Yes yes yes.

I woke up this morning with this playing in my head... and it still is.

Telekinesis by Tyondai Braxton, released yesterday.

Truly unhinged: — Noble Dust

LOL, yeah!

I love that knifepoint between late romanticism and early modernism. I'd like to live there.

I woke up this morning with this playing in my head... and it still is. — SophistiCat

I've been thinking about this since you wrote it.
I woke up this morning with an earworm but not any dangling from the Prophet Bird.
And I wondered what is it about music that has that effect on our brain or mind.
I guess it's the recurrence of a motif. Is that all? Why does some music resonate more than others?
Does the impression depend on the listener's mental state or brain rhythm already going on?
What do you hear that I can't?

I've listened to Schumann's piece 3 times now. The first time, my ears didn't get it at all.
No idea how this could enter my skull and stick there. Nada.

I think I understood the lightness of the beginning as being that of the bird, then I heard a change at about 1:20. It reminded me of a hymn, and the repetition there is the bit that is going round my head right now.

So then I looked it up:
https://www.henle.de/us/music-column/schuhmann-jahr-2010/schumann-anniversary-2010/the-prophet-bird/
Most interesting with links to the score and Goethe no less:

In this middle section Schumann quotes, and certainly not as a coincidence, a part from his “Scenes from Goethe’s Faust” that he composed at about the same time, namely the “Chor Seliger Knaben” (the quote is underlined)
:
PATER SERAPHICUS, mittlere Region.
Welch ein Morgenwölkchen schwebet
Durch der Tannen schwankend Haar?
Ahn ich, Was im Innern lebet?
Es ist junge Geisterschar.
CHOR SELIGER KNABEN.
Sag uns, Vater, wo wir wallen,
Sag uns, Guter, wer wir sind!
Glücklich sind wir: allen, allen
Ist das Dasein so gelind.
Sag uns, Vater, wo wir wallen,
sag uns, Guter, wer wir sind.
You can listen to this part of the composition HERE .
Simply for inspiration, I added the lyrics to the music in the new Urtext edition: Sample pages — Schumann - The Prophet Bird

... and this:

Consequently, Schumann’s pedal markings are an intended and important part of the composition. But hardly any musician respects them. Next to Clara Haskil’s recording (also on YouTube) that many piano enthusiasts rightly favor, there are at least (only?) two further recordings that not only follow Schumann’s original intentions, including the important and sophisticated pedal markings, but are also wonderfully expressive. One was recently released on CD; a recording by Andreas Staier [Robert Schumann: "Hommage à Bach". Harmonia Mundi France HMC 901989] whose play on an Erard grand piano succeeds in communicating the enchantment of this piece. The other recording is by Wilhelm Backhaus. There are both a studio and a live recording by Backhaus, both made in the 1950s. Everything here is perfect. The live recording from Carnegie Hall with "The Prophet Bird" as an encore is especially great (it sets in at 2:10, following a breathtaking performance of Chopin’s Etude op. 25/2 in f minor and an intriguingly improvised modulation to the Schumann piece): Video no longer available — Schumann - The Prophet Bird

Pity the Carnegie Hall video is no longer available.
Thanks for the introduction. I might listen again...if it doesn't drive me crazy trying to think...
Any idea as to the hymn it reminds me of?

Best now just to listen without thinking. Simply to feel it :sparkle:

Pity the Carnegie Hall video is no longer available. — Amity

@SophistiCat
Found this. The Schumann piece comes in just after rapturous applause at 11:00. (if I hear right!)

Wilhelm Backhaus at age 72 in splendid form, giving four encores during a Carnegie Hall recital in New York in 1956. Starting with some preluding to establish the key of the next piece, he plays:
- Schubert's Impromptu in B flat major Opus 142 no. 3, D935;
- Chopin's Etude Opus 25 no. 2 in F minor;
- Schumann's "Vogel als Prophet", from his Waldszenen Opus 82;
- Mozart's Rondo alla Turca from his Sonata no. 11 in A major, KV331 — Backhaus - 4 encores at Carnegie Hall, 1956

Another bird; another time, place and person. Beautiful and never forgotten :sparkle:
With nod and thanks to @tim wood for this introduction, about a year ago:



***
https://thephilosophyforum.com/discussion/comment/599220

And Hillary Hahn in my opinion in a class even beyond these, they mainly about allowing Bach's structures to be as accessible as possible. Hahn, on the other hand, about rendering the feeling in the music, seeking it, finding it, studying and understanding it, performing it.

As if, in going to church of a Sunday to hear a sermon, one encountered the voice of God itself!

Here:
Furtwangler
https://www.youtube.com/watch?v=GJG5A-klfgE

Kleiber:
https://www.youtube.com/watch?v=RKcAAA1O2sc

Zander
https://www.youtube.com/watch?v=n3EiRynr1Us

Tureck:
https://www.youtube.com/watch?v=1XoAJ98PbDM

Biggs:
https://www.youtube.com/watch?v=9E_peLhyksQ&list=OLAK5uy_n_ngZQXiZXethaXN2SWX-IoKE6WKfGOBA
https://www.youtube.com/watch?v=X_XmdFE-7dM

Hahn:
Sibelius
https://www.youtube.com/watch?v=O65YBjweUPo&t=741s
Three mini-presentations
https://www.youtube.com/watch?v=ICGFmN85J50
https://www.youtube.com/watch?v=8OwULR_YkJk
https://www.youtube.com/watch?v=015QVOO-5Ek
Lark Ascending
https://www.youtube.com/watch?v=IOWN5fQnzGk — tim wood

I've been thinking about this since you wrote it.
I woke up this morning with an earworm but not any dangling from the Prophet Bird.
And I wondered what is it about music that has that effect on our brain or mind.
I guess it's the recurrence of a motif. Is that all? Why does some music resonate more than others?
Does the impression depend on the listener's mental state or brain rhythm already going on?
What do you hear that I can't? — Amity

Earworms are funny things. Often after listening to a number of pieces, such as Schumann's Waldszenen, what gets into my head is not what drew me most while I was listening. Other times I am only semi-aware of the music in my ears while I am occupied with something else. But then, after an incubation period of about 8-16 hours, some "little phrase" or entire pages worth of music hatch in my head and won't quiet down for the rest of the day (or night).

Found this. The Schumann piece comes in just after rapturous applause at 11:00. (if I hear right!)

Wilhelm Backhaus at age 72 in splendid form, giving four encores during a Carnegie Hall recital in New York in 1956. Starting with some preluding to establish the key of the next piece, he plays:
- Schubert's Impromptu in B flat major Opus 142 no. 3, D935;
- Chopin's Etude Opus 25 no. 2 in F minor;
- Schumann's "Vogel als Prophet", from his Waldszenen Opus 82;
- Mozart's Rondo alla Turca from his Sonata no. 11 in A major, KV331 — Amity

Thanks for this, I loved it! (Interesting how he improvises little transitions between the pieces, as if walking from one to the next.)

I love that knifepoint between late romanticism and early modernism. I'd like to live there. — Noble Dust

At about the same time (1900s) Ives asked a question that is now stuck in my head. Does anyone know the answer? ;)

Thank you :sparkle:

Spare yourself the mental energy.

That's harsh. No love for Ives?




The conclusion is just heartbreaking.

I recently discovered Escalator Over the Hill by Carla Bley, Paul Haines, and the Jazz Composer’s Orchestra, from 1967. Weird and wonderful, I love it. It’s like some kind of prog jazz (in the rock sense of progressive, not the Stan Kenton third stream sense).

The only piece by Boulez that I really enjoy, probably because he abandoned serialism to do it. Rituel in Memoriam Bruno Maderna.

Ligeti - Six Bagatelles

:up: I loved that video (and music too, of course).

At first, when I saw they were dancing around, I was sceptical. But yeah, it works!

Composed in the final weeks of the war, when the composer's world was crumbling around him. If the theme sounds vaguely familiar, listen carefully: about 3/4 of the way in, and then again at the very conclusion of the piece the source of the theme is revealed.

Marcus Miller- Free (2007)

The title track is awesome :love:



(Marcus Miller featuring Corinne Bailey Rae- Free)

Richard Strauss - Metamorphosen (1945)

Composed in the final weeks of the war, when the composer's world was crumbling around him. If the theme sounds vaguely familiar, listen carefully: about 3/4 of the way in, and then again at the very conclusion of the piece the source of the theme is revealed. — SophistiCat

Me too. I love it. Mine is a von Karajan recording. I heard it first in 1985 and used to drive through winding mountain roads to our country place with it on.

Also:

Powerful stuff. Ewig...

Sometimes I find Modernist art more "interesting" than actually satisfying to watch/read/listen, and this goes for some of Varèse that I have listened to. But this one I liked:

Some blues...kinda...

Nina Simone - I Am Blessed


classical:

Sergei Prokofiev - Troika from "Lieutenant Kijé"

Thanks to @Jamal's recommendations, commenting on the short story 'Nightmare in D Minor':
https://thephilosophyforum.com/discussion/13826/nightmare-in-d-minor

Terry Riley - 'The Dream' for justly tuned piano - Live in Rome 1999



Commissioned by the Kanagawa Foundation, 'The Dream' is a lengthy improvisatory piece for solo piano in just intonation. It is something of a sequel to Terry Riley's 1985 cycle 'The Harp of New Albion', also for justly tuned piano. This recording is from the work's premiere performance where Riley joined Philip Glass, Michael Harrison, and Charlemagne Palestine in an evening concert of selections of each composer's music for piano.

Performed by the composer.
Recorded live at the Palazzo delle Esposizioni in Rome, Italy on November 20th 1999.

:up: :cool:

I'm still listening...it's wonderful. Amazing. God I love this place :fire:

Awesome :blush:

Stravinsky allegedly said about his violin concerto that he wanted to write "a music that would have no emotional resonance." What a load of crock! It's pure joy.


Also this:

Johnny Coltrane- Mr PC :fire: :fire: :fire: