A. Scriabin: Prometheus or the Poem of Fire - Prométhée ou le Poème du feu op. 60 (Boulez)

[@thesyntaxtree2528]

22:30 Every addition to true knowledge is an addition to human power - Horace Mann

[@CasualCreateOr]

Isnt that the guy that created the American School System? Hm strange, almost as if he knew how to keep us from reaching our true potential and to do that you first have to have known our true potential possibly that's why he listened to Scriabin...

[@chanpasadopolska]

True, but still there's human power and power beyond. Human power easly leads to pride, but in sence of arrogance, it's negative form, conceit and haughtiness. That's why human power must have base on God or at least on (positive) spiritual realm and it's must be limited by humble of awarness of reality, being now in time and perspective of toughness of real path. Then it's path of heroes, evolian titans.

[@cgndnm]

tno referens (help me)

[@inq.zeketer1964]

I actually thought the rocket would be a part of the original composition, like cannons in Tchaikovsky's 1812

[@marlonmerz9850]

@@cgndnm epic moment, based modernisti

[@LordSwordbreak]

That climax in the end... Just indescribable! Listening to Prometheus and reading the orchestral score at the same time is amazingly enchanting and mesmerizing...

[@JayEhEnEaTee]

+Henrik Järleblad reading about Alexander Scriabin in a "Senses in Artistic Practice" class. The reading is about synesthesia and how philosophers, scientists etc were trying to find the link between light spectrum/colour and pitch. I know about "colour" in music or timbre, and would love to read the score along while listening. Could I find it free online?

[@KevinYang91]

You can find the score with a basic luce part here (from imslp.org), which is an open-source score library. imslp.org/wiki/Symphony_No.5,_Op.60_(Scriabin,_Aleksandr) Sadly, I don't think the original score (with Scriabin's own markings about how the light part is to be performed) is on the web.

[@johnappleseed8369]

that is what I just did, with the score I purchased a few years ago. it's one of those scores that are fun to read even without the music playing!

[@RobertSlover]

fun? come on john

[@MrCantStopTheRobot]

In lesser pieces that ending would feel abrupt. But here, it implies reaching something so above or beyond the world of struggle, it doesn't even belong in the same piece of music. We can taste that chord as our previous selves for a moment, but from then on, we're not even the same people anymore.

[@JoyMinistryy]

He was a true mystic...there's no real melody, and the ebb and flow are like ocean waves bringing your mind into the present

[@Dionysus_333]

Love this comment, poetry.

[@daveerhardt1879]

After listening to this wonderful piece of music, the dissonant chords abounding, to end the piece with a major chord always brings chills down my spine.

[@ancient_astronaut]

Dissonant? Wie bitte?

[@thepianocornertpc]

:-)

[@AntonWingfield]

spoiler!

[@cravingattention2771]

@@AntonWingfield exactly, that's what I thought! I looked at comments before I finished the piece for the first time and now I know how it ends :( ;)

[@Sedyon]

@@AntonWingfield 😂

[@olavisuominen9328]

Skryabins music is unique. This feelings what i get when i listen this art i cant find that in other way.

[@HermanIngram]

I consumed magic mushrooms and listened to this piece in 2003 when I lived in the borough of Queens. I imagined a great diety with many arms offering various wonderful delights, one by one. I was enchanted. But, when the sheer size and totality of the monster became apparent, I felt differently. This music is cataclysm. The end of worlds.

[@null8295]

this is how hinduism was invented

[@shakespearefan]

The tragically far too ignored English composer Cyril Scott said Scriabin was killed by the Devas because he was moving too fast in bringing their world to us

[@maxsilva11]

Scriabin believed that his music, played in just the right way and with the right combination of other media, could transfigure reality and transform matter into energy, apocalyptically ending our world and bringing into being a new world. So you were definitely clued in to something Scriabin was trying to do!

[@PeterLunowPL]

@@maxsilva11 funny!

[@TheThingoftheSky]

Lol my fave experience with music on shrooms were Buried at Sea - Migration, sounded literally like the sound of cataclysmic collapse/apocalypse of the world, but had a sense of grace/dignity to it Then also, obviously Mr. BUNGLE... I thought I finally REALLY understood them ... via the mushroom+ weed channel... Haha Good times indeed (sorry to derail a bit)

[@saturdayjones3119]

Literally the best piece of music I have ever heard

[@optimisticbeard1485]

The painting at 11:03 is "The Torture of Prometheus" by Gioacchino Assereto.

[@jedevari1201]

City of light

[@Игорь-э2д1д]

Великолепное произведение! Как дух поднимается внутри от этой музыки! Браво!

[@goodlife6145]

It honestly doesn't feel dissonant to me. It's esoteric and mysterious but there's a warmth to it all the way through.

[@WelshHomo87]

I feel that too. Its very radiant filled with a glorious light

[@jacobtapianieto9655]

There isn't a clear tonal center but still the harmonic movement makes sense, alongside the melodic content. It goes floating trying to land at some place but doesn't happen and then, at the end, arrives in a surprising way the only recognisable chord, the very last F Sharp Major chord.

[@ChristianBurrola]

​@@jacobtapianieto9655 Not in a surprising way. It hints towards an F# center throughout the entire piece, just not in a traditional functional way. However when you consider that the piece is mostly made of 13#11's, 7#5#9#11's, and maj9#5#11's, the triad at the end is jolting because of the extreme contrast in harmonic color.

[@PianoGuy954]

@@ChristianBurrola What sounds weird to me in this final F# chord is that it sounds kind of plagal, like a IV chord (except it's really more like a VI b chord). My brain wants it to go back to a Bb major chord.

[@ChristianBurrola]

@@PianoGuy954 if you listen closely to the bars before the final triad you will hear two authentic cadences in F sharp major (C#13#11-F#maj9#5#11).

[@rubeng9092]

Much better than other atonal/dissonant pieces. Since one can feel more than just anxiety listening to it.

[@gerardbegni2806]

That gorgeous piece is almost always based on the "mystic chord" (a chord in fourth) and the acoustic scale (F# and Bb in C major). It is a miracle to have built such a great piece with that material. Scriabin evolved more or less empirically, firdt subsrtituting ii to II (Db replacing D in C major - see "Night poem op. 61 in Db major, beginning by Ebb, then to the same synthetic mode than Messiaen's "second limited transposition mode" also called "Bertha mode" (C - Db - Eb - E -F# - G - A - Bb, a regular alternance of half and whole tones). A rhe very end of his life, he used1O and 11 sound modes, and the sketches of his "preparatory act" show that he was about to use the full chromatic scale, in a modal spirit quite different of Schoenberg's practice.

[@DavidFick]

Interestingly, Scriabin deliberately avoids the fifth scale-degree of the so-called "acoustic" scale, thus reinforcing the notion that it is the "mystic chord" (which IS a subset of the acoustic scale) --C F# Bb E A D) that determines harmonic content throughout. But for one pitch (the A) the "mystic" hexachord (C D E F# A Bb) would be a complete whole-tone scale. The "openness" intrinsic to such a collection would be compromised by having not just one, but TWO pitches outside of the whole-tone scale (G and A) that are present in the "acoustic" heptachord (C D E F# G A Bb). While an obvious subset of the "acoustic" scale, the "Prometheus" ("Mystic") chord is often explained as an altered quartal construct. While Scriabin presents in this quartal guise, he more commonly uses the pitch content to construct upper-level tertian sororities (e.g., C E Bb D F# A --C13#11).

[@corvanha1]

It's a pretentious moustache eh pistache.

[@Examantel]

The piece almost entirely consists of transpositions of the mystic harmony, of which the genius Scriabin writes into 20 minutes of some of his most sublime, otherworldly music. The amateur composer would have us bored within two minutes attempting the same task.

[@cosmoblvck-h43]

I will try regardless. Not even you can stop me

[@Cougelly1999]

Did we know that Scriabin's Poem of Fire was the earliest example of stereophonic recording--that is, "Bi-aural" , two microphones connected to two styli cutting two tracks on the same "wax" disk--in 1932? After disks being pressed on cellulose acetate rather than shellac, in 1931. It must have been an amazing improvement to hear all these instruments in stereo.

[@edwardnowill4408]

Yes & you can now hear the results on the Stokowski society web pages.

[@davesmith6815]

Scriabin's unique approaches to rhythm and melody are so fulfilling, for example what we get at 4:08, much like in his sonatas, so alive and exciting!

[@alessandro6024]

Scriabin per sempre, musica straordinaria 😜

[@rr7firefly]

I purposely avoided looking at any paintings or pictures associated with this music in the video. They would only limit my fuller appreciation of Scriabin's cosmic vision.

[@Συναισθησις]

I try to do that with any music I listen to - listen with my eyes closed.

[@gwang3103]

I think it can depend on the pictures. The right picture at the right moment can greatly enhance the enjoyment of the music. But maybe it's just me.

[@rr7firefly]

@@gwang3103 We each have our own preference. There is no way to know what image will come up as we listen to the music. You cannot un-see something that you are looking at. I prefer not to go down that path. Looking at cover art for a vinyl record or CD is plenty for me. The exception is when the musician has added the visuals intentionally to enhance the experience. Scriabin would have liked to do that whenever it was possible.

[@June_Hee]

Funnily enough, Scriabin demanded a “color keyboard(it makes no sound, but emits 12-colored lights)” to accompany the music.

[@kathrinbartholomewfuchsiii404]

@@June_Hee scriabin probably would have loved synthesia channels like Rousseau and Kassia

[@bubbyskittles4802]

The reason I like this piece so much is that it does have a beautiful melodic motif, but it is counterbalanced by complex and ambiguous harmony. That is my definition of true mastery because it summons multiple emotions rather than one, and it's brilliant!

[@fisherroastedpeanut]

Boulez shows such deep understanding of this piece

[@conw_y]

That crescendo starting at 16:08 is just mesmerising.

[@mirakocher3530]

Really I'm in space! Very mystic! Wonderful music!

[@pedroa.cantero9449]

Scriabin estuvo obsesionado por realizar una obra total, en su época inabarcable. Dirigida a todos los sentidos, abrazaba luz, música, poesía, danza, drama, aromas y caricias. Pero, por más que la tramó, quedaría inalcanzable. «La sustancia del mundo es amor y deseo. El instante último será diferenciación absoluta y unidad absoluta: el éxtasis. El éxtasis es una cima; en tanto que pensar, el éxtasis es síntesis absoluta; en tanto que sentir, el éxtasis es placer infinito y bajo esta forma espacial el éxtasis es manifestación extrema y a la vez destrucción». Dadas las limitaciones técnicas de su tiempo y puede que de su propia capacidad, su obra total no pudo ser. Scriabin la pretendió inabarcable definitiva, cataclísmica, dejando piezas subyugadoras que contenían fulgores de aquel brasero ingente. De haberla logrado, Mysterium hubiera sido aquella quimera sulfúrea en la que el músico pretendía ahogarse de éxtasis.

[@adriatorras8077]

pedro a. cantero Yo lo lograré. Pintura, escultura, arquitectura, danza, poesía, vestuarios, escenas, aromas, MÚSICA, gustos y tacto.

[@rr7firefly]

Quiero agradecerte por tu hermoso comentario sobre Scriabin y su visión metafísica del Misterio Absoluto. Las palabras solo pueden acercarse a describir aquellas cosas que están más allá de nuestra comprensión total.

[@dad9447]

Sería toda una experiencia la de "ver " sonidos y " escuchar " colores, posible, gracias al desarrollo de la tonalidad y al genio de Scriabin.

[@AtharJaber]

The painting of Prometheus is formerly attributed to Anthony Van Dyck (1599-1641) but recent research attributes it to Giacchino Assereto (1600-1649) The painting by Kandinsky is called "Around the Circle", 1940.

[@xelaphilia]

Kandinsky had the same condition as Scriabin: synaesthesia. He connected sounds to colours.

[@crumb5756]

Whoa ho ho! All this talk in the comments about the ending climax, and I can gladly say I underestimated it. Talk about an epic conclusion! Can't wait to spend the rest of my life grueling over the confusion the Prometheus Scale and Mystic Chord bring about!

[@nathanpangilinan4397]

One cannot stand against progress!

[@타마몽]

Yep its Modrenisty time

[@gabrielvicuna9734]

Modernisty has reunified Russia! (22:30)

[@HiveMynd]

PER ASPERA AD ASTRA!

[@benihana180]

The closing section. I am left in awe.

[@joshclift5889]

22 minutes of dissonance and then... THAT GODDAMN ENDING. That's probably the most powerful chord I've ever heard.

[@sappallow]

Kindly refrain from breaking the third commandment.

[@florptytoo]

​​@@sappallow"God" is not the name. Dude's fine.

[@butros51]

First of all Scriabin has a recognizable chord progression and this makes him unique amongst modernist. Most forms of serial 12 tone defy the natural movement of tritones.

[@renep9968]

Certainly not unique. At the time there were Debussy, Ravel, Strawinsky etc, who wrote perfectly recognizable chord progression. Prometheus and Poeme de l'Extase are from about the same period as Strawinsky worked on his Firebird. Strawinsky must haven known 'Extase well; is has a similar atmosphere and orchestration.

[@ILoveMagic15]

@@renep9968 True, but Scriabin is unique among atonal composers in using chords which stand in a sort of functional relation to each other.

[@gwang3103]

Fascinating how this work can alternate between visions of epic, terrifying grandeur one moment and soft, velvety seductiveness the next. Boulez's version seems rather slow, though, compared to say Lorin Maazel's. My favorite moment would be when the lovely fairy twinkles suddenly come in at 13:12. Pity there were no lasers yet during Scriabin's time. Imagine what beautiful madness he would have created using them. :)

[@dianaderamon-rius1760]

The combination with the paintings is breathtakingly beautiful

[@queleocurrioafuerzaa]

La hazaña de un Semi Dios en Medio de una Naturaleza activa, viva y exhuberante ; formidable combinación .

[@chrish12345]

after many many listenings I am finally getting to know this piece, well worth the effort - sheer joy

[@alessandro6024]

Capolavoro assoluto, sarebbe molto bello sentire un'esecuzione dal vivo 😎

[@raphaelcaron8981]

Fantastic music along with a great selection of paintings... So much genius condensed in 20 minutes... This video is just wonderful.

[@rr7firefly]

If you listen to it again with the paintings out of sight you will hear something much better. Create your own imagery based only on the music.

[@raphaelcaron8981]

@@rr7firefly I've listened to it dozens of time with and without the paintings. Two different experiences. :)

[@rr7firefly]

@@raphaelcaron8981 When I think of music associated with visual content it reminds me of how Disney set "The Rite of Spring" to dinosaurs lumbering through their last days. I have heard that Stravinsky hated it.

[@raphaelcaron8981]

@@rr7firefly Yes, I agree, music (or at least this kind of music) is not made to be associated with visual content. Most of the time, the association spoils the music. But here, for once, I think that the paintings were very well-chosen and convey a message which can match with the music. That's why I'm mentioning it. Of course, they restrict our imagination and interpretative possibilities (although the paintings in themselves are not always obvious to interpret). However, the interpretation towards which this stream of paintings steers us is in my opinion very enjoyable and coherent. So why not enjoy it? We can still get back to a 'pure' listening of the music whenever we want by closing our eyes... Actually, apropos visual content, it's pretty ironic that exactly this piece was meant to be played with colours in the background (or in the surroundings) of the orchestra... The difference is obviously that it is Scriabin himself who wanted it, and not somebody else. But still, visual content can sometimes be a good thing!

[@rr7firefly]

@@raphaelcaron8981 Your point is well taken. Conversely to that, sometimes when I am in a particular place, looking at a particular thing or bit of scenery I have a musical "soundtrack" running in my head.

[@cameronspeirs1588]

Sasha was really something! 🎹🏅🍷

[@MrVersipellis]

That release at the end is actually brilliant

[@lopazio]

The "tension" of the whole piece can be attributed to the use of the tritone (the "devil" interval) and the constant subdominant notes never resolving to the tonic.

[@Gallardo2008]

scriabin + kandinsky = yes please

[@gordonfreeman8109]

This fits the Modernisty very well....

[@cgndnm]

freeman...

[@queleocurrioafuerzaa]

Skriabin es uno de esos compositores que destacan por su originalidad y sin embargo no han recibido el reconocimiento que realmente merecen.

[@orgyenzopa]

Gorgeous accompaniment of Klimt. Exquisite combination.

[@MrCantStopTheRobot]

I want to say... This is a Pagan version of Bruckner's Te Deum. The magnitude and intensity make it suitable only for birth, death, or a close struggle between the two.

[@NovosibirskiySilovik]

22:30 for TNO fans

[@wwatesse]

modernist tomsk moment

[@eljokersoviet7347]

Blessed Moment

[@mrbenoit5018]

That ending comes out of virtually nowhere, and it is glorious.

[@feloria1862]

I love the piano bit right at 21:46 its almost comedic.

[@Nganguenf]

Le feu prometheen transcrit par Scriabine, un genie, utilisant son fameux accord mystique dans le mode lydien b7 et sous toutes ses formes.

[@samuelmincarelli5051]

Scriabin possessed the most idiosyncratic style of music than anyone else.

[@Συναισθησις]

Why, because he actually looks at the score analytically? It is truly sad if that kind of performance is the rare one.

[@bathtubbarracuda2581]

@@Συναισθησις Don't you mean Boulez? If so I agree with you

[@agonludmilla]

FANTASTIC PIECE - LOVE SCRIABIN AND THE DESCRIPTION OF THE VIDEO IS EXTRAORDINARY - TKS A LO HAVE SUBBED TO YOUR CHANNEL.

[@pepe4rock]

he was the (self-made) Messiah, just made contact with his Mysterium-Project. Glad to live in modern times, now we have nice substances which can bring you in the "higher consciousness". Thank you Scriabin, and thank you Shulgin and Hofmann......

[@nicholas72611]

Scriabin died from a tumor under his moustache. Doubt he could be saved.

[@philipchance5454]

Actually it was just a neglected pimple on his upper lip that turned into massive septicemia. Today he could have been given simple antibiotics and some ointment at the beginning of the infection. If the man had lived long enough motion pictures emerged and he would been collaborating with filmakers of the silent era. He'd of loved it...

[@burbanpoison2494]

+Philip Chance what is a person who says "he'd of loved it" doing in a place like this?

[@stynway59]

Max Johnson.. sharing this space with you

[@elijahvalongo9528]

Those substances have always been used for that

[@spoopyghost8326]

Modernist gang

[@mikhailsuslov6235]

Long live Sakharov!

[@zackl7467]

This ain’t modern buddy

[@stuf159]

@@zackl7467 what do you mean it’s not modern?

[@zackl7467]

@@stuf159 It's late/post-romantic. Also, you originally said that debussy was modern before you edited your comment; he's not (Debussy's an impressionist)

[@stuf159]

@@zackl7467 impressionism and post-romanticism are styles of modernism, And it definitely isn't late romantic.

[@atomicexistentialism8428]

FOR THE MODERNISTS. TODAY.... WE TAKE MAGADAN. TOMORROW. MOSCOW

[@sovietfederation9738]

City of Light!

[@Schwarzedubs]

Per aspera ad astra!!

[@БорисЧемеровский-ж2б]

Beautiful !!!

[@olavisuominen9328]

One of my favourite music.

[@stinky9675]

Picture at start: Titan vibing Picture at end: *EGG*

[@5kyfall2017]

11:06 painting is by Gioacchino Assereto

[@franciscolopezus]

Great conducting

[@RommelLeiro]

Acredito que essa tenha sido a minha melhor experiência musical da vida

[@eddierukidding9992]

fantastic piece

[@Leomerya12]

The ending. Whoa.

[@chrish12345]

I'm sorry - I do rate Boulez's Scriabin and even his Mahler, he is interested in getting passion from subtlety and sheer beauty of sound, and obviously has more insight into a composer than most conductors on the market today.

[@audiovisualtarvis]

Sorry, millenial here, but it sounds like I've found the inspiration for half of the Twilight Zone soundtracks.

[@estebanparedes3319]

My favourite moments: 1. 6:15 2. 9:40 3. 15:45 4. 19:15

[@musicajpm]

EL FINAL ES DEMASIADO BRUTAL!!!... ya me quede despierto :P

[@SharonChenMusic]

Did not know Scriabin made such colorful orchestral works.. mostly think of him as piano-based.. I am thinking almost Stravinsky-like.. not quite

[@davidwright8432]

Really interesting. Starts out late 19th century Romantic-ish, then morphs into something unique - not Schoenberg's 'atonality', but another form of not-quite-tonality. By the climax at the end, all musical convention and bets are off, and he's off in his own tonalities and sonorities. An intriguing and highly listenable work.

[@Schwarzedubs]

Per aspera ad astra!!

[@uhhhhyourmom]

17:46 That’s a crazy painting

[@iiooooiooi]

Metamorphosis of Narcissus, Salvador Dali

[@mackhomie6]

could anyone recommend a few dark, atmospheric, hair raising type pieces to me please? from any pianist. I thought Liszt - Dana macabre was the song I was looking for but I was wrong

[@mjdillaha]

mackhomie6 Night on Bald Mountain by Mussorgsky, written for piano but it was orchestrated by Ravel, I believe.

[@GlamRockCowboy]

No, it was orchestrated by Rimsky-Korsakov. Ravel orchestrated Pictures at an Exhibition.

[@butros51]

absolutely correct Tim

[@michadabrowski19]

Rachmaninov Prelude C# minor

[@butros51]

First of all Scriabin has a recognizable chord progression and this makes him unique amongst modernists. Most forms of serial 12 tone defy the natural movement of tritones. Berg's Sonata is a good choice with a strong connection like Scriabin to Romanticism. Ligheti sometimes comes close but Schnittke less so and Boulez hardly at all.

[@ZachReading]

This is beautiful

[@foodchewer]

I apologize if someone already made this observation, but the Alien (1979) theme sounds like it was definitely influenced by this

[@OBudful]

Oh man you're right, and it's pretty smart from Jerry Goldsmith since Alien is very much inspired by Prometheus myth.

[@OBudful]

Thanks for making me notice, my mind was blown by this piece of music then by this piece of information

[@yowzephyr]

0:14 is a good place to start.

[@GoldandAppel]

NOW I LIKE SCRIABIN!

[@subbyplayz6332]

22:30

[@NateSassoonMusic]

incredible

[@music-by1ou]

The only true impressionist!

[@thrashax10]

“Concerning the spiritual in art” by Kandinsky brought me here

[@segmentsAndCurves]

That's a nice book.

[@Sebensui779]

El poema del éxtasis (1908) y Prometheus: el poema del fuego, en el cual incluye una parte para "clavier à lumières", que era un órgano colorido diseñado específicamente para la sinfonía. Era tocado como un piano, pero proyectaba luces de colores en una pantalla del teatro donde se presentaba en vez de notas. Su estreno no incluyó este instrumento y no fue hasta 1915 en Nueva York cuando Skriabin pudo realizar su obra como la imaginaba. En Prometeo: el poema del fuego, Op. 60, Skriabin plantea una obra más sombría y para Skriabin el personaje de Prometeo se parece a Satanás. Añade a la plantilla orquestal un piano solista, un coro y el famoso "Clavier à Lumières", que juegan un papel específico en la estructura simbólica de la obra -la orquesta sería el Cosmos, el piano solista sería el Hombre. Esta obra presenta los rasgos del lenguaje armónico del último Skriabin, con sus complejos acordes. La entrada del piano, marcada "imperieux", causa una gran emoción, representando la aparición del héroe internándose en un mundo de sombrías criaturas que quedan cegadas por su luz. La obra está llena de continuos cambios de tempo, como sucede con el Poema del Éxtasis. También tiene afinidades con sus obras pianísticas de la época, entre la Sonata n.º 6, Op. 62 y la Sonata n.º 10, Op. 70.

[@maxlinder5262]

Very film score like......

[@ChimpingBulldog]

Symphonic poems were, and are, inspiration for many film composers.

[@ziemowitigor8427]

Beatyfull 😄

[@milZ89dk]

Epic art!

[@anthonyramey4653]

ah yes,vers la flamme is a beautiful trilled blues

[@kingeternal_ap]

Not wanting to be the weaboo in the room, but Seiji Yokohama might have drawn a ton of inspiration from this style... Song in question, as an example, Beautiful Gold Saints.

[@ChimpingBulldog]

Don't worry, a weeaboo would said the opposite.

[@xv12commander]

The truth is you need to hear a classical piece at least 3 times to grasp his "nature" and really appreciate it, but this one you star to grasp at the 100th time...

[@petroniusteobald5640]

Not true, you just need a good consentration while listening

[@rodolfolozada7384]

Maravilloso!

[@JessePennerMusic]

Wow, My mind was blown :)

[@ggwilley8163]

Good stuff

[@raulespejo2587]

11:30 La mer Debussy?

[@b.f.3329]

What's the link between the painting of Goya (The disasters of War) and the Greek Prometheus?

[@daniellee2965]

This piece is utterly terrifying.

[@rr7firefly]

I am glad for your comment. The sublime is often on such a transcendent level that it can induce absolute horror. As mere humans we are not privy to the Great Mysteries, so when we encounter them we become like David Bowman in 2001's Stargate movie sequence. Sheer terror.

[@josedavidavilaarevalo7288]

Missing paintings: Anthony Van Dyck: Prometheus, Kandinsky: Autour du cercle

[@Caro-tc1ik]

The Torture of Prometheus, Gioacchino Assereto. Musée de la Chartreuse, Douai, France.

[@leslielandberg5620]

It’s the recreation of ambient using notes.

[@ondrejlukas1121]

This comment section is now claimed by the modernist saloon

[@anem1733]

I'm going to see if this syncs up with Cube.

[@thelittlespyro7061]

Playing some of his progressions on a electric guitar and oh my fucking god It's terrifying

[@camilonmendezmusic]

That was FIRE

[@uhhhhyourmom]

I think the reason this kind of music isn’t heard very often is just because of how evil and emotionally taxing it is to listen to. It might be one of the best things I’ve ever heard actually, but it’s painful to listen to.

[@petroniusteobald5640]

I feel it's extremely energizing. Interesting how we can percieve music so differently :)

[@Brandon-jl7cl]

Sounds like a mix of Mahler, Debussy and a little bit of Rite of Spring.

[@JuanLukazArGwellec]

11:04 The Torture of Prometheus - Gioacchino Assereto, c. 1630.