Scriabine : Poème de l'extase (Cristian Măcelaru / Orchestre national de France)

[@lovelettertothewest]

Quelle glorieuse interprétation ! Merci pour ce cadeau musical.

[@fabiobrighenti3849]

Evanescente potenza musicale nebbiosa e raggiante

[@lovelettertothewest]

@@fabiobrighenti3849 Esattamente! Nebbioso e raggiante. Tutto allo stesso tempo. 😉

[@notaire2]

Wunderschöne und detaillierte Aufführung dieses ein bisschen mysteriösen doch perfekt komponierten Tongedichts mit farbenreichen doch perfekt vereinigten Tönen aller Instrumente. Die Virtuosität aller Einzelspieler ist echt ergreifend. Der intelligente und geniale Dirigent leitet das hoch funktionelle Orchester im gut analysierten doch fließenden Tempo und mit sorgfältig kontrollierter Dynamik. Einfach wundervoll!

[@lovelettertothewest]

Ganz Ihrer Meinung Monsieur le notaire! Würden Sie auch sagen, dass diese symphonische Dichtung vorwiegend vom französischen Impressionismus geprägt ist?

[@vincentcaruso]

Goosebumps galore at the conclusion - stunning interpretation; shimmering passion. Wow!!

[@franckdouvin1069]

Awesome!!!

[@SilvioNobre]

Beautiful!

[@josephlaredo5272]

Makes Debussy's Prélude à l'après-midi ... and Wagner's Tristan sound like cases of premature ejaculation.

[@alcinado2072]

Oh come on man, you don't have to go and say nasty things like that...

[@christianwouters6764]

Who knows what S would have composed after this unsurpassable masterpiece had he lived longer. I wonder what his method of composing was. It was surely unique because no one before or after him realised sth like this. It seems the music is not sound anymore but pure emotion that enters your mind.

[@nicolasdelaforge7420]

His goal was to lead humanity to Ecstacy. But this Ecstacy is set against a final dissolution. The 'old world' was crumbling, in a state of dissolution. Something new had to be inscibed into it: a mystical chord. This chord is stuctured by intervals of fours: from DO to Fa; Fa to SI; SI to MI; MI to LA; LA to RE. In the DO chord, he chose 5, 7, 11, 13, 17. But the DO- FA# and SIb- MI are augnented 4th, which constitutes the discordant 'diabolus in musica'. 'We will disappear into the whilwind of space and into the lyre's mystical chord, in the naked beauty of our souls'. Interpret as you will! But the poem is a masterpeice.

[@neo5982]

いらんことしてない