique cartésienne, nous voyons donc ici rassemblés autour de cette œuvre et ce compositeur les disciples de cette absurdité institutionnelle. Pire, en ce jour de 1918 dans la Philharmonie de Paris, nous avons donc assisté au rassemblement en conclave des zélateurs de la Secte de l’Absurde afin de célébrer son génie messianique. On a même pu penser par moments que l'absurdité complète avait été jusqu'à comprendre les nombreuses expectorations du public, sans doute inquiètes du silence religieux, comme issues de la partition elle-même... Cela n'aurait surpris personne en ce milieu. Secte qui sévit dans la musique contemporaine française depuis 1945 et qui interdit de fait depuis 1970-1980 toute autre création que celle tamponnée par sa bureaucratie subventionniste... On veut dénoncer l’absurdité par des œuvres, mais on s’agenouille religieusement et de fait devant celle-là, devant celles-ci, devant ses grands prêtres, devant son langage sectaire et abscons, on met enfin des cierges devant le cénotaphe du maître de l’absurde. Comme si Kafka et son œuvre ne faisaient plus qu’un, sans aucun détachement ! À la même époque, dans le même espace temps, on incendie symboliquement la Cathédrale de Paris qui représente à elle seule 1.000 ans d’élévation spirituelle de l’Humanité jusqu’aux firmaments de la conscience… Certes, des masques de l'horreur ornent ses murs...
Que fait-on en parallèle dans ce nouveau temple de l’absurdité architecturale, pustule informe située sur le périphérique parisien et qui assombrit encore plus le paysage local déjà passablement sinistré - se rappeler la signification du mot « sinistro » en italien, langue du « bel canto » ? On devient à son tour membre de la secte, un disciple, un employé, une petite main de l'absurde... Cette réflexion soudaine me ramène à d'étranges parallèles avec le taylorisme appliqué dans des camps... Obéir à cette nouvelle religion du sinistre cynique permet tant d’avancées de carrière au lance-pierre, l'argent public et celui du mécénat des 2.500 milliardaires de la planète coulant à flot dans le marché absurde de l’AC dans le but avoué d’inonder financièrement le marché de l’art de ces idées absolument absurdes, par engloutissement, par étouffement, par envahissement oléosociétal, enfin, par manipulation des cerveaux plastiques de la jeunesse. On a toujours manipulé la jeunesse dans les dictatures, on a bourré leurs crânes innocents d'idées complètement fausses et "absconnes", on les a enfin instrumentalisés pour pérenniser le système. Ce n'est pas une opinion, ce sont des faits historiques. Il est notable aussi que ceux qui n'ont pas voulu participer à cette messe absurde des temps modernes, qui ont refusé ses injonctions arbitraires et ont combattu son système dictatorial (ça valait bien la peine de prétendre dénoncer des dictatures infâmes quand on en créait une autre tout aussi stupide dans les arts), ont été mis au chômage, mis de côté, ostracisés, appauvris, enfermés dans l'oubli. N'est-ce pas une preuve supplémentaire de la nature non démocratique de ce régime ? Question philosophique de l'art et de la liberté, enfin de la politique dans son sens le plus noble, l'organisation de la cité des hommes au bénéfice de tous, non au bénéfice d'une caste étanche et auto-reproductrice dans les alcôves stériles du saisissant entre-soi de la... "musique contemporaine"... musique désormais du passé "dont nous ne ferons pas table rase, nous les plus jeunes générations !"... Pour montrer par l'exemple ce qu'il ne faut pas reproduire.
Que dit l’idéologie de cette secte aux jeunes générations de musiciens du Conservatoire de Paris ? Elle leur dit : « Rejoignez notre secte absurde et sa musique idoine ; alors vous aurez le gîte et le couvert jusqu’à la fin des temps ! »
Moi je leur dis « Éloignez-vous de cette secte tant qu’il est encore temps ! »
« Ne succombez pas au culte du nouveau Veau d'Or dont le langage unique est celui de l'adoration du cynisme, de la laideur, de l'absurdité et de la mort par les notes de musique ! »
« Construisez un monde meilleur, le vôtre, pas celui de ces anciens aigris résignés de l’idéologie de l'absurde bourgeoisement entretenus par elle, devenus alors tout autant absurdes que les absurdités nazies et communistes qu’ils étaient censés originellement dénoncer par leurs œuvres et leurs démarches intellectuelles ! »
Par ailleurs, comment ne voit-on pas que cette musique est celle de la nomenklatura d’État française qui se goberge aux subventions, celle d’un régime socialo-communiste centraliste technocratique étatiste (57% du PIB contrôlé par l'État français) qui ne veut, dans le temple de sa secte musicale ressemblant à un non-sens informe vu de l’extérieur, en aucun cas perdre ses prébendes, ses contrats, ses entrées, son exclusivité de traitement avec les instances officielles ! L'extrémisme comme pensée artistique pour rester le plus près possible du financement public : ils s'autoproclament "les insoumis de l’État"... Ils sont "contre", tout contre. Sont-ils contre les dictatures ? On peut légitimement se poser la question.
A contrario, moi je vous dis : « Regardez ce régime pour ce qu’il est, et vous verrez qu’il est plus proche de sa fin que de son début ! On attend la chute du Mur de Berlin de l’absurde musique contemporaine française. Ce temps est proche. Elle joue déjà ses Requiem, ses messes aux morts. »
« Jeunes générations de musiciens du Conservatoire de Paris, sauvez-vous et montrez l’exemple, quittez sans attendre cette secte qui vous engloutira comme elle a englouti les générations précédentes ! »
« Libérez-vous !
Vous avez la vie devant vous.
Libérez la musique officielle de son carcan totalitaire ! »
« La beauté sauvera le monde »
Fiodor Dostoïevski (1821-1881)
« Pas les absurdités qu’on vous oblige à jouer avec vos instruments magiques…
Faites de la musique d’espoir, de rire, de fête, d’amour, d’amitié, de bonheur et de joie…
Redevenez fauréens, debussystes, mozartiens, soyez légers, soyez grands, ne sombrez pas dans la petitesse bureaucratisée !
Faites de votre matériau intérieur une joie quotidienne, même si l'art est toujours difficile.
Alors notre société et notre époque ressembleront à ces musiques d'espoir.
Souhaitez-vous pour l'avenir que l'horreur inonde notre art et qu'elle devienne sa seule norme dans la création nouvelle ?
Pitié, ne faites plus des hymnes, ou des généralités, des musiques de peine et de tristesse, encore moins d'absurdités, même si elles sont pourtant bien nécessaires... »
Rejoignez l'injonction finale du poème Desiderata de Max Ehrmann, que la légende urbaine a prétendu voir issu d'une inscription trouvée sur l'Église de Vieux Saint Paul de Baltimore : « Tâchez d'être heureux ! »
Je n’ai jamais ressenti le Requiem de Mozart autrement que comme une musique parcourue d’une immense joie.
Le monde était-il moins barbare à son époque ?
« On m’a fait dire que le XXIe siècle sera religieux. Je n’ai jamais dit cela, bien entendu, car je n’en sais rien. Ce que je dis est plus incertain. Je n’exclus pas la possibilité d’un événement spirituel à l’échelle planétaire ».
André Malraux (1901-1976)
Holy mother of Johann Sebastion Bach, that was quite something.
@@lifeontheledgerlines8394yeah this was a journey, interesting nonetheless
At 9:16 there I seems to remember that part from a movie I watched a while back. It was about these black rectangles and some computer with mental health issues.
Wow! 5 minutes in, I feel better already!
Sometimes i wish performances like this didn't require so much focus to "enjoy". I'd rather relax and let the sounds wash over me, but instead because of the assumed importance of the concert i have to sit upright and watch a near-motionless stage. Still, that's the benefit of these recordings.
biblically accurate requiem
An amazing performance. Chilling to the bone.
Utterly contemptible audience, with no respect for the most incredible sound.
Such an emotional and impressive work.
Sin ahorrarnos espanto, este es un lúcido ejemplo de música sacra para un siglo trágico. Al decir de Trías, «pocas veces se ha escrito una música tan dia-bálica». Su verdad radica en su fuerza desgarradora, sin compromiso eufémico, desde el arranque quieto -«en puro pasmo contemplativo»-, somos testigos de lo irremediable. «El continuum del infinito tejer con el que se complace éros -y su principio de vida- queda quebrantado» . Toda farsa enviada al traste.
Best version, worst audience.
i wouldn't say best version
@@zachguo6372 do tell, I'd love to hear other versions (besides the top results o yt)
the problem with the perceived exclusivity/bougie-ness of classical music (especially more abstract shit like this) is that it limits your audience to a lot of nearly-dying 60+ year-olds.
Source: 2 Operas and several years of performing cello.
@@tomorronow i mean idk many besides the other ones on youtube but I personally prefer barbara hannigan